‘Halloween Kills’ is Brutal in More Ways Than One

It’s been a long time coming, but “Halloween Kills” has finally arrived in theaters everywhere. Personally, I think it is the result of Michael Myers keeping his mask on. Heck, he has been keeping it on for the most part since 1978. In this franchise, it is said that evil never dies and you can’t kill the boogeyman. Maybe this is because he is not an anti-vaxxer and has gotten his shots (whether it was Moderna or Johnson & Johnson, I have no idea). Besides, his victims this time around aren’t wearing masks. Doesn’t this tell you something?

Okay, let’s get something out of the way here, is “Halloween Kills” as effective as David Gordon Green’s previous “Halloween” from 2018? Not quite, and it does at times seem more concerned with upping the blood and gore this time around to where no one dies an easy death. Still, this follow-up has some very suspenseful moments as we know Michael, or The Shape as he is often called, is just around the corner. The question is, which corner?

Picking up at the moment where the previous installment ended, three generations of Strode women are being driven away from the fiery inferno which has engulfed Laurie’s home, but the fire department in Haddonfield is more reliable than they could have expected as they race over to her address even as she yells out, “let it burn!” And as the trailer shows us, Michael is quite handy with tools and hardware as he easily lays waste to trained professionals.

With 2018’s “Halloween,” Green retconned the franchise to excellent effect. In “Halloween Kills,” Green and screenwriters Scott Teems and Danny McBride retcon it even further as we see Michael getting captured by the police, and we learn of Deputy Frank Hawkins’ first run in with Michael when he was a fresh newbie on the police force. More importantly, it allows Will Patton to appear in yet another “Halloween” film as his seriously wounded character manages to survive. We also get to understand why Frank now has a renewed interest in killing Michael.

One of the things I really enjoyed about “Halloween Kills” is its attention to the characters. This is not your average slasher film filled with people you cannot wait to see get bludgeoned to death, and you never hear the audience breaking into a chant of “kill the bitch” as I witnessed at a screening of “Friday the 13th Part VII: The New Blood” years ago. They are all flesh and blood, some simply minding their own business while others still vividly remember what happened to their beloved hometown 40 years ago. Heck, even Lonnie Elam (Robert Longstreet) and Tommy Doyle (Anthony Michael Hall) get along here as Lonnie’s days of bullying Tommy have long since been put behind them. Deaths here are not ones to be celebrated, but are instead meant to be tragic.

Another fascinating thing is how this sequel touches on current events without ever exploiting them. When word gets out that Michael is back in Haddonfield doing his slicing and dicing act, Tommy is quick to get everyone he can together so they can form a mob to take down the Shape once and for all. The police encourage him and others not to go down this path, but considering how well they did the last time Michael came to town, and they refused to be swayed.

Granted, this franchise has dealt with angry mobs before, particularly in “Halloween 4,” but the mob in that one was incredibly tiny compared to one presented in “Halloween Kills.” Just about everyone in Haddonfield is seen shouting out “evil dies tonight” endlessly to where even its former sheriff, Leigh Brackett (Charles Cyphers, back for the first time since 1981’s “Halloween II”), wants to see justice done for his slain daughter. Of course, we all know angry mobs can lead to needless violence and death, and this makes the events which unfold here all the more tragic.

Of course, it is the Strode women who take center stage in this latest confrontation with the Shape. Surprisingly, Laurie Strode is largely left on the sidelines this time around as she recovers from a knife wound to the stomach. Still, this gives Jamie Lee Curtis a chance to shine in scenes opposite Patton as both talk about what could have been. Judy Greer proves to be more badass than ever as Karen, Laurie’s daughter who struggles to move past the death of her husband to keep her daughter safe. But as “Halloween Kills” reaches its bloody conclusion, even she realizes how evil must die.

Andi Matichak also returns as Laurie’s granddaughter, Allyson, who has since come to see that the boogeyman is real. Matichak makes Allyson into a tough character, but the actress is never hesitant to show the fear on her face as she gets closer and closer to Michael. As Allyson enters his childhood home armed with a shotgun, even Matichak knows it would be foolish for this character not to be the least bit scared.

There are some actors who are new to the franchise here, and they are very welcome additions. I figured Robert Longstreet would make Lonnie into an adult who still loves to bully kids like Tommy, but he instead makes this character into a wounded adult who looks out for his son and will never forget “the night he came home.” It is also great to see Anthony Michael Hall, long since removed from his Brat Pack days, here as Tommy Doyle. With Tommy’s introductory monologue, Hall puts the audience under a spell as he reminds us of Haddonfield’s tragedy while paying respect to the lives lost and how we should “never forget.” Hall is really good here. I also got a kick out of Scott MacArthur and Michael McDonald who play an eclectic couple that own the old Myers’ house. Furthermore, they know what happened there and have no buyer’s remorse (or will they?).

And yes, John Carpenter, along with son Cody Carpenter and Daniel Davies, have provided “Halloween Kills” with a terrific film score. The themes are familiar ones, but they are given a mournful sound as we are reminded of ghosts which have yet to be laid to rest. There are also some nice propulsive themes as well to keep the adrenaline going. Those who are a fan of Carpenter’s music will not be disappointed.

In some ways, “Halloween Kills” is at a disadvantage as it is the middle chapter in a trilogy, and we still have “Halloween Ends” to look forward to. Whether or not evil can die, I think it’s safe to say it can take one hell of a beating and keep on ticking. I mean, it has to knowing a third chapter is one the way. Regardless, this sequel gave me much to admire about it as it deals with how the bullied often become the bully, how the past can haunt us to no end, that small suburban towns are more often know for tragedies than anything else, and that some people have no business holding a gun.

Just keep in mind one thing: While this looks like a John Carpenter “Halloween” movie, it is a David Gordon Green “Halloween” movie. It is important to note this as many horror fans may be expecting a certain kind of film here, and you really should remember who is behind the camera on this one as it may not be the one you think.

It will be interesting to see Laurie Strode have one last showdown with Michael Myers, and I believe David Gordon Green has long since been prepared to save the best for last. Michael is not just pure evil; he is like the Energizer bunny, except with a bloody knife instead of a drum. He just keeps stabbing and stabbing and stabbing…

* * * out of * * * *

‘Spectre’ – The Global Criminal Organization Returns to Haunt James Bond in the New Millennium

WRITER’S NOTE: The following review was written in 2015.

James Bond fans will be thrilled to know that the gun barrel sequence has been returned to the opening of this latest 007 adventure. For the past few Bond films, it has been relegated to the end to make clear just how rebooted this long running franchise became when Daniel Craig came on board to fill that tuxedo and enjoy the shaken, not stirred martinis. But now it precedes the action-packed prologue, and it’s just as well because “Spectre” aims to be more along the lines of the classic 007 adventures where the suave spy does battle with a secret organization which is bent on world domination and ends up seeing so much more than the NSA does on a daily basis. Still, it does have a strong focus on character as the past continues to haunt Bond to where the dead are not really dead.

