Tinker Tailor Soldier Spy (2011)

To remake one of the finest BBC mini-series ever made, starring the late, ingenious Alec Guinness is an almost impossible task. The series is definitely too long by today's depressing standards, so perhaps a two-hour feature is just the treatment it needs. And you have to give it to them: They really did try.

They are very true to the aesthetics of the original. There are grainy, grey filters and men with impeccable hair and suits galore. All smoking and speaking softly, until angered. Some of the lines are identical word for word, and particularly the scene with Kathy Burke is hardly altered at all (apart from the crude opening), and neither is Guillam's encounter with The Circus.

The cast is of the greatest quality, even with a vast amount of key characters. As I shall explain, a good bunch of actors, does not necessarily make a great cast. But the problem here, is more that the director has altered a lot of the from the book and original series. But on to the men.

John Hurt is perfectly weary as Control, dying and discredited at the end of a long and distinguished career. Benedict Cumberbatch lacks the brutish tendencies as Peter Guillam, and isn't the best fit here as he comes off less than independent. Oldman is one of the finest actors of his generation, and proves is again here. Particularly his soliloquy re-enacting an old interrogation is magnificent. Firth is solid, but lacks the vast arrogance of Ian Richardson, and he doesn't have the same screen-time. Generally it feels like they've tried to modernise the male characters, depriving them of the stoic self-belief. In that though, they also deprive the film of the exceptional treat of the form of banter that's hardly been seen since the 70's: The grown men with inflated self-worth and the arrogance to go with it, banging it out in a way only men who are obsessed with manners and appearance. And that really is gone here.

As in the original, Smiley is portrayed as a ridiculously lonely and quiet man, albeit with the sharpest of brains. Director Alfredson does perhaps overdo the loneliness, though I suspect the world today is a much less subtle place. Furthermore, Alfredson keeps the slow pace of the series. But by lingering and slowing down unimportant parts of the story, he has to cut even more of the story. And what suffers most in that respect is the quiet, dignified power for struggle within The Circus, and in particular the part of Toby Esterhase who is reduced to a snivelling weasel in the film, bereft of class and ambition.

The chess-pieces are a clever trick, though not very original, and forgotten towards the middle of the film. Alfredson is guilty of a couple of shortcuts and unnecessary distractions towards the end, but nothing major. A clear mistake made is that whereas the original immediately tells us the relevance of the children's rhyme, this film leaves it until the last half-hour. And generally this is a much smarter film than average and it really is a delight seeing the puzzle slowly take form until completion. With the fantastic script from John Le Carré, it certainly is a wonderful puzzle to watch.

7/10

Calvary (2014)

A film starring Brendan Gleeson (64 years) as a priest, Father James. Now, this should be for a limited audience. With the opening line: "I first tasted semen when I was seven", it certainly demands your attention.

The scenery is quite stunning. Long Irish shores under grey weather. Huge, green pastures. All perfect background for a large priest dressed in black.

Gleeson really is fantastic here. A perfect weary  and gruff old priest, with all the signs of a man who has seen too much of most. The kind that is no longer puzzled or befuddled over the actions of his fellow men, as he drifts further and further away from them. Perfectly coined by a parishioner early on as he corrects her analogy: "You're just a little too sharp for this perish." David Wilmot is nice as the buffoonish younger priest, adding further grievance to Father James' existence as he sits alone in his white room, without a single picture or trinket (only a cross), petting his old, dying golden retriever. A visit from his suicidal daughter (aptly played by Kelly Reilly) is for a while treated in the same way as his parish: With a defensive distance.

Father James almost exclusively observes as he watches his parishioners snort cocaine in public restrooms, throw their friends across the room at the pub, urinate on expensive paintings or making jokes as he watches his church burn to the ground.

The characters are sublime, and lay a foundation of very funny conversations about most subjects, as they all have their problems to share with Father James. And as the characters slowly start to wake Father James (a particularly hilarious scene featuring Dylan Moran)

Where the film suffers a bit is a defining story-line. There are characters, very nice scenes and some brilliant humour, but a clear story (apart from the beginning and end, which are outstanding) eludes me. Therefore not all scenes seem quite relevant.

