Oh, Oh Seven

It's been a long time since I've seen a film in an actual cinema. The last movie I attended was 1917 (or was the last movie I attended in 1917?). That's when I first saw the trailer for the latest James Bond entry NO TIME TO DIE, which was due in April of 2020. Being a lifelong Bond aficionado, I promised myself it would be my next movie in a theater, having done so with each movie in the series with the exception of TOMORROW NEVER DIES, a blotch on my otherwise perfect record. Since this was also to be Daniel Crag's swan song as 007, there was no doubt in my mind I would be watching the antics of Ian Fleming's creation gallivanting across the big screen for my enjoyment. Then COVID struck and screwed the pooch for everyone around the world including the movie industry as the release of NO TIME TO DIE, along with a flock of film seagulls, was pushed back to Fall. Then Winter. Then 2021, but when? 

In the meantime the industry started premiering major releases straight to streaming, screwing theaters everywhere who had hoped to return one fine day. MGM was purchased by MGM and suddenly, it looked as though James Bond's latest adventure would debut on Prime. Taking in consideration the enormous budget behind NO TIME TO DIE (or NTTD for brevity's sake), it finally debuted in October and I was back in business again, ready, willing and able to step into a movie theater once again, sort of.

What with that nasty pandemic, sitting in an audience with actual people didn't seem that inviting and wearing a mask the entire time? Yeesh. But I thought I'd take the gamble anyway. Then real life (double yeesh) kept interfering since it became difficult to block out three frickin' hours (the long-ass running time of NTTD) for a movie excursion. This was something I wanted to do for myself so I pressed the issue and voila! Success! By this point, however, NTTD had already become available on pay-per-view and the only showtime open in my area was a matinee. So that's what I done did. 

Never mind all this crap. What about the goddamn movie?

Quite frankly, I'm kind of conflicted. While maintaining several elements from various films in the series, especially ON HER MAJETY'S SECRET SERVICE, this new movie in unlike any in the series, almost a re-invention in and of itself. While it isn't as subversive as director Danny Boyle's rumored take on the character that caused his departure, there is enough in this version by Cary Fukunaga, the first helmer to have a screenplay credit on a Bond film, to almost change the game. But it does come with a price, that being a mixed bag to be sure. While the highs outweigh the lows, too many cooks in the 007 kitchen made it a rather confusing meal.

The pre-title sequence set the tone for the whole film, unlike SPECTRE, the previous entry which the opening was better than the entire movie. The time around, the opening contains a lengthy flashback without Bond combined with a spectacular action sequence that makes it a direct sequel to the movie that preceded it, a real attempt to create a viable canon which barely existed in the pre-Craig years. Follow this with actual opening credits (how often do you see those anymore?) with a fairly adequate, though yet another somber theme song, this time by Billie Eilish and we're off to the races for next two and a half more hours (what is this-on Netflix or something?) Five years later, Bond is brought back to service, this time by mainstay CIA agent Felix Leiter, the always welcome Jeffrey Wright. Plot-wise, it's all over the map with SPECTRE returning, Bond at odds with M and M-I6 in general (the rascal) and a new villain plotting the end o' the world via nanobots and bio-warfare. The bad guy here is damn near secondary and underplayed rather frustratingly by Rami Malek, much the way Christoph Waltz did with Blofeld on the last pic. Waltz seemed to have embraced his role a little better this around, making Malek appear almost somnabulant. How about dialing down the near incoherent accent and beef up some personality there, Ram? I'm also not so keen on Lashana Lynch's inclusion as the most publicized new 007. I preferred Ana de Armas' asskicker, though actually would have chosen Naomie Harris' Moneypenny taking on the license to kill. (See SKYFALL) Quibbles aside, NTTD engaged me, juggling what we expect in a Bond film (action o'plenty), nostalgia here, there and everywhere and unexpected attempts to humanize the iconic character resulting in actual (and spoiler-free) touching moments that, by its end, put a definite punctuative mark to end the Daniel Craig era.  

