89 replies to this topic

[HildebrandRarity]

Hey ACE, was there a discernable theme for QOS by DA? Like an evil~ish Quantum theme or a Solace~y James theme?

Or was it just one piece of music after another without any link to anything else?

[Tarl_Cabot]

Great read Ace.A positive reaction from a fanboy is all that matters. Pro critics be damned!

[ACE]

Thanks to those who liked the review.
I did try to point out the things less fannish reviews would omit.
I really did try to omit major spoilers but on reflection the paragraph describing the story probably does contain minor spoilers. Sorry to anyone who feels aggrieved!

Now, from you impression of 'Quantum Of Solace', which pretty much is 'Casino Royale - Part II', do you think it possible there will be future entries that don't even tap a little bit into this deeper characterization? Can there ever be a 'back-to-popcorn' Bond-romp like, say TSWLM or TLD for example? Or has the art to tell Bond stories on the big sceen evolved foo far away from that direction (my secret, or rather, not so secret, opinion)?

QOS is to CR what The Empire Strikes Back was to Star Wars.
Yes, I can imagine a popcorn Bond in a few years. Just saw The Spy Who Loved Me at Pinewood on Sunday 19.10.2008 and it is a different world to QOS.

Reading between the lines, though, I do get the feeling that you might have welcomed more developed villains. There may be one or two other small, vaguely-worded gripes in there, in which you hint subtly at possible points of very minor concern with all the directness of a Japanese diplomat...

Sorry I'm not Fat T enough for you!
Yes, my review does suggest it would have been good to have more character development from the leading lady and villains, Michael Kitchen as Tanner, larger scale production design, a better finale, more humour, more flair and elan.

Hey ACE, was there a discernable theme for QOS by DA? Or was it just one piece of music after another without any link to anything else?

More the latter. It was difficult to discern a separate theme for QOS. The Vesper theme is prevalent.

This was just my initial reaction. Just my opinion. It will almost certainly evolve as I see it more. This will take time to digest.

I look forward to seeing what everybody else thinks.

[coco1997]

ACE, not sure if you remember the details of the gunbarrel, but do you recall what Dan's walk and firing pose were like, as well as the style of the gunbarrel and music played over it?

[Harmsway]

QOS is to CR what The Empire Strikes Back was to Star Wars.

Just because it's darker?

[freemo]

QOS is to CR what The Empire Strikes Back was to Star Wars.

Just because it's darker?

No. Both have a character who gets frozen in carbonite.

[00Twelve]

QOS is to CR what The Empire Strikes Back was to Star Wars.

Just because it's darker?

No. Both have a character who gets frozen in carbonite.

Um, spoiler?!?

[JimmyBond]

QOS is to CR what The Empire Strikes Back was to Star Wars.

Just because it's darker?

No. Both have a character who gets frozen in carbonite.

Um, spoiler?!?

Yeah no joke Next thing you know he'll tell us that Felix has to save Bond from Jabba's Palace in Bond 23

[Blofeld's Cat]

ACE, I want to keep your review in mind as I go into a cinema to see it. You know, get in the mood and all that.

[dee-bee-five]

I think a lot would be achieved if the people intent on slamming 'Quantum Of Solace' could at least bring up the dignity to watch the film before littering the world with their prejudiced bash-the--out-of-Craig-Forster-EON crusade.

I fear that you may find that this would be the most that they could do, and probably well beyond it. I fear that you may be asking them to stretch themselves too far.

Indeed. If opinions are like backsides (ie we've all got one), internet forums seem to have become the 21st century sluice by which some people relieve themselves.

Back on topic - this was an excellent, well-written review. I only wish I hadn't read it before seeing the film next Friday. Ah, well...

[Elvenstar]

Thanks a lot! You made my day!
Judging by other revs (have read only CBn member's comments to them not the actual reviews) I got the feeling that the major thing you have to do to enjoy Qos is forget CR and dont compare this to CR and I have time to do it til 6th Nov. But your review made me think it will go well as a follow up to it.
Thanks for staying spoiler-free!

[ACE]

... I got the feeling that the major thing you have to do to enjoy Qos is forget CR and dont compare this to CR ...

Правильно. Спасибо.

[Loomis]

Sorry I'm not Fat T enough for you!
Yes, my review does suggest it would have been good to have more character development from the leading lady and villains, Michael Kitchen as Tanner, larger scale production design, a better finale, more humour, more flair and elan.

