Advertisements

Daniel Craig

From the Vault #23: SKYFALL (2012)

From 2012 onwards, before developing this blog, I wrote a multitude of reviews on the website Letterboxd. In this irregular series called From the Vault, I’m going to haul these earlier reviews out of mothballs and re-purpose them here.

This one, timed as Sam Mendes’ 1917 arrives in cinemas, is from March 23rd, 2014…

For five decades of James Bond in cinema, arguably standing tall as the biggest and most successful film franchise of all time, there needed to be some kind of celebration. Not just fanfare, documentaries, look backs, ceremonies, interviews, but rather a celebration of what Bond is, what he means, why he remains relevant half a century on to a world immeasurably different from the one Ian Fleming created him in.

Skyfall turned out, perhaps beyond our expectations, to be all of those things – the clearest demonstrable examination of 007’s psyche we have ever seen, in which Sam Mendes continued the work began by Martin Campbell in Casino Royale (or I would argue GoldenEye infact) and not only gave us what we expect from a Bond movie–the glitz, glamour, action, suspense, wit–but equally delivered on meaningful drama, characterisation and subtext beyond the measure we usually get in this series. It’s been said by many – Skyfall isn’t just a Bond film, it’s a *film* and taking away the slightly derogatory context of that remark to a wonderful franchise, it remains true.

Skyfall is both a truly great Bond film and a great movie in its own right.

Advertisements

2020: 12 Movies to Get Excited About

As we close out 2019, it’s time to put together a few Top 10 lists based on my key entertainment passions – film, TV and film scores.

I’m taking a little swerve with this final list to look ahead and think about what films we have coming up in 2020, and why I’m excited about them and, maybe, this might get you a little excited too.

So here we go. 12 movies for 12 months, by UK release date. Almost…

2019 Top 10: Movies

As we close out 2019, it’s time to put together a few Top 10 lists based on my key entertainment passions – film, TV and film scores.

I’ve gone back and forth on decade lists but I suspect I’m just going to keep to 2019 releases on the blog, and maybe do something more with the decade on my Twitter or FB, so stay tuned in that regard.

Next up – movies! I’ve done quite well this year, managing to watch a good 50 movies from the calendar year, which is more than I sometimes manage. So I feel placed to at least come up with a reasonable Top 10, even though I know I have a few blind spots & certain films will probably push out the lower films on this list eventually. But that’s for the future, so here goes…

HIS DARK MATERIALS: a slick adaptation lacking in magic (Season 1 – Review)

Until the BBC, in league with HBO, decided to tackle Phillip Pullman’s His Dark Materials trilogy, it remained one of the greatest, unfilmed epic adventure stories in modern literature.

There was, granted, an attempt in 2007 with The Golden Compass, directed by Chris Weitz, but despite starring Nicole Kidman, Daniel Craig and a host of talented thespians in support, it failed to capture enough critical acclaim & audience imagination (and crucially box office) to warrant adapting not just Pullman’s first novel, Northern Lights, but the subsequent two sequels – not to mention launch the career of star Dakota Blue Richards, playing central heroine Lyra Belacqua. On the face of it, His Dark Materials should be a slam dunk as a success story; a plucky heroine, a quest narrative, magical realms, talking bears, witches and megalomaniacal villains. Except it isn’t quite that simple.

Though this kind of genre may lend itself to family friendly entertainment, a Harry Potter-esque story of good vs evil, Philip Pullman’s books are incredibly dense, complicated and challenging pieces of world-building crammed with the kind of philosophical ideas that your JK Rowling’s or George Lucas’ do not touch. His Dark Materials, over the three books, goes to some seriously dark places – the climax of Northern Lights is built on such a moment. Adapting these books is not nearly as easy as they may look from the outset, bucking convention in the ideas Pullman presents. The Golden Compass proved one film was not enough space to pull this off. The BBC’s His Dark Materials suggests even an eight-part television series might not be up to the challenge.

As despite the fact Jack Thorne’s scripts put everything from the first novel (and a bit from the second) on screen, the first season of His Dark Materials lacks the key component present in Pullman’s writing: magic.

Book Review: THUNDERBOOK (John Rain)

What is there left to say about James Bond 007? The world’s most legendary spy has been written about for almost sixty years since Ian Fleming’s 1950’s/60’s novels exploded onto the cinema screen in 1962’s Dr. No, analysing every facet of the character’s escapades, his place in the wider scope of history, through to the technique behind his many movies. 

Thunderbook, however, might be the first text to freely take the piss out of each and every one of Bond’s (to date) 24 missions.

Mission Impossible: Rogue Nation (2015)

If Mission Impossible: Rogue Nation confirms anything, it’s that the Tom Cruise-fronted franchise has spent almost two decades trying to work its way back to Brian De Palma and back to the roots of where the series began.