I stayed in my seat through the end credits (A glutton for punishment? Present!) mainly to get to the final four words: JAMES BOND WILL RETURN. The question is, will I? As good as NTTD had been (a tie for third in the Craig series with QUANTUM OF SOLACE behind SKYFALL and CASINO ROYALE), the ending hit home in a way I didn't expect mainly because that's what it felt like to me. The End. For almost 60 years of my life, James Bond has been part of my life as one of my cinematic heroes and now, for intents and purposes, the curtain has fallen. Another Bond is inevitable, probably yet another re-imagining to placate whatever is considered acceptable in society, a constantly revolving carousel that only makes everyone dizzy. My curiosity will be piqued enough to watch, but the old kiss kiss bang bang is now irrelevant and I'm afraid that so am I. While I'm not about to ignore the passage of time, a major theme in NTTD, coincidentally enough, I don't know if I can lose myself in that world again, maybe because I've finally moved along, albeit reluctantly.  This may be goodbye, James, since it looks like we really don't have all the time in the world. 

However, Mr. Bond, I will remain forever eternally grateful for all that you gave this lifelong fan each time I entered a darkened cinema for another one of your exploits. There I could forget the rest of the world as I willingly immersed myself in yours, filled with excitement, adventure and derring-do,  emerging back into reality reinforced by the spectacular journey you've taken me on. 

Cheers to you, mate...shaken not stirred.

Other Bond posts:

2006: THE YEAR IN PIX (CASINO ROYALE)

OH THE WEATHER OUTSIDE IS FRIGHTFUL (QUANTUM OF SOLACE)

YOU STILL ONLY LIVE TWICE

BOND, JAMES BOND: NOBODY DOES IT BETTER

SKYFALL: THE LEGEND FINALLY CONTINUES

LICENSE TO TRILL

THE SPECTRE OF JAMES BOND

The Spectre of James Bond

Geeks are a whiney lot. They are notoriously difficult to please and obsess over every nuance, gesture and detail in search of any hint of discrepancy that will alter or dishonor the object of their passion. I count myself among them even though, like Groucho Marx, I would never belong to a club that would have someone like me as a member. As a lifelong 007 geek when that word meant someone who bit the heads off of chickens in the carnival, you have just entered my wheelhouse.

So get the cheese ready. I'm about to pour the whine.

SPECTRE is such an appropriate title for the latest James Bond film, but for many of the wrong reasons. Its predecessor, the game-changing SKYFALL, set the bar so high that it could be the specter looming over its follow-up, the quintessential hard act to follow and the pressure on the Bond crew to outdo it has had some unfortunate effects this go around. I'm not about to write SPECTRE off as a disappointment because there is so much it gets right. But with that, so much does not.

From the git, expectations were through the roof, especially with the brilliant pre-title sequence set at a Day of the Dead celebration in Mexico. The opening shot, an extended sequence taking a page of the BIRDMAN (or TOUCH OF EVIL, if you'd rather) playbook, begins with a parade until the camera picks up Bond and a babe strolling down the street, into a hotel and finishes with 007 on the rooftop as if on his way to work. It ends with Bond and bad guys duking it out in an out of control helicopter over the heads of parade revelers below. A really sensational sequence that quite frankly steals the whole movie, I felt relieved and ready to settle in for the ride..

The opening titles, in and of themselves a rarity these days for some inexplicable reason, unfortunately give this Aston Martin some engine trouble. The song, a sad sorry number by Sam Smith that I have previously complained about in a previous post (LICENCE TO TRILL) is bad enough, but Maurice Binder successor Danny Kleinmann's visuals are positively...or negatively, rather, creepy. Danny Craig's oiled up naked torso groped by adoring females and the homage to tentacle porn put me off more than Pierce Brosnan's torture in the opening credits of DIE ANOTHER DAY.

  

This sums up the entire experience for me, a series of extreme highs and lows that by the end left me more troubled than truly satisfied because frankly, I admit to have been spoiled by the previous outing and expected something more cohesive considering the talent involved. However, I am aware that the producers of the Bond franchise often shoot themselves in the foot more often than not so I lay many of the film's shortcomings at their feet. Sam Mendes pulled off the impossible with SKYFALL,
a recognizable directorial vision. This time around, there seemed to be so much emphasis on trying to make lightning strike twice that it appears forced, awkward and something a Bond film never has been, clunky.

