SKYFALL: The Film Babble Blog Review

    

SKYFALL (Dir. Sam Mendes, 2012) 

Four years after the lackluster QUANTUM OF SOLACE, James Bond is back in this top notch movie that’s not just one of the best of the entire series, it’s one of the best full throttle straight-up action films in years. 

Definitely of this year, as it’s way more adventurous than THE AVENGERS, dangerously darker than THE DARK KNIGHT RISES, and completely out-Bournes THE BOURNE LEGACY. And that’s just in the first 10 minutes.

In a Turkey-set pre-credits sequence that encompasses a chaotic car chase, a motorcycle chase over rooftops (take that TAKEN 2!), a bulldozer demolishing a train carriage while in transit, and a hand to hand fight on top of that train going through a tunnel, Daniel Craig’s 007 has us in the sweaty palm of his bloody hand.

Bond’s superior, M (Judi Dench), has a larger role than usual as her job heading the MI6 is in jeopardy and she’s being targeted by Raoul Silva (Javier Bardem), a former agent turned cyberterrorist.

To help his boss, Bond travels to Shanghai (always gotta be globe-trotting) to recover the MacGuffin of this movie, a stolen hard drive that identifies many undercover NATO agents. This is where he meets the closest thing this film has to a Bond girl, Bérénice Lim Marlohe, who is under the rule of Bardem.

The spunky Naomie Harris, could be considered a Bond girl, but she’s more of his assistant, and there’s no romance going on there. Despite a quick shot of sex in the cold opening, Craig’s Bond seems less interested in bedding random babes than his predecessors, but that’s maybe just a sign of the times.

Bardem’s Silva is the best villain the series has had since…uh, I’ll say Christopher Walken in A VIEW TO A KILL. Like Walken, Bardem has dyed blonde hair and an unhinged presence. It’s a wickedly funny performance that’s introduced to us in a superb long-shot that has Bond’s back to us (tied in chair), and Bardem slowly getting closer as he puts forward a menacing monologue.

In a shoot-out in Parliament, Bond saves M from Silva and gets her to the safety of his boyhood home in the Highlands, an old crumbling castle named Skyfall. That’s where a STRAW DOGS-ish WITNESS-esque tension resonates as we wait for Silva’s killing crew to arrive.

SKYFALL restores gravitas to the series, and has everything you’d want in a modern day Bond movie. First off, it’s got Craig, who I used to think looked more like one of the thugs that would beat up Bond than Bond, putting in his most intense and riveting acting yet in his third performance as 007. 

Also, this time out, Craig’s equipped with quips as SKYFALL has a lot of laugh out loud lines. This is another plus as his previous turns were pretty close to humorless.

It’s got lovely ladies (Marlohe and Harris), a sharp screenplay (by Bond writer veterans Neil Purvis and Robert Wade, along with 007 newcomer John Logan), incredible cinematography (by Roger Deakins), ginormous explosions, a catchy not-bad theme song (by Adele), near perfect pacing, excellent editing (by Stuart Baird), stunning set-pieces, Bond’s classic Aston Martin, and well chosen supporting cast members, such as Ralph Fiennes as a stuffy higher-up of M’s (great nod to olden days when he says “Don’t cock it up, 007”), and the always welcome Albert Finney as the groundskeeper of the Skyfall estate. 

Oh yeah, there’s also a amusingly befuddled Ben Whishaw (also currently in CLOUD ATLAS) as a young Q, you know, Bond’s go-to gadget guy.



Some of Bond's back story may seem Batman-like, i.e. he comes from a rich family and his parents were both killed when he was a wee lad, but it still didn't feel derivative of the Dark Knight. No, SKYFALL has a different agenda - it wants to re-invigorate a franchise, not give us a lavish end-game.


As super heroes, and brainless spectacle (I’m looking at you THE EXPENDABLES) usually dominates the box office these days, it’s wonderful to report that Bond is back and at his best. Way to celebrate your 50th anniversary 007!

