12 replies to this topic

[Greene217]

Spoilers

Before my first viewing my expectations were very, very low thanks to reviews which had suggested my worst fear, a film with too much action and no character development.
What a load of .

Firstly the bad, the titles were a bit too bland for me and the song was quite painfull to listen to. Also while the action is no less enthralling and exciting with Bradley's contribution, I cant help but miss a more Bond like approach and the character of Elvis is somewhat forgotten about, his name isnt even mentioned in the film, instead he becomes a strange, intrusive character.

However the film erupts to life in the interrogation scene in Sienna, with M and Bond beginning the strongest relationship in the film. The chase is spectacular and the boat chase also eye-opening, so too is the plane sequence which concludes with a slightly unbelievable but overall incredibly pulse-sating skydive. However its the fiery finale which takes top spot in terms of action, the classic good vs evil fight a welcolme return after the lacklustre finale of CR. Here the bond crew use explosives and a Ken Adams style set to full effect and it features a truly touching moment, with Bond cradling Camille in his arms, a moment were all hope seems lost until a fire erupts inside Bond, and as we would expect from 007, he finds a way out, becoming James Bond.

CRAIG IS BOND. simply, no not second to Connery, not level with Brosnan. He is simply the best from reflecting over his thoughts at the bar while slightly drunk (pure fleming) to facing off with the greatest nemesis that has plagued his life, Yusef Kabiera. No dialogue dosent mean no story or emotion, Craig's look at that pivotal scene in Moscow elavates the film to greatness and to add to that are his stares at Fields' fate and his reactions to Mathis' ''she died for you''. Same goes for everyone in the film.

Kurylenko is incredible, her camille making all other bond girls instantly forgetable and Amalric as Dominic Greene refreshingly refraims from sitting Bond down and informing him of every aspect of his plot and how to defeat him. Instead, like the organisation behind him, greene is a shadowy figure (hence his screentime)and is just as sophisticated and intelligent as Bond, but the most terrifying thing about him is that you know he is going to explode into a murderous rage at any moment, you just dont know when, instead we see glimpses of his true self (e.g instinctly pushing Camille toward the edge at the party) and his full, gloriously pshychotic form is unleashed at the end, which is his eventual downfall.

If there is supposedly no character development in the film, how does M go to not trusting Bond, to being angry at him, to understanding and trusting him? magic perhaps. Also is the man him self, from an unscrupulous assassin-like figure to (would Rambo do this)allowing Greene and Yusef, the men who caused Bond the most pain, to live, i.e from just anmother Mi6 agent to James Bond. Look at craigs performance and you can see a change in his character, there are points were he gains more ground on becoming bond, mathis' death (''forgive yourself''), Fields' death and M's talk (''see what your charm has done'') to the moment in the inferno with Camille, ''one shot'', ''make it count''. In fact the last scene in Russia is a highlight of the series, Simon Kassianedes is silent yet brilliant and a nice touch is added by stana Katic as Bond saves her from falling into the same fate as Vespers. the whisper ''thank you'' pure Forster.

Some will complain of a lack of story, but their are sutle moments introduced by Forster who prefers to only present to the audience the same knowledge which Bond has gained about the organisation and Greene's plot.For example Bond teaching Camille how to kill, he knows he cannot do this, he cannot act on vengeance and must perform his duty. A big nod in fact to Forster, a brave contribution to the film which provides much more in terms of directorial style to talk about than any other Bond film, the simplest momeen hse brings add extra dimensions to help move away from the conventional Bond film. The political geographical angle is much more adult than, say, holding the world to ransom or stealing spacecrafts in space. This probably put off many reviewers, replacing their surprisement and misinterpretation at the stark contrast to more 'traditional' Bond films to whining and jumping on the bandwagon in saying ''no story'', ''crap'' ''boring'' etc...

A nod to Fields who is used sparingly but effective in her relationship with Bond who is intrigued by her as she represents innocence, a life previously untouched by the cruel world run by the Dominic Greenes. Bonds gentle kiss on her neck as he says could bye to her for the last time is touching as well as her sheer innocence standing in the hotel room as bond looks for ''stationary''.
Also Wright as Leitar is much more effective this time round, a single look showing his own feelings towards Greene, Beam and Bond and of course the gem of the movie is Giancarlo Giannin as Mathis, like so many things overlooked by the braindead reviewers, he is an emotional core of the film, providing humour and sympothy.