In some of my previous pieces on the earlier films in the Mission Impossible franchise, one fact that remains true is how the series consistently reinvents itself every few years in order to stay vibrant and relevant, but oddly enough Rogue Nation on reflection is not as bold a reinvention after 2011’s Ghost Protocol as you might remember. There is greater filmmaking skill involved, with Christopher McQuarrie imbuing more heft into his set pieces than Brad Bird managed in the previous film, while McQuarrie’s script (revised after efforts by Will Staples and before that Drew Pearce, with whom he shares a story credit) certainly has more depth to the storytelling. Beyond that, there is a consistency framing itself between this and Ghost Protocol, one which may well carry through into the next film, Fallout.

Rogue Nation is consistent in how it stylistically reaches back to the first film in the franchise while further mythologising Cruise and his character Ethan Hunt.

Nostalgia & Star Trek: Picard, Discovery and the Future

Nostalgia seems to be a double edged sword right now in Hollywood. What on the surface appears to be a comforting guaranteed winner in terms of audience satisfaction and cinematic box office is becoming something of a poisoned creative chalice. The lacklustre critical (if not box-office) responses to pictures such as Jurassic World: Fallen Kingdom or Ocean’s Eight, sequels to long-standing, well-regarded franchises; or Lucasfilm’s decision to put a hold on more A Star Wars Story anthology movies after the tepid box office (by Star Wars terms) of Solo, seemingly putting immediately paid to rumoured Boba Fett & Obi-Wan Kenobi-centric films. There is a nostalgia blowback in progress, the ripple effect of which we are only beginning to understand.

Is this a ripple effect that, like the Nexus in Generations, threatens to engulf the future of the Star Trek franchise?

What if killing off Daniel Craig’s James Bond makes sense?

Another day, another James Bond rumour. Of all the great franchises out there, 007’s—perhaps appropriately—seems to play its cards the closest to its chest. Eon Productions always rations information about where their legendary character is going right up to the point they are ready to announce his destination, and for what looks to be Daniel Craig’s fifth and final outing in the role, this time is no different. Yet this time the rumour mill, courtesy of a story in The Express, has thrown up an unusual possibility.

The as-yet-untitled Bond 25 will end, apparently, with the death of James Bond.

This got me thinking, because the typical reaction to this would be a shocked gasp, a firm shake of the head, and a stiff dry Martini. “James Bond can’t die!” You can almost hear the clamour of middle-aged men who have been following this franchise since Roger Moore bedded women half his age in a safari suit angrily huffing those words, shaking off another nonsense newspaper report with various rebukes. “Bond is the main character!” “Bond is the hero!” “Bond, in the end, wins the day, kills the bad guy, saves the world and shags the girl over a load of diamonds which were being used to power a gigantic laser in space!” (or something).

Here’s where I’m wondering… maybe Daniel Craig’s 007 *should* bite the bullet.

From Wars to Who: our favourite franchises are evolving – why can’t their fans evolve with them?

An unexpected comparison can be drawn this holiday season between two of the biggest science-fiction franchises – Doctor Who and Star Wars. In both Peter Capaldi’s final turn as the Doctor in ‘Twice Upon a Time’ and Rian Johnson’s sequel The Last Jedi, central characters openly advocate rejecting both their pasts, and indeed intertextually the pasts of their product’s own history. The Doctor, an old man on the verge of rejecting a new lifespan, ‘let’s go’ of his incarnation while The Last Jedi‘s ostensible villain, Kylo Ren, just about avoids fratricide as he advocates killing his own past, killing his own history and letting it die (and by default the known galaxy) to create something new.

In both examples, you have two long-standing, iconic storytelling franchises, both with powerful, ingrained and dedicated fanbases, actively attempting to jettison aspects which made them adored in the first place. And, indeed, in both cases, the fandom of both properties have lost their minds in desperately rejecting this rejection. I won’t rake over my earlier thoughts about the current state of fandom, but it gives birth to another question – why can’t fans let go of the past?

STAR WARS and why Fandom cannot “let the past die”

The cyclical nature of storytelling is one of my fascinations, and something I fully intend to write more about on Cultural Conversation. Star Wars is one of many major franchises which taps into deeply mythological, archetypal stories which end up telling cyclical narratives about characters and worlds which repeat history, repeat myth and cleve to prophecy. These concepts are all over fiction, in myriad ways. What people don’t always realise, however, is that cyclical narratives are all over Fandom too, and yes that is Fandom with a capital F. Insert your own word appropriately. Fandom started as a beautiful thing, a coming together of like minds. Much like the rest of our society circa 2017, the Force no longer seems, sadly, to be with it.

If the reaction to The Last Jedi, the latest entry into the legendary Star Wars lexicon, proves anything, its that Fandom cannot cope with change. This is no startling revelation. Many writers have been discussing the toxicity of Fandom for some time now, particularly since the advent of Twitter and the rest of social media gave a voice to a legion of what many would consider ‘trolls’; intentional rabble-rousing, mischief making naysayers who love nothing more than to be reactionary and tear down anything the majority love. /Film has written recently about the toxic reaction to The Last Jedi, a film which as I discussed is not without its problems. It does, however, expose the issue of change and Fandom in greater detail.