Gummo (1997) Review

Title: Gummo
Year: 1997
Director: Harmony Korine
Country: US
Language: English

Audiences have very visceral, polarizing reactions to Harmony Korine's controversial film Gummo. Some people find it to be disgusting poverty exploitation, while others find it a remarkable, innovative venture into a rarely seen part of low-income America. I was warned - and advised - to see this surreal, haunting film. I didn't think I could get through it, because honestly it is quite depressing, but I did and I found myself astounded by the images onscreen. 

In this, lonely residents of a tornado-stricken Ohio town wander the deserted landscape trying to fulfill their boring, nihilistic lives.

Objecting to traditional narrative, Harmony Korine instead opts for a disjointed, non-linear, documentary-style storytelling that is steeped in experimental film-making. Lacking a clear plot; instead we get fractured snippets of the resident's lives marked by a grainy cinematography and frequent use of disorienting shots. It all comes together to create an unsettling feeling that our characters are a product of their bleak environment. 

The film is chaotic; with moments of violence, neglect and absurdity. In one infamous scene, there is a child having a bath in brown water, while eating dinner consisting of spaghetti and a strawberry milkshake. In another scene adults are having a furious fight against a chair. Few Directors are actually interested in exploring the lives of the lowest class, so in a way, this is fairly innovative. The types of people portrayed in this film do exist; they may even be our family members. 

Gummo is a very raw, unfiltered look at the human condition. Its anarchic nature is oddly endearing to me, albeit I found a lot of the material upsetting rather than funny. It's a hard recommendation for sure, but if you like experimental cinema then you might find this absurdly enjoyable. 

The Babadook (2014) Review

Title: The Babadook
Year: 2014
Director: Jennifer Kent
Country: Australia
Language: English

"If it's an a word, or if it's in a look, you can't get rid of the Babadook." Australian writer-director Jennifer Kent crafted an endlessly rewatchable horror movie icon with The Babadook. The film is a frightening, and fun, psychological horror that explores themes of mental health, in particular grief. In retrospect it helped usher in a renaissance of  spooky films (Midsommar, Get Out) that challenged convention with challenging and innovative narratives. 

A single mother (Eddie Davis) and her child (Noah Wiseman) fall into a deep well of paranoia when an eerie children's book titled "Mister Babadook" manifests in their home.

The Babadook is a sophisticated technical masterpiece. The set design was created in such a way that the film, excluding outdoor scenes, looks like its part of a stage performance akin to Lars Von Trier's Dogville. The director uses our imagination to build up The Babadook and then delivers on our expectations to frightening cinematic reality. Cinematographer Radoslaw Ladczuk does a tremendous job at making each scene as claustrophobic and eerie as possible. 

The Babadook walks a fine line between reality and fantasy; we're never quite sure if the Babadook is a real monster or the product of a mind gone mad. The effects, many of them practical, give the picture an uncanny valley feel. Kent truly innovates the horror genre by using the eponymous villain to deconstruct our characters' emotional turmoil and create an alarming profile of a maternal affection gone haywire. 

Comparisons could be made to Stanley Kubrick's The Shining in regards to the film's careful analysis of mental illness. The Babadook is a remarkable film, a new staple of the horror genre that will inevitably be considered a classic. I look forward to rewatching it in the future. 

Empire Records (1995) Review

Title: Empire Records
Year: 1995
Director: Allen Moyle
Country: US
Language: English

There are few movies so undeniably 90's like Empire Records. The film is a snapshot of the culture at the time; fully capturing the youthful spirit that permeated throughout society. The film has an edge, a counter-culture attitude that seems to be missing from the 2020's. It features actors that would later go on to become big movie stars, including Liv Tyler, Renée Zellweger, Rory Cochrane, and Johnny Whitworth.

The film is about Twenty-four hours in the lives of the young employees at Empire Records when they all grow up and become young adults thanks to each other and the manager. They all face the store joining a chain store with strict rules.

Set in a record store, the soundtrack proves to be an eclectic mix of '90s rock and alternative anthems, including tracks by Gin Blossoms, The Cranberries, and Better Than Ezra. The music compliments Empire Records' tone, elevating dramatic moments when appropriate, and providing levity during funnier moments. The film hits a strong emotional nerve, capturing the chaos of youth and the bittersweet moments of adolescence. 

Empire Records is not perfect however; it is a bit disjointed and awkwardly paced. Character issues are not fully resolved, and some moments are off-putting with how bizarre they become. It's a quirky film with a tremendous amount of soul, but the surreal moments in an otherwise down-to-earth movie might rub people the wrong way. I can honestly see how people could go either way with this movie.

I think Empire Records is an important movie that. at the very least, will serve as a nice slice of nostalgia for older Millennials and Gen X-ers. I was 4 years old when this movie hit theatres, I don't fully see myself in these characters, but I still connect with them on an emotional level. I hope today's youth can as well. 