First, let us get this out of the way: Is “Spectre” better than or as good as “Skyfall?” No, but this was kind of a given since the previous installment reached such extraordinary heights which the average Bond film usually never reaches, and this includes grossing over a billion dollars at the box office. In the end this did not matter much to me because, on its own, “Spectre” is a compelling and thrilling movie which reunites Craig with the brilliant Sam Mendes whose work on the last installment was impeccable. With this latest Bond film, they both are determined to dig even deeper into 007’s fractured and turbulent history, and it reintroduces us to certain character types and criminal organizations which defined many of the early Bond adventures.

After a thrilling action-packed opening sequence in Mexico, one of this franchise’s very best by the way, Bond is informed by M (Ralph Fiennes) he is being suspended from duty as his mission there was not authorized by him or the British government. However, we later learn he received a cryptic message from a previous mentor informed him to kill a man in Mexico and attend his funeral in Rome, and this is just the beginning to his uncovering the criminal organization whose name is an acronym for Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion. Suffice to say, they got everything covered.

Mendes hasn’t lost a step here, and he is also served well by cinematographer Hoyte van Hoytema (“Interstellar”) who gives even the dirtiest scenes an inescapable beauty. This movie also has a great opening and unbroken shot which lasts several minutes as we watch Bond attend a Day of the Dead parade, head upstairs with a lovely lady presumably to bed, and then he suddenly goes out the window in pursuit of his latest nemesis who has seriously pissed off her majesty’s secret service.

The main villain is Franz Oberhauser, and he is portrayed by the brilliant and endlessly entertaining Christoph Waltz. This is the same actor who gave us one of the most fiendish villains in cinematic history in Quentin Tarantino’s “Inglourious Basterds,” but he’s not out to replay Hans Landa here. When we first see Franz, he doesn’t even have to speak up or raise his voice to show how powerful he is. Everyone simply stands at attention, and no one questions his decision making at any point. This makes Waltz’s job even easier as his character clearly exerts a power very few bother to question. Some claim he is too quiet in his first scene, but for him to yell at everyone or shout to keep everyone in place would strike me as being desperate to keep everything under control. Franz doesn’t need to do this because everything has long since come under his control.

As for the Bond women (calling them Bond girls does not feel the least bit appropriate anymore), they are played by Monica Bellucci and Lea Seydoux. Bellucci plays Lucia Sciarra, the widow of an assassin killed by Bond, and she mesmerizes us in the far too few minutes she appears onscreen. Bellucci is said to be the oldest Bond woman ever, but does this really need to be pointed out? I don’t care how old she is because she still sizzles and holds her own against Craig even as he seduces her to the audience’s delight.

Seydoux is best remembered from her role as the beautiful but cold-hearted assassin in “Mission: Impossible – Ghost Protocol,” and here she plays Dr. Madeleine Swann, a psychologist who has a link to a person Bond dealt with in the past. She proves to be a strong Bond woman here as she brings up her tragic upbringing which has informed her defensiveness around those she doesn’t know very well, and she makes clear of how she has a strong dislike of guns. She’s a wonderful presence here, and she and Craig make quite the couple.

Dave Bautista co-stars as Mr. Hinx, a character designed to spark our nostalgic memories of Oddjob. Mr. Hinx is a henchman of few words, but his actions speak a lot louder than his words and leave a lot of damage in his path. This is not a henchman content with throwing a hat around as his hands do all the work and leave quite the impression.

Ralph Fiennes confidently fills the shoes of Dame Judi Dench’s M as Mallory, and like the previous head of MI6, Mallory finds he can control Bond as well as she could, which is to say only so much. Naomie Harris returns as Eve Moneypenny who has since settled in to becoming M’s assistant, Rory Kinnear remains reliable as always as Chief of Staff Bill Tanner, Jesper Christensen reprises his role as Mr. White from previous installments, and Ben Whishaw steals every single scene he’s in as Q. Seriously, watching Whishaw is such a delight this time out as he infuses the role with a wonderfully dry sense of humor as he reminds Bond of how he has a mortgage and two cats to feed.

And, of course, Mendes brings back composer Thomas Newman to give “Spectre” an emotional and propulsive film score which will has me eagerly awaiting its release on compact disc. I especially enjoyed his collaboration with the Mexican contemporary classical percussion group Tambuco on the music they composed for the Day of the Dead scenes. As for the theme song “The Writing’s on The Wall” which is performed by Sam Smith, it’s good but nowhere as priceless as Adele’s “Skyfall.”

But let’s not leave out the man of the hour, Daniel Craig. Ever since he made his debut as 007 in “Casino Royale” he has not only made this iconic role his own, but has also given Ian Fleming’s classic character a humanity and a depth his predecessors hoped to give as much of. His respect for Bond is never in doubt as he brings 007 around full circle to where we learn even more about his past than we did previously, and how it has come to define his present state in life. It’s still up in the air as to whether this will be Craig’s last time playing the famous British secret agent who likes his martinis shaken, not stirred, but I have to believe he has at least one more Bond film left in him.

How you come to view “Spectre” may depend on the kind of expectations you bring to it, and it’s hard not to have high expectations after the brilliant “Skyfall.” Do yourself a favor and leave them at the door and just enjoy it for what it is; a gorgeous and extravagant Bond film which, while a bit too long (editor Stuart Baird is missed here), has us wondering where 007, a man who another character describes as being a “kite dancing in a hurricane,” will go from here.

* * * ½ out of * * * *

‘Skyfall’ – One of the Best James Bond Films Ever Made

WRITER’S NOTE: This review was written in 2012.

“American Beauty” director Sam Mendes has just accomplished the impossible; he made a better James Bond movie than “Casino Royale.” That one set the bar for so high to where it should not have been a surprise “Quantum of Solace” was not as good, but “Skyfall” gets my vote for being one of the very best in the 007 franchise. This installment continues in giving us a darker and edgier Bond as portrayed by the excellent Daniel Craig, and it also brings back some of the things many felt were missing from the last two films like the gadgets, the one-liners and, of all people, Q.

“Skyfall” starts off with a bang as we catch up with Bond in Turkey where he is on the trail of a man who has stolen the hard drive containing the identities of undercover agents. While trying to retrieve the drive, Bond is accidentally shot by fellow British agent Eve (Naomie Harris) and presumed dead. But being this all happens at the movie’s beginning, we know he will not stay dead for very long. While we watch him use his presumed death to go into retirement where he gets drunk off his ass while remaining deeply resentful of M’s (Dame Judi Dench) order for Eve to “take the bloody shot,” MI6 is suddenly destroyed and his love of England forces him to return to active duty. Upon his return, he soon discovers M’s nemesis has a very personal connection to her which makes him all the more dangerous.

This film does take its time to get going, but in retrospect it was worth it. Craig’s Bond has never been a superhero, but instead a vulnerable agent with weaknesses he cannot hide from others. As we watch him retrain, Craig shows us his Bond is deeply troubled and almost bent on self-destruction. It’s his duty to the country of England which manages to keep him relatively sane. This is Craig’s third outing as 007, and I still think he’s the best thing to happen to this franchise in a long time, and he looks to be having more fun this time around as he cracks a joke or two.

