"Skyfall") a tragic orphan back-story (repeated via the death of Dench's matriarchal figure, who's even called "Mum"), andĪ Joker-type bad guy (Javier Bardem's fey torturer). Mythology that turns Bond into Batman minus the cape and cowl, and boasts a Bond version of Stately Wayne Manor an Alfred-the-butler figure ( Albert Finney in Quips and gadgets and curvy women with porno names. Most recent incarnation of Bond doesn't just have stunts and Since Craig stepped into the part in "Casino Royale." The
Like a culmination of everything the franchise has been building toward Mexico City to Italy to Morocco and beyond, and dig to the bottom of theĬonspiracy that claimed so many agents' lives. " Skyfall," by way of a video-recorded warning sent to Bond by his old boss M (Judiĭench) right before her death, urging Bond to follow the trail from Retroactively forces connections between "Royale," "Solace" and Occurs in the aftermath of MI-6's decimation in the last Bond picture. Green), which set the stage for an emotionally burned-out, extra-icyīond investigating a global conspiracy in "Solace" that turned out to beĬonnected to the bad guys he fought in "Royale." "Spectre" The finalĪct of "Royale" killed off Bond's one true love, Vesper Lynd (Eva
#Spectre film rating movie#
"Casino Royale"-the best movie in the fifty-plus-year-old franchise, and the only one that would satisfy even if the main character were named Oswald Chutney. The second Craig Bond, " Quantum of Solace," built a convoluted narrative
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The last three Bond films drew on all of those traditions, plus Bond's own distinctive set of cliches, and set the stage for this fourth Craig outing, "Spectre." Their conception owed quite a bit to comic books and to serialized television like "24" (James Bond by way of " Die Hard"). The new superhero films featured fussy world-building and onion-layered subplots doled out over many films and many years. Given the franchise's lineage, it was only a matter of time before the producers went the extra kilometer and started modeling the Bond films on the Batman and Marvel franchises. He ran, jumped, drove and flew through loosely connected setpieces that borrowed whatever cliches happened to be popular in action cinema at that moment and amped them up with more beautiful locations, bigger explosions, cornier jokes, and lush, loud music by John Barry.
Even in the 1960s they were essentially superhero movies starring an indestructible character who wore street clothes (and the occasional wet suit) instead of tights and a cape. James Bond films are, and always have been, more imitative than innovative.
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