Murder on the Orient Express (2017)


Hercule Poirot is on the job!

(2017) Mystery (20th Century Fox) Kenneth Branagh, Michelle Pfeiffer, Johnny Depp, Daisy Ridley, Josh Gad, Penélope Cruz, Derek Jacobi, Leslie Odom Jr., Sergei Polunin, Lucy Boynton, Marwan Kenzan, Judi Dench, Olivia Colman, Willem Dafoe, Phil Dunster, Miranda Raison, Rami Nasr, Hayat Kamille, Michael Rouse, Hadley Fraser, Kathryn Wilder. Directed by Kenneth Branagh

 

Train travel has a certain romance to it. Strangers trapped in a metal tube, rumbling across the countryside. Anything can happen; anything at all.

Many might be familiar with the classic Agatha Christie novel, one of the most famous mysteries ever written. Some might be familiar with the even more classic 1974 movie based on it which starred such legends as Lauren Bacall, Ingrid Bergman, John Gielgud, Sean Connery, Anthony Perkins and Richard Widmark. This new remake stars Kenneth Branagh (who also directed) as the famous Belgian detective Hercule Poirot (played by Albert Finney in the original) who is returning to England following a grueling series of cases leading to a successful resolution in Istanbul – not Constantinople.

Taking the Orient Express back home, he is approached by Ratchett (Depp) who is looking for protection after receiving some threatening letters. Poirot, exhausted, turns down the case. The next morning, Ratchett turns up dead. The train is stuck after an avalanche buries the tracks. As crews arrive to dig the tracks out so the train might continue, Poirot must solve the case quickly but there are a number of suspects – everyone in the Calais coach had opportunity and some even had motive. Soon it becomes apparent that the murder has links to a famous unsolved crime of years past.

The Sidney Lumet-directed 1974 version to which this will inevitably be compared was a light-hearted romp with a Poirot who was quirky but undoubtedly a genius. This Poirot is more tortured than quirky, a man who realizes his own obsession with perfection will leave him perpetually disappointed in life and of course he is. This is a different Poirot than any we’ve ever seen onscreen, whether David Suchet of the excellent BBC series or Peter Ustinov of several all-star Christie cinematic adaptations which followed the success of Murder on the Orient Express. The tone here is certainly darker than we’re used to seeing from a Christie adaptation.

Michelle Pfeiffer turns in an extraordinary performance as the predatory divorcee Mrs. Hubbard, portrayed by Bacall back in 1974. While Bacall was loud-mouthed and brassy, Pfeiffer is intense and smart. Once again the characters are very different although there are some recognizable similarities. Pfeiffer twenty years ago was one of the most beautiful women in Hollywood which she remains; that beauty often overshadowed her acting talent which is considerable. Although not in the league of Meryl Streep (who is in a league of her own), she is one of the four or five best American actresses working in film today.

Most of the rest of the cast do at least adequate jobs. Depp is as restrained as he’s been in a decade, playing Ratchett as a thug more so than Widmark did in the same role. Dame Judi Dench is, well, Judi Dench. She brings dignity and a regal air to the role of Princess Dragomiroff. Penélope Cruz has a thanklessly un-glamorous role that she makes her own.

I should mention the cinematography. The 1974 film primarily took place aboard the train. Certainly the Orient Express is the star and cinematographer Haris Zambarloukos takes great pains to present her from every angle conceivable. Occasionally he goes a bit overboard – an overhead shot in one of the train’s cars gives us an uncomfortably long view of the tops of the actors heads – but he also manages to make the snowy Yugoslavian countryside look positively idyllic.

Let me be plain; this film is not as good as the 1974 version and I don’t think Branagh had any illusions that it ever could be. However, it is different than that 1974 version and one that is just as valid. You may not love this film in the same way that you loved the original but there is a good chance you’ll at least respect it. You may even want to see it more than once.

REASONS TO GO: Fans of the 1974 version will find the approach here very different. Branagh and Pfeiffer are outstanding. The cinematography is gorgeous.
REASONS TO STAY: The tone here is much darker than the 1974 version. This isn’t nearly as good as the original which it will inevitably be compared to. You don’t get as good a sense of the era it is supposed to be set in.
FAMILY VALUES: There is some violence as well as violent thematic elements.
TRIVIAL PURSUIT: The song played over the closing credits was sung by Michelle Pfeiffer and the lyrics written by Branagh.
CRITICAL MASS: As of 1/20/18: Rotten Tomatoes: 57% positive reviews. Metacritic: 52/100
COMPARISON SHOPPING: Death on the Nile
FINAL RATING: 6/10
NEXT:
Wonder

Inferno (2016)


Tom Hanks and Felicity Jones at least got their exercise regimens in.

Tom Hanks and Felicity Jones at least got their exercise regimens in.