On that note, QOS is the most emotional Bond film since OHMSS, from moments including Mathis' death, Fields death, camilles story and the interactin of Craig and his co-stars. Bond himself illuminates every scene he is in, his look at central moments of the film saying more than words ever could.It also provides lots of humour, the most playful of which is with Fields (''I cant find the eh, the stationary, would you help me look.'') and the Bolivian taxi driver as well as the use of the odd one-liner, ''she's seasick''.

Overall, a brilliant film which has been made exclusively for those who consider themselves adults and capable of looking beyond a Bond with lasers and invisible cars, as well as a film which refuses to provide the usual escapism attached to action films, instead with the guidance of Marc Forster it holds a mirror to a crippled world in which we live in (''if there were no villains left we'd have nowone to trade with''). However, problem is who will be hired to direct? who can improve in terms of style? what actress can match camille and stand side by side with the inspired Craig and please will Mr.White finally be unleashed to grace the screen with his presence as the central villain? Make or break time for Broccoli and Wilson. (oh and oasis for the theme, not ing Jack White.)

Bond is back, the gunbarrel sealing this (too fast but still works wonders)and a full ***** for the OHMSS for the modern age, Quantum of Solace. It may not seem it now but in years to come, with the ability of hindsight, this will be a fan favourite and will crawl higher in every critics list with each passing year. Better than Casino Royale for its superior style, depth and complexity in its own right as well as providing satisfying closure to a truly unique chapter inn Bond's history.
''I never left''... Greatest final line ever ...accompanied by a magnificant, evocative last shot, the argerian loveknot in the cold snow, the burden in Bonds soul lifted, his duty in sight, his Quantum of Solace gained.

[PPK_19]

I agree, the parting shot of the Algerian love not in the snow was awesome!
I loved the cant find the stationery line, especially. Nice Review Greene217

[MattofSteel]

I skipped some contextual parts, but otherwise - nice review.

[HildebrandRarity]

Thanks for the review.

[Kristian]

Great review!! I have a feeling QOS will rise above its misquided reviews to take its place next to CR. I thought CR was good, but a bit overrated.

[ACE]

Spoilers

Before my first viewing my expectations were very, very low thanks to reviews which had suggested my worst fear, a film with too much action and no character development.
What a load of .

Firstly the bad, the titles were a bit too bland for me and the song was quite painfull to listen to. Also while the action is no less enthralling and exciting with Bradley's contribution, I cant help but miss a more Bond like approach and the character of Elvis is somewhat forgotten about, his name isnt even mentioned in the film, instead he becomes a strange, intrusive character.

However the film erupts to life in the interrogation scene in Sienna, with M and Bond beginning the strongest relationship in the film. The chase is spectacular and the boat chase also eye-opening, so too is the plane sequence which concludes with a slightly unbelievable but overall incredibly pulse-sating skydive. However its the fiery finale which takes top spot in terms of action, the classic good vs evil fight a welcolme return after the lacklustre finale of CR. Here the bond crew use explosives and a Ken Adams style set to full effect and it features a truly touching moment, with Bond cradling Camille in his arms, a moment were all hope seems lost until a fire erupts inside Bond, and as we would expect from 007, he finds a way out, becoming James Bond.

CRAIG IS BOND. simply, no not second to Connery, not level with Brosnan. He is simply the best from reflecting over his thoughts at the bar while slightly drunk (pure fleming) to facing off with the greatest nemesis that has plagued his life, Yusef Kabiera. No dialogue dosent mean no story or emotion, Craig's look at that pivotal scene in Moscow elavates the film to greatness and to add to that are his stares at Fields' fate and his reactions to Mathis' ''she died for you''. Same goes for everyone in the film.

Kurylenko is incredible, her camille making all other bond girls instantly forgetable and Amalric as Dominic Greene refreshingly refraims from sitting Bond down and informing him of every aspect of his plot and how to defeat him. Instead, like the organisation behind him, greene is a shadowy figure (hence his screentime)and is just as sophisticated and intelligent as Bond, but the most terrifying thing about him is that you know he is going to explode into a murderous rage at any moment, you just dont know when, instead we see glimpses of his true self (e.g instinctly pushing Camille toward the edge at the party) and his full, gloriously pshychotic form is unleashed at the end, which is his eventual downfall.

