What's the last Bond movie you watched?
#751
Posted 05 December 2009 - 12:05 AM
#752
Posted 05 December 2009 - 01:49 AM
I actually enjoyed DAD immensely, which is usually my least fave film. TWINE just doesn't hold up...even though Maria Grazia is my favorite Bond girl in the PB era.
Despite the poor CGI and other flaws, DAD is unpretentious fun and a glorious throwback to the Lewis Gilbert era style of "Bond as Superman" filmmaking that suits the more comical Bonds like Moore and Brosnan better that the serious ones. TWINE is a half-hearted attempted to be serious yet with a lot of 1970s-style comedy Bond thrown in. Also, the drama in TWINE seems closer to a soap opera than Ian Fleming. TWINE looks really weak post-CR which showed the proper way to attempt a serious Bond film. That stated, both Maria Grazia Cucinotta and Sophie Marceau are two of TWINE's redeeming features.
#753
Posted 05 December 2009 - 04:50 AM
For example, I think that the film slows down a little after M gets kidnapped. Then after that, it about 5 scenes of Renard and Elektra talking.
Also, I think that the Elektra/M scene was too drawn out. Why didn't she just shoot M at the conference room?
I will stick up for Denise Richards. First of all, it's never an actors fault for a bad performance, personally. Ultimately, the director is the one that calls the shots (he/she can make the actor do the scene over again). However, she really doesn't have any reason to be on that submarine at the end. She's okay when she first shows up, and defusing the bomb in the pipeline, but after that, she should have just been a terciary Bond girl.
Renard was an interesting character, just in the not-able-to-feel-pain aspect. But I don't think that it's ever fully realized to its full potential. And Elektra King is a strong villain, I think. It's interesting when Bond has to kill her, and that was a good moment.
I wouldn't go so far as to say that it's similar to Goldfinger, but it does have that type of plot: destroying the competitors to increase you own stock. So, I think that, overall, it's like a modern retelling of Goldfinger, but done a little differently.
#754
Posted 05 December 2009 - 05:08 AM
I wouldn't go so far as to say that it's similar to Goldfinger, but it does have that type of plot: destroying the competitors to increase you own stock. So, I think that, overall, it's like a modern retelling of Goldfinger, but done a little differently.
I'd call TWINE an odd mix of OHMSS and AVTAK, not exactly the most compatible combination. The OHMSS elements are there: reference to the family motto in the title, ski sequence with avalanche, the indirect reference to Tracy when Elektra asks Bond if he ever lost a loved one. Someone said the story of TWINE is Bond thinks he's found Tracy but instead has found Blofeld.
Then, we get a Stacy Sutton-type in Christmas Jones, the end sequence where Bond and his leading lady are found by Q's technology, and as you said the villain's type of scheme(which GF, AVTAK and TWINE) all share.
The problem I have is that something is wrong with Bond acting so gullible and idiotic concerning Elektra in the 1st 1/2 of the film. It's hard to believe that this is the same Bond who survived encounters with the likes of Fiona Volpe, Helga Brandt and May Day. Also, he seems to fall for her after seeing her cry on a computer screen. Huh? In OHMSS, Bond didn't fall for Tracy until after she helped him escape from Blofeld's thugs and they had known each other for at least 3 months so why would the world's most prominent ladies' man fall for a girl he's never even met so quickly? It seems like despite some efforts by Purvis and Wade to connect Bond with his history in some ways in TWINE, they ignored the character's history in other areas. In retrospect, I see TWINE as a "dry run" for what we got in the vastly superior CR. I'm very glad Craig had taken over the role by that point.
#755
Posted 05 December 2009 - 05:15 AM
Wouldn't it have been interesting if Brosnan had done something like in Dr. No where he plays her, when she plays him (Miss Taro).It's hard to believe that this is the same Bond who survived encounters with the likes of Fiona Volpe, Helga Brandt and May Day.
Also, I think that your reference to OHMSS is very interesting (not just the obvious "Orbis non sufficit" and the Tracy reference).
#756
Posted 05 December 2009 - 10:19 AM
I will stick up for Denise Richards. First of all, it's never an actors fault for a bad performance, personally. Ultimately, the director is the one that calls the shots (he/she can make the actor do the scene over again).
I'm sorry, but I've always found the notion that directors can/should take full responsibility for an actor's bad peformance the height of absurdity. She was a grown woman hired to do a job; i.e. act. I'm not saying the director is totally blameless, but if an actor's performance rests mostly on a director, why bother hiring multi-million dollar actors when you can just get anyone off the street to do what the director guides them to do?
Reminds me of this quote from Repo Man; "I know a life of crime has led me to this sorry fate, and yet, I blame society"
#757
Posted 05 December 2009 - 12:36 PM
#758
Posted 05 December 2009 - 07:18 PM
#759
Posted 06 December 2009 - 06:30 PM
I almost cheered when Daniel got his "00" status
The film is fantastic.
roll on Bond 23, Craig is the man
#760
Posted 06 December 2009 - 11:37 PM
I sat down with a beer and a curry, and watched CASINO ROYALE
I almost cheered when Daniel got his "00" status
The film is fantastic.
roll on Bond 23, Craig is the man
It's a great moment when Bond's new status flashes up on the screen during the titles sequence...