 

Django Unchained (2012) Review

Title: Django Unchained
Year: 2012
Director: Quentin Tarantino
Country: US
Language: English

After Kill Bill Vol.2 (2004) I took a long break from the filmography of Quentin Tarantino. I didn't have an appreciation for his style of gratuitous, hyper stylized violence. Specifically, I felt that Inglorious Basterds & Django Unchained could be exploitative, and offend the marginalized groups that the film portrays. However, my opinion on Tarantino's films changed when I saw Once Upon A Time in Hollywood (2019) and now I'm willing to give Django my full attention. 

With the help of a German bounty-hunter (Christoph Waltz), a freed slave (Jamie Foxx) sets out to rescue his wife from a brutal plantation owner in Mississippi.

Django Unchained is Tanrantino's remix of the American Western; referencing dozens of classics throughout cinema to construct a revenge film that is unapologetically brutal. The film's treatment of its subject matter - slavery and racism - straddles a line between exploitation and truth. It shows the dehumanizing effects of slavery, and the horrors of it, but too often it injects humor in places where it's not appropriate for the scene, which undercuts the established tension. 

Tarantino does a great job at making Django look like a superstar. The cinematography, score and editing do a tremendous job in framing the character as a "Man with No Name" hyper-masculine badass. The film's antagonist, Calvin Candie (Leonardo DiCaprio) is also a formidable foe. DiCaprio acts his ass off to make Candie a memorable character. A less capable Director might have made Django look like a Marvel film. 

Thankfully, Django Unchained is in the hands of one of the rare cinema auteurs. Its writing, directing and cinematography is unmistakably Tarantino. Its costume, set design and production is incredible, evoking Spaghetti Westerns of old. I enjoyed the film and would recommend it. 

Barry Lyndon (1975) Review

Title: Barry Lyndon
Year: 1975
Director: Stanley Kubrick
Country: UK
Language: English

I've heard about Stanley Kubrick's Barry Lyndon since I was a teenager, watching A Clockwork Orange (1971) and Eyes Wide Shut (1999) in secret. I've been a big fan of his work, but I suspected that at least one of his films would be a dud. Barry Lyndon is a 3 hours long period piece that isn't a talking pointin popular culture anymore. Lyndon has to be the dud...right? I'm not going to waste that much time on a bad movie that's abs- oh wait, it's a MASTERPIECE!? Every frame looks like a painting!? Its easily one of the best Kubricks!? Oh my! 

An Irish rogue (Ryan O'Neal) wins the heart of a rich widow and assumes her dead husband's aristocratic position in 18th-century England.

Initially Kubrick had set out to make a film about Napoleon, but financing collapsed. Despite the setback, he chose to adapt an obscure novel, The Luck of Barry Lyndon, for the big screen. It's a fairly balanced film, in terms of drama and comedy, that reminds me of Best Picture winner Tom Jones (1963). Both characters are dumbasses who stumble upwardly into wealth & nobility. Both characters create their own problems that are somehow resolved via blind luck. Both are rare films that make a mockery of nobility, while also being in reverence of it.

Barry Lyndon is a gorgeous film; its set design and scene composition allows each frame to look like a painting. It is a lavish, opulent piece of exquisite cinema that allows a breathtaking score, remarkable cinematography and beautiful costume design to flourish. Honestly, this is one of the best looking films I have ever seen. Its a lengthy film, but no minute is wasted in giving an encompassing, engaging story. Its use of natural lighting - many scenes are shot in candlelight  - is utterly remarkable. 

Barry Lyndon is a must-watch for anybody who is interested in Kubrick. It is a great film that certainly has become one of my favourites. A technical marvel - every sequence is a sight to behold. 

Marie Antoinette (2006) Review

Title: Marie Antoinette
Year: 2006
Director: Sophia Coppola
Country: US
Language: English

I avoided Sophia Coppola's Marie Antoinette (2006) for a long time because I had a strong distaste for period movies with modern soundtracks. I felt that Bow Wow's I Want Candy had no place in 18th Century aristocratic France. However, overtime my tastes have changed. Not every film has to have the period accurate film score of Milos Forman's Amadeus (1984). Therefore I decided to give this a chance...and I'm glad I did! 

This is the retelling of France's iconic but ill-fated queen, Marie Antoinette (Kirsten Dunst). From her betrothal and marriage to Louis XVI  (Jason Shwartzman) at 14 to her reign as queen at 19 and to the end of her reign as queen, and ultimately the fall of Versailles.

Something else that would have triggered me into a rant would be Marie Antoinette's complete lack of interest in politics. The film briefly discusses the trials and tribulations of the time, "My dear, you're overspending/" but its interest primarily lies in the character study of a woman overwhelmed by strange customs and her desire to escape via lavish parties. It's more a commentary patriarchy, the absurdity of rigid customs, and what it means to be a woman. It is quite difficult to empathize with the absurdly wealthy, but this film does a good job at constructing a complex character. 

Like Kubrick's Barry Lyndon, Marie Antoinette is a vibrant picture filled with magnificent set design, eye-popping costumes and remarkable cinematography. Kirsten Dunst truly shines as the alleged "let them eat cake" queen of France. I actually was impressed with the soundtrack, as it gave the film a modern feel; giving it more accessibility to younger audiences who might be put off by a period piece. 