If there is supposedly no character development in the film, how does M go to not trusting Bond, to being angry at him, to understanding and trusting him? magic perhaps. Also is the man him self, from an unscrupulous assassin-like figure to (would Rambo do this)allowing Greene and Yusef, the men who caused Bond the most pain, to live, i.e from just anmother Mi6 agent to James Bond. Look at craigs performance and you can see a change in his character, there are points were he gains more ground on becoming bond, mathis' death (''forgive yourself''), Fields' death and M's talk (''see what your charm has done'') to the moment in the inferno with Camille, ''one shot'', ''make it count''. In fact the last scene in Russia is a highlight of the series, Simon Kassianedes is silent yet brilliant and a nice touch is added by stana Katic as Bond saves her from falling into the same fate as Vespers. the whisper ''thank you'' pure Forster.
Some will complain of a lack of story, but their are sutle moments introduced by Forster who prefers to only present to the audience the same knowledge which Bond has gained about the organisation and Greene's plot.For example Bond teaching Camille how to kill, he knows he cannot do this, he cannot act on vengeance and must perform his duty. A big nod in fact to Forster, a brave contribution to the film which provides much more in terms of directorial style to talk about than any other Bond film, the simplest momeen hse brings add extra dimensions to help move away from the conventional Bond film. The political geographical angle is much more adult than, say, holding the world to ransom or stealing spacecrafts in space. This probably put off many reviewers, replacing their surprisement and misinterpretation at the stark contrast to more 'traditional' Bond films to whining and jumping on the bandwagon in saying ''no story'', ''crap'' ''boring'' etc...

A nod to Fields who is used sparingly but effective in her relationship with Bond who is intrigued by her as she represents innocence, a life previously untouched by the cruel world run by the Dominic Greenes. Bonds gentle kiss on her neck as he says could bye to her for the last time is touching as well as her sheer innocence standing in the hotel room as bond looks for ''stationary''.Also Wright as Leitar is much more effective this time round, a single look showing his own feelings towards Greene, Beam and Bond and of course the gem of the movie is Giancarlo Giannin as Mathis, like so many things overlooked by the braindead reviewers, he is an emotional core of the film, providing humour and sympothy.
On that note, QOS is the most emotional Bond film since OHMSS, from moments including Mathis' death, Fields death, camilles story and the interactin of Craig and his co-stars. Bond himself illuminates every scene he is in, his look at central moments of the film saying more than words ever could.It also provides lots of humour, the most playful of which is with Fields (''I cant find the eh, the stationary, would you help me look.'') and the Bolivian taxi driver as well as the use of the odd one-liner, ''she's seasick''.

Overall, a brilliant film which has been made exclusively for those who consider themselves adults and capable of looking beyond a Bond with lasers and invisible cars, as well as a film which refuses to provide the usual escapism attached to action films, instead with the guidance of Marc Forster it holds a mirror to a crippled world in which we live in (''if there were no villains left we'd have nowone to trade with''). However, problem is who will be hired to direct? who can improve in terms of style? what actress can match camille and stand side by side with the inspired Craig and please will Mr.White finally be unleashed to grace the screen with his presence as the central villain? Make or break time for Broccoli and Wilson. (oh and oasis for the theme, not ing Jack White.)

Bond is back, the gunbarrel sealing this (too fast but still works wonders)and a full ***** for the OHMSS for the modern age, Quantum of Solace. It may not seem it now but in years to come, with the ability of hindsight, this will be a fan favourite and will crawl higher in every critics list with each passing year. Better than Casino Royale for its superior style, depth and complexity in its own right as well as providing satisfying closure to a truly unique chapter inn Bond's history.
''I never left''... Greatest final line ever ...accompanied by a magnificant, evocative last shot, the argerian loveknot in the cold snow, the burden in Bonds soul lifted, his duty in sight, his Quantum of Solace gained.

Excellent review, Greene217. Such masterful words. Thanks

[double o ego]

Brilliantly said. Great review.

[avl]

Good review

[DamnCoffee]

Spot on! Fantastic review.

I agree about the last shot of the movie aswell, it worked perfectly.

[sharpshooter]

Dazzling review, it makes my wait just that much more painful.