Thankfully, Craig never lets 007 descend into camp or tries to turn him into a standup comedian with a gun. While his take on this iconic role feels like it been deadly serious, seeing him loosen is a real gift as he has long since come to own this character. In a perfect world, Craig would get an Oscar nomination for his performance, but since the other actors who inhabited Bond never did, it is unlikely he will break tradition in this circumstance.

Now when it comes to my favorite Bond films, they usually are the ones where things get very personal for 007 and those around him. When this happens, they become more emotionally involving and exciting for me to watch as there is more at stake than just defeating a villain bent on world domination. This is especially the case with “Skyfall” as it delves into the past of its main characters in a way I don’t think any Bond movie has done before. The script by Neal Purvis, Robert Wade and John Logan (“Hugo,” “Coriolanus” and “Gladiator”) places most of its emphasis on relationships, especially on the one between Bond and M. It is that emphasis that makes this film all the more riveting to watch.

Dame Judi Dench, who has played M since Pierce Brosnan first played 007 in “Goldeneye,” benefits here especially as her character is given a more severe complexity than what we have seen previously. Dench has always been superb as M, but ever since Craig came into the series she has been a fireball as she starts out with a powerfully brazen attitude which never ever lets up. But here we see the seams in her controlled nature as the past catches up with her in an especially nasty way. Dench nails every moment she has in “Skyfall” perfectly, and she makes M an especially fascinating character to watch this time around.

“Skyfall” also has the advantage of having not just one, but two terrific Bond girls: Naomie Harris and Bérénice Marlohe. Harris, best known for her roles in “28 Days Later” and the “Pirates of the Caribbean” movies, shares a sizzling chemistry and playfulness with Craig, especially in the scene where she gives him a very close shave. As for Marlohe, she’s a knockout as she makes her character of Sévérine as enigmatic as she is beautiful. When Bond asks for the name of her employer, the look of utter fear which crosses her face is an unforgettable moment as it sets up the grand introduction of this film’s Bond villain.

The Bond villain of this piece is Raoul Silva, and he is played by Javier Bardem in a deliciously evil performance. It should be no surprise how brilliantly unnerving he is here as this is the same actor who won an Oscar for playing Anton Chigurh in “No Country for Old Men.” But when it comes to Silva, he is an especially twisted soul to witness in action. This isn’t a villain bent on world domination, but instead on avenging a betrayal which made him what he is today. Bardem actually doesn’t make his first appearance until well into the film, but he has an unforgettable entrance where he tells a story involving rats. The Bond villains always have great stories to tell, and Silva’s proves to be one of this franchise’s most memorable.

And yes, we do get to see the return of Q, and he is played here by Ben Whishaw (“Cloud Atlas”). Whishaw is splendid in the role as he skillfully underplays this classic character to where he makes it his own. Unlike the late, and still missed, Desmond Llewellyn, this Q is not quite in a position to admonish Bond on a regular basis. Whishaw, however, is able to match wits with Craig and hold his own in a way Q has not always been able to do previously, and he is a lot of fun to watch as a result.

Mendes remains a masterful filmmaker as he manages to balance out the action and the story in “Skyfall” to great effect. I also applaud him for not letting this Bond adventure turn into a clone of a Jason Bourne movie. This proved to be a big problem with “Quantum of Solace” as the shaky cam got to be a bit too much, but Mendes is perfectly aware that while Jason Bourne is Jason Bourne, Bond has been around long enough to where he doesn’t need to copy anyone. The opening sequence gets things off to a thrilling start, and it shows how Mendes has a talent for filming adrenaline pumping action scenes as he does in directing actors to great performances.

“Skyfall” also features a terrific music score by Thomas Newman and one of the best Bond theme songs in a long time performed by Adele. The title song brings back the classic Bond song sound which singers like Shirley Bassey made famous with “Goldfinger,” and it fits the movie’s story perfectly. While I miss David Arnold who has composed the scores for the Bond movies since “Tomorrow Never Dies,” Newman’s work here is exceptional as it sounds unlike any score he has done previously. It’s always a thrill to see a composer step outside of their comfort zone to do something a little different.

But another star of this film I have to single out among others is its cinematographer, Roger Deakins. While I was previously familiar with his work in “The Shawshank Redemption,” “Fargo” and “Revolutionary Road,” the lighting in “Skyfall” is infinitely beautiful to where I am certain few other cinematographers could never accomplish like he did here. Whether it is Bond’s memorable entrance in Istanbul, his time in Shanghai or the climax in Scotland, he gives us visuals no other director of photography could ever give us.

I don’t think I have ever seen a 007 movie I didn’t like, and even the worst of them prove to be very entertaining to watch. Having said that, it is such a thrill to see a Bond movie where all the elements come together in such a truly fulfilling way. “Skyfall” is not only one of the best Bond movies ever, but also one of best films of 2012. It took four years to get one to the big screen, but it was well worth the wait.

* * * * out of * * * *

‘Space Jam: A New Legacy’ Movie and Blu-ray Review

The following review was written by Ultimate Rabbit correspondent Tony Farinella.

Space Jam: A New Legacy” is a film which was doomed from the start for one major reason: certain people do not like LeBron James and have an agenda against him.  Because they have these feelings, they were not going to like this film no matter what.  Personally speaking, I have nothing but respect for James as an athlete and a human being.  He has been a very charitable individual and someone who is very honest and giving.  However, people have this obsession with comparing him to Michael Jordan and these films.  The original “Space Jam” was released 25 years ago, and it’s not like it was a classic.  Nostalgia wins over a lot of people as they pine over “the good old days.”

I have watched “Space Jam: A New Legacy” twice now, once on HBO Max and once on Blu-Ray. I enjoyed it on the first viewing, probably because I went into the film with such low expectations and allowed other people to get inside my head.  I thought to myself, that was an enjoyable film for both young teens and older adults to watch together. After a second viewing, I must sadly admit it does not hold up very well as I see a lot of flaws. That being said, it’s not as bad as everyone makes it out to be with their ruthless bashing.  It’s merely a well-intentioned misfire.

James plays himself, and he’s trying to be a good father to his son Dominic (Cedric Joe) by pushing him to be the best basketball player he can be, day in and day out.  Dominic, however, is much more interested in video games, specifically developing them and trying to make basketball games more fun with style points and other cool features. In a flashback scene, we see how James was forced to throw away his Game Boy and focus on basketball, which is why he is this way toward his son.  His fictionalized wife, Kamiyah James (Sonequa Martin-Green), is trying to get her husband to lighten up and take it easy on their son.

One day, James is dragged along into a meeting with Warner Brothers where they want to further his brand into other film and television avenues. James would rather focus on basketball and politely rejects their offer.  This does not sit well with Al G. Rhythm (Don Cheadle) who believes James is just the right star to get in his Serververse called Warner 3000, which can put the basketball star into a number of Warner Brothers films and TV shows. The executives at the meeting are played by Sarah Silverman and Steven Yeun, and I wouldn’t have minded seeing more of them here.  As a matter of fact, the best scenes in the film are the ones which take place in the real world and not in the “serververse.”

