Is it just me or does Daniel Craig, with each passing Bond film, look more and more like the William Shatner mask worn by Michael Myers in Halloween? For me, the biggest problem with the Craig Bond Era has been Craig…he showed a promising range initially but was never quite right for the role. But I digress. He does fine here (I guess) in his fourth outing. So apart from Craig saddled with being Craig and a snooze-inducing Sam Smith Bond theme (man, what a step down from Adele who knocked it out of the park with Skyfall!), let’s inspect all the good stuff in Spectre…because, boy, there’s a lot of it. (SPOILERS AHEAD)
The third Daniel Craig headlining Bond flick, Skyfall, opens up like many Bond films of yore with a spectacular chase sequence that involves motorcycles atop Istanbul’s famous market and a fist-fight atop a moving train that ends with Bond getting accidentally shot by another agent trying to take out his combatant. And as he falls into the river below, the traditional Bond credit sequence begins with Adele’s superb theme song recalling Shirley Bassey’s iconic Goldfinger.
It seems we were in for more of the same, but did they just kill Bond…even if only symbolically? During the credits you are reminded of the masterstroke of hiring cinematographer Roger Deakins (arguably the best in the biz today) and his frequent cohort, Oscar-winning director Sam Mendes as their names come up in that comfortably familiar Bond credit sequence font. Never before has a Bond film been given such behind-the-scenes pedigree, and armed with a sharper than normal script – the dynamic duo pay homage, deconstruct, and resurrect from one amazing set piece to the next the entire Bond oeuvre. Continue reading
Hmmm…who knew? That Joe Wright is quite mad, isn’t he?
In his fourth film, Hanna, director Joe Wright shatters all sensible expectations. It’s almost as if this (and not the regally refined Pride & Prejudice) was his first film. Or could this be the first Joe Wright film? Maybe the rest were compromises, and it is here where he throws everything and the kitchen sink at us and begs, “How do you like me now?”
The art-house action film is a rare breed indeed. Luc Besson’s Leon: The Professional and Tom Tykwer’s Run Lola Run are probably the most well-regarded. Hanna, about a teenage girl/uber-assassin out for revenge, will likely join the ranks of those two and in some ways surpasses them.
So in this demented girl-power, Euro-trash, Clockwork Orange-esque, quasi-futuristic, 80’s-retro-ish, techno-club music, beat-boxing kaleidoscope of a film, what does Joe Wright throw at us? Well, I’m glad you asked. Here’s the laundry list of treats (potential spoilers ahead) in store for audiences who take on Hanna: Continue reading