30 replies to this topic

[sharpshooter]

Under two hours long, Quantum of Solace is shortest and most intense Bond film ever made. The film picks up an hour after Casino Royale, in another bruising thriller that leaves you feeling both drained and exhilarated.

Betrayed by Vesper in Casino Royale, Bond battles his urge to make this mission personal. But ultimately, Bond’s revenge is a dish best served with six ice cold martinis. Quantum of Solace gets straight to the point and makes not apologies for it. With no flashback to get you up to speed from the previous film, tense close ups of Daniel Craig give way to a chaotic white knuckle pursuit around a rocky and dusty Italian coastal road. Cars are sent soaring into the rocky abyss, twisted into smashed debris. Bond steers his bullet ridden Aston Martin DBS around looming vehicles, whilst spraying his resolute pursuers with machine gun fire.

At the conclusion of this furious sequence, we learn the sinister Mr. White has been in the boot Bond’s car, nursing his blown apart knee cap. After no dialogue for five minutes, Bond opens the boot, looks down and snaps deathlessly “It's time to get out.” Bond’s steely gaze is freeze framed, ending the sequence and opening the film on a high.

A bright retro opening title sequence bursts to life. A shimmering mirage unfolds with a silhouetted Craig standing in front of a glowing sun. In perfect timing, Bond fires his pistol in tandem with the peaking strains of Jack White and Alicia Key’s duet Another Way to Die. Bond stalks through the isolated desert landscape set against glorious orange and blue colour backdrops. Although not among the series finest, I enjoy this effort, and it is the last time you will are able to catch your breath.

Director Marc Forster is willing to do the work of building a sequence. Quantum of Solace uses a vicious, vigorous editing style that gets the heart racing, making it virtually impossible to zone out or you will miss something. Your entire body and soul is required to pay acute attention. It is presented more about Bond’s state of mind, creating an ambience. By implementing this editing style alone, Quantum of Solace is really designed to age well. Quantum of Solace also looks beautiful. Forster has done some inspired work behind the camera, implementing arty camera angles we have never seen before in a Bond film.

Nursing a broken heart and dormant rage, Daniel Craig drives this film. Bond’s solace is achieved through action, not lengthy dialogue sequences. He is high on action and low on tacky quips. Craig also has the mannerisms down pat. After knocking out two MI6 guards in an elevator, there’s a little moment where he kicks a stray guard’s leg back into the elevator as the door closes. He then swaggers off to subtle Bond theme.

Dominic Greene, a ruthless businessman in league with the shadowy organisation Quantum, is the villain of the piece and is played with subdued reptilian menace by Mathieu Almaric. The main villains in Casino Royale and Quantum of Solace are just cogs in a larger wheel. They are quieter, sinister types under pressure and not in complete control. They are also relatively normal people, making it harder to distinguish them. Greene has restricted airtime, but that is logical as Quantum prefer to stick to the shadows.

The ending of Quantum of Solace is rather tranquil compared to the breakneck pace of the rest of the film. Bond meets up with Vesper’s boyfriend in an apartment building, but does not kill him. The point is not for Bond to kill him, the point is for Bond to grasp that killing him is not going to make any difference in the long run. After killing off leads throughout rest of the film, Bond hands this man over to the authorities. Therefore he grew as a character and gained his own solace.

Because this film is a direct continuation, the traditional gun barrel sequence again does not open the film. It closes it. Bond storms across the screen in a business suit and before you know it, he fires. The blue tinged gun barrel soon is drenched blood red, with the blood dropping at lightning speed. The red circle then shrinks to the corner of the screen and forms part of the letter “Q” in the film’s title ‘Quantum of Solace’, giving the end credits a title card. Blood then proceeds to gush outside of the Q and pour down the screen. Bond is then seen to walk out of shot stage left.