(2016) Thriller (Columbia) Tom Hanks, Felicity Jones, Omar Sy, Irrfan Khan, Sidse Babett Knudsen, Ben Foster, Ana Ularu, Ida Darvish, Paolo Antonio Simioni, Fausto Maria Sciarappa, Alessandro Grimaldi, Robin Mugnaini, Paul Ritter, Vincenzo Tanassi, Alessandro Fabrizi, Simone Mariani, Gabor Urmai, Jon Donahue, Fortunato Cerlino, Attila Arpa, Kata Sorbo. Directed by Ron Howard

 

I don’t know if it’s fair to characterize the novels of Dan Brown as an acquired taste. After all, he’s sold millions of copies of his Robert Langdon novels starting with The DaVinci Code. His plots tend to be complicated and sometimes overly so. Still, they can be an entertaining read. Now, his fourth novel in the series has become the third filmed version of the franchise

Professor Robert Langdon (Hanks), one of the world’s leading minds, wakes up in an Italian hospital with no memory of how he got there. Dr. Sienna Brooks (Jones) is trying to establish how he was shot; there is a head wound where a bullet apparently grazed his skull which might account for his amnesia. Just then a remorseless assassin (Ularu) comes for him, forcing the professor and doctor to flee.

In fact, it turns out a lot of people are after Langdon. The World Health Organization, with Dr. Elizabeth Sinskey (Knudsen) and .investigator Christoph Bouchard (Sy) are chasing Langdon with an unknown agenda. The Italian police are after him after surveillance footage reveals that he stole the death mask of Dante Alighieri  whose Inferno holds clues to a mad billionaire’s (Foster) plan to “cull the human herd” by releasing a plague that will kill half the world’s population and immediately ease overpopulation concerns. A bit of a drastic cure, that.

In any case as Langdon’s memories begin to slowly return, he finds he is in a race against time to find the killer virus and stop this mass murder on a demonic scale. In order to do that he has to follow a chain of clues left behind by the billionaire who killed himself rather than reveal the location of the virus’s delivery system to the WHO. Who can Langdon trust? As it turns out, not the people he thinks.

I have to admit I found the first film in the series, The DaVinci Code, to be genuinely entertaining – the follow-up, Angels and Demons, less so but still acceptable. The third in the series is by far the least entertaining so far; the preposterous nature of the plot has become far too glaring to ignore and the payoff not enough to be worth the ride. Hanks looks a bit tired here; I suspect he’s given Langdon about all he can give him as an actor. There were rumors that both Howard and Hanks were leaving the series after Angels and Demons but apparently they were prevailed upon to do the third film after pre-production on a proposed film version of the third book in the series, The Lost Symbol, stalled.

Again, Howard utilizes an international cast that is largely better known in Europe than in the United States with the exception of the Oscar-nominated Jones who shines here, reinforcing my opinion that she is one of the best young actresses out there who is likely to be one of the most honored actresses of her generation when all is said and done. Khan, who plays the nefarious head of a shadowy security agency, also has some meat on the bones of his character that he can work with but his part is all too brief alas.

Seeing the sights of Florence, Cambridge and Istanbul (among other places) is pleasing, particularly to me personally as I was in Florence just this past May and can attest to the beauty of the city having seen the Ponte Vecchio and the Uffizi with my own eyes. It certainly ignited the tourist in my soul to see some of the sights that the movie highlights. If you have that tourist gene inside you, you’ll likely be pleased by this as much as I was, but it’s not really enough to recommend a movie just for the setting. It’s rough when every ten minutes or so you’re rolling your eyes at yet another plot turn that defies logic. Even Dan Brown’s most loyal fans will be shaking their heads at this one.

REASONS TO GO: Plenty of lovely tourist opportunities for places like Florence and Istanbul.
REASONS TO STAY: The plot is absolutely preposterous.
FAMILY VALUES:  Action and violence in plenty here, as well as a few disturbing images, brief sexuality, some disturbing thematic elements and brief foul language.
TRIVIAL PURSUIT:  This is the first Robert Langdon film not to be written by Akiva Goldsman.
CRITICAL MASS: As of 12/6/16: Rotten Tomatoes: 20% positive reviews. Metacritic: 42/100.
COMPARISON SHOPPING: Outbreak
FINAL RATING: 5/10
NEXT: Be My Cat: A Film for Anne

The Water Diviner


Love can be illuminating.

Love can be illuminating.

(2014) Drama (Warner Brothers) Russell Crowe, Olga Kurylenko, Jai Courtney, Yilmaz Erdogan, Cem Yilmaz, Dylan Georgiades, Steve Bastoni, Isabel Lucas, Salih Kalyon, Megan Gale, Ryan Corr, James Fraser, Ben O’Toole, Jacqueline McKenzie, Jack Douglas Patterson, Ben Norris, Aidan Liam Smith, Damon Herriman, Sophia Forrest. Directed by Russell Crowe

The bond between father and son can be complicated. There’s always an element of competition between them; the old lion wants to have the loudest roar even as the younger lions are coming into their own. Still when push comes to shove, there isn’t a father who wouldn’t move heaven and earth for their children…sometimes even when hope is lost.

