Vesper casino royale 💜 Erfahrungsberichte der Käufer!

Top Five Bond Moments

Just starting off a fun little post. Who wants to name the top moments from bond so far;
1) "Bond, James Bond" from Dr No (almost went with the Casino Royale version)
2) The Spy Who Loved Me Pre-Titles Sequence
3) Casino Royale, Vespers Death Scene
4) Goldfinger, Fort Knox battle
5) Goldeneye, Pre title battle in Russia
Honorable mentions are Goldeneye Tank chase, Skyfall first meeting between Bond and Silva and Live and Let Die's Boat chase (which nearly got in ahead of Goldeneye!)
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David Arnold - Casino Royale - Death Of Vesper

David Arnold - Casino Royale - Death Of Vesper submitted by Tele_Prompter to soundtracks [link] [comments]

My Top 10 Bond films

Following the trend:
  1. License to Kill - A somewhat controversial pick, I suppose. I just adore this film for it's fantastic villain, well written plot, violence, great Bond girl and Dalton in his prime. The final tanker chase is one of my favorite Bond action climaxes, but the film has so much more to offer. Especially in the moments between Dalton and Davi.
  2. OHMSS - This could easily be #1. It's a flawless Bond movie to me, and yes that includes Lazenby's performance. It has my favorite Bond girl of all time (RIP Diana Rigg) and the best Blofeld interpretation in my book, along with a very unique sense of scale and cinematography. The soundtrack is always playing in my mind whenever I ski and the scene with Tracy ice skating is one of the most romantic moments in film to me.
  3. Casino Royale - It's all very brilliant, except for a few lines of dialogue that are just too kitschy between Bond and Vesper. Aside from that, fantastic. One of the best openings+gun barrels+title sequences in all of Bond.
  4. Goldeneye - I feel like this one is still super popular, but also has been getting a lot of shit lately. I think it's mostly superb. Yes, Brosnan isn't quite comfortable in the role yet, but he does have some stand out scenes, especially on the physical end. Great ensemble of villains and one of my favorite Bond girls that not nearly enough people talk about.
  5. The Spy Who Loved Me - To me, this is the perfect mix of cheesiness and grit that a James Bond film needs, at least in Moore's era. It has an amazing end battle scene, the sets are breathtaking and Jaws scared the living shit out of me as a kid whenever he bites someone to death. Also, that opening will forever stay in my mind as magical.
  6. From Russia With Love - Super straight forward and strong because of that. It's just a great cold war thriller, which introduced a lot of classic Bond elements for the first time. The fight between Bond and Grant on the train is still one of my favorite hand to hand fight scenes of all time!
  7. Skyfall - Yes, I know it has a giant amount of plot holes and I don't really care. Seeing this as my first Bond film experience in a movie theatre was and forever will be memorable. Again, lots of love for the climax, but in general this film just oozes Bond to me and not because of the well planted references (as opposed to DAD).
  8. The Living Daylights - Talk about oozing Bond. The scene where Saunders dies and Dalton turns into bloodlust Bond for a minute is one of my favorite things in the series. I love the naiv personality of Kara and Necros is one hell of a capable henchman.
  9. For Your Eyes Only - Rewatched this one recently and man, is it good. So fast paced, so action packed and yet very well balanced with the story beats. Melina is undoubtedly one of the best Bond girls to me and Glenn's debut as a director was impressive as all hell.
  10. Dr No - Where it all started. Yes, the other Bond movies in my list that rank lower might have more fun elements, but Dr No has something that beats it all out: Class. It knows exactly what it wants to be and it just is it. From the first time we see Bond, to the murder of Professor Dent, to the dinner with the titular character, it's all so classy, yet still raw. Exactly what Bond is meant to be.
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Putting Bond's revenge against Quantum at the centre of Quantum of Solace

Saw the post mentioning that no one has attempted to give Quantum of Solace a rewrite and decided to give it a shot. It was actually harder than I thought. Rewatching it I think many of the film’s issues comes from the director writer than writing. I think the generally plotting of the film is fairly decent, especially giving the ongoing writer’s strike at the time. The main issue is that there’s effectively two films going on: One in which Bond is hunting down Quantum seeking revenge for Vesper and one in which Bond goes rogue in order to stop the CIA financing a coup d’etat in Boliva. My main goal was to try better merge them into a more cohesive story. In particular I want to give Vesper’s former lover, Yusuf Kabira, (ie the reason she betrays Bond and then gets murdered in Casino Royale) more of a role, rather than just having him be relegated to a single scene at the end of the film.

The Changes

· Making Yusuf Kabira, Vesper’s former lover, a major character, effectively serving as the main henchman of the film
· Changing Camille’s backstory. Instead of being a Bolivian agent she’s the daughter of the current Bolivian president and she’s has also been seduced by Kabira. Quantum’s plan is to expose the relationship between the President’s daughter and a foreign agent, thus creating a political scandal that will pre-empt a coup d’état by General Medrano.
· We cut Dominic Greene and the Plot To Steal Bolivar’s Water entirely. We give most of Greene’s role to Mr White.
· Finally, we are going to play up the whole Bond Versus the CIA thing. Lets try and use Jefferey Wright more and give Felix a bit of a redemption arc

The new plot

We are going to cut the opening car chase entirely and start with Bond driving into the Sienna safehouse having captured Mr White at the end of Casino Royale. Waiting inside the safehouse are M and another agent called Yusuf Kabira. Bond can greet Kabira saying something like “How was Bolivia?” and he replies with something witty like “Very stimulating”. The interrogation goes the same way as the original as Kabira is revealed to be a double agent and helps Mr White escape. Bond chases Kabira across the rooftops of Sienna. They can briefly fight but Kabira is able to escape. Cut to the opening title sequence.
After the titles we see MI6 investigating Kabira’s London apartment. In a secret compartment they discovered files on Vesper Lynd including photos of Kabira and Vesper together. Bond is visibly shaken by this information and M asks him if Bond can be trusted to keep his feelings separate from his job. Bond assures M he will. He also suggests looking into Kabira’s recent mission in Bolivar. When they do, they discover that Kabira was having frequent meetings with a mysterious woman at a particular hotel and will soon meet her again.
Kabira meets the mysterious woman, who we learn is called Camille, in the hotel in Santa Cruz, Boliva. The two are clearly lovers. They go to their room but are ambushed by Bond waiting for them there. We then basically get the scene from the end of Quantum of Solace where Bond reveals who Kabira is to Camille and shows her the necklace he gave to Vesper, identical to one Kabira’s given to Camille. Camille is obviously shocked by this revelation. At gunpoint Bond orders the two of them into a car to drive to an airfield where MI6 is waiting to arrest Kabira. In the car Kabira taunts Bond about Vesper. The car is soon stopped by members of the Bolivian military led by a General Medrano.
Bond now finds himself being captured as he is separated from Kabira and Camille and taking to a different site. There he discovers Felix Leiter and several other CIA agents. Initially Bond is pleased to see an ally but quickly realises that Felix and the CIA are working with Medrano and Kabira. Leiter tries to justify himself saying that things are more complicated than they seem, and that MI6 has no business getting involved in Bolivia. He also reveals that Camille is the daughter of the Bolivian president. He pleads with Bond to go back to London and forget about what he has seen. Bond refuses and escapes leading to a chase between Bond and the CIA. Bond is able to make his way to the airfield where he leaves Bolivia, dejected after failing to capture Kabira and avenge Vesper.
We then see Leiter meeting with White and Medrano. This pretty much resembles the scene from the original film where the CIA strikes a non-interference deal with the pair in exchange for the USA gaining access to Bolivian oil. After Leiter leaves, Medrano tells White that he has held up his end of the bargain and accuses White of unnecessarily delays. White argues that they need the support of the other partners of “his organisation” before they can go ahead, and Medrano replies that perhaps he should speak to White’s partners in person.
MI6 discover that Medrano has booked a ticket to see an opera in Bregenz, Austria and Bond goes to investigate. We then get the scene from the original film where the leaders of Quantum have their meeting during the Opera. Medrano is also at the meeting and we hear the Quantum members give their assent to go ahead with Medrano and White’s plan to expose the relationship between Camille and Kabira (who will be presented as a British spy) thus creating a political scandal which will cause a crisis allowing Medrano to seize power. Afterwards Medrano will allow Quantum to take control of Bolivia’s oil fields. With Medrano is Camille who is clearly being held there against her will. When she excuses herself to go to the bathroom Medrano sends one of his men to watch her. Camille still attempts to escapes and Bond intervenes helping her but blowing his cover in the process and gets caught in a very public shoot out with Medrano’s men. Medrano and the other members of Quantum escape.
We then cut to London where we see M getting a dressing down from the foreign secretary in the aftermath of the shooting in Austria. The foreign secretary tells M that the Prime Minister has bowed to American pressure and order that all MI6 operations in South America be terminated. With no choice M calls Bond and orders him to return to England but Bond of course refuses. M once again asks if his desire to get revenge on Kabira for Vesper’s death is affecting his decision-making. Bond hangs up.
In a safehouse Bond and Camille watch as news of Camille’s relationship with Kabira makes international headlines and the crisis Medrano and White engineered begins to take shape. Bond and Camille open up to each other, with Bond hinting at his past with Vesper. They resolve to return to Bolivia and attempt to prevent Medrano’s coup d’état. Without MI6 aid Bond turns to Rene Mathis who, after being acquitted of being a double agent following Casino Royale, is living in retirement in the south of France. Mathis agrees to help them, and they use his private jet to fly to Bolivia.
As they reach Bolivian airspace two American fighter jets begin tailing them, ordering them to land. Bond, Mathis and Rene agree that their only option is to abandon the plane only to learn there’s only one parachute onboard. Mathis tells Bond and Camille to escape while he leads the Americans away, sacrificing himself. Bond tries to protest. Mathis tells Bond that Vesper did love him. As Bond and Camille cling to each other with the parachute they see Mathis’ plane get shot down.
Once they land, they make their way to Bolivia’s capital La Paz. Felix contacts Bond for a meeting, effectively offering a brief truce. Camille tells Bond its a trap, but Bond decides to go anyway. They meet in a bar and Bond is able to convince Felix that Medrano will betray the CIA and give Quantum access to the Bolivan oil fields. Felix tells Bond that they are currently being watched by other CIA agents and as soon as Bond leaves, they will try to kill him. Felix gives Bond a location to go to if he survives. Evading the American agents Bond goes to this location and discovers Felix has left him a file detailing the CIA’s involvement in the impending coup d’état.
We then see tanks rolling into La Paz as the Medrano’s coup d’état begins. Medrano arrives at the state television station to announce his takeover. Bond and Camille race to the station to try to stop him. Fighting their way through Medrano’s men they are confronted by Kabira. Bond and Kabira get locked in a one-on-one shootout as Camille goes to take on Medrano alone. She finds the studio where Medrano is broadcasting the announcement of his new rule. His men have all left to stop Bond leaving Medrano all alone. Camille shoots Medrano and starts showing the Felix’s evidence of the CIA’s involvement.
Mr White, watching this unfold, orders the broadcast be stopped by any means necessary. The tanks outside the television station suddenly begin firing on the building, reducing it to rubble.
We cut back to Bond and Kabira who are now fighting hand-to-hand. As the building starts to collapse Kabira becomes trapped under falling debris. In desperation he reaches out to Bond. Bond holds out his hand, only to drop Vesper’s necklace in front of him. He leaves Kabira to die. Finding Camille, the two escape the collapsing television station.
They go to the Bolivian Presidential Palace as the Bolivian military either retreats or surrenders around them. There Camille’s family is waiting. The two kiss before parting ways.
Cut to a few weeks later Bond meets Leiter on the National Mall in Washington D.C. Leiter tells Bond that Mr White and the other members of Quantum have all gone underground and can’t be found. Bond asks Leiter if he’s been reprimanded for the whole Bolivian affair and Leiter replies he’s being sent on a dead-end assignment to San Monique. The two part as friends. As Felix leaves Bond receives a call from M about his next mission.
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Quantum of Solace is not as bad as people make it out to be