The Bond theme is not violently pushed down our throats to announce when something cool is happening. The Bond theme is instead smartly used, sprinkled throughout the entire score and allowing the fantastic lead actor take the limelight that he thoroughly deserves. Not for the music to steal his thunder and drown out the ultra-cool aura that he radiates.

Quantum of Solace proves that by removing and reshuffling traditional elements, the franchise is not ruined, nor is it any less of a Bond film. By doing so, the series has received a shot to the arm and it feels like anything could happen. If people want the same old, they have the previous 20 films. Usually the series is criticized for being formulaic and predictable; here fresh ideas and a new way of going about things thrive. I hope this stance continues with the remainder of Craig’s era.

Quantum of Solace is definitely one of the better Bond films and it gives you whiplash just looking at it. Glossy, gritty and with its own stylistic twist, Quantum of Solace is a leaner and meaner beast that shows the franchise well and truly has not run out of motor oil quite yet.


8/10

[HildebrandRarity]

Nice review.

I saw From Russia With Love last night after seing Q0S 4 times since the 14th and the one Bond movie that so lauded is actually inferior to Quantum Of Solace.

First, Bond makes his first appearence a full 18 minutes into the movie which doesn't really get going until the 45 minute mark.

In between 18min and 45min, i'm distracted and disgusted by Connery's ever change coif - his wig - by the lipstick and mascara and eyeliner he wears. He is not a good actor at this point of the 1960s.

Craig and Q0S blow Connery and FRWL out of the water. There is NO contest. None.

Craig destroys the FRWL Connery.

[MarkA]

What is it about all the people which seem to declare QOS a masterpiece, which it clearly isn't (no Bond film is, you need to immerse your self in a wider range of films) that feel they have to trash all the other Bond's to prove it. FRWL is a product of it's time, which includes out of date film techniques, acting styles etc. But what it does have is a superb script fairly faithful to a really good book and that despite all of its flashy style QOS clearly doesn't have. Also if I find a better scene than the one between Robert Shaw and Bond aboard the Orient Express for acting and script I will eat my hat. I am pleased you loved QOS, great, your opinion, but stop trashing other peoples just to proof your point. You are not the final word on this. Just another opinion I don't agree with.

[ImTheMoneypenny]

Great review sharpshooter! QOS took my breath away, absolutely loved it!

[MattofSteel]

Nice review.

I saw From Russia With Love last night after seing Q0S 4 times since the 14th and the one Bond movie that so lauded is actually inferior to Quantum Of Solace.

First, Bond makes his first appearence a full 18 minutes into the movie which doesn't really get going until the 45 minute mark.

In between 18min and 45min, i'm distracted and disgusted by Connery's ever change coif - his wig - by the lipstick and mascara and eyeliner he wears. He is not a good actor at this point of the 1960s.

Craig and Q0S blow Connery and FRWL out of the water. There is NO contest. None.

Craig destroys the FRWL Connery.

Loved QoS, but FRWL on any given day is my favourite of the series (alternates with Goldfinger) - so I can't quite go that far.

But you've summed up my exact problem with a lot of so called "fans" who think QoS is absolutely the worst - they tend to look at the past through rose-coloured glasses.

FRWL is completely different to Dr. No - Night and day. It's a dark, gritty thriller lacking a massive amount of the Bond staples.

Does he even drink a martini?
Does he introduce himself as Bond, James Bond?
Is Q even referred to as "Q?"
Does the villain have a "lair?"
Do we find out all the answers regarding SPECTRE?
Is there an Aston Martin in the film?

(Feel free to correct me on these)

Typical things people are citing as QoS flaws (or vaguely related). FRWL is almost more a spy movie than it TRIES to be a Bond movie. It's the clearest example of what good, classic Bond is about - and it's not a requisite checklist of familiarity and shoehorned elements. It's about an entire aesthetic and frame of mind in this slightly-removed-from-reality world - and Forster gets it.