Joshua Connor (Crowe) has a farm in Australia. It’s not an easy life; water isn’t easy to come by in the arid landscape. However, with the use of a pair of sticks and his unerring instincts he is able to find places to dig wells that he desperately needs. It’s a hard life but it’s a good one – or would be. You see, Joshua sent his three sons Arthur (Corr), Edward (Fraser) and Henry (O’Toole) to war, in this case World War I. With many troops from their part of the world, they went to invade Gallipoli in Turkey and many thousands of young men in the ANZAC (Australia-New Zealand Army Corps) died in the attempt which ultimately failed. All three of Joshua’s sons were among the dead.

The grief of the loss of all her sons had led Joshua’s wife (McKenzie) to take her own life. Now with nobody and nearly four years gone, Joshua feels obligated to go to Gallipoli and bring the remains of his sons back home. However, there’s a problem there – basically so many soldiers died in the battle, one of the bloodiest of the First World War – that proper burials are only now just happening, led by an English Colonel (Courtney) who is being assisted by the Turkish officer Major Hasan (Erdogan) who led the Turkish forces at the battle. Civilians are not welcome – not that there are any clamoring to go. The battle site is still full of booby traps and other dangers that make it a dangerous place even in peacetime.

But Joshua has nothing to lose. With the help of Ayshe (Kurylenko), the owner of the hotel he is staying at in Istanbul and Orhan (Georgiades) her adorable moppet of a son he manages to make it past the British bureaucracy which is dead set on preventing his passage to Gallipoli. Once he makes it there though he acquires the friendship of Hasan, even though he commanded the forces that led to the deaths of his sons – and discovers that even amidst the carnage, hope exists. He also discovers that love might exist as well with the hotel owner whose husband disappeared in the same battle and is presumed dead, although she holds out hope that he may yet return.

Normally the presence of Crowe in front of the camera would insure a wide American release for a film, but the story is a bit of a hard sell to American audiences. Gallipoli doesn’t mean as much to us as it does to audiences in Australia and New Zealand, where the battle is part of the national identity. Released on the 100th anniversary of the battle, the story isn’t so much about the fight as it is of a father’s devotion to his children, even after they’re dead. It is about  his grief and his healing.

Crowe remains a compelling presence, giving one of his best performances in years. Joshua is a quiet and powerful presence, never demonstrative although once he begins interacting with the irresistible Orhan does he begin to start coming out of his shell. There is a bit of an aura of the supernatural here – Joshua has visions of his sons in the battle and is able to infer things that he shouldn’t have been able to know. The more practical-minded among the audience will find that whole concept to be poppycock, although the connection a parent has with their children and the way parents can sometimes know things they shouldn’t about their kids can’t be discounted.

This would be the last movie lensed by cinematographer Andrew Lesnie who also shot most of Peter Jackson’s Middle Earth films and he makes a stark contrast between Australia with it’s blade blue skies and dusty earth, and with Istanbul with its Blue Mosque and beautiful interiors. Then there’s Gallipoli itself with a lovely beach but once over the first hill becomes a scorched hell. Crowe made a smart choice in that department and it will remain part of Lesnie’s lasting legacy as one of the great cinematographers of his – and our – day.

Most of the battle is seen through flashbacks, particularly those that concern the brothers but those scenes can be pretty brutal with limbs getting blown off and young bodies being shredded by machine guns and artillery fire. Crowe doesn’t shy away from these scenes that depict the horrors of war, those who are upset by such things should be forewarned.

I generally don’t respond to specific criticisms of a film brought up by a different film critic but Andrew O’Hehir’s excoriation of Crowe and Warner Brothers, calling this a “disgraceful” film for not mentioning the Armenian genocide which occurred roughly at the same time the battle of Gallipoli was fought, is absolutely mind-boggling. Yes, there are sympathetic Turkish characters here but not all Turks participated in the Genocide which occurred hundreds of miles away and essentially before the main action of the film begins – the battle itself is pretty much only seen in flashbacks other than the opening scene which depicts the withdrawal of troops from Gallipoli. But what is disgraceful is a critic suggesting that a filmmaker not mentioning something that has absolutely nothing to do with his film or the events in it is somehow morally wrong and insensitive. Talk about Liberal Guilt.

For a debut effort in the director’s chair Crowe has come up with a pretty impressive film. Of course, when you have Russell Crowe to star in your first film you’ve got an advantage over most right there. I don’t know what Crowe the director did to inspire Crowe the actor but whatever it was, it resulted in a compelling performance that confirms Crowe’s star power. There is an epic sweep here that reminds me of movies from a bygone era.