Its grown on me over time. When viewed as an epilogue of Casino Royale rather than a full fledged stand alone, its not bad.
When I first saw it, I thought the whole plot hanging on water was dumb, but maybe not. Heck Michael Burry (from the big short) thinks water is the next big thing and that is what hes investing in.
It moves along at a very quick pace, there is no filler. The bond girl's story (Montes) of losing her family and waiting for revenge fleshes out yet another Bond girl which is a nice change of pace from the other non Craig Bond movies.
That General Medrano is one of the lowest vile villains in the series. The attempted rape scene is hard to watch. It was great to see agent Montes put him down.
The action is fun, though feels a little too much like Bourne wannabe at times, but it fits with the Craig era.
Mathis' death and his body being dumped in a dumpster felt almost like it foreshadows how Bond's life will end someday if he stays in the spy world.
I thought Fields was a pointless character.
The one major gripe I have is the very end when we see Vesper's loveboyfriend Yusuf - and now he has a canadian intelligence agent for a lover he's going to use.............the only problem is I don't buy it. The guy doesn't look like someone who could seduce someone like Vesper or that Canadian agent. I know its shallow, but i keep thinking "that dude? no way".
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[james bond] why did bond need chariot to go to college but owned a massive estate with staff at the same time?

In Casino Royale Vespers states that while Bond went to Oxford the disdain with which he wears his suit shows that his peers never let him forget it was via what is implied either though charity or scholarship.
Yet, in Skyfall we see that up to his “death” Bond personally owned a massive estate, the titular Skyfall.
It would seem that the income from the estate or the sale of it would have been plenty to fund his education?
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Quantum of Solace is actually really cool

QoS is the black sheep of the Craig franchise. When I first saw I barely understood what was going on, and I didn't even realize it was over when it was over. On rewatching it though, I appreciated it for taking an entirely different, character-based approach to Bond.
The first unusual thing about it is that it's a direct sequel to Casino Royale. That movie was praised for eschewing a lot of cheesy Bond tropes like gadgets and quips. Quantum of Solace doubles down on that seriousness. There's virtually nothing cheesy or heightened about this movie. And I think that fits really well with the story they're trying to tell.
The ostensible mission is for Bond to find out more about Quantum, the evil organization from the first movie. But what Bond's really out for is revenge for his girlfriend Vesper's death. M. tries to reign him in, but he's just on a rampage, killing every new thug he meets. This creates a sort of disconnect in the plot. The villain of QoS, who's trying to hold a country hostage for its water, is not really a personal one to Bond. He's affiliated with Quantum, but his actual plan is totally unrelated to Bond's goals. It's slightly more related to Olga Kurylenko, who's quest for revenge parallels Bond's own. I think this mismatch of external/internal goals could be what turned people off, but once I understood (most of) what was going on, I think it works to show how blinded Bond is by his quest for vengeance, to the point where he's getting his allies killed because of his recklessness. It's pretty bleak stuff.
There's also a subplot with the CIA and David Harbour, and the organization is portrayed pretty negatively, which is cool.
So give it a second look! It's a fairly brutal, pared down movie (only 106 minutes) that takes the Bond character established in Casino Royale in an organic direction.
P.S. - I can't remember, is this the last we hear of Quantum? Does it just get folded into Spectre? The way it's portrayed here is pretty compelling, but it seems like they might have dropped it after this.
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Quantum of Solace is worse than Spectre. Fight me.

So I went on a James Bond binge this weekend and watched all four Daniel Craig films. Casino Royale and Skyfall are both masterpieces. Spectre was meh, but it gave a sort of primal old-school Bond movie feel that I couldn't stop rewatching it. Quantum of Solace was absolutely horrid. Seeing it right after CR didn't exactly help it's image to say the least.
Dominic Greene is one of the most washed out villains ever seen on feature film. He literally just looks like an ordinary dude with bug eyes. Nothing frightening about him. The accent was atrocious and seemed forced. His costume was also dull, bland and had no character to it. What kind of mafia boss wears white dress shirts? There could have been so much more to "up" his villainous effect throughout the film.
Olga Kurylenko was weird in this movie too. Too cold of a demeanor and not nearly enough lines to emphasize character traits. There was something very "absent" about the portrayal, especially compared to someone like Vesper Lynd.
Daniel Craig wasn't too bad, but was lacking in attitude compared to Casino Royale. He didn't break the flim, though.
Although admittedly Spectre had a badly written villain played by Christoph Waltz, his henchman was FANTASTIC (absolute killer fight scenes in this movie as well). The locations were also far more interesting. A Lamborghini showdown in downtown Rome? A snowy chase in Austria? A hand-to-hand combat in a train in the middle of the North African desert? THAT'S what I call an action movie. Not some sinkhole revenge story and a Russian girl trying to defeat a chubby Spanish dude in an army uniform. Greene's "death" was also complete garbage. Bond just leaves him out in the desert. WTF?
Overall, Quantum of Solace was so cold and distant that you couldn't really connect with the characters. By all means, Camille Montes was a better Bond girl than Madeline Swan, but other than that, the bad guys were more pronounced in Spectre.
Spectre felt like a traditional action movie, comparable to stuff like the Transporter or Bourne series, which actually improves its standing as a Bond film. Also better humor and comedic relief by far. Quantum of Solace just seems laughable and Greene doesn't seem as dark and brooding as Blofeld. His demeanor was completely off, it felt like he had nothing to hide. Skyfall was quite a refresher after that shitshow of a movie.
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Quantum of Solace (Bond 22 Review)

Quantum of Solace (Bond 22 Review)
A film that wasted a lot of potential. Like Dalton’s second film, Craig’s second was to be a revenge thriller with a stronger focus on character while providing hard-hitting action. Unfortunately, Quantum is a bit underwhelming. Licence To Kill and Tomorrow Never Dies both suffered from production issues, with the latter also having its script still be written during filming. I feel that Quantum’s issues are much more evident than Dalton and Brosnan’s second films, which is a shame considering the plot could have been even more compelling than Licence To Kill’s. Craig’s performance is not as good as his debut. A lot of this is due to the underwritten script. The intention was to show Bond at his coldest with him channeling his rage into his kills. Unlike Licence To Kill, which had Bond truly snap and forgo his duty to her majesty’s secret service, Bond remains dutiful with the ending have him state that the “dead don’t care about vengeance.” It is an interesting contrast between the two Bonds, but Bond’s character does not feel as developed as it should have been. He faces punishment for his actions, as well as killings he did not commit, but Bond never defends himself or opens up to M, resulting in her forcing him to hand over his weapon. It is understandable that Bond would be so driven to continue the mission, but the plot thread of Bond losing his licence to kill feels more forced compared to Licence To Kill or Die Another Day. Like Dalton, Craig gets to show more physicality and grit, but Dalton seemed to show more range in Licence To Kill.
Olga Kurylenko’s Camille is another character hellbent on revenge, but the comparison between her and Bond seems lost since Bond was ultimately not seeking revenge. Mathieu Amaric’s Dominic Greene is good on paper, being a wimpier, less terrifying villain; however, he fails to leave an impact like previous villains did. The action scenes are quite good, with the opening car and foot chases being the highlights. On a side note, I appreciate some of the references to previous films. The opening car chase in a cliffside is reminiscent of Dr. No and The Spy Who Loved Me, with the connection to the former being strengthened by the presence of construction and the chase ending with a car falling off the cliff and exploding. Another callback to Bond’s first film is Craig wearing a tuxedo almost identical to the one Connery wore in his first scene. Craig looked his best here, with a leaner body than in his first and a younger appearance than in the last three films. However, the callback to Goldfinger’s golden girl with Strawberry Fields, your typical sacrificial lion, being drowned in oil felt less like a tribute and more of a reminder of a better film, something Die Another Day had previously done.
A major criticism of Quantum of Solace is the poor editing. It is too haphazard and definitely prevents the action from being great. This carries through with the rest of the film, which is the shortest in the franchise. The relentless pace, which would have made more sense if Bond were truly out for revenge. The short length also adds more credence to the unfinished feel of the film. Marc Forster’s artistic aspirations can be seen with moments like the Tosca scene, but the poor script and editing prevent his vision from truly being realized. David Arnold’s final score for the franchise is a great one, possibly his best. “Night at the Opera” is an atmospheric tune and the action cues are exciting. Arnold’s scores for Casino Royale and Quantum of Solace are criticized for lacking the Bond theme, but I would say that earlier films such as A View To A Kill were guilty of this as well.
On Her Majesty’s Secret Service and Licence To Kill were two Bond films that tried to distinguish themselves from their predecessors, but received mixed reviews. They were reevaluated by critics and fans and have received the praise they deserve. To be honest, I do not think Quantum of Solace will receive the same change in opinion. The aforementioned films had received some unfair criticism. On Her Majesty’s Secret Service will always be more remembered for being Lazenby’s sole film rather than being an impressively shot and scored film. Licence To Kill received criticism for being too different than previous films, despite the direction trying to go back to the source material and after critics and fans criticized the repetitive nature of previous film, and for feeling like an eighties action film, despite Bond always being a franchise that followed trends since the seventies. Quantum of Solace is fairly criticized for having an underbaked script and poor editing. The film resolves very little from Casino Royale, with the Quantum organization remaining an enigma. Spectre made the mistake of merging Quantum with SPECTRE which Quantum contrasted with in some ways. Bond seeking revenge for Vesper’s death also feels disconnected from the rest of the story. To conclude, a comparison between Dalton and Craig’s second films must be made. Licence to Kill is a film that was greater than the sum of its parts due to strong performances from Dalton and Davi and a great story and action. Quantum of Solace is a film whose elements fail to add up due to a seriously undercooked script.
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The Living Daylights (Bond 15 Review)

The Living Daylights (Bond 15 Review)