What is it about all the people which seem to declare QOS a masterpiece, which it clearly isn't (no Bond film is, you need to immerse your self in a wider range of films) that feel they have to trash all the other Bond's to prove it. FRWL is a product of it's time, which includes out of date film techniques, acting styles etc. But what it does have is a superb script fairly faithful to a really good book and that despite all of its flashy style QOS clearly doesn't have. Also if I find a better scene than the one between Robert Shaw and Bond aboard the Orient Express for acting and script I will eat my hat. I am pleased you loved QOS, great, your opinion, but stop trashing other peoples just to proof your point. You are not the final word on this. Just another opinion I don't agree with.

I'm citing this not because I agree with you on what Hildy said - but you've hit the nail on the head regarding a sentiment I'd like to see more of. Contextual viewing.

One trend that particularly disturbs me is people slagging off the Pierce films in order to boost Dan's. Don't get me wrong. I love the Craig films, I think they are a considerable step above Brosnan's - but for the 1990s, the Brosnan films were absolutely right for their time.

[ImTheMoneypenny]

What is it about all the people which seem to declare QOS a masterpiece, which it clearly isn't (no Bond film is, you need to immerse your self in a wider range of films) that feel they have to trash all the other Bond's to prove it. FRWL is a product of it's time, which includes out of date film techniques, acting styles etc. But what it does have is a superb script fairly faithful to a really good book and that despite all of its flashy style QOS clearly doesn't have. Also if I find a better scene than the one between Robert Shaw and Bond aboard the Orient Express for acting and script I will eat my hat. I am pleased you loved QOS, great, your opinion, but stop trashing other peoples just to proof your point. You are not the final word on this. Just another opinion I don't agree with.

That's why I have two lists of movies, my ultimate top ten and then my Bond top ten. I feel QOS has earned a spot in my ultimate list as well as my Bond list.

As for FRWL, it's still nestled up against the top of my Bond list, and probably my ultimate list as well. It is a product of its time and I love it, it's my fave Connery Bond. The fight between Grant and Bond takes my breath away as much as many of the scenes in QOS. I see QOS on par with FRWL. Both are equally good films with their own flavour.

[tdalton]

Great review

What is it about all the people which seem to declare QOS a masterpiece, which it clearly isn't (no Bond film is, you need to immerse your self in a wider range of films) that feel they have to trash all the other Bond's to prove it. FRWL is a product of it's time, which includes out of date film techniques, acting styles etc. But what it does have is a superb script fairly faithful to a really good book and that despite all of its flashy style QOS clearly doesn't have. Also if I find a better scene than the one between Robert Shaw and Bond aboard the Orient Express for acting and script I will eat my hat. I am pleased you loved QOS, great, your opinion, but stop trashing other peoples just to proof your point. You are not the final word on this. Just another opinion I don't agree with.

That's why I have two lists of movies, my ultimate top ten and then my Bond top ten. I feel QOS has earned a spot in my ultimate list as well as my Bond list.

As for FRWL, it's still nestled up against the top of my Bond list, and probably my ultimate list as well. It is a product of its time and I love it, it's my fave Connery Bond. The fight between Grant and Bond takes my breath away as much as many of the scenes in QOS. I see QOS on par with FRWL. Both are equally good films with their own flavour.

Agreed on FRWL. It's a great film and is certainly in my top 5 Bond films ever made. I also agree concerning having an all-time film list separate from the Bond list and the possibility of QoS ranking on that one. Of all the Bond movies, I think that QUANTUM OF SOLACE is the film most likely to appear on my all-time top ten film list for the simple reason that it is a great film, but it also contains some of the elements of my other favorite films, which only make the film stronger. QoS takes the artistic touches of some of the more artistic films that are on my all-time list (although those types of films are not the only ones that would appear on that list, though) and applies them within the context of a Bond film, which in my view elevates QoS over many of the other Bond films (with the possible exception of CASINO ROYALE). QoS really is such a different Bond movie, though, that it really stands out from the rest of them because it's so different in many respects to anything that has preceded it.

