Well
and successfully so in one case. There is nothing inherently wrong with the idea of it.
No Time to Die (2021)
It's really a perfect - imo - bookend to the Craig era and more specifically You Know My Name. Both songs very raw feeling in terms of vocals but they're coming in from opposing POVs - Cornell with the rock representing a younger, more arrogant and rookie Bond, and Eilish's being just two steps beyond Bond in his prime, with the more traditional orchestration. As others have also pointed out - it does sound like a combination of SF and WOTW but I'd argue that's almost intentional...first, the whole notion of this film wrapping up the Craig era, as well as the 'improving on Spectre' aspect. Eilish knocked out of the park what Smith didn't really get 100% last time round. But really the best thing about this - Zimmer and Marr's involvement - is how clearly and deeply it appears to be woven in with whatever happens in the film's opening scenes, as a key part of the narrative in its own right almost. And ultimately that's what it's best judged as rather than some larger context of how it works outside the film. Hence, why I think the criticism of 'it's not bold enough/it doesn't pump you up/too depressing' doesn't make sense because that context within the film - which one can glean from the trailers - is crucial. That being said, though it may just be the lack of time, YKMN and Skyfall both still have an element of being iconic, but I guess time will tell how this will stand up against those. But 100% a stronger song than WOTW and AWTD.
Writings is a good song. I just don't like the way Smith performs it.
hey this song is really good, and i think it’ll be great in the movie
that’s true of Spectre as well, however. and in Quantum i don’t fall asleep halfway through lmao
i think the story is fine and i mostly enjoy it, but a large amount of the filmmaking is
that’s true of Spectre as well, however. and in Quantum i don’t fall asleep halfway through lmao
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November 2012
It's far from perfect and messy as hell, but I cut it some slack because I like what it wants to be. I like the idea of a lean, mean formally adventurous and even angry Bond movie. It's as though his soul has been fragmented, so too is the pace, editing, narrative. Action scenes cross-cut to Bull Fighting(!) like a Nicolas Roeg movie or something. That's wild for this franchise.Michaelf2225 wrote: ↑February 15th, 2020, 9:23 amhey this song is really good, and i think it’ll be great in the movie
i think the story is fine and i mostly enjoy it, but a large amount of the filmmaking is
that’s true of Spectre as well, however. and in Quantum i don’t fall asleep halfway through lmao
The opera sequence is terrific, too.
That being said, I do think the over-serialization of the Craig era was a mistake and brought us to Spectre, which imo is one of the worst Bond movies of all time. Completely flaccid, it is truly a nothing movie.
-Vader
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Joined:
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Superbowl commercial , oscar tv spot, nba all-star finals tv spot, ...wow they are really paying a lot money for marketing
Well, not really because Bellucci.Vader182 wrote: ↑February 15th, 2020, 3:23 pmIt's far from perfect and messy as hell, but I cut it some slack because I like what it wants to be. I like the idea of a lean, mean formally adventurous and even angry Bond movie. It's as though his soul has been fragmented, so too is the pace, editing, narrative. Action scenes cross-cut to Bull Fighting(!) like a Nicolas Roeg movie or something. That's wild for this franchise.Michaelf2225 wrote: ↑February 15th, 2020, 9:23 amhey this song is really good, and i think it’ll be great in the movie
i think the story is fine and i mostly enjoy it, but a large amount of the filmmaking is
that’s true of Spectre as well, however. and in Quantum i don’t fall asleep halfway through lmao
The opera sequence is terrific, too.
That being said, I do think the over-serialization of the Craig era was a mistake and brought us to Spectre, which imo is one of the worst Bond movies of all time. Completely flaccid, it is truly a nothing movie.
-Vader
Regardless of Bellucci it is still a bloody awful film and a real stain on the era.
QOS like Vader said is flawed but it is trying to do something different with Bond. I actually think it is a much more successful reading of what was attempted in 1989.
A supposedly tailored entry to Dalton's talents and his desire to dig into the Fleming origin of the character that had all but been buried away come Moore taking on the character.
Though and I think poor Pierce suffered from this, EON never had the faith in the actor to truly let go of the tropes and let them mould their own interpretation without having to include the usual ticking of the boxes.
Licence To Kill is supposed to be about a rogue Bond taking revenge, Dalton did do his best to tap into this, although with jarring nonsense like Q turning up in the field and giving him a bag of the most ludicrous gadgets known to the series really does it no favours.
Also unlike QOS the tone is held right through to the end there, alhough with LTK we see Leiter looking like he never had is leg bit off or the fact is recent bride was murdered and then that winking fish.