[Jack Spang]

SPOLIERS


Here is my 2 cents. Not a proper review in the traditional sense. I’m just going to list my likes, dislikes ad recommendations.

Likes:

•The cinematography in the NON action scenes. I liked the beginning when the camera panned across the lake then cut to the car chase and during the panning across the lake he cuts to parts of the Aston. I loved how Forster cut between shots of the horse race and chase scene and similarly the opera and the action scene that took place there. Very arty and suspenseful. His other shots were framed wonderfully as usual. I liked how there were moments of silence too in some scenes. This further adds to the suspense.
•The content of the actual action scenes and the fact that they were short and sweet except for the car chase which I was actually hoping would be longer.
•The amount of humour in the film I thought was spot on and it was in the right places stemming from conversation instead of Bond uttering some remark after his life had been threatened or he had just killed someone. I didn’t find the humour cheesy really either.
•The dialogue on the whole was good and for the first time since TND I didn’t sit here worrying about what Bond was going to say next.
•The character movement on the whole was good aswell as the personal touches such as M running her bath and removing the makeup from her face. I also liked the way she asked Bond when it was the last time he slept.
•Bond, Camille, Felix, Felix’s colleague, Mathis and Fields were all wonderful characters in this film. Greene was good but I didn’t feel he was up to the same standard as the rest of them.
•The fact that there were actual conversations, even though they were short in foreign languages and that subtitles were used. This was one of the things that gave the film more realism.
•The text font used for the locations. Nice and arty.

Dislikes:

•Way too much action. There was just no need for it. Bond isn’t just about action. It was too shaky and up close for my liking aswell. I found it difficult to see what was going on. I had also had a few pints before the film. (WINK)
•The film was too short. What is wrong with having a Bond film that clocks in at 120 to 130 minutes?
•Too tightly edited and fast paced. I guess this is just the way Forster believes action films should be.
•Didn’t think much of Arnold’s music.
•Lack of character development for Greene.
•We didn’t see enough of Fields.
•Having the gun barrel at the end. I missed having it at the start. At first I wondered if Forster just wanted to be different but maybe his reasoning was that Bond is finally moving into being a more experienced agent who thinks first before killing as he never killed Vesper’s ex boyfriend. Having the gun barrel at the end was a way of leading us into Bond 23 where Bond will be more of an experienced agent…at least that is my reasoning.
•Plot holes with action inserted just for the sake of having action. The latter being painfully reminiscent of the Brosnan era.
•The title sequence I recall was bland. I am seeing the film again in a couple of weeks so I will be more qualified to judge.
•The sanitary, bland décor of M’s office.
•Killing off poor Rene Mathis! Aside for Bond, he was my favourite character in the Craig era. I would have loved to have seen him return in future Bond films. Bad move I reckon.

6.5/10 The major factors that brought my rating for the film down were the horribly fast pacing, the shaky, hand held/steady cam tight camera work and the unnecessary abundance of action. CR did very well. Why did they have to insert more action? With active promotion each new Bond film will always out sell the last I think as more and more discover the English spy. This doesn’t necessarily mean the new film is better.

Recommendations (for Bond 23 and beyond):

•25 minutes less action or atleast a film that clocks in at 120 to 130 minutes. Atleast the same action to dialogue ratio as in CR but 15 minutes less action would always be better for me.
•Certainly not as fast paced. Less tight editing certainly. Once again, CR should be used as a template although I felt that CR was a bit too tightly cut in places too but I am content with CR’s style.
•Action shot in the same way as in CR. Please, no more shaky, close up camera work!
•Bring back Kleinman for the title sequence. I remember enough to know he does a better job than MK12.
•Have the gun barrel back where it belongs – at the beginning. I like the Bond films to open with a boom!
•120 to 130 minutes running time. I want to see more Bond!
•More character development for the villain. This can be achieved with less action. The same applies regarding a more coherent plot.
•More of a personal touch given to Bond like in the books. There doing it for M so why not Bond?! For example, just brief scenes like seeing Bond in his flat having breakfast, reading an article in the paper that relates to the assignment he will be given with May, his housekeeper in the background. She could also say a few words. She would be a great character to introduce to the series who could provide a bit of light heated relief as long as it isn’t cheesy relief. Start casting for an elderly Scottish woman! OR/AND A scene similar to in Dr No where Bond is gambling at a casino in his own time (Baccarat or Chemin de Fer must be the game) and then he is summoned to M’s office. OR/AND Bond in his hotel room practicing a few draws with his gun.
•Introduce Bond’s secretary Loeila Ponsonby.
•The décor of M’s office resembling how it was in the Brosnan era.
•A traditional Bond/M briefing in her office. It would be good to see Bond in his office too.