Edited by tdalton, 18 November 2008 - 02:32 PM.

[ImTheMoneypenny]

Agreed on FRWL. It's a great film and is certainly in my top 5 Bond films ever made. I also agree concerning having an all-time film list separate from the Bond list and the possibility of QoS ranking on that one. Of all the Bond movies, I think that QUANTUM OF SOLACE is the film most likely to appear on my all-time top ten film list for the simple reason that it is a great film, but it also contains some of the elements of my other favorite films, which only make the film stronger. QoS takes the artistic touches of some of the more artistic films that are on my all-time list (although those types of films are not the only ones that would appear on that list, though) and applies them within the context of a Bond film, which in my view elevates QoS over many of the other Bond films (with the possible exception of CASINO ROYALE). QoS really is such a different Bond movie, though, that it really stands out from the rest of them because it's so different in many respects to anything that has preceded it.

Couldn't agree more, tdalton!

[The ides of Mark]

I enjoyed your review very much Sharpshooter, thanks for a good job!

[HildebrandRarity]

What is it about all the people which seem to declare QOS a masterpiece, which it clearly isn't (no Bond film is, you need to immerse your self in a wider range of films).

FRWL is a product of it's time...

Also if I find a better scene than the one between Robert Shaw and Bond aboard the Orient Express for acting and script I will eat my hat. I am pleased you loved QOS, great, your opinion, but stop trashing other peoples just to proof your point. You are not the final word on this.

MarkA, i'm merely stating an opinion. You need not get defensive over the opinion of a total stranger. I'm sorry if I offended you in any way.

This is Our sharpshooter's review thread, so I won't dwell on FRWL and Connery.

I have, however, changed my opinion on Connery and FRWL after watching Quantum. I grew up watching Connery as Bond (in fact I remember watching You Only Live Twice at a pre-DAF re-release at a drive in with my parents) so I have fond memories of Connery.

That does not mean that we can't look at those movies with a discrerning eye in light of the latest movie on offer.

I stand by what I said. Look at the UE version of FRWL and note that Bond (other than the duplicate one in the PTS) doesn't get on screen until 18mins and his wig, lipstick and mascara/eyeliner are a real distraction.

His one true great line "How can a friend be in debt..." while he's helping an injured Kerim Bey set up the Krilencu kill is uttered 'off screen'. Terrible. Connery really hits his acting stride fully and completely at Thunderball. By comparison, Craig is already well into his stride.

Are we not allowed to 're-visit' the 'sacred cows' of the genre?

PS

Yes, the Orient Express fight is awsome...but things done in Quantum are also awsome.

[Publius]

I am pleased you loved QOS, great, your opinion, but stop trashing other peoples just to proof your point.

In that post, he wasn't trashing anyone's opinion, just slagging off on old Bond films (and I disagree with HR, by the way, even if I like QoS better).

Anyway, great review, sharpshooter. It's coming as no surprise to me that the people whose opinions on Bond most closely resemble my own are loving QoS as much as I am.

[bondrules]

Your entire body and soul is required to pay acute attention.

I agree. This is why so many ppl who were (while the movie was playing) checking their cell phones, scratching their backs, thinking about where they left the day's office memo didn't like it as much as we did. They were waiting for the spoonfed answers they are accustomed to.

[DamnCoffee]

Sharpshooter, this has got to be one of the best reviews I have ever read. Well done. I agree with everything you say.

[Publius]

Your entire body and soul is required to pay acute attention.

I agree. This is why so many ppl who were (while the movie was playing) checking their cell phones, scratching their backs, thinking about where they left the day's office memo didn't like it as much as we did. They were waiting for the spoonfed answers they are accustomed to.

Yes, this film did what few major blockbusters do nowadays and would routinely only touch on a plot point once. We know X, Y, or Z only because it was mentioned once by one character (say, Leiter telling Bond where to find Greene and Medrano). And it did that for just about everything, which is exceedingly rare.