I went into the viewing expecting to dislike the film, but I'm glad I was wrong. Marie Antoinette was a joy to watch, even during the sadder moments (hey, she sort of deserved her fate). Sophia Coppola has an excellent cinematography, she's a director who proves my skepticism wrong on every occasion. 

I Walked With a Zombie (1943) Review

Title: I Walked With a Zombie
Year: 1943
Director: Jacques Tourneur
Country: US
Language: English

I have a great affection for RKO Studios' films of the 1940's. From grand melodramas like Orson Welles' Citizen Kane to creepy thrillers like Jacques Tourneur's Cat People (1942), the studio is a showcase for old Hollywood classics. I Walked With a Zombie (1943) is a studio film that alluded me for quite some time. I imagined it being a lesser version of Night of The Living Dead, but actually the film is far more about an atmosphere of dread, rather than a creature feature. 

A nurse (Francis Dee) is hired to care for the wife of a sugar plantation owner, who has been acting strangely, on a Caribbean island.

I Walked With a Zombie is Val Lewton's second collaboration with Tournuer, who had directed Cat People a year prior. The story, partially lifted from Jane Eyre, is a powerful story about the power of belief, free will, race relations, and the problematic history of our ancestors. It is a film remarkably ahead of its time in regards to its anti-colonialist message; showing how African culture could be co-opted by the white man as an element of control. 

Director Tourneur and cinematographer J. Roy Hunt give us a surreal macabre film that jolts the senses in both a visual and audio presentation. Each time we hear the sound of the villagers' drums our hearts beat with more intensity. I Walked With a Zombie also has power in its silence; there are many quiet scenes that rattle the senses. 

Joker: Folie a deux (2024)

Title: Joker 2 
Year: 2024
Director: Todd Phillips
Country: US
Language: English

Todd Phillips Joker (2019) was a cultural phenomenon when it was released. It was a huge hit with critics & audiences, raking in over a $1 Billion in Worldwide gross revenue. I was at Toronto Film Festival, where Joker made its North American debut, and there were entire city blocks worth of people in Joker cosplay. Such a hit meant a sequel was inevitable. Would Joker: Folie a deux live up to the hype? Nope!

Struggling with his dual identity, failed comedian Arthur Fleck (Joaquin Phoenix) meets the love of his life, Harley Quinn (Lady Gaga) , while incarcerated at Arkham State Hospital.

There's a lot of discussion about how Todd Phillips went out of his way to make an anti-film; deliberately trolling the audience by making a film that is the exact opposite of their expectations. I think this is giving too much credit to the Director of Starsky & Hutch (2004). Joker 2 is awful, not because it doesn't give the audience what it wants, but because the writing is incomprehensible garbage. Harley Quinn's motivation is all over the place; plot points are introduced and abandoned at a whim; entire scenes serve no purpose but to fill time. 

Joker had a lot of misses in its writing as well, such as implying that Thomas Wayne was his father, but it stole enough from Martin Scorsese to make the film as a whole work. Folie a Deux's concept has been done before, it was inspired by The Singing Detective, but Todd Phillips and co. aren't talented enough to Tarantino themselves into a good movie twice. 

The only thing Joker: Folie a Deux might do well is serve as a test to weed out pretentious cinema snobs. Is your friend convinced that this film is actually a Kaufman-esque avant guard anti-cinema masterpiece? There's a bridge you may be able to sell to them!

Leave Her to Heaven (1945) Review

Title: Leave Her to Heaven
Year: 1945
Director: John M. Stahl
Country: US
Language: English

Have you ever watched a classic movie and thought "How did THIS get made!?" Not because of quality, but rather, subject matter. How did Leave Her to Heaven pass the unrelenting censors of the Hays Code when other pictures had to recut entire scenes to make theatrical distribution? This film has one of the most perverse and remorseless femme fatales in the history of cinema. 

A writer falls in love with a young socialite named Ellen Harland (Gene Tierney) and they're soon married, but her obsessive love for him threatens to be the undoing of them both as well as everyone around them.

While most femme fatales have driven motivations - money, security, love - Ellen Harland's issue is more psychological and Freudian. She desires to conform to traditional femininity, but her impulsive emotions and obsession make this an impossibility. She is at odds with her society, and thus finds her self succumbing to madness. 

Filmed in beautiful technicolor, Leave Her to Heaven has the look of a Douglas Sirk melodrama (John Stahl is known as a director of "women's pictures") , but its as cold as Double Indemnity.  Tierney is a beautiful woman, often thought of as one of the most beautiful women in cinema, but her actions definitely make us forget about the beauty. 

Leave Her to Heaven is a well made film with a remarkable script and stunning cinematography. This picture transcends what you thought a noir could be, albeit at nearly 2 hours it feels a bit long. If this film cut 20-30 minutes it would be one of the best colour-noirs of all time. Overall it's a fascinating one-time viewing. 