I'm sure Fat T will make up for it! (Will have to check out Amazon in a few months.)

Re: comparisons to CASINO ROYALE, ordinarily I'd say that QUANTUM OF SOLACE ought to be Judged On Its Own Merits™, but then again QoS was tooled as a sequel to CR, meaning that comparisons are not only unavoidable but essential.

Such a song and dance has made by Eon of QoS as The First True Sequel In The Series™ that the filmmakers cannot wriggle out of being beaten by the CR comparison stick, any more than Forster can pretend that Bourne has had no influence on Bond.

[David Schofield]

Re: comparisons to CASINO ROYALE, ordinarily I'd say that QUANTUM OF SOLACE ought to be Judged On Its Own Merits™, but then again QoS was tooled as a sequel to CR, meaning that comparisons are not only unavoidable but essential.

Such a song and dance has made by Eon of QoS as The First True Sequel In The Series™ that the filmmakers cannot wriggle out of being beaten by the CR comparison stick, any more than Forster can pretend that Bourne has had no influence on Bond.

Wouldn't the answer really have been, then, for EON to have kept Campbell on board, rather than go with artsy-farty, "don't do action films" Foster? You know, I suspect Campbell, the genius behind CR, would have stayed for lots of £££££££££££££, despite anything he might have said.

And that's my only comment until I've seen the ing movie.

[Zorin Industries]

Sorry I'm not Fat T enough for you!
Yes, my review does suggest it would have been good to have more character development from the leading lady and villains, Michael Kitchen as Tanner, larger scale production design, a better finale, more humour, more flair and elan.

I'm sure Fat T will make up for it! (Will have to check out Amazon in a few months.)

Re: comparisons to CASINO ROYALE, ordinarily I'd say that QUANTUM OF SOLACE ought to be Judged On Its Own Merits™, but then again QoS was tooled as a sequel to CR, meaning that comparisons are not only unavoidable but essential.

Such a song and dance has made by Eon of QoS as The First True Sequel In The Series™ that the filmmakers cannot wriggle out of being beaten by the CR comparison stick, any more than Forster can pretend that Bourne has had no influence on Bond.

Have you seen the film Loomis?

Eon Productions did not make a song and dance of the sequel tag. It was actually not described by them as such. And can everyone stop saying Marc Forster is an art house director. FINDING NEVERLAND, STRANGER THAN FICTION, THE KITE RUNNER and MONSTERS BALL are NOT art house films!! That demonstrates such a narrow vision of cinema using mainstream multiplex fare as the barometer to which everything else has to be judged. AND can everyone also leave Bourne out of the equation too? It has nothing to do with James Bond 007 when you realise just what Jason Bourne and Robert Ludlum are influenced by. There is no point knocking Bond by using Bourne as the latter is a by-product of Bond.

[Loomis]

Have you seen the film Loomis?

You know I haven't. Then again, where am I implying that I have done? It's true that I have my suspicions about what QoS is like (this is, I trust, okay?), but I may well be wrong and hope that I am.

Eon Productions did not make a song and dance of the sequel tag. It was actually not described by them as such.

Are you sure about this? I admit that I have no source to cite, but I do believe that QoS is "officially" the first "proper" sequel in the series.

And can everyone stop saying Marc Forster is an art house director.

Stop? I never started. I know perfectly well what an arthouse director is and that Forster isn't one.

AND can everyone also leave Bourne out of the equation too?

No. It is entirely legitimate to compare Bond and Bourne.

It has nothing to do with James Bond 007 when you realise just what Jason Bourne and Robert Ludlum are influenced by.

Everyone with a brain would concede that, without Bond, there would be no Bourne. But that does not mean that the Damon Bourne films have not in turn influenced the Eon Bond films.

There is no point knocking Bond by using Bourne as the latter is a by-product of Bond.

Actually, I'm not knocking Bond by using Bourne. As a Bourne fan as well as Bond fan I'm delighted by the Bourne influence on the Craig era. Eon picked the right role model.

[Sir James Moloney]

You know, the same harsh talk evaded the CR cinema theatre rooms, everybody said they loved it and then started to talk bourne. I simply don´t give a damn. I like bourne. I prefer Bond to take something out of Bourne (like the action) then out of something like the matrix (ramped up shots). Personally I don´t see that much of bourne in bond but hey, many people do, so what can I say? Good for them.