I loved it as much as I hated Mathis' running commentary on the poker game in CR or the extra-long shot of Carlos' cell phone in Miami so we got the picture that it was the detonator for his bomb. Nothing was belabored in this film.

[bondrules]

I loved it as much as I hated Mathis' running commentary on the poker game in CR

Great point. QoS is so good, it can make one re-evaluate details on other movies. Even Casino Royale.

If I can blame Forster for anything, is that he is spoiling other movies for me. I want see movies that require me to glue to the screen if I am to understand what's going on.

Most movies are crafted by lazy studios, using old formulas, etc. I don't see that many movies in future being done with QoS smarts. At least it sure will make its long term value that much higher.

[ACE]

Under two hours long, Quantum of Solace is shortest and most intense Bond film ever made. The film picks up an hour after Casino Royale, in another bruising thriller that leaves you feeling both drained and exhilarated.

Betrayed by Vesper in Casino Royale, Bond battles his urge to make this mission personal. But ultimately, Bond’s revenge is a dish best served with six ice cold martinis. Quantum of Solace gets straight to the point and makes not apologies for it. With no flashback to get you up to speed from the previous film, tense close ups of Daniel Craig give way to a chaotic white knuckle pursuit around a rocky and dusty Italian coastal road. Cars are sent soaring into the rocky abyss, twisted into smashed debris. Bond steers his bullet ridden Aston Martin DBS around looming vehicles, whilst spraying his resolute pursuers with machine gun fire.

At the conclusion of this furious sequence, we learn the sinister Mr. White has been in the boot Bond’s car, nursing his blown apart knee cap. After no dialogue for five minutes, Bond opens the boot, looks down and snaps deathlessly “It's time to get out.” Bond’s steely gaze is freeze framed, ending the sequence and opening the film on a high.

A bright retro opening title sequence bursts to life. A shimmering mirage unfolds with a silhouetted Craig standing in front of a glowing sun. In perfect timing, Bond fires his pistol in tandem with the peaking strains of Jack White and Alicia Key’s duet Another Way to Die. Bond stalks through the isolated desert landscape set against glorious orange and blue colour backdrops. Although not among the series finest, I enjoy this effort, and it is the last time you will are able to catch your breath.

Director Marc Forster is willing to do the work of building a sequence. Quantum of Solace uses a vicious, vigorous editing style that gets the heart racing, making it virtually impossible to zone out or you will miss something. Your entire body and soul is required to pay acute attention. It is presented more about Bond’s state of mind, creating an ambience. By implementing this editing style alone, Quantum of Solace is really designed to age well. Quantum of Solace also looks beautiful. Forster has done some inspired work behind the camera, implementing arty camera angles we have never seen before in a Bond film.

Nursing a broken heart and dormant rage, Daniel Craig drives this film. Bond’s solace is achieved through action, not lengthy dialogue sequences. He is high on action and low on tacky quips. Craig also has the mannerisms down pat. After knocking out two MI6 guards in an elevator, there’s a little moment where he kicks a stray guard’s leg back into the elevator as the door closes. He then swaggers off to subtle Bond theme.

Dominic Greene, a ruthless businessman in league with the shadowy organisation Quantum, is the villain of the piece and is played with subdued reptilian menace by Mathieu Almaric. The main villains in Casino Royale and Quantum of Solace are just cogs in a larger wheel. They are quieter, sinister types under pressure and not in complete control. They are also relatively normal people, making it harder to distinguish them. Greene has restricted airtime, but that is logical as Quantum prefer to stick to the shadows.

The ending of Quantum of Solace is rather tranquil compared to the breakneck pace of the rest of the film. Bond meets up with Vesper’s boyfriend in an apartment building, but does not kill him. The point is not for Bond to kill him, the point is for Bond to grasp that killing him is not going to make any difference in the long run. After killing off leads throughout rest of the film, Bond hands this man over to the authorities. Therefore he grew as a character and gained his own solace.