Challengers (2024) Review

Title: Challengers
Year: 2024
Director: Luca Guadagino
Country: US
Language: English

With Call Me By Your Name (2017) and Bones and All (2022) in his filmography, it would seem Director Luca Guadagino is no stranger to portraying complex, multi-faceted relationships unfold on the big screen. Using tennis to portray a love-triangle is bold, and easily could have fell apart with a poor screenplay, but thankfully Guadagino works with Past Lives (2023) playwright Justin Kuritzkes to weave a fascinating character study of three intense athletes. 

Tashi (Zendaya) , a former tennis prodigy turned coach, transformed her husband (Mike Faist)  into a champion. But to overcome a recent losing streak and redeem himself, he'll need to face off against his former best friend, and Tashi's ex-boyfriend (Josh O' Connor).

The film's narrative leaps back and forth, between present day and the past. The structure does a great job at slowly revealing the positions of each participant in this love triangle. Advertised as the "sexy threesome" movie; Challengers is far more interested in how body language and subtle conversation add to the story structure & creates an engaging work of art. 

The cinematography, by Sayombhu Mukdeeprom, provides an array of unique camerawork that makes a tennis match feel like a visual epic event. The electronic score, by Trent Reznor and Atticus Ross, gives Challengers a pulsating, energetic feel that intensifies the emotions onscreen. 

Challengers proves that Zendaya should be a big star. Her ability to emote through small shifts in her body language is outstanding. Faist (West Side Story) & O'Connor (God's Own Country) are also perfectly cast. This may become my favourite film of 2024, it is superb in every way. 

The World is Not Enough (1999) Review

 Title: The World is Not Enough
Year: 1999
Director: Michael Apted
Country: UK
Language; English

The World is Not Enough is a tearjerker, but not for the reason you'd expect. This was the last feature film of Desmond Llewelyn, who played Q throughout the Bond franchise. He had been a staple of the series since From Russia With Love (1963). and many fans looked forward to his scenes, which often featured him giving Bond a ridiculous gadget. Seeing his last scene  At 85 years old, he lived a long life, but we all wish he lived a lot longer. 

James Bond (Piece Brosnan) uncovers a nuclear plot while protecting an oil heiress from her former kidnapper, an international terrorist who can't feel pain.

The last James Bond film of the Twentieth Century, The World is Not Enough features a great opening song by Garbage & is one of the most impressive of t007 features when it comes to thrilling, pulse pounding action scenes. TWINE is fast-paced, with the 2 hours feeling like 20minutes.

I like Bond Girl Christmas Jones, if only for the name & associated puns. "Christmas came early this year."  & I think Pierce Brosnan has a better developed personality than his previous two outings. I would argue that the plot is a bit weak; the story itself is not very engaging or providing a lot of depth. TWINE is very much style over substance.

The World is Not Enough is a pretty average film that is enjoyable, but not very memorable. Cinephiles often site 1999 as one of the best years in film history, but that's because of The Matrix, American Beauty, and The Sixth Sense. Nobody claims 1999 was great because of Bond. 

Tomorrow Never Dies (1997) Review

Title: Tomorrow Never Dies
Year: 1997
Director: Roger Spottiswoods
Country: UK
Language: English

Roger Moore's first two Bond films of the 1980's  (Octopussy & For Your Eyes Only) were too conservative for my liking. They were too influenced by  the Reagan/Thatcher politics of the time. Tomorrow Never Dies comes during a more liberal 90's when Tony Blair (US), John Chretien (Canada) & Bill Clinton (UK) were in charge. Concerns became more focused on technology, rather than the pointless "war on drugs".

James Bond (Pierce Brosnan) sets out to stop a media mogul's plan to induce a war between China and the United Kingdom.

Tomorrow Never Dies takes Bond into the Information Era and is shockingly relevant considering politics of today. Perhaps it is the most relevant film in the franchise, and that is including the most recent No Time to Die (2021). There are many examples (*cough*FoxNews*cough*) of media being manipulated in order to influence our elections. Brexit was partly driven by media influence. 

Michelle Yeoh's stock has risen immensely since Tomorrow Never Dies. She won Best Actress at the Academy Awards in 2023 for Everything Everywhere All At Once. It is fascinating to watch her in an earlier role where she is kicking ass along with Bond. She is a great Bond girl. 

Tomorrow Never Dies is a fast paced, thrilling Bond film that is an underrated gem in the franchise. Its impressive set design, exquisite cinematography and jaw-dropping fight choreography make this entry a contender for one of the best Bonds. 

Goldeneye (1995) Review

 Title: Goldeneye
Year: 1995
Director: Martin Campbell
Country: UK
Language: English

Ah, Goldeneye! Most of us millennials know of this 007 entry as our favorite childhood video game. We spent countless hours on the N64 beating our friends in "slappers only" combat. Nobody played as Oddjob, because his small stature was considered cheating. Many of us didn't ever end up seeing the film Goldeneye, which is a shame, because it's a damn good movie!