The Craig era for all its faults (and the last film is its worst) does commit to his portrayal accept maybe not in SPECTRE, though the making Craig like previous reiterations of the character is one of the many errors that film makes.
Quite a number of Bond fans wanted NTTD to be separate entry devoid of any connection to the previous 4 films and I can understand that.
The ham fisted crow barring the idea that this organisation and head of (that EON did not have the rights to use until after the release of Skyfall) would lead any self respecting Bond fan to wonder what the hell was going on and how much more clumsily could it have been achieved than how it was presented.
So the idea of forgetting that and having Craig go out on a separate unrelated entry might seem better in reflection.
Although now having committed to this idea however ill advised and some Bond fans do not like what direction they are taking this film in. It does seem to make sense from a narrative point of view to bring this era to an end tying up all the loose ends and giving Bond for the first time a natural conclusion.
There has been too much paid to Bond's age, his retiring at the end of the last film and also the idea that he is played out to get someone else to pick up this timeline after Craig and move on as if they were Craig Bond.
So I want this to happen and I also think that a film maker Fukanaga's abilities would not have committed to a project that was in as much mess as SPECTRE was and continued to be when it went before the cameras and into the can.
There as been much said about the supposed drama around this films production. Boyle's firing and the complete change of the story for then Bond 25.
The idea that the script wasn't even finished before it went before the cameras last year, bringing in Burns to polish and then Waller Bridge as well as having Cary contribute. I'm of the opinion not much will exist of Purvis and Wade's outline.
Possibly why only last week when Wade I think was giving lecture in the UK seemed not happy about Waller Bridge's input, I think they know their outline is all but gone from this.
One of the biggest problems last time round was having P&W who usually get polished taking a celebrated writers work and reworking it. The fact they have got their ducks much more in a row here and proper professionals have had the most recent access to the script leaves me much more confident than last time round.
The Zimmer factor, this seems to be something people are thinking was very recent, when actually Hans was to have said he was involved back as early as October on this according to people who attended one of his concerts and he remarked he was working on a top secret project but it was the job of a life time and he never thought he would be in this position. What else could this be apart from Bond?
I mean this is the go to man, he has practically had his hand in every successful franchise and so many of the big directors want his services.
I think Dan Romer might well have been attached officially at this point but Hans was waiting in the wings working on concepts.
It was a pretty risky idea giving a virtual unknown with only indie and TV credential such an assignment anyway, it seems that Zimmer was well overdue to get this assignment anyway.
I'm massively excited to see what he brings to the table his input to Elish's theme is most commendable (loving the song).
I think Boyle's and Hodge's concept was to ignore the previous films but once that got thrown out they obviously hit on the idea of returning to where we left off.
To be honest I find this braver than up and running away from the problematic place they left things. Also to get Waltz back even though his involvement from a performance perspective was not great as well as his point in the plot, the big reveal still horrifies, not the fact he is Blofeld, that was obvious from moment he was cast and the title revealed, no the idea of his origins and his past connection to Bond.
This kind of thing might work with Batman and other franchise but it makes a mockery of Bond.
I'm really intrigued to see how Blofeld figures and the fact they are zoning in on Swann and her connection to Makek's Safin.
Having Wright back for one last go around with Daniel is also another pleasure, he is my favourite portrayal of the character on the screen and the series was lucky to get such a talent on board.
I think this has all the ingredients to be the film that SPECTRE should have been and all the mistakes that were made with that film from what has been seen and heard have been taken note of and not repeated here.
The most recent spot has been the best yet, Sandgren's visuals look so much more eye popping than van Hoytema's did in SPECTRE and Craig seems no much more engaged with the snippets of his performance, as for Malek well the taste we have seen encourages me greatly.
In the over 4 decades I've been a fan (yes I'm old) I am truly excited about what we have here. I think this could be while not the very best film of the era, definitely one of the pinnacles when it comes to talent involved of the series a whole and that fact alone makes me think this could be something quite unforgettable.
QOS like Vader said is flawed but it is trying to do something different with Bond. I actually think it is a much more successful reading of what was attempted in 1989.
A supposedly tailored entry to Dalton's talents and his desire to dig into the Fleming origin of the character that had all but been buried away come Moore taking on the character.
Though and I think poor Pierce suffered from this, EON never had the faith in the actor to truly let go of the tropes and let them mould their own interpretation without having to include the usual ticking of the boxes.
Licence To Kill is supposed to be about a rogue Bond taking revenge, Dalton did do his best to tap into this, although with jarring nonsense like Q turning up in the field and giving him a bag of the most ludicrous gadgets known to the series really does it no favours.