Eventually they do find his limit, for better or worse. And for a while he joins their drunken rage. In the end, despite his valiant efforts, and his indomitable sense to do what is right, the only person that seems to take him seriously is from out of town. And as they all go about their business, only the grieving stranger that met him briefly under tragic circumstances, seems to have taken a single word to heart.

So it's definitely worth a watch, for the humour and characters, but mostly for the ingenious and startling beginning and end. Not to mention a stellar performance from Gleeson.

7/10

Spectre (2015)

So a huge "Day of the Dead"-parade as an introduction... That seems done several times before. A lot of the outfits almost seem like a homage to "Live and let Die" and Kanaga. Unnecessary. Then Bond shoots two out of three bad guys (where it later in the story turns out all he really had to do was snipe the one he failed to hit), and a building miraculously falls down, before he chases the third into the crowd and onto a helicopter, eventually killing him as well. At least he got his ring (with the legendary octopussy), and we got some cool helicopter-stunts.

Ralph Fiennes was brilliant in the former instalment, as an understated aristocrat with a sharp brain and an even sharper tongue. Unfortunately they waste his first scene having him do what Judi Dench does much better: Sneering at Bond for going too far on a mission. He is better when worrying about the future under C, but he had much better dialogues to work with in previous instalments. Though his later scenes with Andrew Scott is fantastic. Harris as Moneypenny is still good, but her lines are also less scrumptious this time around. Craig David is much more soft-spoken than earlier, though I fail to see what they're trying to accomplish by that.

The political agenda with a merging of intelligence, is a cute touch, a continuance of Skyfall in Bond being outdated. Despite casting Scott as C, they fail to make it an interesting character. Perhaps because the snivelling little shit that fails to understand the importance of history as he basks in his own knowledge of the future, is done to death.

A truly marvellous scene is the Spectre-meeting. Almost bereft of sound, as one at a time speak numbers and economics, and Waltz has the softest and calmest of voices, while sitting at the unlit part of the table. Not a particularly subtle or original tweak, but still a masterpiece of a scene. Another plus to Mendes for picking Monica Bellucci for a scene, (and a night with Bond). It is so much more believable with a sensual, dangerous flirt when the female doesn't have to provide an ID to get a drink.

Mendes is better at the tension and more intimate action than he is a bigger set-pieces and Bautista vs Craig on the train is great fun. Impossible not to let the mind wander towards Robert Shaw's brilliant Grant and his fight with Connery in "From Russia with Love". And speaking of old patterns (besides Waltz' remake overcoat from Dr. No); Blofeld (like his intro) is at his best when he's lurking in the shadows. But modern Bond-films are too frenetic for that to really be effective. When he does appear, though, it is to a most devastating effect. Unfortunately, his next scene takes a sledgehammer to the credibility built.

There are so many homages and hints to earlier films (even Pleasance's scar), that it's almost distracting. As to the "Bond-formula", this is the closest Mendes came. But, some mediocre scripting and poor editing, makes it a bit lacking nonetheless. And the brother-angle towards the end is laughably bad. Mendes does know how to end a film, though, and seems to deliver again, until he cocks it up by adding another 3 unnecessary minutes that only serve against their purpose.

6/10


Best car used: Aston Martin DB10
Most memorable drink served: Vodka Martini, dirty.
Henchmen: Dave Bautista as "Hinx". Finally a real henchman again.
Villain: The one and only Blofeld, courtesy of Christoph Waltz.
Best one-liner: "They always know which buttons to press"
Song: "The Writing's on the Wall" by Sam Smith... The song is anonymous, his voice is atrocious. Like a chipmunk that inhales helium before every refrain.
Bond-girl: Léa Seydoux as Madeleine. Feisty at first, but not impervious to Bond's charm over more than 30 minutes

Skyfall (2012)

After the shambles that was "Quantum of Solace", it's nice to see them at least try to insert a bit of context to the intro. Unfortunately it soon dissolves into another car-chase involving much unnecessary destruction of fruits. That they throw in both some motorcycle-chases and the classic fighting on top of a train, makes for a long intro. But at least there is some very clever usage of an excavator, and for the first time it ends with Bond being shot and losing the MacGuffin. Clever that, do nothing original, and then finish off with a huge surprise.