When a powerful secret defense system is stolen, James Bond (Pierce Brosnan) is assigned to stop a Russian crime syndicate from using it.

The first Bond film made since the end of the Cold War, Goldeneye was an ambitious project for the producers to make. Mel Gibson, Hugh Grant and Liam Neeson were all offered the part of Bond, but they all passed. Pierce Brosnan accepted the role. He's a good middle0ground between the goofy camp of Moore & the extreme seriousness of Timothy Dalton. Brosnan is an instantly credible Bond.

"I think you're a sexist misogynistic dinosaur. A relic of the cold war." - M

Goldenye updates the Franchise to reflect attitudes of the time. This entry is the first time Bond is called out, and made fun of, for his outdated views. It's also the first entry to feature a female M, which was huge at the time. The film itself has an adequate script, but is visually impressive. Its impressive cinematography, intense fight choreography and outstanding set design give Goldeneye an epic feel that is rarely matched throughout the Bond Franchise. 

Famke Janssen as Xenia Onatopp is a memorable femme fatale. Sean Bean as Trevelyan is an iconic Bond villain. I love how personal Trevelyan & Bond's showdown is at the end of the film. Goldeneye is certainly worthy of being highly regarded. 

 

Licence to Kill (1989) Review

Title: Licence to Kill 
Year: 1989
Director: John Glen
Country: UK
English: English

While Roger Moore's Bond was busy shagging every lady who could find, Timothy Dalton's James Bond was practically abstinent. Reporters at the time wondered if the AIDS epidemic had contributed to 007's reduced sexuality. Dalton initially denied these claims, but decades later he admitted this was true. Dalton's Bond would be darker, grittier and more of a killer-for-hire than the previous incarnation.  

A vengeful James Bond (Timothy Dalton) goes rogue to infiltrate and take down the organization of a drug lord who has murdered his friend's new wife and left him near death.

Licence to Kill feels like the true sequel to On Her Majesty's Secret Service, rather than the atrocious Diamonds are Forever (1971).  The events of Lazenby's film gave 007 a relentless desire for revenge against his enemies. It turned this quirky ladies man into a cold blooded killer. Dalton really has an intensity that no other Bond actor has had since. Its easy to tell that he came from a Shakesperean acting background. 

While the story & acting is great, the visual presentation of Licence to Kill feels quite dated. It looks, and sounds, like a late 80's television show. It's like the cinematographer, set designer and costumer designer all decided to model this outing after Miami Vice. While a View to a Kill (1985) reminds viewers of the fun Cyndi Lauper era of the 80's that everyone is nostalgic for, Licence to Kill resembles a part of the 80's that only your grandmother liked.

If Licence to Kill had a visual presentation that didn't look like Dallas it would be a top tier Bond flick. Unfortunately, it looks dated & won't age gracefully as time goes on. I love the story however & I would tell everybody to watch it at least once. 

Deadpool & Wolverine (2024) Review

Title: Deadpool & Wolverine 
Year: 2024
Director: Shawn Levy
Country: US
Language: English

With Logan (2017)  Hugh Jackman had decided to be done playing the character of Wolverine. He had been playing this part for 17 years; since X-Men (2000) However, he saw Deadpool 2 & expressed regret killing the character off, telling Ryan Reynolds that he wished their two characters could meet onscreen. Welp! Something something multiverse & we get Deadpool & Wolverine.

Deadpool (Ryan Reynolds) is offered a place in the Marvel Cinematic Universe by the Time Variance Authority, but instead recruits a variant of Wolverine (Hugh Jackman) to save his universe from extinction.

When She-Hulk breaks the fourth wall, she gets cancelled. When Deadpool does it his movie earns a Billion dollars. That seems unfair. 

Crass, violent, and full of f***s to give out in every sentence,  Deadpool & Wolverine is a fun, goofy brainless film that will certainly work among those who want to see two immortal beings beat each other up for two hours. 

For everyone else the jokes are hit & miss. The fourth wall-breaking becomes tedious at times; like Deadpool will make fun of how stale the Marvel formula has become - only for the movie to fall into the same cookie-cutter plot tropes (ie. excessive cameos). The writing can be pretty bad at times, as some of the plot gets convoluted and confusing. Since when was "anchor beings" ever a thing in the MCU? 

This movie makes me reflect upon my distaste for the Disney series She-Hulk. I think my annoyance for that character was her reluctance to become The Hulk. "I'm great at controlling my anger." Then why am I watching She-Hulk? The Deadpool series is at least a fun time. If you can turn your brain off, you'll enjoy it. 

The Living Daylights (1987) Review

 Title: The Living Daylights
Year: 1987
Director: John Glen
Country: UK
Language: English

A View to a Kill (1985) did pretty good in the theatres, but it had become pretty obvious that Roger Moore had become too old for the role. The Producers decided to hire Pierce Brosnan as 007, but the TV Series Remington Steele decided to renew his contract for another season, and thus Brosnan wouldn't be available until Goldeneye (1995). For now the part of Bond would go to Shakesperean actor Timothy Dalton. 