[Harmsway]

There is no point knocking Bond by using Bourne as the latter is a by-product of Bond.

Actually, I'm not knocking Bond by using Bourne. As a Bourne fan as well as Bond fan I'm delighted by the Bourne influence on the Craig era. Eon picked the right role model.

Quite so.

[Jackanaples]

I personally think the influence of Bourne is a bit overstressed. By everyone. Undoubtedly EON saw THE BOURNE IDENTITY and said, our product looks tired compared to this. It's time to up our game. And did so, but everything still came out Bond.

Look at the action scenes:

When Jason Bourne fights, he seems to me almost a machine. His responses are precise, ordered. He seems almost unable not to respond in that fashion. Even his use of common objects in a fight comes off as something he was programmed to do.

Bond by Craig however, is a contrast. He's an animal, a brawler. His fights get out of control and when he uses an everyday object in a fight, it's not because he was trained to --it's because he's an endlessly resourseful bastard.

Just something that occurred to me. There are plenty of other differences to be made, but for action I think that's the main one.

Edited by Jackanaples, 21 October 2008 - 03:07 PM.

[Publius]

QOS is to CR what The Empire Strikes Back was to Star Wars.

Didn't TESB receive mixed reviews when it first came out? Hard to believe a Star Wars where the good guys lose every battle came to be widely considered the best.

[DR76]

QOS is to CR what The Empire Strikes Back was to Star Wars.
Yes, I can imagine a popcorn Bond in a few years. Just saw The Spy Who Loved Me at Pinewood on Sunday 19.10.2008 and it is a different world to QOS.

Exactly what do you mean by this? Are you comparing QoS to ESB, because both are sequels to previous movies? Or are you claiming that QoS will be superior to CR, just as ESB was superior to ANH?

When Jason Bourne fights, he seems to me almost a machine. His responses are precise, ordered. He seems almost unable not to respond in that fashion. Even his use of common objects in a fight comes off as something he was programmed to do.

Bond by Craig however, is a contrast. He's an animal, a brawler. His fights get out of control and when he uses an everyday object in a fight, it's not because he was trained to --it's because he's an endlessly resourseful bastard.

Jason Bourne was trained in a way that made him a more precise fighter than Bond. And he also used everyday objects in a fight.

Edited by DR76, 21 October 2008 - 03:20 PM.

[JADSTERSDAD]

An interesting take from someone on the Filmscoremonthly message board:

it's possible that a 60 minute album could be a virtually complete score

OK, now that I saw the film this morning, here's the deal:

The good news first: The Album DOES INDEED feature the complete underscore, in chronological order!

What it DOESN'T feature is the film version of "Another Way To Die". As I suspected earlier, they used a significantly shorter edit than the 4:20 album version for the titles.
The 3:20 edit is possibly featured on the 7" single or it was just on one of those websites where it was first officially released. Anyway, the film version is even a bit more shortened than the 3.20 version.

What IS missing on the album is the Bond Theme which opens the end titles. And this ends rather quickly.

Because after that came a definite surprise: An instrumental end title track called "Roll, Credit Roll".
This cue is comprised of Arnold's motifs for the film and is played by some lounge/electro/acid-jazz combo whose name I did not knew before but forgot to write down.

This was rather nice by the way, a bit in the vein of Arnold's party music cues from TOMORROW NEVER DIES.

And this track is NOT on the album, which I don't understand and which is abit sad. Remember Moby's Bond Remix was featured on the original TND album? So why not here? Maybe contractual reasons...
But next year, everybod can rectify this (if he or she pleases) with using a clean DVD track of this cue.

What also is not on the album are some non-Arnold source music cues.
But apart fom the "Tosca" scene with Pucini's music, I did not take notice of them.

Since the acion scenes are heavy on sound-effects, Arnold's over the top cues are not too distracting in the film as they are on the album. And this happened before, so nothing new here.

Now the less good news: The film itself.

While it's by no means a bad movie and I enjoyed it a great deal while watching, I felt a bit hollow afterwards.
There was always too little time for establishing the (many, many) locations which is unforgiving when actually shooting all around the globe.

And the movie DOES feel like a sequel, it rarely stands on its own, which is a shame.

Daniel Craig and Dame Judi Dench are brilliant as ever but Dominic Greene's character is totally underwritten and he makes for one of the most forgettable Bond villains of all time. Which is by no means Mathieu Almaric's fault.