The movie hasn’t gotten any sort of push from Warners and has been essentially released as an independent film in select cities. It isn’t easy to find but it is well worth seeking out; this is a surprisingly powerful film that I believe will appeal to more than just Australian audiences.

REASONS TO GO: Strong performance by Crowe who remains a compelling presence. Gripping storyline. Lovely cinematography.
REASONS TO STAY: Relies on Joshua’s visions and instincts a bit too much. The battle scenes may be too intense for the sensitive.
FAMILY VALUES: War violence and disturbing images.
TRIVIAL PURSUIT: The horse that Crowe rides in the Australia scenes is actually his own horse, Honey.
CRITICAL MASS: As of 5/10/15: Rotten Tomatoes: 61% positive reviews. Metacritic: 50/100.
COMPARISON SHOPPING: Legends of the Fall
FINAL RATING: 7.5/10
NEXT: The Age of Adaline

Murder on the Orient Express


The moment of truth.

The moment of truth.

(1974) Mystery (Paramount) Albert Finney, Lauren Bacall, Ingrid Bergman, Martin Balsam, Jacqueline Bisset, Jean-Pierre Cassel, Sean Connery, John Gielgud, Wendy Hiller, Anthony Perkins, Vanessa Redgrave, Rachel Roberts, Richard Widmark, Michael York, Colin Blakely, George Coulouris, Denis Quilley, Vernon Dobtcheff, Jeremy Lloyd, John Moffatt. Directed by Sidney Lumet

Our Film Library 2015

One of the more delightful movie subgenres is the whodunit, which the more sophisticated tend to call “drawing room mysteries.” They became popular during the 1930s in the midst of the depression thanks in large part to authors like Agatha Christie, G.K. Chesterton, Dorothy Sayers and Ellery Queen. These murder mysteries usually have a long list of suspects, take place in a swanky environment like an English estate or a seacoast resort.

Few, if any, reached the heights of Murder on the Orient Express, the work that would eventually become Christie’s best-known work and arguably the greatest mystery novel ever written. When master director Sidney Lumet took on this daunting work, it was with the understanding that star power was going to sell it, and he would assemble what could well be the best cast ever put together for a single movie.

And what a movie! Internationally famous detective Hercule Poirot (Finney) has solved a crime in India and is in Istanbul, preparing to return home to Belgium on the Orient Express, then the most luxurious mode of overland travel in the world. Because the train is booked solid, director of the line Signor Bianchi (Balsam), a personal friend of Poirot, gets the famed sleuth a berth on the Calais Coach.

At dinner, Poirot is approached by Ratchett (Widmark), a wealthy American businessman who believes that his life is in danger and who attempts to engage Poirot’s services as a bodyguard but Poirot refuses, uninterested in the case. Later that night, Ratchett is murdered, stabbed to death in his bed.

Bianchi pleads with Poirot to solve the crime, hoping to avoid a scandal. Poirot agrees and begins interrogating the passengers on the Calais coach who are the main suspects; Pierre-Paul Michel (Cassel), the conductor; Mrs. Harriet Hubbard (Bacall), a loud brash American housewife; Beddoes (Gielgud), Ratchett’s butler; Greta Ohlsson (Bergman), a Swedish missionary; Count Rudolf Andrenyi (York), a Hungarian aristocrat and diplomat; Elena Grunwald Andrenyi (Bisset), his new bride; Colonel Arbuthnot (Connery), a British Officer in the British Indian army returning to England on leave; Mary Debenham (Redgrave), a British teacher also returning home to England; Princess Natalia Dragomiroff (Hiller), an elderly Russian royal; Hildegarde Schmidt (Roberts), the Princess’ personal maid; Hector McQueen (Perkins), Ratchett’s personal secretary; Gino Foscarelli (Quilley), a car salesman of Italian extraction from Chicago, and finally Cyrus Hardman (Blakely), a Pinkerton detective.

To Poirot’s surprise, he discovers that most of the people on the Calais coach aren’t who they appear to be, with the victim himself involved with a particularly heinous crime – the kidnapping and murder of baby Daisy Armstrong, a notorious case (based on the real Lindbergh baby kidnapping) that had ended with the baby murdered leading to her mother giving premature birth to a stillborn child and dying in the process, the father killing himself out of grief, a wrongly accused maid leaping to her death from a window and the maid’s mother dying of grief. Not only that, all of the passengers on the Calais coach had a personal connection with the Armstrong family. This will prove to be the most challenging case of Poirot’s career, not just in terms of solving the mystery but whether or not justice would be served by solving it.