James is not afraid to have a laugh at his own expense, and this is part of the charm of this film.  They talk about the fact he has been on three teams.    He was great in 2015’s “Trainwreck.”  He has charisma, and I could see a future in acting for him whenever he decides to retire. I’ve always found him incredibly likable.  The heartfelt scenes with him work.  However, when he’s recruiting the Looney Tunes or when he’s playing a game to win back his son from Al G. Rhythm, the film gets really bogged down.

Back to the plot for a moment; once James turns down the opportunity to work with Warner Brothers, Al G. Rhythm is none too happy and decides to brainwash Dominic into playing a game of basketball against his own father using his video game rules.  I don’t think a children’s film should be this convoluted or long.  Seriously, the film is almost two hours long.

Essentially, what you have here is three things in “Space Jam: A New Legacy:” First, you have James trying to get his team together to win his son back and get him back to the real world. The scenes with him trying to recruit the Looney Tunes are enjoyable to a point, but the filmmakers spent too much time on them. Second, you have the basketball game which features incredibly annoying and silly commentary from Ernie Johnson and Lil Rel Howery. This game is just ridiculous.  Finally, the best scenes, as mentioned, are the ones where James gets to be a human being and not a basketball player spouting off cliches or a cartoon character. We needed more of this.

A lot of people were upset with all of the self-promotion Warner Brothers did for “Space Jam: A New Legacy” as far as showing off all of the properties they own such as Harry Potter and “Game of Thrones.” This, however, did not bother me, as if you have these things, why not show them off? I got a kick out of seeing Pennywise at the big basketball game. My issue is this film is too long, uninvolving and uninteresting. I felt they could have made an enjoyable, yet heartfelt, children’s film for the whole family to enjoy together as one.  Instead, I can’t imagine kids understanding a lot of the technology terms, and it’s too foolish for parents to enjoy.  It made money, so there was an audience for it out of curiosity I imagine. I was hoping for more use out of the many basketball stars featured here, but they are all quickly turned into video game characters. Everyone meant well here, but they tried to do too much when a simple and shorter approach would have been best.

* * out of * * * *

Blu-Ray Info: “Space Jam: A New Legacy” is released on a two-disc Blu-ray Combo Pack from Warner Brothers Home Entertainment.  It also comes with a digital copy of the film as well.  It has a running time of 115 minutes and is rated PG for some cartoon violence and some language.

Video and Audio Info: It is released on 1080p High Definition with the audio coming in on Dolby Atmos-TrueHD: English, Dolby Digital: English Descriptive Audio, English, French, and Spanish. Subtitles are in English, French and Spanish as well.

Special Features:

First Quarter: Game On

Second Quarter: Teamwork

Third Quarter: Out of This World

Fourth Quarter: The Looniest

Deleted Scenes

Should You Buy It?

I can’t recommend “Space Jam: A New Legacy” as a purchase.  I can’t imagine it will get any better with multiple viewings. As mentioned in my review, I enjoyed it as nonsensical fun the first time around.  On the second viewing, I saw a lot of holes in the film.  The special features are pretty lacking as well.  The film is very colorful and bright.  I feel like they could have made a good film as LeBron James is a superstar and box-office draw. For as many haters as he has, he does move the needle, and a lot of people do care about him.  He can also act! They just needed to give him a better script. He’s a smart guy, and I’m very surprised he didn’t notice a lot of these flaws when he read the screenplay.  He has shown a knack for making good decisions with his business ventures, but he missed out with this one. I’d rent it at Redbox if you are curious about it.  Just know this: It’s not nearly as bad as everyone says it is. It’s just run-of-the-mill and forgettable.

‘No Time to Die’ – Daniel Craig Gives Bond an Emotional Swan Song

Ah Mr. Craig, Mr. Daniel Craig. How nice of you to return as James Bond for a fifth and final time. Despite your infamous interview with Time Out where you declared you would rather slash your wrists than do another one, even you realized there was still one more chapter in your interpretation of Ian Fleming’s iconic spy. Besides, no one should have been asking you about doing another Bond film while you were still in production on “Spectre.” Heck, the last thing anyone wants to think about is the next 007 picture when they haven’t finished making the latest one. Even I would not have asked you that question on a press day.

But here Craig is again for “No Time to Die” which does indeed serve as a fitting swan song to his time as James Bond. Despite a running time which exceeds “Spectre’s” (163 minutes to be exact) and some flaws here and there, it proves to be a highly satisfying concluding chapter. But as thrilling and exciting as it is, my breath was taken away by how emotional it proved to be. Granted, “Casino Royale” and “Skyfall” were full of emotions also, but this one seriously took my breath away to where I exited the theater saying to myself, wow.

After a prologue which hints at relationships which will have shocking revelations later on, we catch up with Bond who has since retired from active service and is living a happy and quiet life with Madeleine Swann (Léa Seydoux). Of course, once we hear James tell Madeleine they have “all the time in the world,” you know the shit will hit the fan, and hit the fan it does with quite a loud and sudden bang. From there, Bond realizes he can no longer fully trust Madeleine, and he finds himself lonelier in the world than ever before.

Cut to five years later, and Bond finds himself drafted back into service not by MI6, but instead through his old CIA pal Felix Leiter (Jeffrey Wright, finally and thankfully returning to the franchise) who alerts the former 007 about the theft of a bioweapon which contains a dangerous new technology which could wipe out millions in an instant. It doesn’t take too long for Bond to jump back into action as he reunites with several friends, a few enemies, and a number of surprises which may shock longtime Bond fans, but should also serve as a reminder of why Craig and the filmmakers went out of their way to break the rules in this endless franchise.

While it is bittersweet to watch Craig here, it is also a lot of fun to watch him inhabit 007 in a far more debonair manner than ever before. Seeing him dish out delicious one-liners particularly, in his first meeting with the new 007, Nomi (Lashana Lynch), is priceless and had me laughing harder than I have in a long time. Never once did I see him going through the motions as he invests this iconic character with a wounded humanity which has long since started showing its age.

And with “No Time to Die,” we get a new director in Cary Joji Fukunaga. Best known for his work on the first season of “True Detective,” he also directed the brilliant “Beasts of No Nation” which could have gotten Oscar love were they not so white the year it was released. After seeing Sam Mendes direct one Bond film too many (and I did like “Spectre” by the way), Fukunaga, along with cinematographer Linus Sandgren, succeeds in giving this 007 installment a unique look which distinguishes itself from its predecessors, and for the most part he balances out several terrific action scenes with ones focused solely on the characters. Granted, the running time could have been shorter, but Fukunaga along with screenwriters Neal Purvis, Robert Wade and the fabulous Phoebe Waller-Bridge keep you guessing as to what will happen next, something I do not always expect from a Bond film.

More importantly, everything is brought around full circle here. By that, I don’t just mean with Bond. Whether its Mallory (Ralph Fiennes), Eve Moneypenny (Naomie Harris), Felix Leiter or Q (Ben Whishaw), everyone gets a proper ending. We have followed these actors for some time now and, like Craig, they have made these iconic roles their own. Considering how “No Time to Dies” ends, this is likely the last we will see of them as this franchise will now undergo another overhaul. It would be great if any of them returned, but it might cause needless confusion when the next Bond actor arrives on set.