So we get a bit of a "Sherlock" as M types his obituary, alone late at night, before one of the most peculiar dialogues of the franchise as Ralph Fiennes tries to sack M through congratulations.

As for Bond, it's fair to say that Craig is much more believable as the scar-carrying, scruffy, worn, bitter and self-destructive Bond, coming off a major health-crisis than Brosnan could ever be. Beard or not. His versatility really makes Bond better, and as his age and general health is a recurring theme, they wisely keep him largely unshaven early on, to show off the grey. Dench is still fine, Fiennes breathtakingly subdued, and Naomie Harris (as the new Moneypenny) gives David great flirting and innuendos. Ben Whishaw as a younger Q also has some good banter with Craig, they really did bring out the good screenwriting here. And when you think the chips are in, a delightful supporting part from the utter brilliance that was Albert Finney as a surly Scot.

For a very dark and realistic Bond-movie they chose to give Bardem a look most ghastly character, with a stupid blonde wig and a bad suit over a much worse shirt. There is also the psychotic sadist in him with overly erotic mannerism that makes him a rather dreary villain.  His story-introduction with the rats is pitch perfect, though.

Mendes as a director is rather meticulous to detail, and it's noticeable throughout. For instance the colours of the smoke Marlohe blows at the bar. The lighting is perfect for a wide spread of thin smoke to enhance the wildly yellow filters he applies for this scene. His different filters are a bit too strong at times and his attention to detail does drag on a bit though, making the pace somewhat erratic, and the film quite frankly a bit long. being the longest to date. But Mendes is great at tension, decent at action (with one particularly brilliant set piece) and, as mentioned, the dialogue is far above what is to be expected from James Bond.

Even the plot is decent, though very far from a "Bond"-plot as it, when it all comes down to it, is a very elaborate revenge. He does make some very (and some not) subtle points for the observant viewer. The whole theme is older days vs modern days as both M and Bond defend themselves throughout, in very different ways. And as it turns out, it ends with Bond and two old geezers fighting the oldest of all fights, the stand-off. Having driven a 50 year-old car to a several hundred year old building made of bullet-resisting rock, and used manual labour and DIY-boobytraps to barricade themselves. Fantastic.

So to finish where I started, this film's strength is quite frankly that isn't really trying to follow the formula of Bond. But therein lies the disappointment as well (along with the villain). At least for the fans. That makes it the hardest film in the franchise to rate, as it's not a very good Bond film. It is, however, a good film, with a delectable ending.

8/10

Best car used: 1965 Aston Martin DB5
Most memorable drink served: 1962 Macallan.
Henchmen: A few Asian guys Bond easily kills.
Villain: Javier Bardem as Silva. Over the top. Particularly for such a dark film
Best one-liner: "Just changing carriages"
Song: "Skyfall" by Adele. Brilliant. A slow, methodical piano-intro with a crescendo into the refrains, despite Adele's voice staying within a small range.
Bond-girl: None, really

Quantum of Solace (2008)

So the lengthy pause gave us the brilliant Casino Royale. Would a very short break prove equally fruitful? N.O. No.

The intro is a really bad omen as a car chase bereft of all that made the predecessor brilliant, is all we get. Swerving cameras, frenetic editing, ridiculous stunts and what seems like utterly random shootings and chases, even involving lacklustre policemen firing at will. Short and useless and you start looking for Jason Statham.

Then there is a small dialogue between M and Bond before a genuinely interesting scene enters. That too, is cut very short and then there is more tedious action. Parts of it looks more like the makings of The Inventor in "Edward Scissorhands" than a believable action-flick. After 20 minutes 80% of Craig's lines are grunting and moaning.