Because this film is a direct continuation, the traditional gun barrel sequence again does not open the film. It closes it. Bond storms across the screen in a business suit and before you know it, he fires. The blue tinged gun barrel soon is drenched blood red, with the blood dropping at lightning speed. The red circle then shrinks to the corner of the screen and forms part of the letter “Q” in the film’s title ‘Quantum of Solace’, giving the end credits a title card. Blood then proceeds to gush outside of the Q and pour down the screen. Bond is then seen to walk out of shot stage left.

The Bond theme is not violently pushed down our throats to announce when something cool is happening. The Bond theme is instead smartly used, sprinkled throughout the entire score and allowing the fantastic lead actor take the limelight that he thoroughly deserves. Not for the music to steal his thunder and drown out the ultra-cool aura that he radiates.

Quantum of Solace proves that by removing and reshuffling traditional elements, the franchise is not ruined, nor is it any less of a Bond film. By doing so, the series has received a shot to the arm and it feels like anything could happen. If people want the same old, they have the previous 20 films. Usually the series is criticized for being formulaic and predictable; here fresh ideas and a new way of going about things thrive. I hope this stance continues with the remainder of Craig’s era.

Quantum of Solace is definitely one of the better Bond films and it gives you whiplash just looking at it. Glossy, gritty and with its own stylistic twist, Quantum of Solace is a leaner and meaner beast that shows the franchise well and truly has not run out of motor oil quite yet.


8/10

Great review, sharpshooter. Nice, apt turns of phrase.

[Daddy Bond]

What is it about all the people which seem to declare QOS a masterpiece, which it clearly isn't (no Bond film is, you need to immerse your self in a wider range of films) that feel they have to trash all the other Bond's to prove it. FRWL is a product of it's time, which includes out of date film techniques, acting styles etc. But what it does have is a superb script fairly faithful to a really good book and that despite all of its flashy style QOS clearly doesn't have. Also if I find a better scene than the one between Robert Shaw and Bond aboard the Orient Express for acting and script I will eat my hat. I am pleased you loved QOS, great, your opinion, but stop trashing other peoples just to proof your point. You are not the final word on this. Just another opinion I don't agree with.

So are you saying that such a quality is beyond the reach of any Bond movie?

[MarkA]

So are you saying that such a quality is beyond the reach of any Bond movie?

You know what I might be. I feel there are far too many compromises in a franchise series to make a work of art true to it self.

Connery really hits his acting stride fully and completely at Thunderball.

You know what that is one thing I really agree with. But the thing you say about overdone make-up is a product of it's time. I actually thought it worse in Goldfinger. But it's like back projection, obvious model shots, under cranked action etc. They can be distracting to today's audiences I admit, but a decent script and story must always be the basis for a great film and with FRWL I barely notice them once I am involved in a great story.

Yes, the Orient Express fight is awsome

Not just the fight but the lead-up scene between Connery and Shaw before the fight that makes the fight so great. Context is everything. I am afraid all the flash in QOS for me can't disguise a hollow film.

[sharpshooter]

Interesting how my review thread turned into a Connery/FRWL discussion.

Thanks for the comments.

[DamnCoffee]

WOW, I cant stop reading this review. It completely nails it.

[SecretAgentFan]

Also if I find a better scene than the one between Robert Shaw and Bond aboard the Orient Express for acting and script I will eat my hat.

Bon appetit.

[DamnCoffee]

After a boring night on CBn, I decided re-read this review Sharpshooter, and I must say that you have made me want to watch the movie for the first time in ages.

I think Quantum of Solace shall be my midnight snack tonight.

I love your writing style btw.

[byline]

After a boring night on CBn, I decided re-read this review Sharpshooter, and I must say that you have made me want to watch the movie for the first time in ages.

I think Quantum of Solace shall be my midnight snack tonight.