A few other elements rankled me as well all within the confines of  a car chase scene through Rome. While maneuvering his Q tricked out sports car through the city streets and back alleys with a deadly assassin hot on his trail, Bond insipidly calls Moneypenny mid-way for some casual banter and unnecessary plot exposition, taking the piss completely out of it and transforming into excess without success. Toss in a couple of bad gags leftover from the Roger Moore era and the movie not only takes a step backwards, but falls sharply on its ass in the process.

On the other hand, the cast is near-flawless with some of the new faces introduced in the SKYFALL shining brightly. Ralph Fiennes' M continues to impress and when Ben Whishaw as Q is given more to do, the movie is better off for it. Dave Bautista's silent killer works his pro wrestling experience (the first of that profession since Peter Maiva-Dwayne Johnson's grandpa-in YOU ONLY LIVE TWICE) into an excellent train fight scene. Christoph Waltz underplays his main villain role to fine effect, though some of the quirky nuance he brings to Tarantino characters would have been welcome to help feed the initial delight of his casting in the first place. The two big reveals of his character, a combination of Benedict Cumberbatch in STAR TREK IN DARKNESS and AUSTIN POWERS IN GOLDMEMBER, became something the filmmakers should have avoided like the Black Plague. Monica Bellucci was a welcome addition who fortunately lived to see the end credits. And Lea Seydoux overcame her poorly written character as Bond's main squeeze with great finesse, not an easy task for such an ill-conceived character. Much has been made of the Bellucci's age as a Bond girl, which is noteworthy on the surface until Bond runs off with Seydoux, nearly half his age, at film's end.

Daniel Craig, the James Bond for this generation has been reportedly and understandably burned by the making of SPECTRE, but it doesn't show on the screen. He's certainly looser here than he ever has been, even allowing himself a sense of humor (blissfully pun-free). Physically, this film has certainly taken its toll upon him and since he's invested in the entire enterprise, Craig receives a co-producer credit, a first for any actor in the role. Despite his misgivings of one more time at the helm, I wouldn't be surprised to see him in Bond 25, but given his personality, I'm sure he'll wearing his cranky pants again.

So glad to hear a Thomas Newman  musical score again (not entirely sure he worked in an instrumental of that awful title song) and while cinematographer Roger Deakins couldn't come to the party this time, Hoyte Van Hoytema, who shot HER and LET THE RIGHT ONE IN, fill his shoes superbly. While I've kvetched enough about the story, there are superb individual lines and exchanges strewn within such as:
"Why did you come?"
"I came here to kill you."
"And I thought you came here to die."
"Well, it's all a matter of perspective."

The attempt to reboot the criminal organization known as Spectre (hence the title) worked for the most part by tying in all the elements from the previous three films together, though I wonder why Mathieu Amalric's Dominic Greene, the villain from QUANTUM OF SOLACE, was missing. The desert fortress in the crater became a touchstone to YOU ONLY LIVE TWICE's volcano lair, as do some other callbacks to previous entries in the series. The finale wraps up in London, something the series has never done before, putting a rather lovely bookend to the Craig quadrilogy. However, SPECTRE reminds me of the recent FX TV version of FARGO. That show works best when strays away from the source material and becomes its own entity. SKYFALL, it being the 50th anniversary recipient, was able to walk the tightrope between past and present, often seamlessly. Here, the references seem an afterthought, forced and repetitive, muddying the waters of the Bond legacy.

When I eventually rewatch SPECTRE, which of course I will do because, well, that is what I do, I may reassess many of the drawbacks I found upon this initial viewing. In order of how I rank the Daniel Craig Bond films, I rank it number after SKYFALL, CASINO ROYALE and QUANTUM OF SOLACE. Not a weak effort, just overblown, overdone and ultimately, not enough, goddamn it.

Sorry, James. But according to the final tag, you will return. And so will I. It's what we do.