Timothy Dalton’s era as Bond has always garnered divisive opinions. In this subreddit and other fan forums, Dalton is definitely not underrated and gets the praise he deserves from fans. However, general audiences and critics still look down on his era negatively. Several rankings from mainstream sites, have put his films in the twenties. It is a shame, since Dalton himself was a great Bond and, perhaps, my favorite.
The Living Daylights, despite sharing the same crew members from previous films, is a huge breath of fresh air for the franchise. The film brings a lot of attention to Bond’s assassin status; Bond’s refusal to kill an amateur and interrogation of Pushkin are some of the best in the franchise and faithfully adapt Ian Fleming’s original character. I do not judge the films based on the books, especially since I have not read them in some time, but Dalton’s Bond is so clearly meant to be a return to the novels after Moore’s more humorous interpretation that it has to be brought up. Regardless, Dalton’s Bond is close to Connery’s Bond from his first two films, which were easily his best performances. He's a more cynical Bond, and cold to Kara at first. Based off Dalton's second film, he probably closed himself off after Tracy's death, which is quite similar to what Spectre's story did. On a side note, this film establishes that Bond and M are not exactly the warm pair that they were in earlier films, making the events of Licence To Kill an easier pill to swallow. The humor is reduced and when Dalton quips worse than Connery and Moore. Of course, humor was not on his mind and Dalton more than delivers when it comes to portraying a cold assassin who warms to the love interest as the film progresses.
Kara is an underrated Bond girl; her relationship with Bond is the best after Tracy and Vesper and is definitely more natural than Bond and Madeline. The villains are lackluster here. Jeroen Krabbe and Joe Don Baker are fine as Koskov and Whittaker, but they are forgettable compared to Bond’s more colorful rogue gallery. Andreas Wisniewski is more memorable as Necros and the safe house attack and plane scene are highlights of the film. Another is the Aston Martin chase. Despite the change in style, a gadget-ridden car similar to the DB5 from Goldfinger is incorporated to not make the change too jarring. John Barry’s final score is fantastic and while David Arnold was a great composer, this was the last time we truly had the “Bond sound.” “Ice Chase,” featuring the new version of the Bond theme, is fantastic and “Where Has Everybody Gone?” is a great leitmotif for Necros. The theme by a-Ha is my personal pick for most underrated Bond theme.
The story is quite good, with the Bratislava scenes being based off the original short story and the Vienna scenes also being quite interesting. The Afghanistan scenes are a bit slow, but the film makes up for it with an explosive climax. The greater focus on espionage, like the first four Bond films, On Her Majesty’s Secret Service, and For Your Eyes Only is also much appreciated; only Casino Royale has really focused on this aspect ever since.
The Living Daylights is one of the most faithful to the novels, with a colder, more sardonic Bond, but also features the larger-scale thrills one comes to expect from Bond. For Your Eyes Only set the tone for the Eighties films with a return to realism, but Moore’s Bond did not fit the film and it was hurt by a lack of excitement and poor pacing. The Living Daylights beats On Her Majesty’s Secret Service as my favorite Bond film in the marathon so far.
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Live and Let Die...the novel

Greetings 00s!
I finished Live and Let Die today and I have to ask, where in the world did they get that movie from?
This may have some spoilers for the novel if you're planning on reading it.
The movie only resembled in the novel in the names of the characters. I felt that Bond was kind of flat, there wasn't much action and Bond was outsmarted at every turn. Mr. Big seemed to control the whole world and had spies everywhere. I felt like Bond was just kind of drifting along and being pushed by circumstances, he never seemed very proactive in his battle. Solitaire came to him, Felix took him everywhere, he spent a week planning and recuperating how to assault Mr. Big's island fortress and instead was instantly captured. Also, falling in love with Vesper was a big point in Casino Royale, Bond felt he was past love and Vesper brought that back and her death reminded him of his mission. He fell in love with Solitaire in what I felt should have been Bond using her for the mission, not falling in love again.
I am hoping that Bond picks up and becomes more of an action hero/spy than whatever he was supposed to be here.
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*Potential Spoilers* Daniel Craig Bond Grief Theory

I recorded my thoughts on this for a podcast a couple weeks back, but that episode won't be out until closer to November because of the new movie's delay, so I wanted to get this out somewhere and see what everyone's thoughts are...
So I was re-watching Casino Royale and Quantum of Solace recently and it occurred to me that this whole run (the Daniel Craig Bond films specifically) might actually represent the Five Stages of Grief!?
At first, I shrugged it off as ridiculous, but then I started to notice things. For starters, there's now 5 films with the new one - which is set to be Craig's last and each film is tied together by an overarching narrative. (Also, if someone beat me to this years ago, I wouldn't be surprised.)
1 - DENIAL (Casino Royale)
Most of the Bond movies are full of death obviously (after all, the protagonist has a License to Kill and he uses it constantly), but this one is different in that it actually opens with Bond making his first two kills, one of which is super gritty and really adds some weight to it.
The first movie in Daniel Craig’s series, "Casino Royale" is all about deception, which makes sense as a spy movie, but this one really plays up that angle of it. Not only that, but Bond himself is also struggling to find his place in the world. He's not quite the Bond we know and love yet and hasn't quite accepted who he is.
This theme of deception, and self-deception is present throughout the movie and highlighted by the poker game. Even during the (hard to watch) torture scene, Bond is playing it off like he's not in incredible pain.
Then, when he falls in love with Vesper towards the end, he rejects his role as a 00 agent, he sends in his resignation and he decides now that he's saved the world, he's going to just go off to Italy and live happily ever after. He's lying to himself.
Bond's even convinced himself that Vesper is innocent. Meanwhile, Vesper herself is in denial. She convinces herself that she might actually be able to be happy for a brief moment, but when she sees the man with the eye patch in Venice, she realizes that she too has been lying to herself and she embraces her death, because she knows that there's no running from her past.
Further proof comes at the end when Bond denies he had feelings for Vesper when he tells M, "The bitch is dead." It's clear that at the end of the movie, he hasn't yet dealt with her passing, which is understandable. He's not heartless, he's hurting, and (according to the trailers) he's still dealing with this loss by the time you get to "No Time to Die".
2 - ANGER (Quantum of Solace)
Right off the bat, “Quantum of Solace” picks up where “Casino Royale” left off. The entire movie is basically Bond out for revenge for the death of Vesper.
Throughout the film, we get A TON of frantic action scenes and brutal kills. Both Bond and Camille are haunted by their past, they haven’t dealt with their grief and their parallel stories are about overcoming the burden of that anger.
Instead of dealing with his grief, Bond instead decides to fully throw himself into the job of hunting down Quantum (and killing every lead along the way). Bond basically goes rogue and at one point, M even orders a kill or capture order against him!
Bond isn’t sad over Vesper’s death, he’s pissed and it shows. This is further reflected in the massive fiery explosion that burns Greene’s facility to the ground.
At the end of the film, in the final scene, we see Bond taking one step closer to acceptance. The fact that the movie ends with the gun barrel sequence sort of signifies that he’s now the cool and collected Bond we’re all familiar with.
3 - BARGAINING (SkyFall)
The cold open in “Skyfall” ends with Bond facing his own mortality.
We next find Bond drifting aimlessly in a drunken stupor, bar hopping in the Caribbean, and once again not facing his past in a healthy way. He’s once again teetering on the edge and toying with the idea of leaving MI6 and pursuing a normal life. Unfortunately, it’s just not in the cards for 007 when Silva makes his appearance on the scene.
According to the Kubler-Ross model of the Grief cycle, this third stage of bargaining is a struggle to find meaning, to make sense of it all – telling one’s story. Well in this case, this actually applies to both Bond AND Silva. Bond is struggling to find meaning (more so than usual), and as a former MI6 agent, Silva is also trying to find meaning – he survived when he should’ve died and now he’s blaming M, instead of dealing with his pain – he’s deflecting it and making others suffer in his stead.
When Bond does finally return to duty, he’s not the same. His hands are shaky, his age is showing and he’s just not psychologically ready to handle the mission at hand, but M pleads her case to her superior (a bargain if you will). Throughout the movie, Bond is in a sort of limbo. He doesn’t fit in civilian life, but he’s beginning to feel a little rusty in this new age of digital warfare. The entire time he’s trying to prove himself, he’s pleading his case that he’s still relevant, he’s bargaining.
When Bond tries to enlist the help of Sévérine, he tries to bargain with her, when Silva attempts to convince Bond to join him, he’s bargaining with him, when M and Bond try to lure Silva to SkyFall, in the hopes that he falls into their trap, their taking a chance – a bargain. Even Bond and Moneypenny’s flirtation seems like bargaining.
In the end, M bargains by trading her life for Bond’s, in order to defeat Silva.
“SPECTRE” opens with the Day of the Dead festival in Mexico. Right away there’s a sense of dread and loss hanging over the film (especially in the title sequence!). At this point, Bond has lost so many people – M, Mathis, Vesper, his parents, etc It seems that anyone he gets close to is bound to cross over without him.
The closer Bond gets to this secret organization, the more desperate and hopeless the situation feels. It gets worse the more he peels back the layers of this elaborate conspiracy and it seems that his whole life is a lie, that he’s not in control of his own destiny, that there’s a puppet master pulling the strings on this tragedy. Bond is forced to once again confront the loss of Vesper who he never really got over. As the movie gets darker, (tonally and stylistically) Bond is finally forced to confront this dark secret of his past, his long lost brother, who is revealed to be “the architect of his pain”.
Make not mistake, Bond is depressed in this film.
All his quippy one-liners and cool gadgets seem somewhat hollow this time around (and I don’t know if it was just that Daniel Craig just was feeling a bit fatigued at the time). As most people who’ve experienced depression firsthand can tell you, it often masks itself very well. Everything feels fine on the surface, but when you really take a closer look, you start to worry about Bond, like he’s having a mid-life crisis. Rather than Bond’s usual formulaic flings, car chases, and vodka martinis – this time around, it almost feels like a cry for help. Despite acting all business as usual, this is a Bond who is really hurting and trying to find the light in the darkness, or as Mr. White puts it, he’s “a kite, dancing in a hurricane”.
BUT instead of the usual explosive final battle between Bond and his arch-nemesis, this one actually ends in an unexpected way – Bond decides to not give in, he doesn’t succumb to Blofeld’s psychological manipulations, and he beats him through sheer will power! He’s no longer going to let this darkness control him.
At the moment of decision, Bond decides to walk away from vengeance, from all that sorrow and pain. Instead of proving Blofeld right, instead of killing him for what he did to those he loved, he lets the law step in and make that call. He leaves MI6 and for the first time in the history of the franchise, we get to see a Bond actually retire from the service. He drives off into the sunset, with the girl, in pursuit of that happy ending he so desperately sought after in “Casino Royale”.
It ends with a glimmer of hope.
If “Casino Royale” was an origin story, it seems like with this one, we’re finally getting a “One Last Mission” style finale for this era of Bond. Everything seems to be shaping up for this film to be an amazing finale and it seems that thematically, it would only make sense for this series to end with a resolution of some kind.
Will Bond finally come to peace with Vesper’s death, will he finally be able to forgive himself?
I guess we’ll all find out when “No Time to Die” hits theaters this April November!
(Sorry about the length! Let’s discuss!)
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What we actually know about Madeleine’s secret