[00Nothing]

Spoilers

Before my first viewing my expectations were very, very low thanks to reviews which had suggested my worst fear, a film with too much action and no character development.
What a load of .

Firstly the bad, the titles were a bit too bland for me and the song was quite painfull to listen to. Also while the action is no less enthralling and exciting with Bradley's contribution, I cant help but miss a more Bond like approach and the character of Elvis is somewhat forgotten about, his name isnt even mentioned in the film, instead he becomes a strange, intrusive character.

However the film erupts to life in the interrogation scene in Sienna, with M and Bond beginning the strongest relationship in the film. The chase is spectacular and the boat chase also eye-opening, so too is the plane sequence which concludes with a slightly unbelievable but overall incredibly pulse-sating skydive. However its the fiery finale which takes top spot in terms of action, the classic good vs evil fight a welcolme return after the lacklustre finale of CR. Here the bond crew use explosives and a Ken Adams style set to full effect and it features a truly touching moment, with Bond cradling Camille in his arms, a moment were all hope seems lost until a fire erupts inside Bond, and as we would expect from 007, he finds a way out, becoming James Bond.

CRAIG IS BOND. simply, no not second to Connery, not level with Brosnan. He is simply the best from reflecting over his thoughts at the bar while slightly drunk (pure fleming) to facing off with the greatest nemesis that has plagued his life, Yusef Kabiera. No dialogue dosent mean no story or emotion, Craig's look at that pivotal scene in Moscow elavates the film to greatness and to add to that are his stares at Fields' fate and his reactions to Mathis' ''she died for you''. Same goes for everyone in the film.

Kurylenko is incredible, her camille making all other bond girls instantly forgetable and Amalric as Dominic Greene refreshingly refraims from sitting Bond down and informing him of every aspect of his plot and how to defeat him. Instead, like the organisation behind him, greene is a shadowy figure (hence his screentime)and is just as sophisticated and intelligent as Bond, but the most terrifying thing about him is that you know he is going to explode into a murderous rage at any moment, you just dont know when, instead we see glimpses of his true self (e.g instinctly pushing Camille toward the edge at the party) and his full, gloriously pshychotic form is unleashed at the end, which is his eventual downfall.

If there is supposedly no character development in the film, how does M go to not trusting Bond, to being angry at him, to understanding and trusting him? magic perhaps. Also is the man him self, from an unscrupulous assassin-like figure to (would Rambo do this)allowing Greene and Yusef, the men who caused Bond the most pain, to live, i.e from just anmother Mi6 agent to James Bond. Look at craigs performance and you can see a change in his character, there are points were he gains more ground on becoming bond, mathis' death (''forgive yourself''), Fields' death and M's talk (''see what your charm has done'') to the moment in the inferno with Camille, ''one shot'', ''make it count''. In fact the last scene in Russia is a highlight of the series, Simon Kassianedes is silent yet brilliant and a nice touch is added by stana Katic as Bond saves her from falling into the same fate as Vespers. the whisper ''thank you'' pure Forster.

Some will complain of a lack of story, but their are sutle moments introduced by Forster who prefers to only present to the audience the same knowledge which Bond has gained about the organisation and Greene's plot.For example Bond teaching Camille how to kill, he knows he cannot do this, he cannot act on vengeance and must perform his duty. A big nod in fact to Forster, a brave contribution to the film which provides much more in terms of directorial style to talk about than any other Bond film, the simplest momeen hse brings add extra dimensions to help move away from the conventional Bond film. The political geographical angle is much more adult than, say, holding the world to ransom or stealing spacecrafts in space. This probably put off many reviewers, replacing their surprisement and misinterpretation at the stark contrast to more 'traditional' Bond films to whining and jumping on the bandwagon in saying ''no story'', ''crap'' ''boring'' etc...