Post note: I guess the iconic gun barrel deal is officially now at the end of the Craig/Bond movies, before the credits roll. That's cool, I can dig it.

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Countdown to SKYFALL #4: The Best Bond Car Stunt Ever

The 23rd James Bond movie, Sam Mendes’ SKYFALL, releases tomorrow, so Film Babble Blog has been all about Bond this week with 007-centric posts leading up to my review of the highly anticipated film.

This time out, let's take a look at what I believe is the best car stunt of the series. In THE MAN WITH THE GOLDEN GUN, Bond (Roger Moore) jumps his car, an AMC Hornet, over a broken bridge and it spins around 360 degrees in mid-air.

The amazing feat was done by stunt driver “Bumps” Willard in one take. It was slowed down with a slide whistle sound effect was added for the final film. You can see the scene below, and there's a sans slide whistle version somebody did, which may be preferable, included:

The stunt was even featured in the cool poster image (by artist Roger McGinnis):

So it goes - a stellar car stunt in a less than stellar Bond movie. Check back here tomorrow for my review of SKYFALL (Spoiler alert: it's stellar).

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Countdown to SKYFALL #3: Surveying The Series

Just 2 days left until the 23rd James Bond movie, Sam Mendes’ SKYFALL, comes out so let’s continue on the countdown with another 007-centric post.

Starting in the summer of 2010, the Colony Theater in Raleigh, N.C. started showing 35 mm prints of the bulk of the James Bond series, one a month, in chronological order from DR. NO (1962) to DIE ANOTHER DAY (2002). To cap off the canon, last summer they re-screened the first 3 Connery classics to celebrate the series’ 50th anniversary.

I attended just about every screening (I missed one or two of the Pierce Brosnan ones), many of which I’d only seen on TV before, and covered the run for Examiner.com. Here are the links to those posts, back from when the Examiner would pay more for local content (those were the days). Please check them out (because, you know, every click I get at that content farm helps):

50th anniversary screening of DR. NO at the Colony Thursday night (4/23/12)



James Bond Is Back! At The Colony Theater That Is (7/28/10)

The Colony Theater Has The Midas Touch With GOLDFINGER Thursday Night (8/24/10)

"James Bond Originals" At The Colony Theater Presents THUNDERBALL This Thursday Night (9/29/10)

James Bond Is Back: YOU ONLY LIVE TWICE This Thursday At The Colony Theater (10/27/10)

The Most Debated James Bond Movie Ever Screens This Thurs At The Colony Theater (12/29/10)

Connery As Bond Is Back: DIAMONDS ARE FOREVER This Thurs At The Colony Theater (1/26/11)


Roger Moore’s 007 Debut This Thursday At The Colony Theater (2/23/11)






THE MAN WITH THE GOLDEN GUN Takes Aim At 007 This Thursday Night At The Colony (3/29/11)



Roger Moore is THE SPY WHO LOVED ME Thurs Night at the Colony Theater (4/26/11)



The STAR WARS Bond Shows Thursday Night at the Colony Theater (5/25/11)



007 enters the ‘80s at the Colony Theater Thursday (6/28/11)



Roger Moore's 007 meets OCTOPUSSY tonight at the Colony (7/28/11)



Roger Moore's last outing as 007 shows this Thurs night at the Colony Theater (8/24/11)



Timothy Dalton takes over as 007 tonight at the Colony (9/29/11)



007 gets his LICENSE TO KILL revoked Thursday night at the Colony (10/26/11)

Pierce Brosnan takes over as 007 tonight at the Colony (12/29/11)



Pierce Brosnan’s 4th and final film as 007 screens tonight at the Colony (3/28/12)



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Countdown to SKYFALL #2: The Best & Worst Bond Movie Posters

In 3 days the new big-ass James Bond movie, SKYFALL, opens so this week Film Babble Blog is all about 007 leading up to my review on Friday.