The movie would be nominated for six Academy Awards and won one, for Bergman’s performance in a supporting role. In 1974 it was very much an anachronism, given the bleak anti-hero types of movies that were prevalent at the time. Murder on the Orient Express was very much a throwback to an earlier era in moviemaking and maybe that’s why it resonates so much with audiences then and now. It has a timeless quality that makes it enjoyable to all audiences since it was made, and will likely to delight audiences far into the future.

There’s the cast of course, with some of Hollywood’s elite in the credits. I think it’s safe to say that there isn’t a weak performance in the bunch and Finney, who endured hours of make-up to make him resemble the fastidious middle-aged Belgian (Finney was 37 when this was filmed) more than he did in real life (Christie herself seemed to have been fine with his portrayal but was disappointed over his moustache). While David Suchet has made quite the career for himself as Poirot on TV, I still prefer the more flamboyant version Finney gave us.

The movie is just pure fun. It nicely recreates the decadence of the era as well as giving us moments of the screaming meemies at times. While the book is much darker than the movie is, the movie remains one of my favorites, a fun ride that I still enjoy even though I’ve seen it dozens of times.

WHY RENT THIS: True movie magic. A cast the likes of which we will never see again. Perhaps Christie’s best mystery. Beautiful period setting.
WHY RENT SOMETHING ELSE: May be too light and fluffy for true mystery aficionados.
FAMILY VALUES: A scene of violence.
TRIVIAL PURSUIT: This was the only film adaptation of her work that Agatha Christie was ever truly satisfied with. She attended the premiere in 1974 and would die 14 months later in 1976.
NOTABLE HOME VIDEO EXTRAS: The DVD contained a biography of Christie hosted by her son. Sadly, the movie has never gotten the home video treatment that a film this beloved should have.
BOX OFFICE PERFORMANCE: $28.2M on a $2.3M production budget.
SITES TO SEE: Netflix (DVD rental), Amazon (not available), Vudu (not available),  iTunes (not available), Flixster (not available), Target Ticket (not available)
COMPARISON SHOPPING: Death on the Nile
FINAL RATING: 10/10
NEXT: Chappie

From Russia, With Love


Much better than a mint on your pillow.

Much better than a mint on your pillow.

(1963) Spy Thriller (United Artists) Sean Connery, Daniela Bianchi, Pedro Armendariz, Lotte Lenya, Robert Shaw, Bernard Lee, Eunice Gayson, Walter Gotell, Francis de Wolf, George Pastell, Nadja Regin, Lois Maxwell, Aliza Gur, Martine Beswick, Vladek Sheybal, Anthony Dawson, Lisa “Leila” Guiraut, Hasan Ceylan, Peter Bayliss, Desmond Llewelyn. Directed by Terence Young

While most people remember the first James Bond movie (Dr. No) and the third (Goldfinger) the casual moviegoer probably doesn’t remember the second. It was a box office smash, particularly in Britain where it set a box office record in only 82 days of release. Still, it doesn’t get a lot of the love that other Bond films over the years has attained.

James Bond (Connery), MI-6 agent 007 has irritated SPECTRE, a criminal organization set on world domination led by a mysterious Number One (Dawson) who pets a white cat constantly. Planning mastermind Kronsteen (Sheybal) has come up with a plan to steal a Lekter cryptographic device from the Soviet Union and sell it back to them, while exacting revenge on Bond for killing Dr. No in the previous movie. Number One engages Number Three, Rosa Klebb (Lenya) to run the operation. She in turn utilizes SPECTRE agent Red Grant (Shaw) as her primary field operative.

However, the way to get to Bond is to use a beautiful woman and the way to get to the Lekter is to use Tatiana Romanova (Bianchi) to lure in bond with the promise of a Lekter. Of course M (Lee) and Bond know it’s a trap but if they can get their hands on a Lekter, that would be a considerable coup. Bond goes to Istanbul where station chief Ali Kerim Bey (Armendariz) meets him. Grant follows Bond around, wreaking havoc and pitting the Soviets against the Turks and Brits. Romanova rendezvous with Bond and in keeping with – and adding to – a Bond movie tradition, falls head over heels in love with the British spy.

However, SPECTRE is dogging their every move, keeping Bond alive until he can literally deliver the Lekter into their hands. Romanova, who thought she was acting on behalf of the Soviet’s in-house SMERSH agency, is now ready to defect for real. There’ll be Murder on the Orient Express and a thrilling boat chase and of course face-to-face confrontations with both Klebb and Grant before all is said and done. And I could tell you how the movie ends but you don’t have to be a genius to figure out what it’s going to be.

Young was going for a more realistic atmosphere  this time around. While there are gadgets including a fairly useful briefcase and the Lekter itself, this is mostly straight-up action as opposed to later Bond movies. Connery cemented his stardom as it was very apparent that this was a franchise that was going to have staying power – this even before Goldfinger would make it a cultural phenomenon. He’s in so many ways the ultimate male circa 1963. He’s ruggedly handsome, tough as nails, absolute catnip to women and knowledgeable as well as cultured. We mere mortal males couldn’t possibly compete against all that and there were more than a few wives at the time who, seeing this, eyed their husbands with a critical expression. They’re still doing that today, if Da Queen is any indication.