And yes, I loved the Bond women here. Lashana Lynch quickly turns Nomi into a formidable 007 and is ever so cool from start to finish. Even when James gets the best of her, Nomi is quick to get right back on her feet, and seeing her stare down with such a beautifully icy glare is worth the price of admission alone. As for the lovely Ana De Armas, she makes Paloma into a wonderful tease of a Bond woman as she initially looks to be out of her depth, but then delightfully shows us how lethal she can be. The only shame is that Armas disappears from the proceedings early on, and it would have been great to see her some more.

If there is any disappointment to be found here, it is with its Bond villain. While Rami Malek gives Lyutsifer Safin an imposing and intimidating presence, the character is left hanging in the shadows for too long and is only given so much to do. Even after his first masked appearance onscreen, Malek seems to give a largely one-note performance to where I wished he had dug much deeper into his role. While Safin says he looks at Bond as though he is his mirror image, he says it with nowhere near as much depth as Javier Bardem gave us as Raoul Silva.

I also would have loved it if the filmmakers would have brought back composer David Arnold. I have been missing his music ever since Mendes replaced him with Thomas Newman, and this is with all due respect to Newman. Fukunaga brought in frequent collaborator Dan Romer for “No Time to Die,” but he left over “creative differences” and was replaced by Hans Zimmer who appears to be scoring every other Hollywood blockbuster these days. All the same, Zimmer gives us a terrific film score which heightens both the action and emotions and pays tribute to Bond themes and songs from its celebrated past. Granted, at times it sounds like he is echoing some of the themes he created for “The Dark Knight” trilogy to where I wondered if he steals from himself the way the late James Horner often did, but still.

As for the obligatory theme song sung by Billie Eilish, it is a thoughtful and moving song which captures Bond’s history and the past he needs to put behind him. It is no “Skyfall,” but it is miles better than Sam Smith’s “Writing’s on the Wall” which somehow inexplicably won an Academy Award.

With Daniel Craig’s reign as James Bond now at an end, it will be interesting to see where the 007 franchise will go from here. I cannot help but fear for the actor who will step into this iconic role as he will have big shoes to fill, but I do remember feeling the same way when Pierce Brosnan was cast aside after “Die Another Day.” Part of me believes Barbara Broccoli and company will return to the over-the-top action spectacles which dominated Brosnan and Roger Moore eras, or perhaps they will find another action movie franchise or trend to mimic so the series can keep up with the times. Hopefully, they will remember how Bond needs to have an edge and not just be another clean-shaven spy.

Nevertheless, these past five Bond films have been a godsend to a franchise which was in dire need of an overhaul 15 years ago. While many say you cannot do this or that in one a Bond film, Craig and company said rubbish and did it anyway, and it resulted in many invigorating cinematic adventures. Hell, we even here the word “fuck” in this one, and if there is another 007 film where this happened, I have missed it.

Godspeed Mr. Craig, and thanks for all you have done.

* * * ½ out of * * * *

‘Quantum of Solace’ – Not the Best Bond, But Not the Worst Either

WRITER’S NOTE: This review was written in 2008.

So, what’s all this talk about wanting the old James Bond back? A lot of talk from fans about the latest 007 film, “Quantum of Solace,” is that they miss the Bond who had all the gadgets, knew all the best wines, had his martinis shaken and not stirred, and always bedded the most beautiful women. Wait a second, isn’t this what we were all getting sick of after “Die Another Day?” Didn’t we want to see the Bond franchise revitalized? Isn’t that why “Casino Royale” was so damn good? That it didn’t give us the same old Bond and gave us a tough new one who you could for once say honestly was the best one since Sean Connery? Did everyone get amnesia?

Roger Ebert, in his review of “Quantum of Solace,” said he wanted the producers to remember that James Bond is not an action hero. Not an action hero? Is that what you see here Ebert? Because that’s not what I see here at all. Instead, I see a man who is devastated by loss and betrayal, and who is trying to keep his head on straight to do his duty while trying to get his revenge. Maybe when we get the next film, we can get the Bond we know back, but this one still has issues to sort through, and he is still early into his British spy career. There are still bumps in the road he must navigate through before he reaches the heights of sophistication.

“Quantum of Solace,” as I’m sure you all know by now, is not the equal of “Casino Royale” which was easily the best Bond film in years. Following it must have been daunting for everyone involved as the bar had been set higher than ever before. The early reviews for Craig’s second go around as 007 had me curbing my expectations before going to see it, but I probably should stay in the habit of curtailing my expectations in general. It is a flawed film which has several problems that might derail others, but what keeps it afloat is Craig’s great work as Bond, and how he gives us an MI6 agent who is not just going through the motions. Also, he continues to share one terrific scene after another with the always fantastic Dame Judi Dench who reprises her role as M.

This 22nd Bond film is the first in the long-running franchise to act as a direct sequel to a previous installment as it starts off just mere moments after Bond nearly shot off Mr. White’s (Jesper Christensen) leg. It also literally starts off with a bang as Bond is pursued in a high-speed chase with the minions of Mr. White right on his tail. This brings me to one of my criticisms which I kind of see as a double-edged sword. A lot of the action scenes are filmed with the same shaky camera work we expect from the Jason Bourne movies. Seeing a James Bond movie instantly remind you of Bourne is not a good sign. At the same time, it gives the action sequences here a visceral urgency to where I felt those car crashes instead of just watching them passively. I have really come to love car chases like this one.

The QUANTUM of the movie’s title refers to the new evil organization which is the SPECTRE of the new millennium. Their goal is, of course, world domination and control over everything that can be sold at a high price. As a result, the Bond villain here is a man who wants control the world’s last natural resource, but it’s not the one you might think. As played by Mathieu Amalric (“The Diving Bell and the Butterfly”), Dominic Greene speaks to the public of saving the planet from global warming, but then we see him talk to an Army general about how they managed to talk some sense into the local government about not raising the minimum wage for workers since it would, you know, cut into the profits. Basically, Dominic is like the head of Wal Mart and someone we want to see get a huge bitch slap on a regular basis, perfect for today’s Bond movie.

But as Bond villains go, Dominic Greene is far from being one of the most threatening of the bunch and he will probably not go down as one of the series’ most memorable. Still, I love the glint of anger and overconfidence Mathieu shows us in his eyes, and his work is greater proof of how some of the best screen acting can be done without saying a word. Seeing him getting pissed when Bond spoils his well laid plans is quite a kick.

The Bond girl this time around is Camille, played by Olga Kurylenko. One of the best ever? No, but she is far from being among the worst. Kurylenko’s performance during the first half is a little too stiff, and her character seems underwritten. As “Quantum” goes on, however, she gets better once her real motives are revealed to us which involve revenge against a devious military official who murdered her family. The parallel between Camille and Bond is they are both after the same thing, revenge. It makes their relationship towards the climax all the more interesting.

But the real key relationship of “Quantum” is between Bond and M. The scenes between Craig and Dench are some of the best here, and it is no love affair between these two. It’s a mother and son kind of relationship if you can picture as both are estranged from one another, and are constantly to get back on the same page with each other. M wants to trust Bond but feels as though she cannot, and Bond wants to go after the one who almost had her killed. Talk about tough love.