A nod to Fields who is used sparingly but effective in her relationship with Bond who is intrigued by her as she represents innocence, a life previously untouched by the cruel world run by the Dominic Greenes. Bonds gentle kiss on her neck as he says could bye to her for the last time is touching as well as her sheer innocence standing in the hotel room as bond looks for ''stationary''.
Also Wright as Leitar is much more effective this time round, a single look showing his own feelings towards Greene, Beam and Bond and of course the gem of the movie is Giancarlo Giannin as Mathis, like so many things overlooked by the braindead reviewers, he is an emotional core of the film, providing humour and sympothy.

On that note, QOS is the most emotional Bond film since OHMSS, from moments including Mathis' death, Fields death, camilles story and the interactin of Craig and his co-stars. Bond himself illuminates every scene he is in, his look at central moments of the film saying more than words ever could.It also provides lots of humour, the most playful of which is with Fields (''I cant find the eh, the stationary, would you help me look.'') and the Bolivian taxi driver as well as the use of the odd one-liner, ''she's seasick''.

Overall, a brilliant film which has been made exclusively for those who consider themselves adults and capable of looking beyond a Bond with lasers and invisible cars, as well as a film which refuses to provide the usual escapism attached to action films, instead with the guidance of Marc Forster it holds a mirror to a crippled world in which we live in (''if there were no villains left we'd have nowone to trade with''). However, problem is who will be hired to direct? who can improve in terms of style? what actress can match camille and stand side by side with the inspired Craig and please will Mr.White finally be unleashed to grace the screen with his presence as the central villain? Make or break time for Broccoli and Wilson. (oh and oasis for the theme, not ing Jack White.)

Bond is back, the gunbarrel sealing this (too fast but still works wonders)and a full ***** for the OHMSS for the modern age, Quantum of Solace. It may not seem it now but in years to come, with the ability of hindsight, this will be a fan favourite and will crawl higher in every critics list with each passing year. Better than Casino Royale for its superior style, depth and complexity in its own right as well as providing satisfying closure to a truly unique chapter inn Bond's history.
''I never left''... Greatest final line ever ...accompanied by a magnificant, evocative last shot, the argerian loveknot in the cold snow, the burden in Bonds soul lifted, his duty in sight, his Quantum of Solace gained.

Whilst I think CR does have the edge over QOS by a small margin, but only a small one, I do agree with the majority of what you've said, Quantum of Solace is a classic Bond film. Great review.

[Col. Sun]

Spoilers

Before my first viewing my expectations were very, very low thanks to reviews which had suggested my worst fear, a film with too much action and no character development.
What a load of .

Firstly the bad, the titles were a bit too bland for me and the song was quite painfull to listen to. Also while the action is no less enthralling and exciting with Bradley's contribution, I cant help but miss a more Bond like approach and the character of Elvis is somewhat forgotten about, his name isnt even mentioned in the film, instead he becomes a strange, intrusive character.

However the film erupts to life in the interrogation scene in Sienna, with M and Bond beginning the strongest relationship in the film. The chase is spectacular and the boat chase also eye-opening, so too is the plane sequence which concludes with a slightly unbelievable but overall incredibly pulse-sating skydive. However its the fiery finale which takes top spot in terms of action, the classic good vs evil fight a welcolme return after the lacklustre finale of CR. Here the bond crew use explosives and a Ken Adams style set to full effect and it features a truly touching moment, with Bond cradling Camille in his arms, a moment were all hope seems lost until a fire erupts inside Bond, and as we would expect from 007, he finds a way out, becoming James Bond.

CRAIG IS BOND. simply, no not second to Connery, not level with Brosnan. He is simply the best from reflecting over his thoughts at the bar while slightly drunk (pure fleming) to facing off with the greatest nemesis that has plagued his life, Yusef Kabiera. No dialogue dosent mean no story or emotion, Craig's look at that pivotal scene in Moscow elavates the film to greatness and to add to that are his stares at Fields' fate and his reactions to Mathis' ''she died for you''. Same goes for everyone in the film.

Kurylenko is incredible, her camille making all other bond girls instantly forgetable and Amalric as Dominic Greene refreshingly refraims from sitting Bond down and informing him of every aspect of his plot and how to defeat him. Instead, like the organisation behind him, greene is a shadowy figure (hence his screentime)and is just as sophisticated and intelligent as Bond, but the most terrifying thing about him is that you know he is going to explode into a murderous rage at any moment, you just dont know when, instead we see glimpses of his true self (e.g instinctly pushing Camille toward the edge at the party) and his full, gloriously pshychotic form is unleashed at the end, which is his eventual downfall.

