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Showing posts with label Gemma Arterton. Show all posts
Showing posts with label Gemma Arterton. Show all posts

Monday, November 3, 2008

QUANTUM OF SOLACE (2008) - Marc Forster

The reinvented James Bond franchise kicked off in 2006 with Casino Royale. It featured a brand new Bond with Daniel Craig and a brand new approach to the character and action. Gone were the gadgets. Gone was the campiness. Gone was the high-tech, slightly ridiculous approach to the character and stories. What we got was a Bond for the 21st Century. Angry, no-nonsense, ruthless. It was an approach not all were convinced about. But the film was a success, both critically and financially. And now, the latest Bond film, a direct sequel to Casino Royale arrives on our screens with (the cryptically titled) Quantum Of Solace. Can lightning strike twice?

As mentioned, Quantum Of Solace is a direct sequel to Casino Royale. It picks up pretty soon after the previous film’s events. Bond has kidnapped Mr. White, the only lead he has to the shadowy corporation whom La Chiffre was a member. His interrogation of Mr. White goes horribly wrong and an attempt on M’s life is foiled. Bond goes rogue. He claims to be hunting down M’s attempted assassins, but his motives are questionable as he’s also out for revenge for the death of Vesper Lynd, his lover who died at the end of Casino Royale. Bond’s investigation leads him to Dominic Greene, a businessman and philanthropist who’s motives are also questionable. He teams up with a woman named Camille and they both aim to take Greene down.



Casino Royale was a great success. The filmmakers seemed to get everything right, despite an ending that was a little sloppy. So where in the hell did they go wrong with Quantum Of Solace? To put it mildly, it’s a complete mess. The first problem the film has is the story. The script is dull, clunky and pretty much all over the place. They say too many cooks spoil the broth. Never is that clearer here. There are three writers credited with the writing of the film, one of whom is Paul Haggis, writer and director of the Oscar-winning Crash. Yet despite this calibre, Quantum Of Solace zips by with scenes that make no sense, motives that are pretty irrelevant and a Bond who seems to just wander from one scene to the other kicking the crap out of random bad guys and then meandering to the next story event. It seems that everything they got right with Casino Royale, they got wrong in Quantum Of Solace.

Let me get this down for the record. When Daniel Craig was announced as the Bond to follow Pierce Brosnan, questions were raised. Yet, I thought it was a great casting. And, I was right. Craig is the best Bond since Sean Connery, and he suits the reinvented Bond perfectly. And yet here, Craig is given a script that is really poor. They’ve made Bond cold and calculated. Perfect. And yet in this movie they’ve also made him someone subject to events rather than the driving force. It’s a bad move and allows the film to fall flat on it’s face.

Another question that needs to be raised is the question of the Bond girl. Vesper Lynd was a character with a little depth. Camille, the main Bond girl in Quantum Of Solace shows a little depth, but this is abandoned the more the character is developed. And she’s not developed very much. The character ticks two boxes; hot, and pissed off. But apart from that, she’s not got very much. It’s not Olga Kurylenko’s fault. She’s not bad as Camille. But there’s little for her to do in terms of character. And the less said about Gemma Arterton’s character, Strawberry Fields (good Lord), the better. She’s a bad leftover from the Roger Moore era Bond films, and is one of the most pointless and badly written characters in any movie I’ve seen in a long time. Her costume in her opening scene alone is evidence that the writers, and director Marc Forster have lost everything that worked in Casino Royale.



The other glaring fault in Quantum Of Solace is the action sequences. And man alive, this is where I get a little irate about the film. If I wanted to watch one of the Bourne films, I would have plucked one of the DVDs from my collection and not wasted the money I spent on this film. I wonder, if Paul Greengrass watched Quantum Of Solace, did he consider suing the makers of the film for plagiarism. Several action sequences are lifted straight out of the Bourne films. It was obvious from Casino Royale that the filmmakers were influenced by the Bourne films. They did, after all, reinvent the action movie for the new century. But here, Marc Forster et al make no attempt to hide the influence. If you’ve seen the Bourne films, don’t waste your time with Quantum Of Solace. The action sequences, for the most part, are lifted directly from that series. It’s actually quite amazing how similar they are. Marc Forster is a drama director. He did well with Monster’s Ball, and managed to reduce myself and a bunch of other lads to sobbing messes with Finding Neverland. So maybe it’s that he’s not used to directing action. But there is a marked difference to when he’s directing the action and when second unit director, and stunt coordinator on The Bourn Supremacy and The Bourne Ultimatum, Dan Bradley is behind the camera. One style is sloppy and confusing. The other style is, well... Bourne. Bradley does a great job. But we’ve seen it before.