License to Trill

The theme for the anxiously awaited James Bond film SPECTRE has been released and elicits nothing morethan polite golf applause. Sam Smith's "Writing's on the Wall" is underwhelming to say the least, but certainly not the worst to say the most. It's a wisp of a tune that actually should have been something to blow the doors off an Aston Martin. Instead, there's this B-side ballad and unfortunately, the Writing on the Wall reads:
Here I sit,
brokenhearted.
Came to shit,
but only farted.

To be frank, the opening theme song for Bond films has always been a dicey proposition. The franchise tends to cater to current pop music trends and with mixed results since it is so ephemeral. It began in the Connery era when, after the one two knockout punches delivered by Shirley Bassey on GOLDFINGER and Tom Jones with THUNDERBALL, the singer chosen for YOU ONLY LIVE TWICE was...Nancy Sinatra, undoubtedly due to "These Boots Were Made for Walkin'". Thank goodness the song itself was decent enough and the production covered up many of her flat tones. Many times the gamble paid off, but for every Paul McCartney, Duran Duran and Tina Turner, the landscape is littered with a-ha, Rita Coolidge and worst of all, Sheryl Crow, badly in need of Auto-Tune for her flat rendition of TOMORROW NEVER DIES, making Nancy Sinatra sound like Maria Callas in comparison. But my favorite song credit has to be "THE WORLD IS NOT ENOUGH performed by Garbage". I couldn't agree more.

But I'm no fan of Adele's Oscar winning theme for SKYFALL either. I find it mid-range and rather unremarkable. Sure, I predictably go for the undeniable classics such as the aforementioned Bassey and Jones numbers. In Bassey's case, it stops and ends with GOLDFINGER. DIAMONDS ARE FOREVER is acceptable if deriviative and the less said about MOONRAKER the better.I find Gladys Knight's rendition of LICENSE TO KILL underrated just as I do Tina Turner's GOLDENEYE. I'm also a sucker for both Lulu's MAN WITH THE GOLDEN GUN and Jack White/Alicia Keys' "Another Way to Die" from QUANTUM OF SOLACE. And every time I hear "Nobody Does It Better" from THE SPY WHO LOVED ME, Carly Simon wins my heart every single time.

You'll notice I'm not mentioning the composers here. Need I mention John Barry, Thomas Newman, Marvin Hamlisch, David Arnold, et al? I suppose I should but I am concentrating on the finished product.

But while we're on the subject, Carl Davis' instrumental renditions of the 007 theme songs on the album BOND FOR ORCHESTRA transforms many of these otherwise piss poor songs into something quite magical and decent offerings even better. Chris Cornell's "You Know My Name" from CASINO ROYALE just knocks it into the cheap seats and "We Have All the Time in the World", even without Louis Armstrong's melancholy raspiness, is still a wonderful melody from ON HER MAJESTY'S SECRET SERVICE. Madonna's mediocre electronica effort,  DIE ANOTHER DAY, actually gets to live a little while longer.

Naturally,the songs  have no bearing on the film themselves. When the two coincide, it's serendipity. When it doesn't, it's not a total loss. No matter how I feel about Smith's half-hearted SPECTRE theme, it will be aided by yet another brilliant title sequence created by Maurice Binder's worthy successor, Danny Kleinman, a rarity in this day and age.

Of course, one could only imagine the themes and artists that could have been, such as this previously lost recording of Johnny Cash's take on THUNDERBALL

.

Yippy-ky-ay, Mr. Bond!

Skyfall: The Legend Finally Continues

SKYFALL is the James Bond film I've been waiting for my entire life and it couldn't have happened at at better time for the both of us. This is the 50th anniversary of the movie series and I've been there the entire way. This new entry in the Bond canon far surpassed my expectations, which were astronomical given the pedigree of talent in front and behind the cameras, a platinum standard, to say the very least. It culminates in accomplishing what no Bond film has before: It actually resonates.