James Bond (Timothy Dalton) is sent to investigate a KGB policy to kill all enemy spies, and uncovers an arms deal that potentially has major global ramifications.

Dalton's approach to Bond was similar to Daniel Craig. In The Living Daylights Bond is darker, more brooding and more serious than Connery & Moore. He is less focused on babes and booze; preferring to a "get the job done at whatever the cost" assassin. He gives an emotionally gripping performance that compliments the engaging plot & stunning cinematography. 

This Bond film is very topical for the time. By the late 80's the West's "War on Drugs" was in full swing. This was the time of "Just Say No." and D.A.R.E. The film also touches on the Russian War with Afghanistan and, interestingly enough, has Bond team up with a group that would later become the Taliban!

Dalton's Bond doesn't jump into bed with the ladies like previous Bonds', which I suppose reflects the AIDS crisis of the 80's. It's a fascinating time capsule film that proves to be pretty entertaining. 

Diamonds are Forever (1971) Review

 Title: Diamonds Are Forever
Year: 1971
Director: Guy Hamilton
Country: UK
Language: English

After On Her Majesty's Secret Service (1967) producers scrambled to find the new James Bond because George Lazenby did not want to renew his role. He felt the franchise wouldn't make past the sixties. Who better to play Bond than the original actor Sean Connery. Paid a record breaking salary at the time, Connery was the producers' best bet to introduce the beloved spy to a new decade. 

A diamond smuggling investigation leads James Bond (Sean Connery) to Las Vegas where he uncovers an evil plot involving a rich business tycoon.

On Her Majesty's Secret Service ended on such an incredibly emotional cliffhanger that I expected Diamonds are Forever (1971) to be a chilling follow-up where Bond is consumed by grief and desire for revenge. This isn't the case. The follow-up to OHMSS is such a letdown that it sours the experience of the former film. 

This version of Blofeld is the most boring in the 007 Franchise. Connery seems to have phoned it in as Bond in this film. He is far less charming than in Dr. No (1962) and Goldfinger (1964). The gay henchmen Mr.Wint (Bruce Glover) and Mr.Kidd (Putter Smith) are represented as all the worst homophobic stereotypes of the era. 

It is honestly hard to watch Diamonds Are Forever and still consider myself a fan of Bond films. I find it embarrasing, repulsive even. Die Another Day (2002) is at least a guilty pleasure "so bad its fun" viewing.  This film is just tedious. 

You Only Live Twice (1967) Review

Tile: You Only Live Twice 
Year: 1967
Director: Lewis Gilbert
Country: UK
Language: English

With the harsh reality of the Vietnam War permeating the West, the producers of the James Bond Franchise sought to make their productions increasingly escapist. More of the film's budget would be spent on lavish sets, exotic locations and big explosive special effects. You Only Live Twice (1967) was quite an absurd Bond film for the time. 

James Bond  (Sean Connery) and the Japanese Secret Service must find and stop the true culprit of a series of space hijackings, before war is provoked between Russia and the United States.

The concept of "Bond in Japan" is quite fascinating considering the historical context. Just two decades prior, Tokyo was a mess of rubble and debris. Post-war, the country built itself into shape & was becoming an economic powerhouse. In the 70's their industry would see a boom. This movie provides a time-capsule moment of a country on the verge of greatness. 

Ninjas, Sumo Wrestlers, Volcano lairs, and Helicopters in a suitcase! Only Roald Dahl, writer of Charlie & the Chocolate Factory, could make the absolute absurdity of You Only Live Twice work. As a travelouge film, it works. As a Spy thriller, it works as well. The producers needed Bond to survive the 60's and this "throw everything, including the kitchen sink" approach is effective. 

You Only Live Twice straddles the line between admiration for Japanese culture, and mockery of it. I personally feel it does a good job of presenting Japan, but your mileage may vary. I enjoy Bond flicks for their "over the top" premises and this does deliver some wild times. 

Thunderball (1965) Review

 Title: Thunderball
Year: 1965
Director: Terence Young
Country: UK
Language: English

The mid 1960's were a difficult time in Western politics - the Cold War permeated pop culture as the atomic threat felt more inevitable with each passing day. Thunderball (1965) leans into this anxiety; the SPECTRE villain is determined to hold the world ransom when he steals two nuclear warheads & threatens nuclear annihilation. 

James Bond (Sean Connery) heads to the Bahamas to recover two nuclear warheads stolen by S.P.E.C.T.R.E. Agent Emilio Largo (Adolfo Celi) in an international extortion scheme.

Around the time Thunderball was being made, surf culture made a huge splash among the general public. Surf rock (ex. Beach Boys) and films featuring prominent tropical destinations (ex. Elvis' Blue Hawaii) were guaranteed money-makers. Therefore this entry had to cash-in on the crazy & prominently feature diving, surfing and lots of aquatics. 

Unfortunately, this means that Thunderball is weighed down by a lot of meandering underwater scenes. There's an underwater action scene that is laughably slow in an almost comical way. The attempt at balancing serious cold war attitudes with goofy surf culture give the film an odd tone. The dramatic and comedic elements don't quite balance each other out. 