Dench has been playing M since Pierce Brosnan debuted as Bond in “Goldeneye,” and she has been a huge asset to this franchise. She has continued to be a strong presence and has gotten even better since Craig began portraying Ian Fleming’s iconic spy. Right from the start, the actress makes M into the kind of person who will not take bullshit from anyone no matter their government or nationality. She is a real pleasure to watch in just about anything she does, and I love how she easily intimidates her male assistants who constantly tremble in her presence.

“Quantum” also features other strong performances which need to be noted. Jeffrey Wright returns again as Felix Leiter, the first actor to play the role consecutively in close to 20 years. His cool approach to Felix is great, and hopefully we will see him playing this character again. Giancarlo Giannini returns from “Casino Royale” as Mathis, and this could have been problematic as his character had betrayed Bond previously, and having him be the only person Bond can trust could have been far-fetched to say the least. But thanks to Giannini’s performance, he makes Mathis’ presence believable in story and welcome as his sadness over the death of Vesper gets him to team up with Bond. His final scene is actually quite touching as he encourages Bond to forgive himself. These character moments never get as much credit as the stunts do in a Bond film, and this one has them to give us a rest from the visceral action scenes.

Marc Forster, best known for “Monster’s Ball” and “Finding Neverland,” takes on the directing chores this time around. He almost seems as unlikely a choice to direct a Bond as Michael Apted was when he helmed “The World Is Not Enough.” His handling of the action sequences may be confusing to some as the editing is done in a rapid-fire manner, but they are still thrilling if you can get past this. While Foster doesn’t bring anything new to this franchise, he does keep things moving at a steady pace. At under two hours long, this is the shortest Bond film ever. Given how stringent the Broccoli family is about keeping 007 confined to a certain formula, I’m not sure how much freedom Forster was given to work with on this one.

Screenwriters Neal Purvis and Robert Wade are back along with Paul Haggis who is doing his usual screenplay polish here. Their work here is not as strong as it was on “Casino Royale,” and the characters are what really made it so good as it benefited all the other elements of that film like the action sequences. “Quantum Of Solace,” on the other hand, seems to exist more for the action sequences than the story which is a little frustrating, but they do still keep the central character of Bond very interesting and complex. They deal with the different layers of 007 and keep him from becoming a one-dimensional schmuck. There is some good work here, but not everything is as fleshed out as it could have been.

I also need to point out how David Arnold has been composing the scores for the Bond franchise since “Tomorrow Never Dies.” I love how his scores really complement the action scenes in all their ferocity. I also admire how he was able to move over seamlessly from the Brosnan era to the Craig era and didn’t simply repeat the same musical themes over and over again. I ended up buying the soundtrack a couple of days before the movie was released, and it is a great listen.

Speaking of the soundtrack, I should bring up “Quantum’s” title song “Another Way to Die” which is performed by Jack White and Alicia Keys. Everybody is trashing it, but it’s actually not bad. For me, it actually sticks in the head as opposed to other Bond theme songs which go in one ear and out the other. Look, I love Sheryl Crow, but here theme to “Tomorrow Never Dies” was one of the least memorable to where I can’t remember any of the lyrics.

Yes, “Quantum of Solace” is not one of the best Bond movies, but it is far from being one of the worst (for that, see “The Man with The Golden Gun”). It has screenplay problems and some characters could have been better developed, but the things which did work won me over for the most part. And once again, Daniel Craig proves to be one of the best Bonds ever as he gives this iconic character a rough edge and dimensions which have been absent from the movies for far too long.

No, he is not the old Bond we grew up with, but I am fine with that because this one is far more interesting to me. So please stop whining about wanting the old Bond back. We may get him back in a future installment now that Bond has moved on from his revenge cycle, but at the same time, I hope Craig doesn’t lose any of the edge he has brought to the British spy.

Whatever happens from here will be very interesting even if we have to wait another few years for the next film. All the same, James Bond will return…

* * * out of * * * *

‘Casino Royale’ – James Bond Reborn and Reinvigorated

I came into “Casino Royale” with guarded expectations. When it came to the James Bond films which starred Pierce Brosnan, I found they were best enjoyed with lowered expectations as they veered to the more openly ridiculous films of the Roger Moore era. But once this particular Bond film started with something other than the standard gun barrel sequence, I quickly realized how serious the filmmakers were about reinventing and reinvigorating this long running franchise.

To put it mildly, “Casino Royale” proved to be the best Bond filmI have seen in years, and it was far and away one of the best movies of 2006. For once, we had a 007 movie which actually bothered to take itself seriously, provide us with a villain who was not going after world domination, and a Bond woman who is not just here for display. After seeing the franchise descend into self-parody for far too long, I was stunned at how much effort the filmmakers and producers put into this installment

This film also marked Daniel Craig’s debut as 007. These days, it is hard to believe many were quick to write him off and say how wrong he was for the role of Ian Fleming’s iconic character. What a joy it was to see him have the last laugh on everyone. Right from the start, Craig makes this character is own and gives Bond an edge I felt this British spy had been lacking after Timothy Dalton departed the franchise. But moreover, Craig gives Bond a shocking vulnerability to where it seemed criminal he didn’t get an Oscar nomination for his performance. Seriously, he was that good.

“Casino Royale” also marks the return of director Martin Campbell to the Bond franchise as he previously directed Pierce Brosnan’s first turn as 007 in “Goldeneye,” a film I did not give enough credit upon its release. Rather than simply repeat what he did before, Campbell paints a whole new canvas for Craig to work with, and he gives us a number of thrilling actions set pieces throughout which quickly prove to be the most thrilling this franchise has seen in some time, and they get extra support from the enthralling music score composed by David Arnold.

As I said earlier, this Bond film does not contain a villain bent on world domination, and I was thankful for this as those villains had long since become overused in this or any other franchise. Instead, we get Le Chiffre who is played by Mads Mikkelsen, an actor who has since become famous for his own interpretation of Hannibal Lecter. Le Chiffre may have an Achilles heel or two with his asthma and an eye duct which lets out tears of blood, but he is a formidable foe with his mathematical genius and brilliance at playing chess. Mikkelsen also dares to make Le Chiffre an especially vulnerable Bond villain as his immense ego gets pierced as easily as Bond’s does, and this leads to a scene of painful torture which we have not seen since “Licence to Kill.”

I also have to say how “Casino Royale” does a great job or making Poker such an exciting game to watch. Playing cards in a movie does not sound like something which would lend itself much to cinema, but Campbell milks Poker for all it is worth here to where seeing Bond stare Le Chiffre down is such an immensely satisfying delight.

Now let us go to the Bond woman of this piece as calling her a Bond girl would be an unforgivable insult. She is Vesper Lynd, and she is played by an actress as wonderful as she is beautiful, Eva Green. So memorable in “The Dreamers,” she quickly makes her strong presence known upon her first meeting with Craig on a train speeding to Montenegro. Seeing them stare one another down is a terrific sequence as this Bond film presents us with the first real love story it has had since “On Her Majesty’s Secret Service,” and this is saying a lot.