SKYFALL begins with a blissfully old school straight action packed pre-title sequence, beautifully choreographed with a light touch, a wink and a nod that the Daniel Craig era hasn’t had up to this point. For example, when Craig as Bond crashes through the back of a train car with a bulldozer, he leaps inside and, when he lands on his feet, he straightens up and adjusts his cuffs. But by the end of the sequence, things take a abrupt turn for the worse and dramatically so, showing that there is something more at stake here and these actions actually have consequences. It’s obvious from point on that SKYFALL is headed into uncharted territory where a Bond film is elevated from just light entertainment into a movie with substance and even a heart.

For SKYFALL delves into MI6 for the first time in the series and the relationship between 007 and M which plays out throughout the story to a harrowing conclusion, the finest in the series especially given the setting. And James Bond has finally been made into been transformed into a character of flesh and blood, one with deep rooted flaws and emotions, all because the filmmakers have delved into his past to inform his present.

It’s about time. I’ve been clamoring for this for years. When I was twelve years old, YOU ONLY LIVE TWICE was my favorite James Bond adventure and still is to this very day. Back then, I wanted a hero to save the world from an evil genius whose hidden lair lie within a Japanese volcano. But as I grew older, the films seem to grow younger and even childish.  Sure, they continued to entertain, but always superficially without continuity or weight. Bond as a character seemed to tread water when I knew damn well he could swim the channel. It’s understandable that the Broccoli family wanted to protect their one and only cash cow, but they smothered him. Ian Fleming's creation was treated like a fraile precious object, protected from the outside world for fear of spoilage. Therefore, Bond and his stories remained the same without continuity or even a chance of growth. The formula was just that and that alone made it diluted.

Every time the series took a momentary serious note, it was just a baby step or a breather until the next chase. Bond is married in ON HER MAJESTY'S SECRET SERVICE only to have his wife murdered by Blofeld in the closing scene. In the very next installment, DIAMONDS ARE FOREVER, Bond meets up Blofeld again. Any mention of the late missus? Nope. Instead we're treated to a slap-happy Las Vegas affair with Jill St. John and a pre-pork sausage Jimmy Dean. Roger Moore visits his wife's grave at the start of FOR YOUR EYES ONLY, but his comeuppance with who is assumed to be Blofeld is handled in Looney Tunes fashion. Timothy Dalton’s Bond in LICENSE TO KILL avenges his CIA friend Felix Leiter, only to have him stray uncomfortably into a MIAMI VICE episode. When Pierce Brosnan came on board, there were positive signs that the character might actually evolve, especially with the introduction of Judi Dench as M. In THE WORLD WAS NOT ENOUGH, she was put into jeopardy for the first time, something SKYFALL echoes. By DIE ANOTHER DAY, however, Bond and the films are turned into a piss poor video game. But with the series reboot beginning with CASINO ROYALE, the dial was turned too far in the other direction, a serious tone that manages to be dour and frankly quite joyless. SKYFALL is a complex juggling act, keeping all the elements in the air at the same time while bridging the gap between the old and the new, thereby regenerating the series for the future.

So many things add to the enjoyment of this film: The cast including Javier Bardem’s brilliant villain, Dench, Ralph Fiennes, Ben Whisaw as Q, Albert Finney, Naomie Harris and, of course, Craig who earns his 007 stripes with full honors. Roger Deakin’s superb cinematography makes SKYFALL the most beautifully shot of any Bond film and possibly the finest of any movie this year. Stuart Baird’s razor sharp editing makes 2 1/2 pass by like nothing.

Back in the the 80s the rumor mill (something we had before the Internet), the name of Steven Spielberg was bandied about as a possible director of a Bond film. It seemed too good to be true. With Sam Mendes at the helm of SKYFALL, I'm convinced that not even Stevie-boy could match what he's done. Mendes, along with screenwriters Neil Purvis, Robert Wade and John Logan, have done for Bond what Christopher Nolan has for Batman.

Now for a few quibbles:

I have to admit that I’m not a big Adele fan, so the title song is a bit lukewarm for my taste. At least she kept her histrionics in check. Thomas Newman's score, for the most part, works well throughout, though in the pre-title feelings lacking in the car chase, almost laconic. I also find Silva’s big assassination attempt on M to be rather clumsy and unimaginative for something he had been plotting for years on end, though it does set up the superb finale.