Many have been speculating exactly what Madeleine Swann’s secret is in No Time To Die. I wanted to make a post with all the concrete details the trailers and other official sources have given us.
First of all, we know that the Noh mask we see Safin wearing in the trailers has a significance to Madeleine as early as the Matera scenes, which will likely be the first in the film. She cries when she receives the box with the broken mask in it, the same mask we see Safin wear as he fires a gun at someone under the ice. This links her secret directly with Safin. What is interesting too is that in Noh theatre the main character often is a ghost. “Faces from my past return...”
Bond knows in Matera that Madeleine has some secret but he does not know what it is. She asks him “Why would I betray you?” in the DB5 as they are being chased in Matera. Even by the time they are in London at MI6 Blofeld taunts James with “When her secret finds its way out, it’ll be the death of you.” Bond by that point still does not know, but Madeleine, Safin, and Blofeld all know independently.
Madeleine in Spectre tells James that a man came to her home one night with the intention of killing her father but she killed him first. Her father of course was Mr. White, the man responsible for the deal that cost Vesper Lynd her life.
In the song trailer, some clever editing shows both Bond and Madeleine with notes. Bond stands before a tomb with a burning note that reads “Forgive Me.” I am aware of articles that talk about unofficial details regarding the tomb, but here I want to focus on official. The tomb, if in Matera and has an emotional significance to Bond, would have to be Vesper’s. She is the only one who could be buried in Italy, and it very well was likely James himself who buried her considering she was an orphan without any family. If the tomb sets off a chain of events that allows Bond to know that Madeleine has a secret, this must link Vesper, Mr. White, Madeleine, Safin, and Blofeld together.
Madeleine would have been 20 years old around the events of Casino Royale and was estranged from her father by this point. Vesper herself was 25 when she died. I think this precludes Madeleine’s secret from having anything to do with Vesper’s death. Also, in Spectre, Blofeld uses the tape of Mr. White’s suicide to torture Madeleine. If she was a part of SPECTRE, he would not have done so. Blofeld hated Mr. White because White was tired of Blofeld’s evil games.
The biggest question I still have is what is important enough to Bond to be “the death of him.” His relationships with Vesper and (Judi Dench’s) M, sure, but the man already has lost both of them. On top of that he is an orphan and his ancestral home was blown to pieces. Madeleine is the only thing he loves now.
So, from all evidence we have currently, we know why Madeleine’s secret likely isn’t:
• She did not help her father orchestrate Vesper’s betrayal to save Yusuf.
• She is not secretly a SPECTRE agent or the “real” head of SPECTRE.
What it likely could be:
• Madeleine and Safin are brother and sister. Mr. White’s children chose different paths, one becoming fully dedicated to crime and the other dedicated to living honorably. (Vesper?)
• Madeleine contributed to Safin’s science programs before the events of Spectre but did not know he was developing something malicious. She knows who the kidnapped scientist is and that is what links Bond, Felix, and Paloma together to find the scientist. (Vesper?)
The piece I cannot understand yet is Vesper.
If y’all would like to add anything, please feel free! This is all just what I have observed from watching each trailer too many times and analyzing it all. April 10 cannot come soon enough!
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Eva Green interview, April 2020

I don't know if I can publish this article here, it might be deleted due to copyright, but here it is.
Eva Green on coping with crippling anxiety: ‘I’m very shy… I wish I was a silent movie star’
Gavanndra Hodge25 APRIL 2020 • 5:00 AM
I meet the actor Eva Green on one of those strange, early March days when we are yet to truly understand the implications of coronavirus – when people still hug each other and say, ‘Whoops, sorry!’ afterwards. Which is exactly what Green and I do when she arrives at Clifton Nurseries, a chic garden centre and café near her north London flat. She’s dressed in a black woolly hat, huge black puffer jacket and sunglasses.
‘Let me show you something so scary,’ she says, showing me a passage on her phone from Dean Koontz’s 1981 thriller The Eyes of Darkness, which seems to predict the pandemic with eerie prescience, appropriate passages circled in red.
Meanwhile, Green’s mother, who lives in Paris and to whom she speaks daily, has been telling her not to shake hands with anyone, not even to leave the house. Yet here we are, sitting perilously close, ordering fresh mint tea, ready to talk about Green’s new film, Proxima, directed by César-winning French screenwriter and director Alice Winocour.
In the film, Green plays French astronaut Sarah, who is preparing to depart for a year-long mission. But despite the hi-tech robotics and presence of Matt Dillon, Proxima is not your average space movie; it is not concerned with distant galaxies or alien life forms. The film is about Earth and the things that tether us to it. Sarah is an astronaut, but she is also a single parent; her daughter Stella played by the excellent 10-year-old actor Zélie Boulant.
‘It is a love story between a mother and a daughter,’ says Green. ‘And these people who are going to the International Space Station, all the way to Mars, they will lose sight of the Earth. It is like a self-sacrifice, like a death.’
In preparation for the role, Green undertook an arduous fitness regime with a Russian instructor in Cologne. ‘He was so harsh, treating me like a real astronaut. In the end he was so rude and mean that it became funny.’ She also spent time at astronaut-training centres, like Star City in Kazakhstan. ‘That was my favourite thing. I felt like I had entered a sacred realm.’
The film is a departure in many ways for Green. In Proxima, she is make-up-free, dressed mostly in overalls, dealing with the struggles of a working mother. It is beautiful and solemn – and her performance has been described as a career-best.
Green is probably most famous, though, for her glamorous role as Vesper Lynd in the 2006 reboot of the James Bond franchise, Casino Royale, featuring Daniel Craig as 007. At first she didn’t want to audition for the part (in retrospect, she says she was being ‘pretentious’), but when she read the script, she changed her mind. ‘I thought it was a very strong role. But I didn’t like when they said “Bond girl”. I would say, “I am not a Bond Girl, I am a character.”’
She loved making the film, though: ‘The set was joyous. Barbara Broccoli is amazing, one of the best producers I have ever worked with. I wish they were all like her: passionate, kind, caring.’ Green admits that she has had less pleasant experiences on set. ‘Of course, a lot. It is hard; it is the anti-glamour.’
Eva Green was born and raised with her non-identical twin, Joy, in Paris. Her mother, Marlène Jobert, was a successful actor who gave up her career for her family, and her Swedish father, Walter, is a dentist. It was, Green says, a very ‘Parisian bourgeois’ upbringing. She attended drama school in Paris, followed by a 10-week acting course at Webber Douglas Academy of Dramatic Art in London. ‘It was very intense, in a good way. But because my English was not very good, when I had to do Shakespeare, it was very hard. Often I couldn’t even understand what the teachers were asking me to do,’ she says.
Back in Paris, Green won parts in a couple of plays, but had such a bleak time, getting stage fright and ‘having blanks’, that she considered giving up acting. It was, she says, the Italian film director Bernardo Bertolucci who saved her. She was in her early 20s, when she heard about a Bertolucci audition. ‘I was obsessed with him, obsessed with Last Tango [in Paris]’, she says.
The audition was relaxed, and soon afterwards she was offered the lead role in The Dreamers, an adaptation of a Gilbert Adair novel – sexy and incestuous, and suffused with the riotous politics of Paris in 1968. ‘My mother told me not to do it,’ Green says. ‘She was afraid that I was too sensitive, that he [Bertolucci] was going to be quite violent with me,’ she says, referencing the fact that the actress Maria Schneider had found the making of Last Tango in Paris emotionally challenging. ‘And that it would destroy me for life. I was like, are you kidding? It was the chance of a lifetime.’
The film, which was released in 2003, was a critical success, but did more for Green than simply launching her career. ‘Bertolucci gave me faith in myself. He was like a little angel.’ After seeing her performance, Jobert agreed that she had made the right decision; but the rest of Green’s family found the film’s explicit intimacy shocking. ‘When you are not in the business and you see something so sexual, it is too brutal. I mean, it was horrific for me when I saw it. But I hate watching myself anyway.’
She hated the ancillary elements of being an actor, too, not least the red carpet. ‘I remember my first time. The Dreamers was about to come out. It was an Armani event, and [Martin] Scorsese was at my table. I said to my agent, “I can’t go, I have nothing to tell him!” But then [Giorgio] Armani took me aside and said, ‘We are going to do the red carpet!’
Green still doesn’t enjoy ritzy events, which she says is down to a lack of confidence. ‘I am very shy. It is a handicap. I am never good when there are lots of people. It is a thing from my childhood, I can’t even explain why.’
It is something that she has learnt to deal with, though, by taking herself off to the loo to do breathing exercises to calm herself, and wearing elaborate gowns (her favourite designer is Alexander McQueen) and melodramatic make-up as a kind of armour. ‘It protects me. Because otherwise it is very violent for me,’ she says. ‘I just wish sometimes that we didn’t have to talk, that we were just silent movie stars.’
And here is the conundrum, one that Green herself has said she does not quite understand: why someone so shy (although, one-on-one, drily funny, thoughtful and open) would do a job that is so emotionally exposing, both on screen and off it.
In a 2017 radio interview, Green’s mother revealed that Harvey Weinstein had attempted to physically assault her daughter when she was a young actor in a hotel room in Paris. ‘She managed to escape, but he threatened to destroy her professionally,’ said Jobert. Green has never been keen to go into details about the event, but she is happy to say how relieved she is that Weinstein has been sentenced to 23 years in prison. ‘I am grateful that justice has been served. I praise the brave women who risked so much in coming forward, not only their careers and reputations, but the pain that they have suffered in having to relive being raped in order to put this sexual predator out of harm’s way. Their courage has changed the world.’
This change is something that Green is living through – on the Friday before we meet, she attended the French César awards where Roman Polanski, who pleaded guilty to unlawful sex with a minor in the US in 1977 but fled before sentence was passed (and with whom Green made the film Based on a True Story in 2017), was given the award for best director in absentia, resulting in many of the members of the audience walking out.
‘It was so tense,’ said Green. ‘I have never been in a situation like that before.’ She is enjoying the shift in the power dynamic in the film industry, working with female directors like Alice Winocour, making female-centric stories, like that of the astronaut Sarah, where there is not even a whiff of romance. ‘It is good, and there is still more to do,’ she says. ‘It is so radical – for men it is very hard, they take so many hits. There are very good men.’
One of the best men, as far as Green is concerned, is director Tim Burton, with whom she has collaborated on three films, most recently last year’s Dumbo. There have been rumours of romance between Green and Burton, who has two children with his former partner, actor Helena Bonham Carter, but Green has always denied this, maintaining that their relationship is purely professional. ‘My dream as a child, and later on, was always to work with him. I love his world. He is such a nice person as well.’
Green says she does not have a partner at the moment – her main companion is her miniature schnauzer, Winston. ‘Winston is so clever; very serious, very sensitive. I can’t lie to him,’ she says, showing me a picture of him, looking serious and sensitive in a tartan bow tie. ‘This is how I dress him.’
Green has lived in London since her early 20s, when she got a British agent and promptly moved into their spare bedroom in Primrose Hill. She loves London, but her circle is international – her sister, Joy, lives in Italy, on a vineyard with her Italian count husband and two children. ‘She is very different [to me], very down to earth. We are so different that it might have been a bit tense in the past, but we really get on now.’
When asked to elaborate on these sibling differences, Green considers, before saying, ‘Maybe I am a bit weird? If I mentioned tarot, things like this, she would go, “You are crazy.” So I don’t talk about any of that.’
Green became interested in tarot in 2014 when she was filming the Showtime series Penny Dreadful, a drama set in the Victorian occult underworld starring Josh Hartnett and Billie Piper. Green was nominated for a Golden Globe for her portrayal of Vanessa Ives, a young woman prone to satanic visions and demonic possessions.
‘If it [tarot] is done properly, it teaches you things about yourself. It is fast-forward therapy.’ She does not go to normal therapy, although she did a little when she was younger. ‘But if you have a few tools, you can become very connected.’
Her toolbox includes regular meditation. ‘I am very into this guru at the moment, Teal Swan, who lives in Costa Rica. She does guided meditations that really calm you.’ She also exercises every morning for 45 minutes, sometimes with a trainer, and uses the Wim Hof cold-water-therapy technique, which involves a daily 10-minute cold shower. ‘It is all about the breathing and helps you when you are stressed. It makes you get rid of all that s—t.’
These techniques are a proactive way of managing anxiety. But Green also likes a glass of red wine in the evening (‘Of course. I’m French. I have been doing that every day of my life since I was 18’), going for long walks, taking photographs, and compiling collages of black-and-white images.
She is not on social media – ‘it is very narcissistic and not in a great way’ – and her greatest pleasure is travel: trips to places like Namibia and Bhutan, long walking holidays, often alone. ‘The first day is always quite scary, but then you connect much better with your surroundings, with people as well. Your senses are more awakened.’
The opportunity to travel was just one of the reasons Green accepted a role in the upcoming adaptation of Eleanor Catton’s The Luminaries. Set in the 1860s during the New Zealand gold rush, the BBC Two series stars Eve Hewson, the actor daughter of Bono, while Green plays scheming brothel-keeper Lydia Wells. ‘I love characters like that. You think she is one thing and then you discover that she is something else. Of course she is manipulative, but she is not a baddie. She is a very strong woman.’
Lydia is also an astrologer, another of Green’s interests. ‘I am completely into that stuff.’ Her star sign is cancer, and in July she will turn 40, although there will not be a party. ‘I am not a birthday girl at all. I always want everyone else to feel so good that I cannot relax.’ The fact that it is a landmark birthday is adding to Green’s feeling of unease. We talk about how age brings maturity, wisdom and a sense of acceptance about who we are.
‘That’s true. And then there’s the immediate thing of, “I’m going to get old, what did I achieve, are people still going to desire me?” Especially as an actor, I think, because I’ve always heard that when you reach 40, it is going to be difficult to get roles. What about as a woman: can you still be attractive, do you have children? If you don’t have children, are you kind of a social failure? These are clichés, but people say, “You don’t have children?” and you feel like not a woman when you say, “No, I don’t have them.” It is hard… But then, I feel like I am 12 still and now I am about to be 40. What happened there?’
And yet, she does have a plan… ‘I want to get a farm. I know it sounds like a whim, but it is something that I have been thinking about a lot. Maybe Wales, I love Wales. The scenery is amazing. Sitting in the city, it is choking me sometimes, and there is nothing better than to connect with nature. You feel whole.’
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Would Brosnan have been able to pull off Casino Royale?