After Craig's efforts in Casino Royale, it really is disappointing to see him reduced to a B-movie action-hero here. Director Marc Forster also fails to utilize Judi Dench as Martin Campbell did, but she still makes the best of it, and she does have a rather devastating zinger aimed at Bond. There are also welcome revisits from Giancarlo Giannini and Jeffrey Wright, though only the former makes any impact in what is the longest calm segment in the film. And the only smart scene, as it gives a realistic and dire insight into the effects such lines of work have, and the employees.

There are traces of plot here and there, and the angle where the CIA is trying to overthrow the Bolivian government using a private contractor isn't half bad. That part of the plot is well hidden for most of the running time, though, meaning it's mainly chasing and exploding. There is no henchmen of note, hardly a villain and the dry wit is absolutely sucked out of QoS. So the best thing you an say for this flick is that is at 106 minutes, it's the shortest Bond-film ever, and most of the time the pace is too frantic for boredom.

And at least it has a reference to Universal Exports.

3/10

Best car used: Aston Martin DBS
Most memorable drink served: Dry Martini (three measures of Gordon, one of Vodka, half a measure of Kina Lillet, shake until it's ice cold then add a large, thin slice of lemon peel).
Henchmen: None, really.
Villain: Dominic Greene played by Mathieu Amalric. Conniving and always thinking big. Not really memorable though.
Best one-liner: None
Song: "Another Way to Die" by Jack White and Alicia Keys. A strange mix with his beat and her annoying vocals. One of the more quaint duets.
Bond-girl: Olga Kurylenko as Camille. Adds little, if anything, and is outshone by Arterto

Casino Royale (2006)

So out with with the glitz, glamour and smarmy arrogance of Pierce Brosnan and in with Daniel Craig. And do they ever make it obvious with a pre-credit opening all shot in black and white with an utterly brutal brawl of a fight, followed by the coldest assassination Bond has done since Dr. No. It's bleak, it's realistic (for Bond) and it's riveting, even giving a great introduction as to his 00-status.

Though the start seems very unlike Bond from the 80's and 90's, our hero soon travels to Madagascar for some fairly straightforward action to make up for the surprisingly clever start. It does add to the image of Craig as a particularly brutish and pragmatic 007, though. And they really make a point of separating him from Brosnan having him mistaken for a valet. Certainly the only Bond where that would be a realistic possibility.

Craig is a most different kind of MI6 and displays a lot more emotions than his predecessors. And must stronger such. Whether he is tortured or flirting, his expressions are stronger, his language borderline vulgar towards Le Chiffre. There are several lines the former actors simply couldn't get away with. Judi Dench is still perfect as M, whether manipulative, friendly, or straight out angry (a most enjoyable rant) you immediately accept her as someone who can take on the Prime Minister and Bond before lunch and still feel up for a dictator's head for supper. And it's most fitting that Craig's warmest smiles are always aimed at her. Green a perfect fit for our hero, and their tête-à-tête on their first meeting is fantastically written, and well acted, though best by Craig. Generally Green is better after she's shaken like Bond's Martini by the most gruelling fight ever depicted in this franchise, superbly directed and edited. Otherwise there is special mention for Giancarlo Giannini for a perfect supporting role, as is his habit.

Considering how different an instalment in the franchise this is, they stay surprisingly loyal to the concept. Bond seduces and shags the bad guy's woman (while extracting information), thus getting her killed. He is recklessly arrogant (taking great pride in it along the way), he makes women who loathe him turn. He drinks. And he gambles. By far the best sequence in the franchise as a game of Texas hold 'em keeps us at the edge of our seats over middle-aged men (mostly) playing cards for over half an our of running time.

If there is a weakness here (apart from some very cheese lines when Bond and Vesper finally connect), it's in the plot, as Bond seems to stumble over more key pieces than Inspector Gadget the first hour.