Also unlike QOS the tone is held right through to the end there, alhough with LTK we see Leiter looking like he never had is leg bit off or the fact is recent bride was murdered and then that winking fish.
The Craig era for all its faults (and the last film is its worst) does commit to his portrayal accept maybe not in SPECTRE, though the making Craig like previous reiterations of the character is one of the many errors that film makes.
Quite a number of Bond fans wanted NTTD to be separate entry devoid of any connection to the previous 4 films and I can understand that.
The ham fisted crow barring the idea that this organisation and head of (that EON did not have the rights to use until after the release of Skyfall) would lead any self respecting Bond fan to wonder what the hell was going on and how much more clumsily could it have been achieved than how it was presented.
So the idea of forgetting that and having Craig go out on a separate unrelated entry might seem better in reflection.
Although now having committed to this idea however ill advised and some Bond fans do not like what direction they are taking this film in. It does seem to make sense from a narrative point of view to bring this era to an end tying up all the loose ends and giving Bond for the first time a natural conclusion.
There has been too much paid to Bond's age, his retiring at the end of the last film and also the idea that he is played out to get someone else to pick up this timeline after Craig and move on as if they were Craig Bond.
So I want this to happen and I also think that a film maker Fukanaga's abilities would not have committed to a project that was in as much mess as SPECTRE was and continued to be when it went before the cameras and into the can.
There as been much said about the supposed drama around this films production. Boyle's firing and the complete change of the story for then Bond 25.
The idea that the script wasn't even finished before it went before the cameras last year, bringing in Burns to polish and then Waller Bridge as well as having Cary contribute. I'm of the opinion not much will exist of Purvis and Wade's outline.
Possibly why only last week when Wade I think was giving lecture in the UK seemed not happy about Waller Bridge's input, I think they know their outline is all but gone from this.
One of the biggest problems last time round was having P&W who usually get polished taking a celebrated writers work and reworking it. The fact they have got their ducks much more in a row here and proper professionals have had the most recent access to the script leaves me much more confident than last time round.
The Zimmer factor, this seems to be something people are thinking was very recent, when actually Hans was to have said he was involved back as early as October on this according to people who attended one of his concerts and he remarked he was working on a top secret project but it was the job of a life time and he never thought he would be in this position. What else could this be apart from Bond?
I mean this is the go to man, he has practically had his hand in every successful franchise and so many of the big directors want his services.
I think Dan Romer might well have been attached officially at this point but Hans was waiting in the wings working on concepts.
It was a pretty risky idea giving a virtual unknown with only indie and TV credential such an assignment anyway, it seems that Zimmer was well overdue to get this assignment anyway.
I'm massively excited to see what he brings to the table his input to Elish's theme is most commendable (loving the song).
I think Boyle's and Hodge's concept was to ignore the previous films but once that got thrown out they obviously hit on the idea of returning to where we left off.
To be honest I find this braver than up and running away from the problematic place they left things. Also to get Waltz back even though his involvement from a performance perspective was not great as well as his point in the plot, the big reveal still horrifies, not the fact he is Blofeld, that was obvious from moment he was cast and the title revealed, no the idea of his origins and his past connection to Bond.
This kind of thing might work with Batman and other franchise but it makes a mockery of Bond.
I'm really intrigued to see how Blofeld figures and the fact they are zoning in on Swann and her connection to Makek's Safin.
Having Wright back for one last go around with Daniel is also another pleasure, he is my favourite portrayal of the character on the screen and the series was lucky to get such a talent on board.
I think this has all the ingredients to be the film that SPECTRE should have been and all the mistakes that were made with that film from what has been seen and heard have been taken note of and not repeated here.
The most recent spot has been the best yet, Sandgren's visuals look so much more eye popping than van Hoytema's did in SPECTRE and Craig seems no much more engaged with the snippets of his performance, as for Malek well the taste we have seen encourages me greatly.
In the over 4 decades I've been a fan (yes I'm old) I am truly excited about what we have here. I think this could be while not the very best film of the era, definitely one of the pinnacles when it comes to talent involved of the series a whole and that fact alone makes me think this could be something quite unforgettable.
Posts: 55632
Joined:
May 2010
Wow, that's a lot of text.
Spectre is awesome. Way better than QOS and underrated entry, starting from Sam Smith intro onward. In my (not so humble) opinion.
Spectre is awesome. Way better than QOS and underrated entry, starting from Sam Smith intro onward. In my (not so humble) opinion.