When it comes down to it, Quantum Of Solace is a mess. There’s no other way about it. The lessons learned from Casino Royale are forgotten here. And what we’re left with is a sloppy, badly-developed and underwhelming film. There is a question as to whether this movie will stand as the bad, middle part of a trilogy. But that’s little in the way of an excuse. Many sequels and bridging films have been excellent, and stand-alone films. However, when, in about 5 years, we have the (possible) Craig-Bond trilogy, I think most will skip the mess that is Quantum Of Solace.


4/10

Thursday, September 11, 2008

ROCKNROLLA (2008) - Guy Ritchie

Guy Ritchie's Lock, Stock and Two Smoking Barrells kicked off the sub-genre of London gangster films. Films about geezas, right royal hard bastards. After the success of the film, innumerable imitations, rip-offs and Ritchie's own follow-up, Snatch, the genre got tired and dull. Ritchie himself tried his hand at something different, and made two films so poorly received that people began to wonder if Ritchie had actually lost his mind. He returns to the genre he's most comfortable with in the film RocknRolla, released this week.

RocknRolla follows the same old formula as Ritchie's other gangster films. We have an artifact of some sort. This time, instead of a pair of shotguns or a diamond, it's a painting. The artifact is in the hands of a 'godfather' of a London gang, Lenny Cole played by Tom Wilkinson. The painting is knicked and a whole slew of gangsters, cheekie chappies, hard-nuts and whatever other description you want to use for these character are charged with getting it back before the claret flows. Cole's stepson, rocker, junkie, and suspected dead-man Johnny Quid has stolen the painting and everyone must get use their contacts on the streets, fists and guns to return the painting to Cole so he can complete a deal he's making with a Russian football-club-owning billionaire.



If you've seen Lock, Stock and Snatch, then you've pretty much seen RocknRolla. Which is actually unfair to the previous two films, because they were actually pretty entertaining. RocknRolla is more of the same old, same old. There's very little subtlety, character development or story. There's a voice-over which just seems to be a cop-out in terms of letting the story tell itself, and the snazzy camera flourishes just distract from what is a simplistic and brainless plot. Instead of developing characters, Ritchie just gives people hats and kooky names which are never explained and never seem to describe the characters they're attached to.

The acting isn't really up to much either. Tom Wilkinson is awful, and I do mean awful as Lenny Cole. Wilkinson seems to have overdosed on The Long Good Friday and is regurgitating Bob Hoskins' role from that film. Gerard Butler breezes through proceedings with a wry smile. But it doesn't take much to do that. The rest of the cast is filled with a couple of familiar British faces, two small roles for Jeremy Piven and Chris Bridges playing the token Americans, and Thandie Newton who adds nothing to the proceeding other than a female face. The only really notable performance is from Toby Kebbell as Johnny Quid. But it's not really the fault of the actors that none of them have much to do. The film is just written that way. I wouldn't be surprised if the character description in the screenplay consisted of 'he wears a trilby hat' or 'he has a Scottish accent.'



1999 called and it wants RocknRolla back. The film is part of a sub-genre that has long ago run out of steam. It has elements that relate to London today. Especially the addition of a Russian billionaire who owns a football club. It's that kind of ham-fisted subtlety that is all over RocknRolla. It's neither original nor innovative. Just a step-back in Guy Ritchie's career. It seems that he cant even make a decent version of a genre piece he once was the poster-boy for. It's not rubbish. But it's not particularly good. And it feels a helluva lot longer than 114 minutes. I weep for Sherlock Holmes.*

*Guy Ritchie's "Awight Guvna', It's Right Royal Sherlock Holmes" coming 2010.


5/10