Bianchi is one of the most physically beautiful of the Bond girls, although the former Miss Italy didn’t really have the charisma of the best of them – Honor Blackman, Diana Rigg, Ursula Andress and Halle Berry come to mind immediately. She’s usually lumped in with Lois Chiles and Olivia D’Abo as one of the less popular girls of the series. I don’t know that it’s fair but she certainly is easy on the eyes.

Llewellyn makes his first appearance as Q, although the head of Q branch is identified by his character’s real name, Major Boothroyd here. Istanbul makes a lovely and exotic backdrop for most of the movie and of course who can go wrong with the most romantic journey in the world, the Orient Express. The winning formula of exotic locations, jaw-dropping beautiful women and clever gadgets really got its start here.

The movie is extremely dated in a lot of ways, particularly in its attitudes towards women who are mostly portrayed as either besotted creatures whose place is in the bedroom and are in need of a manly slap once in awhile, or femme fatales who are out to emasculate if not outright murder any men who come across their path. Even the wise-cracking Moneypenny (Maxwell) really doesn’t get much respect.

Armendariz, who was terminally ill when he made the movie leading Young to film most of his scenes first, is one of the more charming Bond allies and sets the bar for those that would follow. Lenya, best known as the star of her husband Kurt Weill’s The Threepenny Opera and an Oscar nominee for The Roman Spring of Mrs. Stone is a shrill but deadly efficient killer whose fight with Bond is one of the biggest kicks in the movie. Shaw, who went on to greater fame as Captain Quint in Jaws shows off washboard abs and a sardonic wit. Grant is a brilliant agent provocateur that creates a good deal of havoc here and it’s fun watching him work.

Having recently re-watched the movie, I get the sense that while it often gets short shrift among all of the Bond movies, there is reason for it. The movie doesn’t jell as well as most of the Connery Bond films and while Klebb and Grant are fine antagonists, they lack the over-the-top panache of classic Bond villains Goldfinger, Blofeld and Largo.

Those things aside and despite being terribly dated in many ways the movie still remains a terrific piece of entertainment. Certainly those tired of seeing the same three or four Bond films over and over again could do worse than to use this one as a change of pace.

WHY RENT THIS: One of the more reality-based Bonds. Armendariz is charming and Lenya and Shaw both formidable foes.
WHY RENT SOMETHING ELSE: One of the more dated Bond movies.
FAMILY VALUES: Some era-appropriate sensuality and era-appropriate violence.
TRIVIAL PURSUIT: Daniela Bianchi’s voice was dubbed by Barbara Jefford due to Bianchi’s heavily Italian-accented English. This was also the final Bond film that Ian Fleming got to see as he passed away shortly after it was released.
NOTABLE HOME VIDEO EXTRAS: The Ultimate Blu-Ray edition is loaded with a plethora of extras that should satisfy most Bond fans, including a gallery of still images, radio and TV promos, featurettes on the late Harry Saltzman, the exotic filming locations (some of which weren’t quite so exotic), a comparison between Fleming and Raymond Chandler and an interview with Fleming by the CBC.
BOX OFFICE PERFORMANCE: $78.9M on a $2M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray rental/streaming), Amazon (streaming only), Vudu (purchase only),  iTunes (buy/rent), Flixster (not available), Target Ticket (not available)
COMPARISON SHOPPING: Our Man Flint
FINAL RATING: 7.5/10
NEXT: Top Five

The World is Not Enough


Sophie Marceau thinks Pierce Brosnan looks fetching in this choker.

Sophie Marceau thinks Pierce Brosnan looks fetching in this choker.

(1999) Spy Thriller (MGM) Pierce Brosnan, Sophie Marceau, Robert Carlyle, Judi Dench, Denise Richards, Robbie Coltrane, Desmond Llewelyn, John Cleese, Maria Grazia Cucinotta, Samantha Bond, Michael Kitchen, Colin Salmon, Goldie, David Calder, Serena Scott Thomas, Ulrich Thomsen, Claude-Oliver Rudolph, Omid Djalili, Daisy Beaumont, Nina Muschalik. Directed by Michael Apted

Nifty gadgets. That’s why we see Bond movies. That and the outrageous stunts, fabulous action sequences, droll witticisms … and oh yes, the babes.

The 19th Bond movie finds our man James (Brosnan) looking out for a wealthy heiress by the name of Elektra King (Marceau). Bond feels responsible for the death of her father at the hands of a crazed terrorist named Renard (Carlyle). As “M” (Dench) was a personal friend of her father and that the murder took place at MI6 headquarters, she sends all the dogs after Renard.