And the strangest thing: It never felt like the shortest of all Bond Films. Which for me was not a good sign either.
But the action scenes are great, although more Jason Bourne than James Bond.

The worst decisons of Marc Forster (or whoever came up with it) was the placing of the gunbarrel, and his choice of MKII for taking over Daniel Kleinman's job.
The titles were, I can frankly say, the least interesting of all the Bond Main Titles. Tey just plain suck, because they look like really old, bad & boring Nineties CGI.
The only thing that evaluates them ironically is the song (yes, the song!) because even if I think it's a bad Bond Title Tune, I've gotten used to it a great deal over the last weeks.

And I hope the film does manage this feat as well with second viewing.
It is absolutely no match for CASINO ROYALE. A worthy successor and good second part - maybe yes.

But a brilliant stand-alone Bond Film? No. Sadly not.

[Jackanaples]

QOS is to CR what The Empire Strikes Back was to Star Wars.
Yes, I can imagine a popcorn Bond in a few years. Just saw The Spy Who Loved Me at Pinewood on Sunday 19.10.2008 and it is a different world to QOS.

Exactly what do you mean by this? Are you comparing QoS to ESB, because both are sequels to previous movies? Or are you claiming that QoS will be superior to CR, just as ESB was superior to ANH?

When Jason Bourne fights, he seems to me almost a machine. His responses are precise, ordered. He seems almost unable not to respond in that fashion. Even his use of common objects in a fight comes off as something he was programmed to do.

Bond by Craig however, is a contrast. He's an animal, a brawler. His fights get out of control and when he uses an everyday object in a fight, it's not because he was trained to --it's because he's an endlessly resourseful bastard.

Jason Bourne was trained in a way that made him a more precise fighter than Bond. And he also used everyday objects in a fight.

Read my post again. I indicated that both made use of common everyday items in a fight. I only pointed out that Bourne's use appears to come from an intense amount of training whilst Bond looks to be improvising like mad.

[JohnFerguson]

Actually, I'm not knocking Bond by using Bourne. As a Bourne fan as well as Bond fan I'm delighted by the Bourne influence on the Craig era. Eon picked the right role model.

Exactly.

And speaking of strongly resembling another work of fiction, one need look no farther than LALD. Forget about the obvious blaxploitation angle and consider the following:

1. Spooky villains
2. Swampy locations
3. Colorful local characters
4. Animals that nip at the heels of one of the heroes
5. Supernatural tricks used to frighten away outsiders
6. A villain with a phony face
7. Trusty sidekick
8. Comical crashes during chase scenes

Bond film... or an episode of Scooby-Doo? The only thing missing is a Velma-like character showing up to unmask one of the bad guys.

Velma: "That's not Baron Samedi! It's Mr. Jamison from the San Monique Ministry of Culture. He's been working with Kananga all along to help frighten people away from the poppy fields."

Jamison/Samedi: "Yes, and I would have gotten away with it, too, if it weren't for you meddling Brits!"

[ACE]

Exactement If I was to describe QOS with one word (and I obviously couldn't!), I like the word "ambitious".

From Variety

'Solace' offers thinking person's 007
Marc Forster brings indie touch to latest Bond
By ANNE THOMPSON

Call it Smart Bond. Or Minimalist Bond.

"Quantum of Solace" is glitzy, glam and packed with eye-popping, violent action, but Bond 22 is also arty, tasteful and elegant. The film's most ambitious set-piece, a lyrical homage to Alfred Hitchcock's "The Man Who Knew Too Much," unfolds around the floating stage of a Bregenz Festival Opera House performance of "Tosca."

A far cry from "Moonraker," "Quantum" is both a James Bond movie and a Marc Forster movie.

The German-born, Swiss-raised director of such Oscar bait as "Finding Neverland" and "Monster's Ball" might seem an odd choice to helm a Bond film. e's a clear-eyed brainy European who has never directed an action film in his life, and admits to only catching up with such '60s Bond classics as "Dr. No," "Goldfinger" and "From Russia With Love" as part of his film education. He was never a fan of the franchise.

While many directors would die to get a crack at Bond, Forster resisted when Bond producers Barbara Broccoli and Michael G. Wilson approached him. Sony chairman Amy Pascal, who had worked with Forster on the offbeat Will Ferrell comedy "Stranger Than Fiction," had to coax him to even meet with them. But when Forster mentioned the picture to his frequent working partners, editor Matt Chesse and cinematographer Roberto Schaefer, they went nuts. "Bond is film history!" they cried.