If there is supposedly no character development in the film, how does M go to not trusting Bond, to being angry at him, to understanding and trusting him? magic perhaps. Also is the man him self, from an unscrupulous assassin-like figure to (would Rambo do this)allowing Greene and Yusef, the men who caused Bond the most pain, to live, i.e from just anmother Mi6 agent to James Bond. Look at craigs performance and you can see a change in his character, there are points were he gains more ground on becoming bond, mathis' death (''forgive yourself''), Fields' death and M's talk (''see what your charm has done'') to the moment in the inferno with Camille, ''one shot'', ''make it count''. In fact the last scene in Russia is a highlight of the series, Simon Kassianedes is silent yet brilliant and a nice touch is added by stana Katic as Bond saves her from falling into the same fate as Vespers. the whisper ''thank you'' pure Forster.

Some will complain of a lack of story, but their are sutle moments introduced by Forster who prefers to only present to the audience the same knowledge which Bond has gained about the organisation and Greene's plot.For example Bond teaching Camille how to kill, he knows he cannot do this, he cannot act on vengeance and must perform his duty. A big nod in fact to Forster, a brave contribution to the film which provides much more in terms of directorial style to talk about than any other Bond film, the simplest momeen hse brings add extra dimensions to help move away from the conventional Bond film. The political geographical angle is much more adult than, say, holding the world to ransom or stealing spacecrafts in space. This probably put off many reviewers, replacing their surprisement and misinterpretation at the stark contrast to more 'traditional' Bond films to whining and jumping on the bandwagon in saying ''no story'', ''crap'' ''boring'' etc...

A nod to Fields who is used sparingly but effective in her relationship with Bond who is intrigued by her as she represents innocence, a life previously untouched by the cruel world run by the Dominic Greenes. Bonds gentle kiss on her neck as he says could bye to her for the last time is touching as well as her sheer innocence standing in the hotel room as bond looks for ''stationary''.
Also Wright as Leitar is much more effective this time round, a single look showing his own feelings towards Greene, Beam and Bond and of course the gem of the movie is Giancarlo Giannin as Mathis, like so many things overlooked by the braindead reviewers, he is an emotional core of the film, providing humour and sympothy.

On that note, QOS is the most emotional Bond film since OHMSS, from moments including Mathis' death, Fields death, camilles story and the interactin of Craig and his co-stars. Bond himself illuminates every scene he is in, his look at central moments of the film saying more than words ever could.It also provides lots of humour, the most playful of which is with Fields (''I cant find the eh, the stationary, would you help me look.'') and the Bolivian taxi driver as well as the use of the odd one-liner, ''she's seasick''.

Overall, a brilliant film which has been made exclusively for those who consider themselves adults and capable of looking beyond a Bond with lasers and invisible cars, as well as a film which refuses to provide the usual escapism attached to action films, instead with the guidance of Marc Forster it holds a mirror to a crippled world in which we live in (''if there were no villains left we'd have nowone to trade with''). However, problem is who will be hired to direct? who can improve in terms of style? what actress can match camille and stand side by side with the inspired Craig and please will Mr.White finally be unleashed to grace the screen with his presence as the central villain? Make or break time for Broccoli and Wilson. (oh and oasis for the theme, not ing Jack White.)

Bond is back, the gunbarrel sealing this (too fast but still works wonders)and a full ***** for the OHMSS for the modern age, Quantum of Solace. It may not seem it now but in years to come, with the ability of hindsight, this will be a fan favourite and will crawl higher in every critics list with each passing year. Better than Casino Royale for its superior style, depth and complexity in its own right as well as providing satisfying closure to a truly unique chapter inn Bond's history.
''I never left''... Greatest final line ever ...accompanied by a magnificant, evocative last shot, the argerian loveknot in the cold snow, the burden in Bonds soul lifted, his duty in sight, his Quantum of Solace gained.

I agree with you. QOS is a truly stunning film; with far more going on than some audience, fans and critics seem to grasp.

It WILL become a Bond classic.

Forster has given us probably the most stylized Bond film ever. And CRAIG is the best Bond -- no question now.