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Hehe yes. The sorry is because I know BJB006 has spectre at no 1 :-P
I was 13 when GE came out. I was disappointed after seeing it at the cinema. An average Bond film with an average Bond actor. I first watched LTK at 8 years old on Sky....I was thrilled.
QOS has matured like a fine wine. As far as pure rewatchability goes, QOS tops my list. It's quite possibly the only Bond film I am literally always in the mood for.
I liked LTK when I first saw it on ITV too. But I do wonder whether quite a few people weren't "thrilled".
Unfortunately it wasn't implemented well, and barely explored at all. As it is it seems more like a tacked on cheap gimmick and adds nothing to the film.
They should have built this whole thing up over two films, as was reportedly the initial plan.
No argument from me, it just does and also undermines the integity of the original plots and themes.
friend an ally, Franz who is actually the leader of SPECTRE.
Ends on a cliffhanger of some kind where Bond barely escapes with his life, but he now has a second chance of going after the man that duped him... The final scene may be Bond getting a tip off of where Blofeld's in hiding... Hit the Bond theme, roll credits and wait in anticipation for part II.
The biggest problem for me is that it never has any impact on the story. Everything would work out just the same if they were brothers or not, so why bother? I think it's supposed to have emotional resonance, but that never gets referenced. When a similar reveal happens in Empire Strikes Back, for instance, it turns the whole story on it's head. That's what a revelation should do - change our perception of the events and characters in a fundamental way.
With SPECTRE I think it's a case of the formula and the story coming into conflict with one another. When they reach the desert base, there should have been a sensee of leaving the formula behind, like going off-road. They kinda did for a bit, but eventually the formula takes precedence over the story, so Bond breaks out of the torture, blows up the base, and heads off to London in the space of what, 90 seconds?
The best Bond films are the ones where the story and the formula don't battle each other, but work in tandem. Martin Campbell is a master at this.
I've been giving a bit more thought to this Blofeld incarnation reveal and all the tying together of the Craig storylines. I now realize that they are trying to create a 'pseudo-reality' relevancy for Blofeld in the Craig Bond universe that mirrors his importance in the literary universe.
Important Craig Bond film characters like Vesper, Mathis and M's death are supposed to stand in for Tracy's. Madeline exists as a sort of bastardized Tracy as well (because like Tracy she is the daughter of a criminal who had a connection to Blofeld), but that doesn't necessarily mean that she will be killed by Blofeld, because he already made his mark with Vesper and M in this incarnation.
It's all very tenuous, but I think they wanted to give the character of Blofeld (and by extension Spectre) some significance to this generation's film audience, so that if he shows up as a recurring nemesis again (even with a new actor), it will mean something to them. I don't think they were successful, but I think I get it now.
Your critic probably only refer to the two action tracks "a drive in the country" and "runaway". Actually the rest does not really sound very disco like. Take the submarine track for instance. I like that Conti integrates some tradional Greek sounds. He also uses the Bond theme and title track. And all the tracks - even the calm one - are memorable and feel less randon than the SP tracks which could be from any other movie.
+1.
I also think that Craig worked very well off Dench. Now that she's gone, I realize how badly she will be missed. Fiennes so far hasn't been able to elevate himself to the same level, and his back and forth with Craig lacks the brutally honest, yet appealing vitality that characterized Craig's work with Dench.
That is half controversial. A lot of people say it was a terrible idea to begin with, or at least unnecessary.
I always said QOS was the modern DN and had a lot of common with it. There are even lines that are similar in both movies.
It has a similar colour palette at times, but beyond that there's very little in the comparisons for me. DN feels alive, it has a vitality to it that is largely absent in QoS. I don't see the exoticism and I can't agree that everything is essential (most of the action is copy and paste). DN is by no means perfect, but as a film that was consciously crafted as the launchpad to a new franchise it's immense.
Not a bit of it. Do Matrix's sequels cheapen IT? If you love a film, no bad sequel should be able to ruin that for you.
My point is more that the films have become increasingly convoluted and ponderous. QoS is the leanest of the recent past (at least since GE). It has a fairly clean, linear trajectory to the story (perhaps on account of the writer's strike) & although it is admittedly a bit heavy on the action set pieces within the first hour, there is a lightness to it which feels similar to DN to me.
SP was more than a sequel, I dont accepted the camparison
Used to be in my bottom five. But I watched it yesterday and I was blown away how much fun it was. Tee Hee and Baron Samedi are brilliant, the dialogue is funny and the sets with those boobytraps are ingenious.
Furthermore, this might be Rog's best moments in the role too. He is as funny as in future outings but he never really goes over the top.
The biggest contribution to this sudden change for me is the atmosphere however. I always found it a bit lacking in that department. But now I've noticed that the eery voodoo atmosphere in LALD is very reminiscent of Italian horror films of the day, of which I recently became a big fan.
LALD has made the biggest jump in my ranking history.
From BOTTOM 5 to TOP 5!
Goldfinger has been eclipsed.
Le Chiffre is now the most popular and recognizable Bond Villain of all time, and Mads Mikkelson the most successful of all the actors that have played a Bond Villain.