If there is a holdover from the Brosnan era, it is Dame Judi Dench who gives audiences the most intimidating version of M yet. She never took it easy on Brosnan, but she goes ballistic when it comes to Craig as his Bond just reached 007 status. Dench makes M a tough nut to crack and a superior who truly means business. If there are any vulnerabilities to this character, we do not see them here as she makes clear to Bond she is not one to be trifled with. Dench is a thrilling presence in “Casino Royale” as a result, and it made me glad she would continue to inhabit this role for a few more films.

In a sense, this franchise has come around full circle with “Casino Royale” as the producers finally got the rights to Fleming’s book after so many years. But more importantly, they came to realize that this franchise needed a serious reboot even though “Die Another Day” was an enormous hit at the box office. While I am not always a big fan of origin stories, movies like “Casino Royale” and “Batman Begins” remind me of how necessary they are and of just how good they can be.

We don’t hear Craig utter the words “the name’s Bond, James Bond” until the very end, but this is perfect as it shows how we have many great adventures to look forward to from here, and we certainly did.

* * * * out of * * * *

‘Skyfall’ Cast and Crew on Cinematographer Roger Deakins

WRITER’S NOTE: This article was originally written back in 2012.

Skyfall” has earned the respect of both critics and audiences around the world as they rightfully hail it as one of the best James Bond movies ever made. But while Daniel Craig and Sam Mendes have received tremendous praise for their terrific work, there is another man working behind the scenes who is equally deserving: Roger Deakins. Thanks to him, “Skyfall” features such unforgettably beautiful images like the assassination scene in Shanghai and the cold and barren landscape of Scotland. None of this is lost on the cast and crew as they spoke highly of Deakins’ work at the film’s press conference in Beverly Hills.

Deakins is best known for his work on many of the Coen Brothers’ movies such as “True Grit” and “No Country for Old Men.” He had previously worked with Mendes on “Revolutionary Road” and “Jarhead,” and the director attributes the look of “Skyfall” solely to Deakins.

Sam Mendes: He contributes what a great cinematographer contributes which is an unbelievable eye, an extraordinary skill in lighting, and for doing an immense amount of work in prep. (He showed) huge care and dedication from day minus 100 to the last day of timing which was only a few weeks ago. He’s a very shy man and he expresses himself through his work, and you just put a camera in front of Roger’s eye and point him in the direction of something interesting and he’s a very happy man. He’s one of the greats and it’s a privilege to have him on the movie.

Daniel Craig: There is an incredibly consistency in his work. He has a surety and you feel like it’s a Sam Mendes movie but it’s also a Roger Deakins movie as well. He has put his stamp on it, it’s not intrusive and it’s very magical.

Bérénice Marlohe, who plays the mysterious Bond girl Sévérine in “Skyfall,” spoke lovingly of Deakins and his work on this film.

Bérénice Marlohe: I have this concept that I’ve always believed in that hugely talented people are hugely humble. When I was on that set, I saw that with Sam, Daniel and him. He’s such a pure, beautiful man and just very focused on his work, and then when I got to see the movie, I would never expect that. The first thing that struck me was that mix of reality, a real story with real human beings, and with each picture it felt like you were having a journey in a dream. It was all so surprising and beautiful.

Naomie Harris, who portrays Eve, also described Deakins as being shy, humble and also added that he was quite “self-effacing.” This made him much different compared to the cinematographers she has worked with in the past.

Naomie Harris: It was a very different experience for me than working with most DPs because they can be very strong characters who really make their presence known on sets, and he’s the complete opposite. He’s really quiet and doesn’t interfere with your process at all, and he’s very respectful of actors’ spaces. For me it was an amazing pleasure to work with him.

To hear all this said about Roger Deakins makes him seem highly unique among the cinematographers of the world. I couldn’t agree more with everyone’s individual assessments of his work as the look of “Skyfall” is indeed gorgeous especially for an action movie. The greatest directors of photography have a look which is all their own and the kind you can notice right away, and Deakins has earned his place among them. Hopefully the Academy Awards will recognize his work here with an Oscar nomination when the time comes around.

‘The Many Saints of Newark’ – ‘The Sopranos’ Prequel Drags When it Should Entertain

I guess it was inevitable that David Chase would eventually revisit the world he created with “The Sopranos,” one of the greatest television shows ever. Vince Gilligan did the same with “El Camino,” the sequel to his acclaimed series “Breaking Bad,” and now Chase gives us “The Many Saints of Newark,” a prequel to “The Sopranos.” But while “El Camino” proved to be excellent, this prequel ends up being nowhere as enthralling as even the average “Sopranos” episode. As much as I wanted to like it, I came out of it feeling rather disappointed.

“The Many Saints of Newark” comes with the tagline “Who Made Tony Soprano?” But while Tony is a major character, this movie focuses more on a violent gang war which takes place during the 1960’s and 1970’s in Newark, New Jersey. The main character of this piece is Dickie Moltisanti (Alessandro Nivola), a soldier in the DiMeo crime family who is also Tony’s uncle. As the story begins, Dickie and Tony are welcoming Dickie’s father, “Hollywood Dick” Moltisanti (Ray Liotta) who has just arrived back in America with his new Italian wife, Giuseppina. On the surface, everything and anything seems possible to all the characters, but we know eventually that everything will come crashing down upon them before they know it.

A pivotal moment occurs for Dickie at one point (you’ll know it when it comes), and he ends up visiting his dad’s twin brother, Salvatore “Sally” Moltisanti (also played by Liotta), in the hopes of doing some good deeds which will absolve his soul. It is during these conversations where Salvatore tells Dickie, “Pain comes from always wanting things.” This reminds me of what Mr. Spock once said on the original “Star Trek” series:

“After a time, you may find that having is not so pleasing a thing after all as wanting. It is not logical, but it is often true.”

Salvatore comes to discover this the hard way. While he is serious about doing good deeds, some of us may remember how the road to hell is paved with them, and this is certainly the case here.

The screenplay, which Chase wrote with Lawrence Konner, paints a rich canvas for everyone to work with as it confronts the racial strife in Newark back in the 60’s and 70’s. We watch as African Americans riot against the racist police who abused a black taxi driver just because he was black, and it serves as a depressing reminder of how many still will not learn from history as America remains engulfed all these years later.

At the same time, Chase, Konner and director Alan Taylor, who directed many of the best “Sopranos” episodes, have given themselves too much to work with. While they have vividly captured a turbulent past, the screenplay lacks a center for which to hang everything on, and the movie ends up dragging far too often. As a result, I found my attention wandering in a way I never would have during any “Sopranos” episode.

There is a subplot involving Harold McBrayer (Leslie Odom Jr.) who has returned to Newark to start his own black-led crime operation. The actions of his gang lead to some moments of truly shocking violence which “The Sopranos” was known for, but this does little to alleviate the times where this prequel drags as no one seems to be able to balance out this subplot with all the other varying storylines.