        

     

For today's post, let's take a look at what I think are the best and worst Bond movie posters. This one for LIVE AND LET DIE (1973), is my favorite:




I always loved the ones that had Bond stoically standing with his gun (a far bigger one than his usual Walther PPK) held close to his face, as he's surrounded by a bunch of crazy sexy cool action. It was painted by artist Robert McGinnis, who did the poster art for many Bond movies.

Sadly, movie posters became more and more dominated by promotional photographs rather than painted images in the '80s and '90s. This Bond poster, poorly composed of photos, is my vote for the worst:

LICENSE TO KILL (1989)

Ugh, just wretched, huh? At least it matches the quality of the film, one of the worst of the series. Even back in the '80s this looked tacky and crappy. I've seen romance novels with more tastedul graphics.

Lastly, here's one of the best Bond mashups: Sky Movies' advert for their HD Bond series, which features all the Bonds in a big action chase scene. Very well done.

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Countdown to SKYFALL #1: Down The Gun Barrel On Bond

   

Since the 23rd James Bond movie, Sam Mendes’ SKYFALL, releases in 4 days, and also because it's the 50th anniversary of the series, I thought it would be cool to have some 007-centric posts leading up to my review of the highly anticipated film.

   

First, I thought I'd babble about one of my favorite parts of every Bond movie - the gun barrel opening, created by Maurice Binder. It's a piece of pure '60s pop art that I always love seeing. Check out this cut all of the previous 22 gun barrel sequences together in chronological order into this 9:09 clip from YouTube:

    

    

It's fun to see them back to back, because you get a mini-history of the actors who played Bond and see that Sean Connery and one-timer George Lazenby wore hats, Roger Moore mostly wore a tux (they use the same footage of Moore 5 times), and Pierce Brosnan also wore a tux but struck less of a pose than his predecessors.

Incidentally the first 3 gun barrels aren't Connery, they're stuntman Bob Simmons. For THUNDERBALL, they shot one of Connery that was first shown in color, then in reused in black and white in his next 2 Bonds for reasons unknown.

They re-use the same footage of Brosnan throughout his run too, but they add the bullet coming right at you in DIE ANOTHER DAY. Daniel Craig's first film as 007, 2006's CASINO ROYALE, doesn't open it with the gun barrel bit; it comes at the end of the cold opening leading into the theme song. 

In 2008's QUANTUM OF SOLACE, it appears at the end of the movie before the credits roll. Will it be back to the beginning of SKYFALL to pay homage to the tradition? We shall soon see.

I also love how the above montage of gun barrels works as a mini-history of how Monty Norman's (or John Barry's, uh, it's complicated) “James Bond Theme” changed to suit the times over the years. Listen how it starts out orchestral, then gets vamped up with surf-guitar, becomes slightly funk-ified in the '70s, and all techno-ized in the '90s.

The gun barrel sequence has been parodied many times, too many to list (though I'm sure a site somewhere does), but here's my top 5:

The Simpsons: “And Maggie Makes Three” (Aired: Jan. 22, 1995)

Monty Python's Flying Circus: “The Pantomime Horse Is A Secret Agent” Film from episode 30: “Blood, Devastation, Death, War and Horror” (Aired: Nov. 9, 1972)

Robot Chicken: “Dear Customer” (Aired: Dec. 6, 2009)

Saturday Night Live: Steve Martin as James Bond in “Bullets Aren't Cheap” (Broadcast: Oct. 17th, 1987)

Lego James Bond Gun Barrel Sequence (source unknown)

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A Worthwhile Retro Romp In WRECK-IT RALPH

WRECK-IT RALPH (Dir. Rich Moore, 2012)

          

It’s not the first time that the great John C. Reilly has been animated - Jake Kasdan’s WALK HARD featured Reilly’s Dewey Cox character dabbling in psychedelics with the Beatles bringing on a YELLOW SUBMARINE-style hallucinatory sequence (“I like being a trippy cartoon!”), and Reilly was the sole comic relief as a scared stitch-punk in Shane Acker’s dreary 2009 sci-fi CGI-concoction 9 - but in WRECK-IT RALPH, it’s the first time he’s been properly animated with such purpose.