So, just for some background, Brosnan is MY bond so this opinion might be a little bias. I feel Goldeneye is the quintessential "Bond" film and am one of those crazy people who actually enjoys DAD.
Keeping that in mind, I always missed not seeing Brosnan not get to do a 5th film. I know he was trying to get the writers to write a more serious story for him, but they always wrote him a little more fancifully. Could he have worked in Casino Royale's more stripped down, serious take on Bond?
Of course they would have to remove any reference to him being a new agent and his interactions with M would be slightly different, but I think he could have pulled it off. I think having Brosnan do it would have added some more subtext to the film. Case in point, the scene where he first meets Vesper. In the past films Brosnan has been able to woo women with just a wink so to have a woman immediately see through him and size him up in this film would have been even more refreshing considering the past films.
I think it would have been interesting seeing a Bond who starts the film as a charming charismatic person and by the end of the film he is an emotional wreck, falling in love with vesper and then getting heart broken at her death and betrayal.
I know I'm probably in the minority on this, but I think he COULD have pulled it off. Now I'm not saying Craig wasn't great in the film because he was, I am just saying Brosnan could have pulled off his own version which would have had a whole different subtext to it......
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Daniel Craig’s Bond development/ analysis

In Casino Royale we see a Bond who is rough around the edges. Will just kill and be brutish but as the film goes on we see him coming into that classic bond form. When he gets information from Alexios’ wife he doesn’t sleep with her. He doesn’t do hook ups, he only wants to sleep with women he’s loves. When he meets Vesper she tell him that she can tell he has disdain for the fine suits he wears and does not care about his appearance. He is also vulnerable and contemplates his life when he kills the 2 goons in the stairway at the hotel. He looks in the mirror like what is my life, this takes a toll on me. After Vesper reveals her true intentions and dies, Bond becomes the Bond we all know him to originally be. He starts off by wearing a 3 piece suit when he shoots Mr. White for no other reason than cause he wants to wear one. Earlier in the movie he might wear chinos and a leather jacket for that type of confrontation like Miami Airport. He took Vespers advice and is always looking sharp and enjoying it. In every movie since Casino Royale, Bond has slept with random women. Not because he loves them but because Vespers death has left him giving up on love and just wants to fill that loveless void with sex and lust. Mr. Whites daughter has given him some resemblance of love but we won’t know until No Time To Die. Bond also does not think about all the people he has killed with regret anymore. I think it was smart how Martin Campbell directed Casino and Goldeneye and through that line from 006 saying “I wonder if all those vodka martinis silence the screams of all the men you’ve killed or if the arms of those willing women help you find forgiveness in all those you’ve failed to protect”. I would guess that they do in Craig’s iteration of bond and that’s why he drinks them all the time and he sleeps with some many women to find forgiveness for failing to protect Vesper from Spectre/Quantum.
Just my two cents but I think Craig is the best Bond yet because of this character development and it gives reasons to why Bond is the way he is.
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The 'Retired James Bond' plot of Bond 25 is symptomatic of a bigger problem with how the creators see their character.

Obviously there has been a lot of press given to the news that Bond will not be 007 in the new Bond movie and that 007 will be a new black, female character. While I feel that it's a decision that is disrespectful to the source material and character without editorial justification, that is not what this post is about.
This post is about the inference of having yet another movie beginning with a dysfunctional Bond who's not functioning as an employee of HMSS; namely, the writers don't know how to write an functioning Bond in today's geopolitical, social, and technological environment.

The Bond character is a relic of a Cold-War, colonial, ethnocentric western perspective who existed in a world without mass surveillance, drones, satellites etc. When the character was created he naturally fitted at the cutting edge of a nation's home security; not the case in today's world.

If we look at the last number of Bond titles since the turn of the century we see that this is a recurring theme and problem with many of the original scripts.

Goldeneye (1995) Although there is mention from M about Bond being a relic from the Cold War and a dinosaur he is still used functionally though the villain eventually turns out to be a fellow secret serviceman and a former friend.

Tomorrow Never Dies (1997) Again Bond is allowed to function as a spy and weapon of HMSS and stop a global terrorist threat

The World Is Not Enough (1999) Bond is sent by M to investigate a known terrorist and prevents a global threat. He is a functioning member of HMSS and M reveals that he is the best that they have.


Die Another Day (2003)

And so it begins. Bond is captured at the beginning of the movie and traded in a prisoner swap. He is treated with suspicion on his return and eventually has to go rogue to escape his own employers and prove his innocence, thus preventing a global threat.

Casino Royal (2006) A faithful adaption of the Ian Fleming novel has Bond as a (barely) functioning, useful member of HMSS using all of his skills to prevent a global threat.

Quantum of Solace (2008) Bond goes rogue again and goes off on a personal vendetta mission to avenge Vesper's death, inadvertently stumbling upon an international global threat and preventing it.

Skyfall (2012) Bond gets shot by his own team at the beginning of the movie and ends up dropping of the grid and disappearing from active duty. Much of the rest of the movie is based on his physical failings and an attempt to stop a former secret agent with a personal grudge.

Spectre (2015) Bond carries out a rogue mission and is later suspended from active duty by HMSS. As a result, Bond ends up going rogue again and preventing a hostile takeover of the British secret service.

Bond 25 (2020) Bond is retired and is presumably set to be drawn back into the action for a personal reason or forced to go rogue to prevent Blofeld from committing some large scale act of terror.


And so I ask, why do they find it so hard to write Bond as an effective tool for the British government in their international fight against global enemies? Why can't Bond go up against a Muslim extremist ala Jack Ryan in Amazon's recent series? Why can't he combat a North Korean enemy like he did in Die Another Day? Why can't he search for Russian double agents poisoning defectors? Why has the focus of Bond's missions and adversaries become so insular?

I think the scripts have lacked courage in recent years, and with the details I have from Bond 25 already (the return of Blofeld, another rogue Bond mission) I'm afraid that looks set to continue.

One last thing; If the character doesn't make sense for them anymore in our hyper connected world, why not set him back in the early 60s where he belongs? People have eaten up period pieces in recent years from Mad Men to Boardwalk Empire to The Americans, so why not bring Bond 26 back to Connery era where the character was originally set and give him his mojo back? Sebastian Faulks and Anthony Horowitz have done the same thing with the novels in recent years so the material is already there (Devil May Care is better than any Bond story of the past 25 years bar Casino Royale).

This wasn't meant to be such a diatribe. I heard a quote that "no one hates Star Wars like Star Wars fans" and I guess I'm a little bit like that with Bond in so far as I'm a huge fan and have watched all of the movies several times, and owned the collection on VHS, DVD, and now Blu Ray but I could probably count on one hand the films I think are genuinely classics. I just haven't been satisfied with a Bond movie since Casino Royale (and to a lesser extent Quantum of Solace) and I don't understand why they seem determined to keep making the same mistakes over and over again.

TL;DR All the Bond movies are the same now because they're trying to appeal to a global audience. Go back in time to the 1960s and start the Bond story again where he's relevant.
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I’ve watched 22/24 so far, only have License to Kill and Octopussy left, here are my thoughts and ranking!