All in all, on my list of Top Ten Bond films (see past blogpost: BOND, JAMES BOND: NOBODY DOES IT BETTER), I’ll still put YOU ONLY LIVE TWICE for sentimental reasons my sentimental reasons, but SKYFALL sits right behind it. I could say that the former is my favorite as a boy, while the latter, as a man.

James Bond has finally grown up. Maybe so have I.

With great pride and pleasure, I can say without hesitation, that the legend continues and four words give this fanboy another reason to live:

James Bond Will Return.

You STILL Only Live Twice

I loves me some James Bond, but especially You Only Live Twice. as this excerpt from my movie memoir In the Dark: A Life and Times in a Movie Theater (Special Edition) will explain:

Late in 1967 came the summer release of the next “official” 007 film and my sentimental favorite, You Only Live Twice.

Granted, From Russia with Love and Goldfinger are better films overall, but Twice is the one I could claim as my very own, mainly because I was allowed to see it all by my lonesome without parental supervision. It was a milestone in my movie-going career and I took full advantage of it. I felt like I had spent the entire summer at the Esquire Theater watching Twice, though the actual total came to 9 times. I became such a regular, the manager put me to work a few times, which I did gleefully, tearing ticket stubs and closing the auditorium at show time. He repaid me with free popcorn and a cardboard cutout of Connery as Bond holding a space helmet in one hand and a Walther PPK in the other, which was part of a lobby display (shades of Bambi!)Though only twelve years old at the time, I became friendly with the nineteen-year-old concession stand worker, a cute girl named Denise, who helped get me into her karate class, something I wanted to do as a result of seeing You Only Live Twice. The karate, that is, not the nineteen-year-old girl. I was twelve! If something had happened between the two of us, don’t you think I would have told you?)

You Only Live Twice had all the elements I wanted in a Bond movie. The then-exotic locale of Japan was fascinating. The women were all hot and, at twelve, I was really beginning to take notice (forget the nineteen-year-old already!) John Barry’s music is both exciting and romantic as only his can be. The final battle sequence set in the volcano rocket base, an outstanding production design by Ken Adam, is a jaw-dropping action sequence to this very day. Donald Pleasance is absolutely wonderful as Bond’s chief villain, Ernst Stavro Blofeld. Mike Myers must have thought so too since his character of Dr. Evil in the Austin Powers series is undoubtedly a burlesque Blofeld. Then there was one of the high points of every young boy’s life when he discovers what a ninja is, introduced to the cinematic world in this film.

Since the introduction of Bond’s gadget laden Aston Martin in Goldfinger, each preceding film had a new vehicle for him to commandeer and Twice is no exception. This introduced a mini-helicopter named Little Nellie, complete with machine guns and other implements of destruction. Years later, I had a 1979 Honda Civic that had the color and near size of a cough drop. As a tribute, I named her…you guessed it, Little Nellie. Many a time, I wished Q had been my mechanic.

One single camera shot in You Only Live Twice totally epitomized the entire James Bond persona to me. In the middle of the film, there is a long shot of Bond fighting the bad guys on a warehouse roof. The camera pulls back just as Barry’s theme music reprises. It is a moment frozen in my time and made me swell with an excitement I’d never felt before. Here in these few seconds is everything I felt a movie hero should be, one guy against ‘em all-and winning.

In the Dark: A Life and Times in a Movie Theater is available in paperback and Amazon Kindle

http://www.lulu.com/spotlight/scottcherney

http://www.amazon.com/Scott-Cherney/e/B004KJOHN8/ref=ntt_athr_dp_pel_1

P.S. The title of this blog is intentionally lame. It's a reference to the sequel of I Know What You Did Last Summer, the insipidly named I Still Know What You Did Last Summer.

I know what I'm doing...some of the time.