The pace is frenetic, but director Campbell seems to find a perfect blend of action, suspense, drama and dialogue to keep it flowing seamlessly. Not to mention that he dares to keep significant parts subtle, giving the film some much-needed smartness. The set-pieces are still huge, but never cartoonish and daft as they keep in mind that this is not a Marvel-flick. The action (and torture for that matter) has no nifty little spins or gadgets. Just knuckles meeting flesh (Bond has the scars to show it) and some gruelling close-ups make it difficult to watch at times, adding to the bleakness. Even the car crashes are just metal contorted and smashed. No fire-bombs anywhere. Add to that a scene of perfect suspense as Bond kills Dimitrios in stealth surrounded by hundreds of people, not to mention the brilliant scene in which he tries to counteract a poisoning, and this is a classic spy-film, regardless of franchise. The added beauty of Vesper's death and Bond's heartbreaking attempts to resuscitate just nails it, perfectly scored by David Arnold's solemn 4-note theme. And then he's back to where he started; failing to get where he wanted to be, assassinating

9/10

Best car used: 1964 Aston Martin DB5
Most memorable drink served: Dry Martini (three measures of Gordon, one of Vodka, half a measure of Kina Lillet, shake until it's ice cold then add a large, thin slice of lemon peel).
Henchmen: Alex Dimitrios. Apart from his death, a very dull character
Villain: Mads Mikkelsen as Le Chifre. Understated and calmly evil is always better.
Best one-liner: "Now the whole world is gonna know you died scratching my balls"
Song: "You know my Name" by Chris Cornell. Not bad, but unable to match the brilliant intro.
Bond-girl: Eva Green as Vesper Lynd. Wonderful character, fitting to break Bond's heart twice

Die Another Day (2002)

Bond brings some friends to lift diamonds. And so he has access to North Korean military equipment posing as an arms dealer. But, alas, the enemy has updated information as to his real identity and instead of spying, we are treated to a lengthy chase scene after Bond uses his wristwatch to create a very flammable diversion. But the idea of racing hovercrafts in mine fields are genuinely cool and most entertainingly executed, although it ends pretty stupidly because action still seems to be more important than reason and logic in a single scene. Then Bond is tortured through the entire vignette. That's a first.

The casting here is the worst in decades. Brosnan delivers as he's supposed to. Berry overacts terrible, Stephens is mostly like a petulant child. With Pike unable to really find her footing, and the extras including Madonna, the casting was obviously done by a dozen drunk monkeys trying to write Shakespeare. Sure, the director might be rightly criticised for not getting the best out of Pike, Stephens and the great Michael Madsen, but casting Madonna is just insane in any film. At least Cleese is good. And Samantha Bond's scene towards the end is a real gem.

Fencing with the villain was an excellent idea, but unfortunately director Tamahori is tempted to overdo it, and the whole scene makes Madonna look like the well-balanced one. The action in general is better than in a while though, as Tamahori mostly manages to keep it at acceptable length and tries not to overdo the stunts and explosions too much  (apart from the insanely stupid paragliding). Besides, he actually has a couple of cool ideas (apart from the black hole of daftness in the paragliding). He doesn't really seem to like tension though, so he chooses to disregard that option, even when easily applied.

So it's not without its strengths and charms, but they've not bothered to write decent characters, and managed to cast poor characters with all the wrong actors. And that does hurt your bottom line (in quality. Fiscally, this film did great). Thus endeth the reign of Pierce Brosnan

5/10

Best car used: Aston Martin Vanquish. Delectable
Most memorable drink served: '61 Bollinger
Henchmen: Zao. A martial arts version of Michael Jackson walking into a diamond storm.
Villain: Gustav Graves. Stupid character, badly acted
Best one-liner: "I think I broke her heart". (Jinx' line)
Song: "Die another Day" by Madonna. Horrid, despicably poor. Almost half as bad as her part in the film
Bond-girl: Halle Berry as Jinx. Pays homage to Andress. Otherwise forgettable though one of the strongest flirters of the franchise, partly because she overhits the ball.