#761
Posted 07 December 2009 - 12:33 AM
Edited by MrKidd, 07 December 2009 - 12:33 AM.
#762
Posted 07 December 2009 - 01:40 AM
#763
Posted 07 December 2009 - 11:54 PM
#764
Posted 08 December 2009 - 02:37 PM
#765
Posted 08 December 2009 - 08:24 PM
#766
Posted 09 December 2009 - 06:47 PM
I'm going to give TLD another try before the holidays. I haven't seen it in years and never really cared much for it (unless I compare it to LTK), but there are so many enthusiastic proponents on CBn that I feel compelled to give it another chance.
#767
Posted 17 December 2009 - 05:17 PM
Like MOONRAKER, it gets an undeserved boot-stomping for a few particularly obnoxiously horrendously badly scripted moments.
However, unlike MOONRAKER, director and cast are not able to make good of those particularly obnoxiously horrendously badly scripted moments, and so they sit and fester and tend to stink up the joint, if you’ll allow them.
Ok, so a few ringers across the jaw may be called for, but put the steel-toed, spurred boots away for heaven’s sake! This is quite close to the best we’ve had in Bond since John Glen first took the director’s chair!
The bird-watching conversation between Bond and Jinx are THE most uncomfortable 3 minutes in all of Bondom. So bad I laugh. Unfortunately here I have to laugh at as opposed to with (as MOONRAKER would have me do), but the point is that it’s only 3 minutes. The rest of it I’ll take over the constricted fun of GE and the dull action and horrible dramatics of TND and TWINE.
And guess what? The titles-sequence, yes indeed coupled with Madonna’s tune, is among the best in the series. Conservatively a top-5. If I were forced to pick a top-3 I wouldn’t be terribly surprised to find it there as well alongside CR’s and a token classic from Binder.
Zencat, I’m coming over this Christmas. As a guest I’m a little picky about my liquor, but I’ll eat anything.
(I realize how wide I’ve open the door with that last statement, but my soul is ready. Bring it on.)
#768
Posted 20 December 2009 - 07:56 AM
#769
Posted 21 December 2009 - 03:40 AM
#770
Posted 21 December 2009 - 11:57 AM
#771
Posted 25 December 2009 - 09:16 AM
#772
Posted 25 December 2009 - 05:45 PM
#773
Posted 25 December 2009 - 06:18 PM
#774
Posted 27 December 2009 - 08:37 AM
#775
Posted 27 December 2009 - 09:48 AM
Funny, after having just finished the novel the other day, I was prepared for even worse disappointment in the face of infidelity to the source material. It's been a year or more since I last saw the movie.
To my pleasant surprise, however, I thoroughly enjoyed every minute! As funny as it sounds, the film positively reeks of Flemingesque oddities that are often thought to be maligned but instead were fascinating to me this time. Also, Moore is right on top of his game in a performance that was written to echo the more violent Connery incarnation, but instead taken to a different and welcome level by Moore's unflappable charm. Lee is just, well, there's not much to say that's not already been said. Lee makes Scaramanga one of the most engaging villains of the series with his instantly intimidating presence. Ekland is...well, she ably does exactly what is asked of her, though she's not really asked to do very much that I could call interesting. She's eye candy, and at that she excels. The only intrusion upon the otherwise zany Flemingesque atmosphere is Sheriff Pepper, who isn't entirely unwelcome, but who immediately feels shoehorned in to get that bit of the audience that guffawed at his antics in the previous movie. Altogether, I thought the movie deserved a higher spot than it previously held in my rankings, and I've adjusted them accordingly.
#776
Posted 30 December 2009 - 03:00 PM
I unashamedly love this film to pieces. Aesthetically it’s great. Connery is absolutely hilarious and the dialogue is sharp. It’s camp and that’s it’s objective, and I find it very endearing and watchable. I try not to view it as the direct follow up to On Her Majesty’s Secret Service, and instead more as the spiritual successor to You Only Live Twice. Only elevated to another level.
#777
Posted 30 December 2009 - 03:03 PM
#778
Posted 30 December 2009 - 05:07 PM
#779
Posted 30 December 2009 - 07:25 PM
Diamonds are Forever.
I unashamedly love this film to pieces. Aesthetically it’s great. Connery is absolutely hilarious and the dialogue is sharp. It’s camp and that’s it’s objective, and I find it very endearing and watchable. I try not to view it as the direct follow up to On Her Majesty’s Secret Service, and instead more as the spiritual successor to You Only Live Twice. Only elevated to another level.
That's the proper way to see DAF and the entire 1971-1974 Bond period, i.e. a sequel to the events of YOLT, not OHMSS. The true sequels to OHMSS would be the FYEO PTS, LTK, TWINE and probably TSWLM since it provides us with the first direct reference to Tracy's death post-OHMSS. I also see CR as a prequel to OHMSS even though it was 37 years after the fact.
#780
Posted 30 December 2009 - 07:48 PM
xxx