Oh, The Weather Outside is Frightful

Indeed yes, winter has kicked the ass of the Pacific Northwest, including yours truly. Snow, ice, freezing rain, flurries, sleet, wind chills...you name it, we got it and it's whipping me like a dominatrix's boy toy. Now they're saying we're going to have a blizzard...and not the kind you can buy at DQ. It's cold too. Real brass monkey weather. And damn, when it ain't so freakin' treacherous, it's pretty awe inspiring. Today, I looked towards the surrounding hills, veiled in fog with the trees dusted with powdered sugary snow, making it all seem like some kind of repressed Guy Maddin memory. Yeah, the winter weather can sometimes takes your breath, in more ways than one. (Hey, isn't that Jack Nicholson I see outside my window running through the neighborhood? Who is this Danny kid he keeps yelling for? Goddamn it, he's annoying...) The bottom line is this: After ten years up here, I'm still a rank amateur in the ways of the PNW winter. Where I came from, down in Stockton, California, all we had to worry about was fog. Well, and bullets, but that's not exactly a seasonal weather condition, is it? That's fun fun fun all the year round!

On to other matters...

Isn't that Barack Obama the best president ever. He hasn't even taken office yet and already he has a 99% approval rating. And look how he reaches across the aisle to the other side and gives them the best Christmas present ever: Hillary Clinton as Secretary of State. Hey Conservatives! Now you don't have to shred all those hilarious jokes you guys have been saving since the Nineties! I can't wait to receive them all in my e-mail inbox...AGAIN.

A friend of mine recently e-mailed me with this:

"I just saw the new Bond movie. The villain reminds me of you. You have his eyes."

She's referring to French actor Mathieu Amalric, who plays Dominic Greene in QUANTUM OF SOLACE.

Coincidentally enough, Amalric starred in last year's THE DIVING BELL AND THE BUTTERFLY, playing a man who suffers a severe stroke and is completely paralyzed except his left eye. He uses a code to blink out his memoir to a transcriber, one letter at a time.

I suppose I should be flattered.

She could have said I looked like Gert Frobe.

Speaking of the new Bond film, I have to say that even though it isn't as good as CASINO ROYALE, it made for a more pleasurable personal movie-going experience. Bond movies always seem to be suited for the Xmas season, so that put me in the right mood. Wandering through downtown Portland, which I haven't done for awhile and especially not during the holidays, gave a peace of mind I probably wouldn't have if I stayed out in the Burbs. The theater I chose, which still a wretched multi-plex, at least had the decency to provide good enough sound-proofing so that I didn't have to be subjected to the booming, screeching sounds of TRANSPORTER 3 next door. Finally, the auditorium was near empty, giving me the near-solitude I require since, as I've said many a time, that's the way, uh-huh uh-huh, I like it.

The film itself is really slapdash, the producers leaning way too much on the adrenaline throttle of the BOURNE series. One action scene follows another with minimal story development that it began to resemble a porn film. The editing on these sequences too is so over-amped that is gets repetitious and almost tiring to the point that when the film finally slows down to take a breath, it appears to just crawl, but it really isn't.

And I love Judi Dench as much as the next guy...maybe even more....woof! There is nothin' like a Dame...but why in the hell is she back as M when the whole point was to start from scratch, Hence ,no gadgets, Q, bad puns, quips, cartoonish plots and a new Bond. As good as Jude is, she belongs to the Pierce Brosnan era. A new M would have really helped clean the slate. 

However, QUANTUM does few things wrong and becomes a worthy addition to not only the new incarnation of Ian Fleming's character, but serves as the first direct sequel to a Bond film and provides closure on the rebooting of the series. I appreciated the callbacks to previous entries, particularly GOLDFINGER, ironically enough, and ending with the gun barrel signature and the James Bond Theme. Several sequences stand out, action-wise with the bullring chase and fight near the opening and the finale in the desert. Then there is that great pivotal moment on the jet flying to South America with Bond, loaded after quite a few martinis, confessing to the only men he feels he can trust, one of them, his bartender.

That is MY Christmas present this year...the return of my original hero...Bond, James Bond.

Have a Merry Christmas, Happy Hanukkah, Good Kwanzaa, Delightful Ramadan, whatever you happen to celebrate. Have one on me whatever that one may be and, as I always say at this time of year...I really mean it this time...

BE GOOD TO EACH OTHER AND PLEASE, BE GOOD TO YOURSELVES. WE ALL DESERVE IT.