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Tinker Tailor Soldier Spy (2011) Review

29 03 2012

Copyright 2011 Studio Canal

★ ★ ★

With the script based on a famous John le Carre novel, the director of Let the Right One In and a cast of some of the most phenomenal British actors working today, I was really looking forward to this film.  Unfortunately, though the overall feel of the film and the performances are spot on, the movie suffers from an intensely complicated and ultimately boring script.

Even after seeing this film, I’m not sure I could give a proper full synopsis.  There are flashbacks that don’t do anything to denote they are flashbacks, characters that are mentioned early on that you don’t find out who they are until way later, other characters that only appear briefly and for no real reason and long soliloquies that help show a strong performance but have no real bearing on the story.  So, for this paragraph, which I usually reserve for a synopsis of the film, I will give a very brief overview of the part of the story that I can soundly report.  George Smiley (Gary Oldman) is a retired agent for the MI5.  The head of the division during his time, Control (John Hurt), before his departure (or death, not quite sure, maybe both) let it be known that there was a mole in the division.  In hopes of preserving the legacy of his era, Smiley is reinstated to investigate this lead with the help of agent Peter Guilliam (Benedict Cumberbatch) and others.  In his investigation, he unravels secrets and further information to finding the culprit within the division.  Other noted actors in the film include Colin Firth, Tom Hardy, Mark Strong and Toby Jones.

First off, Oldman does give a tremendous performance as Smiley, but when hasn’t Oldman given a tremendous performance?  A chameleon-like actor who has played roles ranging from Sid Vicious to Lee Harvey Oswald to Sirius Black, Oldman is truly one of the best working actors in the industry today, and for me, it is always a pleasure to see him on screen.  Criminally, this was only the first Oscar nomination he has received in all his years as a film actor.  Though he didn’t win, it was long overdue for him to receive a nomination.  The supporting cast mentioned above also do great jobs in their roles, and I really think Tomas Alfredson did a good job with the shot selection and overall direction.  The mood, tone and look of the film in 1960s England was spot on.  Honestly, you ask yourself, how can a movie get this much right and still not be better than just a decent film?  Well, the script and story is the most important part of any film.  In the words of the late great Akira Kurosawa, “With a good script, a good director can produce a masterpiece. With the same script, a mediocre director can produce a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. The script must be something that has the power to do this”.

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New Bond Film “Skyfall” Moving Forward Nicely

23 02 2012

Copyright 2011 EON Productions

Daniel Craig’s third outing as British super spy James Bond is due out on November 9th.  On the official James Bond 007 Web site, a video blog was recently released detailing director Sam Mendes’s thoughts on the production and reasons for getting involved in the project.  That video can be viewed here:

Few details have been released on the film, outside of the fact that the story will test Bond’s loyalty to his supervisor at MI5, M (Judi Dench).  The production crew compiled for the film is an impressive, though somewhat non-traditional group.  Director Sam Mendes, whose previous credits include the Academy Award-Winning American Beauty, Road to Perdition, Revolutionary Road and indie comedy-drama Away We Go, is an interesting pick for the multi-billion dollar Bond franchise.  However, I’m very curious as to how this film will be handled by a director not accustomed per se to large budget action oriented filmmaking.  The previous film in the canon, Quantum of Solace, seemed to suffer under the helm of Marc Forster, who like Mendes, is not a traditional big budget director.  However, personally, I have much preferred Mendes’s output to Forsters’, outside of the dreadful Away We Go.

Another newcomer to the Bond franchise is long time Coen Brother cinematographer, Roger Deakins.  Deakins, whose resume reads almost as a top movie list of the past twenty some odd years, is one of the most well-respected DPs in the business and has garnered an impressive nine Oscar nominations, though no wins.  Always the bridesmaid, but no less an amazingly talented artist and one of my favorite working cinematographers in the industry today, his soft light, naturalistic approach to imaging will be an interesting contrast to the usually over the top stylization of a Bond film.

Barbara Broccoli and Michael G. Wilson have definitely taken a chance on hiring extremely talented, though somewhat out of the norm picks for two positions that are highly influential in the production of a Bond movie.  However, like all iconic franchises, there is always a time for recreating the image to stay up with the times, and now is no better a time after the disappointing reception of the last Bond film.  Hopefully, the glorious rebirth of the Bond image we experienced in Casino Royale will once again come to fruition on November 9th when we get to see the curtain come up and experience our twenty third adventure with James Bond in Skyfall.





My Name is Bond Series: Licence to Kill (1989)

29 11 2011

Copyright 1989 Eon Productions

★ ★ ★ ★

I hope everyone had a wonderful Thanksgiving and with the four days off, I was able to watch a pretty decent amount of movies.  Some were good, some were terrible and one was Bond, so it gets incorporated into the “My Name is Bond” Series here on the blog.  Yes, I know I said I was going to go in order, but after seeing this one and having it fresh in my mind, I am going to jump around a bit.

Timothy Dalton takes his second and final turn as James Bond in this film.  Longtime friend and CIA agent Felix Leiter (David Hedison) is on his way to his wedding with Bond as the best man.  On the way, however, the DEA intercepts him because of a lead on notorious drug runner Franz Sanchez (Robert Davi).  After an exciting pre-title action sequence that results in Sanchez’s capture, Leiter and Bond arrive for the wedding in epic style.  Under interregation, Sanchez offers $2 million for anyone who will free him.  DEA agent Ed Killifer (Everett McGuill aka ‘Big Ed’ to all you Twin Peaks fans) can’t pass up the offer and frees Sanchez during the transport.  Knowing his captor, Sanchez kills Leiter’s newly wed wife and feeds him  to the sharks, though he does survive in intensive care.  Bond, seeking revenge, plans to go gunning for Sanchez, but his boss M demands he stay on course and head to Istanbul for a field operation.  James resigns and gives up his “Licence to Kill”, instead embarking on a journey into South America to find and kill Sanchez.  Along the way, he garners some convenient help from a CIA operative named Pam Bouvier (Cary Lowell) and receives some help from Q (Desmond Lleweln) under the table.

In addition to being Dalton’s final appearance as Bond, this was also the final Bond film for Albert R. Broccoli in the Executive Producer position, Richard Maibaum as a writer, John Glen as a director (he directed all 5 Bond movies in the 1980s beginning with For Your Eyes Only), title designer Maurice Bender, Robert Brown as M and Caroline Bliss as Moneypenny.  So, in a way, this film marked the end of an era in the EON Productions Bond franchise; because of this and lawsuits that arose in the early 1990s, it was six years before a new Bond movie release, that being Goldeneye with Pierce Brosnan.

A lot of bond fans are not too keen on Dalton as Bond.  A more emotional, sentimental Bond than some in ways, yet more realistic and rough and tough in others.  According to many, Dalton’s portrayal is the closest to the original character in the books by Ian Fleming.  For me, personally, I immensely enjoyed Dalton’s portrayal and hate he didn’t stick around for a third film.  As for the film itself, director John Glen felt this was his best effort of all his Bond films; I have to agree.  It is gritty, it is dark and the action sequences are very well-handled.  Though little attention gets paid to this film in the canon, I really enjoy it.  This was my third time seeing the movie and it hasn’t lost any of the allure it had for me when I first saw it nearly seven or eight years ago.

In short, a great, underrated Bond film.  And no, I didn’t misspell the title; “Licence” is the British way of spelling what we Americans are more familiar with transcribing as “License.”








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