Renard is unique in that a bullet fired by an MI6 agent has entered his brain and is slowly killing him. At the same time, it renders him impervious to sensation of all sorts, making him stronger with each passing day. Renard is out to steal a nuclear weapon from one of those pesky ex-Soviet republics. I won’t tell you how everything turns out; suffice to say that there follows mayhem of all shapes, sizes and description.

Bond gets lucky with a number of buxom women that would keep most of us awake nights just considering. And, of course, he saves the day after a final battle with Renard, while aboard a sinking submarine.

If you like Bond movies, this one isn’t going to disappoint. Pierce Brosnan is more comfortable than ever here in the role, and he proved why many thought that he should have been the one to replace Roger Moore. There’s more sexual tension between him and Moneypenny than there’s been in the Brosnan Bond movies, which is welcome, and we get to see a LOT more of M, which is a great thing. Dench makes a formidable M.

On the down side, this is the last appearance of Desmond Llewellyn as Q, making him the last of the original cast to depart. Llewellyn exits gracefully, but not before bringing aboard ex-Python Cleese to replace him – sadly, they never really utilized Cleese properly.

As is typical for Bond movies, great casting in the recurring roles. Marceau is a lustrous, otherworldly beauty who carries the right mix of innocence and steel necessary to carry out a complex role. She has a fascinating character and while Elektra is no Pussy Galore, she is memorable notwithstanding. Carlyle makes a terrific Bond villain, one who at the end turns out to be flawed and human, making him one of the better villains to come down the pike in a long time. Guest appearances by Coltrane as a Russian mobster (previously seen in Goldeneye) and musician Goldie as a bodyguard are memorable. Richards is unfortunately miscast as a buxom nuclear scientist. She, like Marceau, is pleasant on the eyes but unlike Marceau the former Mrs. Charlie Sheen is given little depth with which to work.

The World Is Not Enough suffers like most post-1985 Bond movies from the lack of a cold war. There is no evil empire to oppose; consequently, the movies lack the world-shattering urgency of such classic movies as Goldfinger, You Only Live Twice, Thunderball and Diamonds are Forever. Still, Bond soldiers on in an era when spies seem to be anachronistic. Bond’s anachronisms hold up, however, which is why the series continues today.

As sheer entertainment, the Bond movies are among the best bets on a continuing basis, as dependable as our own mortality and the inevitability of April 15th. It’s truly amazing that the series, now half a century and lots of different Bonds into the fray, is as consistently good as it is. The fact is, we need that kind of dependability in our lives. Presidents may come, monarchs may go, but Bond lives in a world that we remember and long for; one in which virile men can seduce gorgeous women by virtue of their sheer manliness, where bad guys always get their just desserts and a well-chosen witticism can deflect a bullet from its path.

WHY RENT THIS: Solid Bond entertainment. Carlyle a formidable villain and Marceau an excellent Bond girl. Brosnan at the height of his game.

WHY RENT SOMETHING ELSE: Denise Richards totally miscast. Over-reliance on gadgets. Needs a SPECTRE or SMERSH.

FAMILY MATTERS: Some action violence and plenty of sexual innuendo.

TRIVIAL PURSUITS: The boat sequence is the longest opening pre-title sequence of all the Bond films to date.

NOTABLE HOME VIDEO FEATURES: There is a music video of the title song by Garbage as well as the ability to play featurettes at appropriate times during the playing of the movie.

BOX OFFICE PERFORMANCE: $361.8M on a $135M production budget.

COMPARISON SHOPPING: The Bourne Supremacy

FINAL RATING: 7/10

NEXT: Mao’s Last Dancer

Skyfall


Skyfall

As classic Bond as it gets.

(2012) Spy Action (MGM/Columbia) Daniel Craig, Javier Bardem, Judi Dench, Naomie Harris, Ralph Fiennes, Berenice Marlohe, Ben Whishaw, Albert Finney, Helen McCrory, Ola Rapace, Rory Kinnear, Nicolas Woodeson, Bill Buckhurst, Elize du Toit, Tonia Sotiropoulou. Directed by Sam Mendes

 

James Bond is not just a classic; it’s a brand name for many of us. When we attend a Bond movie, we have certain expectations – incredible, jaw-dropping stunts, a charismatic villain, gorgeous women for Bond to seduce and exotic locations.

Within those expectations there are also others; gadgets of some sort or another, nifty cars, a haughty M, a title sequence with beautiful  women writhing about apparently naked, martinis shaken not stirred and so on and so forth. Mess with them and you are likely to have the purists come to your door with pitchforks and torches.