I love your writing style btw.

Agreed. Great review, and while I won't be watching it tonight, this beautifully written review may well inspire a weekend screening in our household.

[Dekard77]

I love QOS. It does keep the audience in some level of suspense. I also hated Mathis explanation of CR Casino scene and wished the Miami airport chase was slightly altered.
QOS should be the new trend of Bond films where the story develops with a deeper meaning.
I really liked the titles also. A good change. Klienmann was becoming too predictable.

[DamnCoffee]

I also hated Mathis explanation of CR Casino scene and wished the Miami airport chase was slightly altered.

Ah. I didn't mind the former. As I am somone who doesn't play Poker and doesn't really understand the game, it helped me to get a fair idea of what was going on. As for the latter, after watching Casino Royale a few times lately, I've come to appreciate it.

[Dekard77]

I also hated Mathis explanation of CR Casino scene and wished the Miami airport chase was slightly altered.

Ah. I didn't mind the former. As I am somone who doesn't play Poker and doesn't really understand the game, it helped me to get a fair idea of what was going on. As for the latter, after watching Casino Royale a few times lately, I've come to appreciate it.

Hmmm well I thought it wasn't only the exposition but the poor delivery of it . The airport scene however could have been slightly cut as after a while I was wondering why the hell police didn't just shoot Bond..

[blueman]

Forster's work on QOS does highlight Campbell's on CR, though usually not in a good way: the first two action set pieces, the card game explanation, yeah there's some fat there to be trimmed. Campbell did hit some great actor moments, the shower scene really stands out IMO, and the torture scene.

Can Forster and co. go back and re-edit CR, please? (I know that makes some fans gnash their teeth, just think QOS's "like a bullet shot from a gun" approach is far more Bond than CR's "modern Casablanca" vibe, but whatevs).

[Dekard77]

Forster's work on QOS does highlight Campbell's on CR, though usually not in a good way: the first two action set pieces, the card game explanation, yeah there's some fat there to be trimmed. Campbell did hit some great actor moments, the shower scene really stands out IMO, and the torture scene.

Can Forster and co. go back and re-edit CR, please? (I know that makes some fans gnash their teeth, just think QOS's "like a bullet shot from a gun" approach is far more Bond than CR's "modern Casablanca" vibe, but whatevs).

Both films compliment each other. The first being a more romantic/adventure and the other a revenge/adventure. They both have the right pace.

[bosst]

Hey sharpshooter,great review of QOS.

Thank god someone is seeing the light and giving Quantum the credit it deserves.Trust me when I say that QOS will stand up well over time.There is a mood to the film which is unlike no other Bond film before.The PTS when Bond 'blows' the Alfa off the road was badass as was the Sienna Roof top sequence with Craig's steely eyed trailing gun blast shot.
That was a directorial input-the film underlines Bond's intent.There is no flab,no excess,no Bad guy outstays their welcome.Some may not like this.Indeed I don't think the subsequent films will even try to mimic this fast cutting style but hats off to Forster for doing this.It's no surprise to me that QOS is even better on DVD as you can actually take in the complexities of the production and shooting.

AND TO THE MASS MEDIA "I'M SORRY YOU GUYS DON'T GET IT BUT QOS IS A BOND FILM PURE AND SIMPLE"

Sometimes we have a rose tinted view of the previous films-the iconism,the quips,gadgets and girls etc.All of that history needs respect but needs to be put into perspective also.The character and films have evolved.Sometimes coming up with something truly original can be the main problem.
We have finished with the Fleming novels in the main and indeed Peter Morgan's inclusion in the writing team for the next film could be a double-edge sword-might expectations be raised to the stratosphere.

[The Shark]

We have finished with the Fleming novels in the main and indeed Peter Morgan's inclusion in the writing team for the next film could be a double-edge sword-might expectations be raised to the stratosphere.

I agree, though it's much better choice over Paul Haggfish.