My list is super different than everyone else’s I’ve seen here and I got a feeling my opinions are fairly unpopular but here’s how the 22 go so far!
  1. From Russia With Love
I just don’t like this one past the halfway mark. The first half is super good I thought but after that I just completely stopped being interested. I didn’t like how long they were on the train and how many times they did the damn secret knock, felt like an hour they were there and Bond left the car. Still not bad, but just not close to my favorite
  1. You Only Live Twice
I don’t know what the hell I watched here, but the ninjas are a big reason why this movie ranks higher than Russia. Most of this movie felt like Connery didn’t even want to be there, his worst performance by far I think. The best part about the movie was the Bond Girls, they were good.
  1. Die Another Day
Again, what did I even watch here. This movie started out super promising and then went out of this world with its plot and everything. I don’t like the henchman with the diamonds in his face, I don’t know why but I just don’t like him. And the villain is bad. A bad villain is not good for a Bond movie
  1. A View to a Kill
I mean, this is basically just Roger Moore having some fun, I don’t think he performed bad at all. It was fun, not much to say about it but the Villain was pretty good here. Especially the scene where he’s looking at the computer that’s analyzing Bond and he’s just laughing at what it says.
  1. The Man With the Golden Gun
This movie is massively hit or miss on every scene. Either it’s a great scene or a horrible scene, and unfortunately I don’t like much of the ending until Bond gets in the trick room, the way he takes out Scalamanger is actually pretty dope. Plus the Chew Me scene is one of the funniest in the franchise to me.
  1. Live and Let Die
This and the Final 3 Brosnan films are the movies I’ve now gone the longest without seeing but this one I’ve seen more recently than Brosnan and I gotta say I spent most of this movie laughing at the production of the 70s. This is the first one I watched of older movies and I was not a custom to how they worked yet so I really gotta rewatch this soon, probably tomorrow evening!
  1. Moonraker
Actually the first half of this movie (interesting trend I noticed when watching YOLT is that most of these films down here start good and don’t know what a 3rd act is) is super good. Like I thought I was going to have a new entry into the top 5, but after the Jaws Chase scenes (back to back) I don’t know what the hell happened. Things went bonk after that.
  1. Quantum of Solace
I think this is a top 10 movie with editing done by someone sniffing crack at the office right before his shift started. I make the joke “what am I watching” a lot but here in the beginning car chance, actually what am I watching? I can’t tell at all. Action scenes are impossible to follow. If the editing was better I’d easily have it in my top 10, but damn it’s so bad.
  1. Diamonds are Forever
The one I watched tonight and Um I actually like this one and think it’s a good finale for Connery. Yeah it’s not his best work and he looks old as hell but I think this was a huge comeback from YOLT. The Bond girl is pretty whatever here, and I’m surprised Bambi and Thumper weren’t in the movie anymore seeing they work for Mr. White. But overall it was entertaining and I thought good.
  1. The Spy Who Loved Me
Moore’s puns in this movie are insanely good, the only thing about this movie I kinda don’t like is the whole underwater base thing and I guess the final battle was not very good to me, but again the first 2/3 of the movie were extremely good and I love XXX in here too. Though her facial expressions don’t vary all that much.
  1. Dr. No
Everything about this is classic, and Connery does it very well. Honey Ryder is easily one of the best Bond girls of all time and the final act didn’t pain me! It was kinda silly lol but it was a good movie. Perfect place to start!
  1. Goldfinger
Ummmm yeah it was solid. I liked a lot about it, I really don’t know why I don’t put this higher. I never understood why I just don’t like it as much as the ones above because even thinking about it now, I can’t think of anything I straight up dislike. This must be the point in the list where things get really good.
  1. On Her Majesty’s Secret Service
A movie that shocked me with how good it was. It nearly got close to dragging in the middle but it ramped it up and I actually think the strongest part is the 3rd act in this one. Lazenby surprised me but I really wonder if Connery or Moore would have been better here. This movie almost feels like a Brosnan natural calling to me. Tracy is probably my top 3 Bond girls of all time.
  1. For Your Eyes Only
Why do I like this lol like actually why is this my favorite Moore film. This is where I think he started to look older than the others and where his action scenes fell off a cliff but I just like everything about this more than the rest of his films. Maybe Spy belongs here but that’s for a different watch through in October. For now I have FYEO here.
  1. Tomorrow Never Dies
Well this is just solid Pierce Brosnan (my favorite Bond by the way) and it feels a lot like Goldeneye but not quite as good. The opening scene here is chaos and it’s beautiful, probably one of my favorite openings in the series. Always fun to watch this one! Though of the movies on this list it is the one I have not seen for the longest period of time now.
  1. Thunderball
My favorite Connery outing by far, this one as a kid I remember hating but this time I loved it. The girls were fantastically used, Connery’s one liners were on fire and I thought the villain and underwater scene worked really well. I was kind of shocked that I liked this so much but not the train sequence in FRWL.
  1. The World is not Enough
I don’t know why people don’t like this one much, I think Electra King is freaking amazing in this movie and Brosnan is at it again as his usual self. The villain I didn’t like as a kid but as I grew up I liked him more. When I was a kid I didn’t like villains that looked scary or weird to me, I was a weird kid and I didn’t want to hang out with Elliott.
  1. The Living Daylights
I watched 6 Roger Moore films and then this one so maybe it was the order I did this in but this was a super nice and refreshing take to the roll that wasn’t in Moore’s films. Dalton was fantastic and I’m pretty hype to watch License to Kill.
  1. Spectre
When it first came out it was my #1 but I realized it was just first watch hype and now it’s here. Oddly enough my least favorite part about this movie is Blowfeld in the second half, this movie almost suffers from the same formula of “the first half was super good but then what the hell happened” except I kinda like Swann. No, she’s Definetly no Vesper but I bought her as a potential love interest for Bond. Things could have been a lot worse in that regard and I think No Time to Die is going to be so good that it’ll make this one even better
  1. Casino Royale
These top 3 are very hard because they all deserve #1 in my heart. LaChiffre (?) is my favorite villain in the franchise and Craig’s performance is out of this world. His movies are so god damn good. Vesper is probably the best Bond girl of all time in my eyes (Vesper, Tracy and Natalya are probably my top 3) and the poker scenes here are actually legit amazing!
Oh and “Sorry.. that last hand nearly killed me” is actually probably the best line in the franchise
  1. Goldeneye
I’ll admit some of this is probably just Videogame nostalgia because I played N64 Goldeneye like over a thousand hours but the movie is even better! I always lose time when watching this movie because it’s so damn entertaining I’m like “wait it’s over already??” This is my favorite of the series to pop in and watch. 006 is top tier villain in action too.
  1. Skyfall
Definetly my favorite and this movie really revived my interest in the franchise back in 2012. From 2008-2012 I don’t think I watched any Bond films at all and then this came out. It’s beautiful. Sylva is so good, M is so good and her Death was insane payoff. Oh and Q here is super good, I loved the scene they introduced him in. Perfect casting for that role
submitted by DrSavitski to JamesBond [link] [comments]

Why I prefer Quantum of Solace over Skyfall and Spectre

Upon the release of Quantum of Solace in 2008, it was met with mainly mixed to negative reactions from critics and commercial audiences. I understand why since it was a follow-up and direct sequel to Casino Royale, a film met with overwhelmingly positivity and the reboot that took 007 away from the over-the-top, cartoony, CGI heavy Brosnan era that wasn’t resonating with audiences by the time we got Die Another Day.
However, I would argue QoS being a direct sequel to Casino Royale is part of it’s strengths. The benefit of being a direct sequel is that it closely matched what Casino Royale set out to do, and that is to ground 007. This is best seen with the villains and their motives - with Le Chiffre, a man working for Q who gambled and lost millions, with Green you also have a man working for Q who is attempting to work out a deal to secure land for its resources. So not only are these villains I could see existing in real world, the latter is a brilliant way of connecting a hot topic in 2008, but also showing that Q benefits from America and Europe’s desperation for oil and Q being one step ahead with their control of a water supply.
I would also say the tone of QoS is perfect. I can’t imagine any sequel to Casino Royale being anything other than high octane with where the story is and Bond’s mindset. This makes the few slow downs more impactful, they are somber with Vesper’s presence still lingering in the background - we see this with Bond’s first discussion with M, on the darkened plane with Mathis while Bond sits under the bar light, and Bond’s final discussion with Camille. It also rounds off Bond’s origin story, we have a scene with Bond comforting Camille who are both surrounded by flames, this contrasts with but also compares with Bond comforting Vesper in the shower while they are covered in water - except this time, Bond is not comforting due to a romantic connection, but simply not viewing the woman as disposable.
This leads into Skyfall and Spectre. Right off the bat with Skyfall, I have problems with Bond going from a rookie 00 to worn and tired out in the span of a film. We missed out on prime Bond and went straight to veteran Bond. We are then introduced to Silva, a disgruntled former employee of M, who is not only a super hacker but also brilliant inventor coming up with things MI6 haven’t thought of that might help Bond (Face altering dentures anyone?)
Now I don’t have an issue with cyber terrorism being in a Bond film or how tech is making Bond slightly obsolete, my issue is how both of these along with Q got pushed out to force in a villain to have some personal connection with M because obviously she can’t just be forced into retirement, we need a tear jerking death scene to end the film on. And it just gets worse in Spectre, taking an organization (Q) that was built up for two films, and just making them a shadow organization within a shadow organization because we need a call back to the books. They couldn’t even just leave it at that, at the heart of Spectre, it’s someone Bond has a personal connection with - so not only did the family Bond grow up with raise someone who would go on to become one of the best agents for MI6, but also one of the greatest criminal masterminds in the world? By the way, how incompetent is MI6 to completely miss this when vetting Bond’s past? What next, Bond unknowingly tries to shag his long lost sister?
In less than a decade, the Bond reboot went from realizing it didn’t need to rely on tired tropes, to becoming films that need to shoehorn in references of past films and moving away from the grounded plots we saw in the first two Craig films to now getting into soap opera territory.
Quantum of Solace may not be Casino Royale in quality, but it is at least a great extension to what Casino Royale started. I remember being very excited about the Mendes/Logan team up, but after what they’ve done, I really don’t know how Craig era Bond can be salvaged
submitted by mattjames2010 to JamesBond [link] [comments]