This is a shame because Thunderball is a visual spectacle. The cinematography is remarkable, the on-location shooting is gorgeous, and the score is upbeat and fun. The villain, Emilio Largo, is iconic and menacing. The Femme Fatale, played by Luciana Paluzzi, has a great amount of charisma. There are so many elements of Thunderball that work terrifically. 

There is a lot to appreciate about this 007 entry, even though the sum of its parts doesn't quite work out. I enjoy surf movies (see: Ghost in the Invisible Bikini) but too much of Thunderball takes place underwater, which makes the pace sometimes agonizingly slow. Nobody likes underwater levels. 

From Russia With Love (1963) Review

Title: From Russia With Love
Year: 1963
Director: Terrence Howard
Country: UK
Language: English

In 1962 a reporter asked US President John F. Kennedy what was on his reading list and he responded with Ian Fleming's From Russia With Love. This boosted sales of the book and, after also seeing the public's interest, the Producers decided to adapt the book into the next Bond flick. Interestingly enough; From Russia With Love was the last film Kennedy would watch prior to his assassination. 

James Bond (Sean Connery) willingly falls into an assassination plot involving a naive Russian beauty (Daniela Bianchi)  in order to retrieve a Soviet encryption device that was stolen by the organization Spectre.

From Russia With Love set the formula for the Bond film, creating a standard that is still sought after in modern 007 flicks. The screenplay is pretty good; a smart spy story that is ahead of its time in terms of portraying sexuality onscreen. The editing of the film is also innovative; it set the template for what action choreography would look like in later years. 

Many people, including Connery himself, consider From Russia With Love to be the Best Bond film. I certainly appreciate the film. The score, set design, lighting and on-location shooting fully immerse us in the atmosphere of Bond's world & keep us pulled in throughout the run-time. Its easy to become invested in our characters because we are invested in such an unpredictable story. 

I do think some of the casual racism/sexism dates this film, and some of the picture trudges along too slowly for my liking. However, these are minor issues compared to the impressive story that unfolds onscreen. I would certainly recommend it. 

On Her Majesty's Secret Service (1969) Review

Title: On Her Majesty's Secret Service
Year: 1969
Director; Peter Hunt
Country: UK
Language: English

Sean Connery was unhappy with the politics, attention and low-pay of playing James Bond, so he left the role as soon as production wrapped on his 5th film. The producers wanted to make Man With the Golden Gun in Croatia with Roger Moore next, but instability due to the Vietnam War meant that project needed to be delayed. Once they decided on On Her Majesty's Secret Service, they sought to find an actor who's star power would not eclipse the popularity of the character. They found George Lazenby; a model who had no filmography prior. 

British agent James Bond (George Lazenby) goes undercover to pursue the villainous Ernst Stavro Blofeld (Telly Savales) , who is planning to hold the world to ransom.

The late 1960's were a chaotic time in the Western World. Race riots, student protests, and labour strikes were all rampant throughout Europe. Charles De Gaulle resignated in France. Martin Luther King Jr. was assassinated the US. The film industry itself had undergone a remarkable change, inspired by the Nouvelle Vague (French New Wave). Making Bond at this time was risky, but luckily OHMSS has a great screenplay, is wonderfully directed. and has some pretty impressive action scenes. 

Considered one of the best Bond films, OHMSS is a back-to-basics Bond that adds more emotional depth to our hero than the previous Connery pictures allowed. Its colour pallette and costume design give OHMSS a very groovy 60's feel. 

Unfortunately, this Bond installment does suffer from a long run-time (the longest until Casino Royale) and can feel very slow and meandering until Bond gets to Switzerland. The blue screen in some scenes, such as the bobsled race, seem cheesy and incredibly dated. 

Lazenby has been rumored to be difficult to work with. His agent didn't see the James Bond Franchise lasting much longer and suggested that Lazenby forgo further Bond roles. This is unfortunate, because he did make a good Bond. Fortunately, this meant the time for Roger Moore as the 007 Agent would come sooner.  OHMSS is a good film, but it's no Moonraker (1979) .

A View to a Kill (1985) Review

Title: A View to a Kill
Year: 1985
Director: John Glen
Country: UK
Language: English

I was hesitant to give A View to A Kill (1985) a chance because, so far, the 1980's Bond movies (Octopussy & For Your Eyes Only) have been too subdued & too steeped in conservative politics for my liking. I was immediately won over as I heard Duran Duran's iconic 80's synth-pop blaring through my speakers. Dance into the Fire. That Fatal Kiss is all We Need. Bring it on. 

The recovery of a microchip from the body of a fellow British secret agent leads James Bond (Roger Moore) to mad industrialist Max Zorin (Chrisopher Walken) , who is scheming to cause massive destruction.