The filmmakers have no need to fear a mob after the latest Bond flick. As the film begins, a hard drive is stolen containing the names of every MI6 agent undercover in terrorist organizations. Bond (Craig) chases the perpetrator, a smooth hitman named Patrice (Rapace) over the rooftops of Istanbul and on the top of a moving train, followed by an inexperienced field agent named Eve (Harris) and monitored by M (Dench) and her chief-of-staff Tanner (Kinnear). It soon becomes apparent that Eve can no longer continue to chase the train and she gets herself to a vantage point where she can get  clear shot at the combatants but as the train approaches, she doesn’t have a clear shot. M orders her to take it anyway and Bond falls down and goes boom, off of a speeding train over a bridge and into a river.

Of course he survived. He’s James Bond. You could drop the Empire State Building on his head and he’d pick himself up, dust himself off, let loose a choice witticism and head for the nearest bar for a martini (shaken, not stirred). However, in his absence MI6 has come under siege. A bomb is planted in their headquarters. M is now answerable to a new Minister of Defense, Gareth Mallory (Fiennes) who is gently urging her to retire. The ever-prickly M refuses. She needs to find out who is behind this before she can go.

Bond is much the worse for wear when he returns. The gunshot wounds have played havoc with his shoulder, making aiming a gun a bit more problematic. He has become dependent on alcohol and has unresolved issues of rage aimed at M for not trusting him to finish off Patrice himself. Even though he’s clearly not ready to go back in the field she sends him there anyway and he follows Patrice back to his employer, a former MI6 agent named Silva (Bardem) with a grudge against M that goes beyond fury and reason. He is a computer whiz who was able to hack the MI6 mainframe and in doing so, set up a plan that ends with the destruction of MI6 and the death of M. But with James Bond on the job, England can rest easy. Can’t she?

This is simply put one of the best Bond movies ever; when Craig debuted in Casino Royale there was a sense that he was going to do great things in the franchise. After a misstep in the poorly conceived Quantum of Solace this is a gigantic leap forward. Sam Mendes, director of American Beauty clearly knows his Bond. The pacing here isn’t breakneck but it’s fast enough to keep us breathless but not so fast that we can’t enjoy the ride.

There are nods here to the Bond movies of yesterday with old friends making their reappearances including Q (Whishaw) and other people and things who I will leave nameless so as to not spoil the surprise of their appearances which in every case were met with spontaneous “Ahhhhhh” sounds from the audience.  

Craig is perhaps the most battered Bond in history; he gets shot more than once and is riddled with scars physical and psychological. Craig plays Bond with the cool of Sean Connery and the physicality of Jason Statham. The movie goes into Bond’s backstory more than any other has before it (the climactic fight takes place in Bond’s childhood home) in which much that is past is made to be left there, leaving the film’s final scenes to pave the way for the franchise’s future.

Dench is a revelation here; while Bond has never been what you would call an actor’s franchise Dench shines as M in a way Bernard Lee never would have been allowed to and turns the character into a force of nature. Makes you wish Dench would be given the vacant slot at the CIA.

Bardem, an amazing villain in No Country For Old Men, shows that he might very well be the best screen villain since Anthony Hopkins. He is scary and psychotic with a particular axe to grind; he’s not after world domination but merely to rid himself of his demons so that he may live the life he chooses, a life uniquely suited to him. It’s a believable villain which is made the more layered with his apparent bisexual impulses and a pretty strong knowledge of psychological warfare. Silva is brilliant, physically capable and remorseless; he makes a fitting adversary for Bond, one in which we’re not always certain Bond can triumph over.

This is definitely a must-see movie this holiday season. It has the epic scope that marks many of the best Bond films but a lot of the human elements that make it a great film period. Even if you aren’t fond of the Bond franchise you may well find something to love here and if you are, you will undoubtedly find that the movie treats the 50 years of the franchise with respect even as it reinvents it for the next 50 years, a neat trick that requires remarkable skill to pull off. Reason enough to celebrate.

REASONS TO GO: Destined to take its place as a Bond classic. Shows proper reverence but modernizes the series at the same time.

REASONS TO STAY: A few logical lapses and a bit too much product placement gets distracting.

FAMILY VALUES:  Like all Bond movies, there’s plenty of violence, sex and smoking. There are also a few mildly bad words here and there.

TRIVIAL PURSUIT: Skyfall is the first Daniel Craig-era Bond film to use a title that didn’t come from Ian Fleming. Currently there are only four titles left from Ian Fleming-written James Bond stories that have not been used for the films; The Property of a Lady, The Hildebrand Rarity, Risico and 007 in New York City

CRITICAL MASS: As of 11/24/12: Rotten Tomatoes: 92% positive reviews. Metacritic: 81/100. The reviews agree that this is one of the best Bonds ever.

COMPARISON SHOPPING: Goldeneye

KOMODO DRAGON LOVERS: .A pair of these gigantic lizards can be seen in a pit at the Golden Dragon Casino during a fight scene.

FINAL RATING: 8.5/10

NEXT: Rise of the Guardians