So I just watched all these Bond films for the first time and ranked them

I've seen the Brosnan/Craig era films but I never saw the originals. Currently watching in order, and here's my rankings. Tell me if it lines up with the general consensus. I'm not including the ones I've seen previously that I mentioned. I'm going to rank them when I rewatch them (Goldeneye, Casino Royale, etc.)
Casino Royale - This movie is too damn perfect. I remember watching it once when it came out and I haven't really seen it in full since then, but this time I got to really appreciate how amazing it is. What made OHMSS so great, this movie did better with the Bond/Vesper dynamic. Bond was as human as he could ever be in this movie, ranging from his flaws to his emotions to his mission. Not a single gadget was used in this movie, yet it didn't need any. Bond was as Bond as he could ever be. The homages to previous films weren't forced either like others (*cough*Die Another Day*cough*). I particularly loved the new take on the barrel sequence being Bond's first kill as a 00 agent, going right into the theme song (which is also one of my favorites). There's nothing too crazy in this film, just a good ol' fashion spy film with some good action sprinkled in between. This was the perfect balance of everything that makes Bond, cementing the fact that this is the best Bond film period. And I have to add this in here - "now the whole world is going to know you died scratching my balls" is quite possibly one of the greatest lines in the history of everything, let alone it being my favorite line in this series. Classic James Bond right there, as with everything in this movie. Being that I'm pretty positive at this point nothing is going to top this, I'm going over the scale here. 11/10
GoldenEye - I saw this movie growing up, so I tried to be as objective as possible so that it didn't take away from the following film with my own nostalgia. But as much as I tried to make the case that this wasn't the best Bond film so far, I couldn't. This movie is phenomenal. It is not only one of the best Bond films, but honestly one of the best action films period. Brosnan arguably had the best debut performance out of all the Bond actors before him. You could actually see the emotional turmoil he had for Alec's "death" and the eventual realization of his betrayal. Sean Bean is the epitome of a Bond villain, portraying 006 with perfection. Xenia is arguably the best Bond henchman ever, let alone being a henchwoman. Boris probably the best comedic relief of the series as well, and let's not underrate Gottfried John's performance as General Orumov. An absolute superb showing from everyone involved, in a plot that exemplifies Bond's strengths and weaknesses and highlights the theme M alludes to of Bond being a relic of the Cold War. Natalya wasn't a bad sidekick either, being able to hold her own throughout. The fact that they had to run with a plot completely void of Fleming's influence turned out to be a miracle that it ended up actually saving the franchise. Forgive me if any nostalgia may have gotten in the way of reviewing this, but I can't argue against it being the best so far considering it contained so many "bests-of" of the series itself (006,Xenia,the surrounding cast). Might have to go back and play the videogame when everything is said and done. 10/10
OHMSS - Without a doubt the best film up to this point so far. Great plot and chemistry between the actors. Best Blofeld imo, and so far the best Bond girl. You actually get to see Bond's emotions for the first time, and probably the most down to earth version of him. Loved the setting as well. Lazenby is criminally underrated and wish he stuck around. There's a lot of this movie that I can't really put into words how great it is. Just watch it yourself and you'll see why. 10/10
The Living Daylights - Holy crap, this was an amazing film. Dalton arguably nailed the first impression better than the ones before him. Maryam d'Abo put up an amazing performance as well. This was a film where the girl finally can hold her own and do some ballsy stuff, and actually saves Bond's life a few times. The film was action packed, but it also had some great espionage scenes throughout making this a true Bond film. Nothing crazy, just a few gadgets that are used sparingly and in ways that pay off. To be quite honest, it came really close to dethroning OHMSS. The one thing OHMSS has that sets it over the edge is seeing Bond's human element at his most vulnerable. The chemistry between Lazenby and Rigg was a bit better as well, but nothing to overshine Dalton/d'Abo's performance. Another one of those underrated classics that don't get enough mention, along with the following film after this on the list. Just a superb film through in and out. 10/10
For Your Eyes Only - I've never seen anyone put this movie on a pedestal before or even give it the amount of praise some of the other films received. But wow, this was a hidden gem and just an awesome standalone film, even if you forget it's James Bond. Another movie with great chemistry, albeit I wish Melina's actress could act better. But at least she made for a very competent and awesome Bond girl. It's awesome to see a girl in these films that can handle their own and not have to rely on Bond for everything. Julian Glover is an awesome villain too. Roger Moore was at his peak here imo. I love this movie. 10/10
Goldfinger - I see why people love this film. You got the entertaining villains. Bond's gadgetry really shines here, and it doesn't become overwhelmingly ridiculous like in later films. There's some great dialogue too, so even in the scenes with zero action you still are entertained. Connery was at his peak here and never quite matched it again. Honestly nothing left to say that hasn't already been said about this film. I wasn't entertained by it as my top two though, but probably the closest one. 10/10
The Spy Who Loved Me - There's a noticeable dropoff imo in how much I was entertained by the top three and this film. Still, it's a great film and it has the campy charm of the Roger Moore era while still maintaining a realistic approach. I wish Anya shined more in this film. The first half it had me believing she would be Bond's match but in the 2nd half she clearly played 2nd fiddle to everything and I was disappointed by that. The action scenes were awesome, although the ending was quite anticlimactic. Honestly a lot of this movie has lost potential, but it makes up for it with everything else. Also Jaws. 9/10
Octopussy - Wow. This blew away my expectations, all things considered since this movie was panned heavily by critics and what I thought was the general consensus among Bond fans. This is actually a great film. There was a lot of cliche moments and some cheesy quips by Bond and company, but that aside the movie kept me entertained all the way through. Another one of those realistic plots, this time returning to some nice Cold War action. I mean, aside from the ridiculous Octopussy cult but it's a Bond film so you kinda sort of have to expect that. It also threw me off a few times. From the beginning I thought General Orlov was going to be the big bad, but turns out he was just sort of a pawn for Khan's money making scheme. I appreciate that sort of twist, along with the good amount of memorable henchman in this film. Maud Adams was much better this go around than in TMWTGG as well. And as hilariously ridiculous Bond in a clown suit was, I've sort of grown to appreciate that sort of charm from the Moore era. As long the movies don't focus on these types of antics the entire time (see: Moonraker), it's good for a laugh in-between all the seriousness of the movie. Also Q gets some field time, which is awesome. 9/10
Thunderball - Less campy than Goldfinger and back down to earth like the earlier films, which isn't a bad thing because I actually prefer those types of Bond films. But it sort of drags on. There's some decent action here as well, like the underwater fight scene and Bond infiltrating Largo's villa. But aside from that, way too much water and way too much running around doing seemingly nothing. If they polished the movie a bit more and cut down on some scenes, noticeably the beginning at the rehab and the parade scene...this could have been a fantastic film, because the entire cast is awesome. Loved Largo as a villain and Leiter's portrayal as Bond's sidekick. Domino was one of my favorite Bond girls while watching this (RIP Claudine Auger). Fiona was a pretty awesome femme fatale. Overall still a great movie, just could have been executed a lot better. 9/10
Quantum of Solace - I liked this film a lot. I knew going in it wasn't going to be as good as Casino Royale, and that was okay. A lot of people thought this movie was disappointing, but I couldn't disagree more. It was a satisfying conclusion to the Vesper saga left on a cliffhanger of the previous film. The parallels between Camille and Bond seeking revenge for the deaths of a loved one played out quite well in this movie, allowing Bond to see a reflection of himself in her and eventually giving him the strength to not kill Vesper's boyfriend who turns out to be a member of Quantum abusing women in foreign intelligence to get information. That and also the countless times he needed to be reminded to not kill everybody he sees by M, it all coming together as a growing process for him to become more calculated in his actions instead of shoot first act later. That being said, this movie suffered a deal from the writer's strike. I sincerely believe with more time and dedication into finishing this movie proper, Casino Royale and Quantum of Solace would have been an amazing 1-2 punch that could probably have gone hand-in-hand on most people's best lists. The movie seems very rushed at times, and at other times the pace is fine. It's a weird up-and-down roller coaster of driving the plot that kind of takes away from an otherwise good film. However knowing that they did the best they could work with given the writer's strike, I'm willing to give some of that a pass, because as I stated before the plot and themes themselves were fantastic. Overall still on the top level of Bond films, just disappointing we didn't get what we should have gotten. 8.5/10
Licence to Kill - This was a fun film. James Bond going rogue to avenge Felix Leiter? Count me in. Absolutely loved the fact Q got a lot of field work in this film. There were a lot of notable henchmen as well, including a young Benicio del Toro who I didn't even recognise until about midway through the movie. Robert Davi stole the show though, what an underrated villain for the series. There's a lot of good action scenes balanced with some classic espionage throughout as well. All of that being said, it doesn't set itself apart really from the aforementioned films. Dalton was a step down from his previous film, almost acting as if he was already through with the series. A shame, considering how great he portrayed Bond in TLD. The cheesy love triangle between Pam and Lupe was sort of annoying too. And the Scanners bit with Krest's head exploding was honestly so ridiculous that it made me forget I was even watching a Bond film for a few. That's the issue with this movie was that it was more like Die Hard than it was James Bond, which isn't necessarily a bad thing from an entertainment standpoint but in comparison it just comes off as a B-level action movie. This movie could have been executed a lot better, considering the talent and the original plot to work with. 8/10
Live and Let Die - Okay, I'm sort of a sucker for the Blaxpoitation genre and honestly as ridiculous as it was to pair Bond with the height of that era, in a vacuum this movie is actually pretty entertaining. Yaphet Kotto was awesome in this film as the main villain, but so were his henchmen. There's some awesome action scenes in this movie too, and most of the movie is still in the realm of believability so that's a plus too. But that's where this stops. Dear god this movie probably didn't age well in terms of tact. Rosie Carver was the first black Bond girl and she was...yeah she was pretty awful and dumb. The occultism stuff was cringy, especially considering that it doesn't even line up with the region. A lot of the dialogue coming from black characters were clearly written by old white guys that never actually heard a black person speak. Then there's the sheriff...hoo boy. The racial aspect aside, Solitaire's character could have been written a lot better. She shows signs of independence towards the middle of the film but then completely relies upon Bond for everything. Also rigging the deck was probably the 2nd worst thing Bond has ever done, and that's only because he borderline rapes Pussy Galore in Goldfinger. So yeah, forgive me for pandering but a lot of this movie's shining moments is weighed down by its antiquated garbage. Also never bring magic back into this franchise ever again please. All in all, it's still a great movie and I was highly entertained throughout. 8/10
The World is Not Enough - This movie started out strong. Strong enough potentially to be a top Bond film. You had an interesting setup with Elektra possibly being Stockholm syndrome'd by Renard, with Sophie Marceau doing a superb job at portraying a deceitful lover of Bond. Then you had M having a personal involvement in the whole case, showing the consequences of being the "queen of numbers". There's a lot of underlying themes here that callback on previous films, which I like. But then Christmas Jones happens. What the hell was Eon thinking? Denise Richards hands down has to be the worst actress to ever be a part of this franchise, and her "acting" really shows. None of what she says is believable at all and it's hard for me to believe she's a nuclear physicist. And she's not really useful at all if you think about it, because we know from past films Bond can diffuse a nuclear bomb quite well (TSWLM, Octopussy). So clearly she was just thrown in as a deus ex machina for Bond to have another lover while having an excuse for having a sidekick for the mission. Makes me think they wrote her in last minute because dumb test audiences didn't like that the only Bond girl was a villain, which I'm pulling out of my ass which is as equally comparable to how they wrote the 2nd half of the film. Yeah, Zukovsky just so happens to have a nephew as a submarine captain in the one city they need to blow up. Bullion just so happens to work for Elektra and be his chauffeur, as if hiring him wouldn't throw up any red flags in the first place. Let's hand a clock that clearly fell off the floor because of M back to her and that clock can easily be manipulated into a GPS signal with a locator device. There's probably other instances of lazy writing and lucky coincidences that plagues the 2nd half of this movie, but like its script I'm too lazy to recall them. And then we get the infamous "I thought Christmas only comes once a year" line to end the movie, which might actually be enough on its own to drop the score of this movie. Overall if it wasn't for the first half this movie would be a lot lower. It would be maybe a 5 if not for that, but overall it's a 7.5/10
Moonraker - This movie gets a lot of hate. And I understand why, because it is so ridiculous and is just a complete 180 from the beginning Connery days of the franchise. Trust me, I get that. But I'm willing to toss that aside in interest of actually seeing if I would be entertained by this movie and honestly, I was. It is so over the top fun and I appreciate that in terms of separating you from reality. If the film's goal was to be entertaining that maintains a level of insanity that doesn't get in the way of the experience, it pretty much nailed it. I'm not going to rank this movie any higher because it's still a Bond film, and it wouldn't be right to start reviewing this movie as if it was a separate entity entirely. So that's where the faults come in. This isn't James Bond. I don't understand how it got to this point when you look back at what Bond was supposed to be. The campiness is out of control, and while as I mentioned before I can appreciate that as a standalone film, it also just makes me feel like I'm watching Austin Powers. Goodnight is a cool character in premise, but her actress was so terrible I couldn't really get behind her. Drax was sort of cool I guess. The sacrificial lamb trope with Corinne was getting predictable at this point, though. In conclusion, it's an entertaining movie but they should have just focused on making an entirely different film separate from Bond. At least then it wouldn't have any expectations in the way, for better or worse. 7.5/10
A View to a Kill - This is one of those movies of the franchise they have all the right pieces for a great film, and it ends up so poorly executed. Did we really need to spend practically half the movie on a horse ranch? Why is 57 year old Roger Moore banging every girl he sees? What the hell was the point of May Day going to bed with him? And did we need an extra 10 minutes dedicated to a KGB agent attempting to steal a tape from Bond by seducing him only to fail and have it never get mentioned again? And as stupid James Bond going to space was, and seeing him in a clown suit...somehow him dangling off a firetruck and a blimp was more painfully cheesy and absurd to me. Perhaps it was just the fact it was just added in for meaningless action scenes and to pad the movie time, I don't know. And Midge is such a terrible actress and I really wish she wouldn't scream Bond's name so much. So why is this movie higher than the others? Max Zorin. He is hands down my favorite villain so far and I really wish he had more screen time and psychopathic moments. His backstory is cool too. Had I been in charge of the film I would have kept him alive for a future film, like make him a new Blofeld or something. Oh well, this movie is better than yellowface. 7/10
You Only Live Twice - This is when things are sort of getting bad. The first half? I actually loved it. Aki was pretty badass. I loved the action throughout the film so far and it had some great spy scenes as well. And then Aki dies and the film turns into Bond in yellowface blowing up volcanos with ninjas and some random Japanese girl in a bikini who serves zero purpose. I have nothing really left to say at this point, aside from thanking Donald Pleasance for giving us Dr. Evil. 7/10
Dr. No - I appreciate this film a lot. It sets the foundation for Bond and is a superb introduction into his character. Dr. No is an excellent villain and Honey Ryder represents the embodiment of what everyone is accustomed to expect of a classic Bond girl. From a historical perspective, this film means a lot to the franchise in so many ways and I can respect that. That being said, the movie is boring. When the film starts to pick up at Dr. No's island, it still seems like things just take forever. And while it finally pays off with the awesome back and forth between Bond and No at the dining room table, it just turns anticlimactic once Bond escapes his jail cell and eliminates No. The way he goes out is great, it's just I wish there was more interaction between the two. Also did they really need to kill Quarrel? 6.5/10
The Man with the Golden Gun - How did they mess this up so badly? The concept of the world's greatest assassin dueling against the world's greatest spy in a cat and mouse tale is such a superb idea. But instead we got Bond following Christopher Lee around for an hour and a half doing practically nothing aside from getting his mistress killed and fixing the mistakes Goodnight kept making. Also Goodnight sucks, I want to make this clear right now. She's not even in the realm of she's so bad she's funny. Like I'm convinced a producer thought having a dim-witted blonde at Bond's side was a great idea so they wrote her to be as dumb and offensive as possible. And kudos to them, because they pulled it off. Too bad it took away a lot of good from this movie. Like Christopher Lee's performance, arguably the best Bond villain so far in terms of acting. And Nick Nack, who made for a memorable henchman. But yeah, that's about it. Also the sheriff is back. Dear lord they botched this movie so bad. 4/10
From Russia with Love - Come at me with your pitchforks. I've seen this movie get placed as one of the best, if not the best Bond films of all-time. I've seen even a video game get made after it, which is crazy because it was so many years later. People always seem to answer the question of who Bond is to them and they say Connery in FRWL. And I can sort of understand that if you're there from the beginning or are really invested into the franchise, you can probably go back to this film and pick out the bits and pieces that make Bond so great and how Connery nailed it. I'm not arguing against the fact that this movie was important, because it was. But I'm going to be brutally honest - this movie is bad. I've said before I prefer the realistic down to earth take on Bond, but this one was a little too much for me. While the scene between Connery and Shaw on the train is probably one of my all-time favorite scenes of the franchise, most of the movie's dialogue is just drawn out banter between Bond and whomever about stuff that ultimately doesn't even matter. The pacing is so slow and it hardly ever seems as if Bond is accomplishing something. Tatiana goes from an interesting Russian spy to a completely dependent lover in less than two scenes. It's hard to even tell if she's putting up an act or if she really just failed her mission from the get-go and fell for Bond. I guess you could say that would mean she's putting up the deception well, but it's executed pretty poorly if that truly is the case. The gypsy camp part was a useless scene to pad out the movie and throw in some obligatory action to keep the viewer entertained. Red Grant could have been the Russian James Bond but really just stood around for most of the movie doing nothing until he actually meets Bond and then gets killed, so there's more poor execution on that end. The movie finally picks up at the end with the helicoptecar chase and the speedboat chase, but by then it's too little too late. I'm sorry guys, but this movie sucks. 4/10
Die Another Day - This movie is bad. And it's not even atrociously bad like the following films on this list. It's just such a forgettable movie, directed as if it was supposed to be a Fast and Furious film. No really, this movie may as well be part of that franchise. From the ridiculous slow motion and quick fast forward effects you'd see in every action movie of the mid-2000s, to the insanity of some magic gene splicing that can turn a North Korean colonel into an English playboy that can destroy the world with a solar beam while James Superbond drives around in an invisible car surfing on waves and avalanches in his spare time. You'd think with all this ridiculousness it could have some a value as a "so bad it's good" type of movie, but it really has none of that going for it. Because to be fair, the acting isn't too terrible. People gave Halle Berry shit for this movie but honestly she did fine considering what she had to work with. It's the most cookie cutter action film you could pick out from that era, with the littlest regard for it being a Bond movie. So with that in mind, it just comes out to be incredibly mediocre with zero replay value whatsoever. The only reason it's not as bad as the next two films is because the first 30 minutes of the film is pretty promising, along with there actually being a cohesive plot this time. 3/10
Diamonds Are Forever - This movie actually upsets me. One because it originally was supposed to be a revenge film for Lazenby's Bond to avenge Tracy's death. Two because Lazenby decided to leave and Irma Bunt's actress died, so rather than recasting her they decided to just throw Tracy's death into OHMSS as opposed to the intro to this movie and then recast Blofeld for the hell of it. And lastly because Connery puts a stain on his legacy as Bond by completely phoning it in with his performance here. That pain aside, there's no redeeming qualities about this movie at all. Tiffany Case is a Bond girl that barely passes an IQ test, so at least she's better than Goodnight. The movie was poorly edited and cut some many times you can barely follow the plot at times, then again who cares. Blofeld has clones now? So we're supposed to believe the real one was the one who got smacked around by Bond in a crane at the end of the movie? Which by the way, was so ridiculous I ended up laughing not for its intended effect but because of having it settle in how bad this movie was. Mr. Kidd Wint are just...ugh. Is there anything good about this movie? Yeah, Kanye West sampled the theme song and made one of his best songs. That's about it. Screw this film. 1/10
Tomorrow Never Dies - It was really hard for me to pick between DaF and this film as the absolute worst Bond film, but I had to settle for this one. Who wrote this movie, a 13 year old? The dialogue is absolutely terrible. All the forced cheesy innuendo aside, nothing in this script is believable regarding any sort of dialogue between any of the actors involved. The worst of it all was between Brosnan and Hatcher, which I'm willing to absolve their lack of chemistry with the fact that I am convinced a robot must have written the lines in their scenes together. Then there's the ridiculous plot. Yeah, it is scarily realistic now that the media can control so much of the public, but I'm talking about Pryce's plan. It is absolutely absurd to think his "reign" over foreign powers would last anything longer than a week tops. Unless we're living in a world where the entire global intelligence of every country has the IQ of the person who wrote this script, you know what forget it. This review was as physically exhausting as trying to get to the end of this movie was. I'll make this quick - Carver is the worst villain ever, Stamper is the worst henchman ever, and Wai Lin might one of the best Bond girls ever but not even she can save this from being the worst Bond film ever. Wai Lin was awesome enough to save this from being an absolute zero, though. 0.5/10
I'm onto Octopussy next, which I'm well aware of the hate it got. I also know Moore is close to a 60 year old clown in this movie at some point. I'm hoping it at least exceeds the very low bar the movie's reception has set for me.
Maybe I'll watch Never Say Never Again instead to save myself some possible misery.
E1: View to a Kill is next. I'm aware of this being another mediocre Bond film but I'm kind of excited to see Christopher Walken and May Day. It can't be that bad, could it?
E2: That was disappointing, as expected. Onto Dalton.
E3: Blown away by this one. I hear LTK is a noticeable decline from Daylights but hopefully it isn't too bad. Dalton was amazing so I'm looking forward to his 2nd and last entry.
E4: Killed three movies in a row with this one. Amazing, good, and awful. Onto TWINE.
E5: TWINE's done, onto Brosnan's last film and from what I remember, one of the worst Bond films ever.
E6: Almost done, just have Skyfall and Spectre left. The top is pretty much cemented as is the bottom. We'll see where these last two land.
submitted by chaos447 to JamesBond [link] [comments]