Reilly lends his voice to the title character, an oafish villain in a Donkey Kong-ish video game called “Fix-It Felix Jr.,” who decides during his game’s thirtieth anniversary that he doesn’t want to be the bad guy anymore. 30 Rock’s Jack McBrayer, also appropriately animated, voices the games’ hero, who is constantly celebrated by the tenants of the apartment building for fixing what Ralph, uh, wrecks.

The game is located in the fictional Litwak's Arcade, alongside other parody/homages to classic ‘80s video games, such as the violent war game “Hero’s Duty,” and the seemingly set in Candyland go-cart game “Sugar Rush.” There are also many amusing cameos from real game characters, including Frogger, Q*Bert, Sonic the Hedgehog, and Clyde, the orange ghost from Pac-Man.

Told that he’d have to win a medal to be accepted by the residents of his game, Ralph leaves through the wires of “Fix-It Felix Jr.” to the arcade’s master power strip called Central Game Station, where all the various video game characters interact with one another after the establishment closes, in a TOY STORY style (not to mention the similarities to the world where cartoon characters live among us in WHO FRAMED ROGER RABBIT?).

There’s also a bit of PURPLE ROSE OF CAIRO happening like when its noticed that Ralph is missing from his game and the arcade manager (voiced by Ed O'Neill) puts up an out of order sign. Since this means that the videogame is broken and will be unplugged, Felix goes after Ralph.

In one of the funniest scenes, Ralph tries to get a medal in “Hero’s Duty,” ruled by the stern Sergeant Tamora Jean Calhoun (Jane Lynch), and succeeds despite how chaotically over the top the game is. Ralph exclaims: “When did video games become so violent and scary?!!?”

In the next game Ralph hits, “Sugar Rush,” his medal is stolen by Vanellope von Schweetz, voiced by comedienne Sarah Silverman, who's plagued with a programming code glitch which makes her as ostracized in her video game world as Ralph was in his.

Silverman's Vanellope has a persona tailored to her patented cute snarkiness, and her penchant for crude bathroom humor - her riffing on the name of the game “Hero’s Duty” (sounds like ‘doody,’ right?) gets some good mileage (“Why did the hero flush the toilet?' ‘Cuz it was his DUTY!”), and she and Reilly exude likable chemistry bouncing off each other in their exchanges, with both comical and emotional impact.



In several smaller parts that stand out, Mindy Kalling has a few choice moments as a racing rival of Silverman's, as does Alan Tudyk as King Candy (the film's real bad guy), and is that Skrillex putting in a cameo as the DJ at Fix-It Felix's 30th anniversary party? Why yes, it is.

The sprightly, inventive, and neatly nostalgic WRECK-IT RALPH is one of the few recent animated kid’s films that uses pop culture referencing to its advantage, with genuine affection towards its inspirations. When Reilly's Ralph realizes, and says touchingly, that ‘retro’ doesn’t necessarily mean outdated and unnecessary, it can mean that something’s “old but cool,” it’s obvious that director Moore (who helmed many classic Simpsons episodes), and screenwriters Phil Johnston (CEDAR RAPIDS), and Jennifer Lee honestly feel the same way.

Whether they grew up in the age of 8-bit, or have been weaned on the high resolution graphics that dominate the game world now, folks of all ages should take to the worthwhile romp that is WRECK-IT RALPH. 



It looks like Disney, whose 52nd feature-length animated film this is, has taken more than a few cues from Pixar (including having a charming animated short play before the movie - John Kahrs’ “Paperman”), and made, via a mixture of hand drawn and CGI, a much sharper and hipper film than their last few features (I barely remember TANGLED or THE PRINCESS AND THE FROG).