Forster is a director with a strong personal style who is versatile, humanistic and able to adapt to various genres and budget levels. But this $200-million follow-up to 2006's reboot "Casino Royale," which scored $595 million worldwide with new Bond Daniel Craig, posed a serious leap from Forster's last picture, "The Kite Runner," a $17-million lit adaptation shot on constantly changing locations in Pakistan and China.Broccoli and Wilson told the director they wanted to take the Bond franchise "a step further," Forster says. They agreed to let him hire his usual creative team, and he eventually came around to the idea of Bond -- partly because he recognized that Steven Soderbergh gets to play in the indie sandbox because he delivers an "Ocean's" installment every few years.

The producers -- up against a ticking clock -- also were willing to meet most of Forster's demands. When he took on the pic in June 2007, he was faced with a firm Nov. 14, 2008 release date and a looming writers strike. The production and post-production schedule were so tight that reshoots weren't even an option.

Forster's first demand: Hire Paul Haggis, who had contributed to "Casino Royale," to retool Neal Purvis and Robert Wade's screenplay. Forster told Haggis to focus most on honing the plot, dialogue and characters. "I'm all for 'unclarity' and arty," Forster says. "But in a movie like this, I thought it was important to stay clear to the last frame."

Says Haggis: "It was a very brave move on Michael and Barbara's part. I don't think they wanted to make a safe bet. (Forster) put his own stamp on it, brought ideas he wanted to see, like the environmental theme. We wanted to explore who Bond was, and tried to treat him as a human being."

While Haggis dug into the revenge-driven actioner hinged on the death of Bond's beloved Vesper Lynd, Forster scoured the globe for locations. Exotic physical settings inspired many of the action sequences. While the production was based, as always, at London's Pinewood Studios, Forster filmed in more overseas locations than any prior Bond film, from Panama and Mexico to Italy and Chile, which subbed for the Bolivian water-starved desert. When the company filmed the colorful horse races in Sienna, Italy, Forster wasn't sure how he'd use them until he discovered the city's underground Roman tunnels and cisterns. Then he visualized how to intercut the brutal car-chase opener with the horse race, as a battered Bond screeches into Sienna to an underground safe house, pops up through a manhole in the midst of race crowds and chases his quarry across clay tile rooftops -- which was expensive to film in Sienna, requiring huge cranes -- and fights his way up scaffolding to a dramatic shattering fall through a glass cathedral dome.

As before, Craig's Bond is muscular, dangerous, fearless and rebellious against Judi Dench's powerful but maternal M. But in this case, he's grieving and vengeful as he chases down the man who killed his beloved Lynd. Forster also constructed a series of interlocking parallel sequences. New second-unit director Dan Bradley ("The Bourne Supremacy," "Bourne Ultimatum") shot the opening Aston Martin vs. Alfa Romeo car chase and handled all the car and airplane stunts, while Forster took care of the rest. All the set pieces were related, in keeping with Forster's environmental theme, to the four elements: water, air, fire and earth.

Forster got away with a lot on this Bond. While product placement is front and center with Ford cars and Bond's Omega watch, the helmer felt no pressure to foreground anything else. His take on the venerable spy begs the question of how far audiences are willing to go with a Bond film that dispenses with some of the familiar cheese they expect to see.

For example, Forster moved the standard Bond-with-gun opener to the end, while the opening montage is backed by a Bond song by Jack White and Alicia Keyes. Composer David Arnold'sscore pulls back on the use of the classic Bond theme. Bond sips six martinis instead of the usual one, and they aren't specifically "shaken, not stirred." There is no "Bond, James Bond" flourish. And Bond villain Dominic Greene, played by "The Diving Bell and the Butterfly" star Mathieu Amalric, is bone-chilling without relying on any of the usual tics. Amalric wanted to add a nasty scar, but Forster wouldn't let him. "You don't need a crutch," he said. "We have seen that."

Some moviegoers may miss these iconic moments. On the other hand, this may be just the kind of modernization that the series requires to stay vital.


From Screen International

Blue eyes on fire and jaw set to resolute, Daniel Craig clearly owns Bond in Quantum of Solace: but it's the relentless pace, the quality of art direction and production design – in fact, director Marc Forster's sheer technical ambition – which raise the bar and make this one of the most remarkable action films ever made. Bond fans may hanker after his gadgets or some of the camp which Craig & co have so firmly extracted from the role, Casino Royale converts might, justifiably, wish for a stronger story, but one thing is certain: as an action film, this will be a tough act to follow.