Daniel Craig’s Bond Character development/ analysis

In Casino Royale we see a Bond who is rough around the edges. Will just kill and be brutish but as the film goes on we see him coming into that classic bond form. When he gets information from Alexios’ wife he doesn’t sleep with her. He doesn’t do hook ups, he only wants to sleep with women he’s loves. When he meets Vesper she tell him that she can tell he has disdain for the fine suits he wears and does not care about his appearance. He is also vulnerable and contemplates his life when he kills the 2 goons in the stairway at the hotel. He looks in the mirror like what is my life, this takes a toll on me. After Vesper reveals her true intentions and dies, Bond becomes the Bond we all know him to originally be. He starts off by wearing a 3 piece suit when he shoots Mr. White for no other reason than cause he wants to wear one. Earlier in the movie he might wear chinos and a leather jacket for that type of confrontation like Miami Airport. He took Vespers advice and is always looking sharp and enjoying it. In every movie since Casino Royale, Bond has slept with random women. Not because he loves them but because Vespers death has left him giving up on love and just wants to fill that loveless void with sex and lust. Mr. Whites daughter has given him some resemblance of love but we won’t know until No Time To Die. Bond also does not think about all the people he has killed with regret anymore. I think it was smart how Martin Campbell directed Casino and Goldeneye and through that line from 006 saying “I wonder if all those vodka martinis silence the screams of all the men you’ve killed or if the arms of those willing women help you find forgiveness in all those you’ve failed to protect”. I would guess that they do in Craig’s iteration of bond and that’s why he drinks them all the time and he sleeps with some many women to find forgiveness for failing to protect Vesper from Spectre/Quantum.
Just my two cents but I think Craig is the best Bond yet because of this character development and it gives reasons to why Bond is the way he is.
submitted by HistoryGuardian to JamesBond [link] [comments]

Is Bond Rich

So here’s a question - In Casino Royale, Vesper sizes up Bond with uncomfortable accuracy and says that guesses he doesn’t come from money and his school chums never let him forget it.
However, in Skyfall, the Bond Family has substantial lands and an ancestral hunting lodge.
So how does this reconcile? Is Vesper wrong (that would undermine what is a pretty cool scene)? Was the estate drained following Bond’s parents death and so his schooling was paid for by the Oberhausers? Is this one of those landed gentry situations where the upper class can somehow simultaneously have massive holdings and be bankrupt? Is it just a mistake by the film makers?
I’m curious, not trying to nitpick.
submitted by ADiestlTrain to JamesBond [link] [comments]

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Casino Royale (10/10) Movie CLIP - Vesper's Last Breath ...

Orchestra: Sinfonietta Cracovia Conductor: Gavin Greenaway Composer: David Arnold Casino Royale Live in Concert Kraków 2018 Casino Royale movie clips: THE MOVIE:'t miss the HOTTEST NEW TRAILERS: DESCRIPTION:As... Death Of Vesper - David Arnold from Casino Royale I own nothing... Complete Playlist: Film: Casino Royale (2006) Music Video: © MovieTRAX/Simply Great ... Movie information: it on Blu-ray: b... "Vesper" cocktail James Bond 007 -Daniel Craig Vesper Lynd is a fictional character of Ian Fleming's James Bond novel Casino Royale. It has been claimed that Fleming based Ly...