A View To a Kill  is James Bond at peak 80's. In the West, this was the era of Cyndi Lauper, New Coke and The Goonies. There was still a conservative presence, as Ronald Reagan was re-elected, but it had cooled down significantly since the start of the decade. The Cold War had also cooled due to instability within the USSR. Computers were becoming more important to pop culture; Apple had released their first Macintosh in 1984. Therefore it was appropriate for the film to be a pop-punk MTV-era spy picture where the villain is obsessed with microchips. 

This Bond outing, the final one starring Roger Moore, is fun and campy. It features a hot Bond girl (Tanya Roberts) and a memorable femme fatale in May Day (Grace Jones). Christopher Walken does a good job at portraying an industrialist psychopath. The set pieces are memorable, but the action scenes are lacking a feeling of excitement and urgency. 

A View to a Kill is rated quite low by fans of the Franchise, who seem to like a more serious Bond, but I quite enjoy it! Goofy escapist Bond, fighting crazy rich baddies, is definitely my cup of tea. 

 

For Your Eyes Only (1981) Review

Title: For Your Eyes Only
Year: 1981
Director: John Glen
Country: UK
Language: English

The early 1980's were marked by heightened tensions between the United States and the Soviet Union. In the West, the political landscape was dominated by Conservative leaders, such as UK Prime Minister Margaret Thatcher, who held strong anti-communist beliefs & emphasized military strength as a resolution to the Cold War. For Your Eyes Only (1981)  would reflect these tumultuous times. 

Secret service agent James Bond is assigned to find a missing British vessel equipped with a weapons encryption device and prevent it from falling into enemy hands.

For Your Eyes Only is a very serious, no-nonsense Bond film, a far cry from the silly camp of Moonraker (1969) and Live and Let Die (1973). In this picture the villain is clearly defined as a Russian spy, differing from the rogue evil billionaires of the past. Even Bond himself has changed to fit conservative times; he has become less of a womanizing bachelor and now only has *gasp* two romantic interests. 

The villain of For Your Eyes Only is a bit bland, perhaps intentionally to fit the mold of generic "Russian".  The action scenes are - at times- incredible. I was really impressed by the chase scene where Bond is skiing down a fast-paced Bobsled track. The plot is a bit convoluted  & it feels like the script needed to be tightened a bit. 

The score is the only part of the film that makes it feel very dated. It has this A-Team 80's action television show sound and it gives this 007 entry a made-for-tv feel at times. For Your Eyes Only is an adequate Bond movie, but far from my favourite. 

The Spy Who Loved Me (1977) Review

Title: The Spy Who Loved Me
Year: 1977
Director: Lewis Gilbert
Country: UK
Language: English

 "Nobody Does it Better..." The Spy Who Loved Me is one of the few James Bond pictures that is beloved by both critics and audiences. This film was a "do or die" moment for the Franchise as audiences had grown fatigued of the spy, and the post-Sean Connery era had a very rough start. The producer spared no expense, giving the film a budget 2x higher than the previous Bond,  to give TSWLM the best chance at success.

James Bond (Roger Moore) investigates the hijacking of British and Russian submarines carrying nuclear warheads, with the help of a K.G.B. agent whose lover he killed.

The Spy Who Loved Me strikes a remarkable balance in sticking to the typical Bond formula, while being more outrageous than ever. Roger Moore's Bond feels like a distinct character; more vulnerable than Connery's Bond. Moore is not afraid to also show his goofy side. 

The director does a great job at showcasing the travelogue aspect of the Bond franchise. His cinematographer fills the screen with beautiful landscapes and awe-inspiring architechture. This on-location shooting is far more emphasized here than in the previous Moore features. 

This disco-era Bond film is optimistic in tone and features a groovy synth-pop soundtrack, slick set design & fun costumes. Its a sophisticated film that many consider to be the best of The Bond Franchise. I certainly would highly recommend it. 

Octopussy (1983) Review

Title: Octopussy
Year: 1983
Director: John Glen
Country: UK
Language: English

Live and Let Die (1973) & Moonraker (1979) were very goofy, fun films that gave the audience an escape as political tensions slowly rose throughout the decade. By the early 1980's conservatism engulfed the West, as politicians like Ronald Reagan and Margaret Thatcher came to power. The James Bond Franchise would evolve to reflect the attitude of these times. 

A fake Fabergé egg recovered from the body of a fellow agent leads James Bond to uncover a jewel smuggling operation led by the mysterious Octopussy, and a plot to blow up a NATO air base.

Octopussy is a very dull entry into the James Bond franchise. Our fun playboy has been neutered into an Reagan-era senior, concerned about stopping politicians from enacting anti-nuclear disarmament laws. I love Roger Moore, but by 1983 I think he is far too old for the role. When he turns down Moneypenny's advances, I thought to myself "She could do a lot better!"

 Octopussy is very poorly paced, and the action is the least inspired out of the franchise. Some of the humor works, I particularly like a scene where Bond has stolen a small plane with a passenger already inside, but this picture could not be saved by Moore's usual wit. 

Many James Bond fanatics rate Octopussy lower than Die Another Day (2003), and the general consensus is that Die Another Day is awful! At least in that film we get a memorable theme song; I can't remember a single word from Octopussy's theme.