It’s good news indeed that the Magic Kingdom’s movie makers can still mazimize on a promising premise, get so many laughs and thrills out of it, all the while poignantly pulling the heartstrings. It goes a long way to make up for the kind of crap that too often passes for family entertainment these days.

*Cough* “Hotel Transylvania” *Cough*.

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FLIGHT: The Film Babble Blog Review

FLIGHT (Dir. Robert Zemeckis, 2012)

With its disaster movie tension and tone, Robert Zemeckis’ first live action film since 2000’s CAST AWAY (and first R-rated movie since 1980’s USED CARS) comes on at first like it could be a reboot of the ‘70s AIRPORT series. Albeit a more edgy version, as we witness pilot Denzel Washington snort a few lines of cocaine before take-off, and drink vodka while in flight.



Despite the drinking and the drugging, when the airplane’s machinery malfunctions Washington is still able to successfully make an emergency landing, after the stunning maneuver of flying the jet upside down to halt the dive. Washington’s skills saves 96 of the 102 lives (or “souls” as he says it), and he’s initially hailed as a hero, but his hospital toxicology report could get him lifetime imprisonment for manslaughter.



As he’s recuperating, Washington tries to quit drinking and throws out all his liquor and beer. This can’t help but be comical as the supply of booze at his family’s farmhouse in the countryside of Georgia, where he’s hiding from the media, is so huge that he keeps finding more to dispose of.



Washington’s sobriety doesn’t last long; he drops off the wagon right after a morning meeting with Bruce Greenwood as a airline union rep, and Don Cheadle as a Michael Clayton-esque fixer-lawyer who is a little concerned about a certain blood-alcohol-level report. Although Cheadle is confident that he can suppress it, Washington relapses big-time.



Again, the scenes with Washington dealing with his alcoholism can’t help but be comical as we see him guzzle from a big bottle of liquor in the parking lot of a liquor store, and driving around Atlanta with a can of Budweiser in his hand. It seems like Washington spends most of the movie trying to out-drink Nicholas Cage in LEAVING LAS VEGAS.



Washington falls in with Kelly Reilly, who he met at the hospital, as a recovering heroin addict/hooker, but it’s obvious that she’s on a better path to getting her life back together than he is by getting a new job and going to AA meetings. Reilly tries to get Washington to attend a meeting with her, but he walks out half-way through. Our disgraced hero’s behavior gets even worse when he pays a drunken visit to his ex-wife (Garcelle Beauvais) after Reilly leaves him.



While Zemeckis, actually a longtime pilot himself, is a former Steven Spielberg protégé his use of music here has a Martin Scorsese-style specificity. This is most on display in the cameo by the always hilarious John Goodman, who should cameo in every movie, as Washington’s drug dealer who struts through hallways to the Rolling Stones’ “Sympathy For The Devil.” Washington gets Joe Cocker’s “Feelin’ Alright” as his strutting song when all he’s coked-up yet still smooth, and Reilly gets the Cowboy Junkies’ cover of the Velvet Underground’s “Sweet Jane” to serenade her when she shoots up in an early scene. 



I dug how gutsy FLIGHT was for most of its lengthy running time (2 hours and 18 min), and was highly amused by Washington’s cocky manner of talking around people (“Don’t tell me how to lie about drinking, I’ve been lying about drinking my whole life!”), but the film hugely falters in its concluding scenes that contrive to give this appealingly un-redemptive character redemption.



Sorry if this is a Spoiler!, but in the climatic hearing, in which Washington gets questioned by Melissa Leo as an understanding federal inquisitor, I was rooting for the guy to get away with it all, like folks often do in this cruel world. Is that what screenwriter John Gatin (REAL STEEL - that’s right) wanted folks to feel? Like, yeah we know Denzel has substance abuse issues, but, da-ham! Look how good he looks even after a rough night, and he did save the majority of passengers on that doomed flight, so why not let him off the hook?



In the end, the well made FLIGHT enjoys partying with Washington so much, that its punishment of him doesn’t really fly.



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