Bond is the longest-running film franchise (this is No. 22) with a far-flung, fussy fanbase which may carp at Craig and Forster's de-cheesing of 007, coupled with a not-entirely-convincing plot. On the other hand, this 007 will undoubtedly continue to bring in new audiences alongside the action crowd which has previously regarded the franchise as quaint. Casino Royale's worldwide tally of $594m is certainly reachable, and this streamlined film could attract more American viewers than previous Bond incarnations. Quantum firmly establishes Bond as a reinvigorated, muscular franchise, perhaps, even, closer in spirit to Ian Fleming's 007, and the "new Bond" box office boost of Craig should continue.
Certainly, the $431m worldwide tally of Die Another Day (2002) seems consigned to Bond's past along with Q and his gadgets.
Notices will focus – rightly - on Craig's magnetism as the steely, sexy, murderous MI5 agent, but two other factors weigh in and freshen up proceedings: Forster's new technical team, led by cinematographer Roberto Schaefer and production designer Dennis Gassner. And the ongoing shift of M, as played by Judi Dench, to front and centre: the Bond girls fade into insignificance as she becomes his moral counterpoint and theirs is the only real relationship on screen.
The plot makes much reference – perhaps too much, for action fans have a notoriously short memory – to the plot of Casino Royale and Bond's bitterness and thirst for vengeance over his lost love, Vesper. His quest leads him to a sinister organisation, a very traditional Bond SPECTRE-like grouping of crime lords fronted by Mathieu Almaric (The Diving Bell And The Butterfly) as Mr Greene, who is using the cover of environmentalism to overthrow the Bolivian government.
Returning from Casino Royale, writers Paul Haggis, Neal Purvis & Robert Wade obviously have, with Craig, a strong sense of who Bond is, and their plot peels back to emphasise Bond's sheer ruthlessness, his brutal killings a punctuation mark on Forster's elaborate set pieces, which include, memorably, Bond dropping from a plane without the benefit of a parachute. Of course we've come to expect the dramatic 007 opening – this time a car chase through the Italian alps - and the credit sequence is particularly nice, but when Quantum of Solace launches Bond over the rooftops of Siena and into the Palio without pausing for breath it becomes clear that this is going to be ambitious, if nothing else.
And the pace doesn't really let up. The first 45 minutes – of a zippy 106-minute film (Casino Royale came in at 147 minutes) - are an unadulterated adrenalin charge of set piece after set piece. The locations are terrific: Quantum shot in Mexico, Panama, Italy, Austria and Chile, outside its home base of Pinewood. With plenty to chose from, a Tosca sequence shot at the Bregenz Festival House in Austria stands out: using the production's original sets and cast it leads Forster into a Godfather-style cutting sequence (and is credited with its own crew).
Supporting cast find it hard to make their mark when set against Bond, M and the pyrotechnics onscreen. Olga Kurylenko is servicable as Camille, a Bolivian national out to avenge the deaths of her family. Giancarlo Giannini returns as Mathis, for those who studied Casino Royale – many viewers will remember who he is just as it's too late. More memorable is Gemma Arterton in the traditional Bond girl role – her character is called Strawberry Fields, and her demise a tribute to Goldfinger. Indeed, this Bond enjoys twisting the legend: a scene where Craig turns the charm on a female airline check-in clerk is delectably under-done; he has to steal his tux; he's on his seventh martini when we get the "shaken not stirred" routine.
Bond is, as has been previously noted, practically the Martin Scorsese of the BAFTAs: 22 films later, with grosses probably close to the GDP of one of the small nations it depicts, it's still waiting for that Alexander Korda award. The best Casino Royale could achieve was a gong for sound. Will this be the year that changes its fortunes?

[00Twelve]

Another reviewer who sees what QOS is supposed to be.

Mercy.

[ACE]

This is such a well written, accurate review - I doff my cap deeply to this guy here

[ACE]

At last, nice to see I wasn't the only one who can appreciate what Quantum Of Solace has to offer.

[MR. BOND 93]

Fantastic review, ACE. Extremely detailed and very intelligent. :tup:

[ImTheMoneypenny]

Good stuff ACE!