I also got to say there are far too many obvious odes to “Goodfellas” throughout. Maybe I am a little biased because Martin Scorsese’s 1990 crime classic remains my all-time favorite movie, but seeing Ray Liotta getting his head smashed into a steering wheel several times over just takes me out of the story for no good reason.

For me, I was hoping “The Many Saints of Newark” would focus more on Tony Soprano as he is presented here as a young adult, and it was fascinating to see how intelligent he was even when he does not apply himself at school. A lot of this has to do with the performance of Michael Gandolfini, son of the late James Gandolfini who originated this iconic role. It is tempting to say Michael got cast because of resemblance to his father, but he did in fact had to audition which was smart. From start to finish, he does a tremendous job of showing Tony to be a confused kid who struggles to find meaning in his life as he is forced to deal with an absent father and an ineffectual mother. As a result, it is no wonder he looks up to his Uncle Dickie, the only one adult who seems to be looking out for him. Michael is terrific and, more importantly, he makes this role his own.

It feels like it has been far too long since I have seen Alessandro Nivola in anything. I still remember him best for being Nicolas Cage’s brother in “Face/Off” and for playing the guy dumb enough to steal some velociraptor eggs in “Jurassic Park III.” But he is excellent here as Dickie Moltisanti, a man who wants to do some good deeds after having performed a number of heinous ones. Still, Dickie is a man whose passions typically get the best of him, and Nivola is great at showing the constant struggles he endures while struggling with a lifestyle which could see him get killed at any moment.

Indeed, there are many great performances throughout. While some have no choice but to inhabit younger versions of “Sopranos” characters to where they offer mere impersonations of them, others are a bit luckier. Vera Farmiga is tremendous as Livia Soprano, the same role made famous by the late great Nancy Marchand, to where if she decided to utter “I wish the lord would take me,” I would have been perfectly fine with that. In addition, John Bernthal makes for a very tough Johnny Soprano, Corey Stoll is excellent as Junior Soprano, and it is fascinating to watch Michela De Rossi as she makes Giuseppina Moltisanti evolve effortlessly from one scene to the next.

I do have some reservations, however, when it comes to Liotta, or half of Liotta anyway. As “Hollywood Dick” Moltisanti, he overacts to a painful degree as he tries to look and sound older than he really is. Watching him as this character was a bit unnerving, and thankfully this character disappears from the proceedings early on.  

But as the incarcerated Salvatore Moltisanti, Liotta brings an understated menace, the same kind he utilized in “Unlawful Entry,” which makes his performance one of the most compelling here as he dispenses advice which everyone around him would do best to take seriously. Plus, I love how the actor does not have to do much to show how serious Salvatore is about jazz. Seeing him stare at a Miles Davis vinyl record shows the kind of heaven this character seeks in life, and that’s even if it doesn’t bring a smile to his face.

And in a series where the dead characters are still hovering the lives of the living, I liked how Michael Imperioli returns to narrate this movie as Christopher Moltisanti as the character attempts to illustrate how Tony Soprano became Tony Soprano. There’s even a scene when Tony first meets Christopher as a baby, and it proves to be ahaunting sign of things to come.

Look, if you are a fan of “The Sopranos,” you are bound to see “The Many Saints of Newark” at some point. What we got here is not a bad movie, and I am thankful that it is not the kind of prequel which hurriedly tries to tie everything together to match up with the events of the show. Still, despite some strong writing and performances, this movie is unbalanced and is nowhere as enthralling as a “Sopranos” episode should be. It sucks to call this a missed opportunity, but it is what it is. There is a lot to admire, but not enough to enjoy.

And if you are interested, yes, Alabama 3’s “Woke Up This Morning” is featured here. It would be blasphemy for any “Sopranos” episode or movie to be absent of it.

* * ½ out of * * * *

WRITER’S NOTE: “The Many Saints of Newark” is the latest film to be released theatrically while simultaneously being given a month-long streaming release on HBO Max. I have long since found this form of release to be counter-productive as, while it may benefit HBO Max, it completely devalues the theatrical experience. While the COVID pandemic is still a big thing, I truly believe this type of release is one of the main reasons as to why “The Suicide Squad,” “Cry Macho,” “Malignant” and this prequel are dying quickly at the box office. I shudder to think what this will do to “Dune” and “The Matrix Resurrections” as they are being released in the same way, and these two movies demand to be seen on the silver screen. The sooner this simultaneous release pattern ends, the better.  

Bérénice Marlohe on Playing an Especially Haunted Bond Woman in ‘Skyfall’

WRITER’S NOTE: This article was written in 2012.

French actress Bérénice Marlohe leaves quite the impression with her performance as Sévérine in the James Bond movie “Skyfall.” Like many “Bond girls” (or “Bond women” as many would prefer to call them), Sévérine is beautiful and glamorous, but she also proves to be very enigmatic as she shows a sleek confidence which soon becomes undone at the mention of her employer Raoul Silva (Javier Bardem). Marlohe is a knockout in the role, and she makes Sévérine one of the more unique and mysterious of Bond girls in this franchise’s history.

Marlohe appeared at the “Skyfall” press conference held at the Four Seasons Hotel in Beverly Hills, California to answer questions regarding her role as Sévérine. When asked what the notion of being a Bond girl meant to her, Marlohe responded about how what excited her was the mix of “male attitude of power and danger” and “a very glamorous feminine figure” this particular one had to offer.

Bérénice Marlohe: They are theatrical characters, bigger and more colorful than in life like any of the Bond characters. I sensed that I would have a lot of freedom on set, and after the experience I was happy that I could be in those iconic scenes in the casino (where she and Bond meet over a shaken martini) that you find a lot of the time in Bond movies. For me, they are very meaningful in the history of the series so I was very happy to get to be in one of them.

When asked about the audition process, Marlohe said she heard about a friend who encouraged her to go after the role, which she did.

Bérénice Marlohe: I felt so connected with the Bond universe that I spent two days in front of my computer trying to find the contact information of anyone I could possibly find who was involved with the movie. I even found Sam Mendes’ agent Facebook account! And then I found Debbie McWilliams’ (the movie’s casting director) email, and I was so happy that she saw and liked my reel. They auditioned me in Paris on two scenes from “Skyfall,” and they called me back in London and I auditioned again with Sam Mendes. And then I did the third audition with Daniel (Craig) and Sam as well as Barbara Broccoli and Michael G. Wilson, and then Sam told me I was chosen. I felt extremely peaceful and had a huge feeling of happiness in my stomach over getting the part because I felt very connected with the Bond universe. I called my father and family, and they were very happy for me.

Upon getting cast, Marlohe was determined to create “a real human being” out of the character of Sévérine. It involved a lot of digging inside herself to see what moves her as a human being, and also questioning herself about her own ancestors whom she never got to know. Being in “Skyfall” has also allowed her to speak out for causes she truly believes in as well

Bérénice Marlohe: Researching that character just had me become even more aware of the condition of the world and mainly of what happened in Cambodia years ago. I always wanted to be a voice to fight against the injustice, but I could never do that before. Now I have this ability to be heard, and I just learned that there is a very important trial going on in Cambodia where leaders of Pol Pot’s genocide 37 years ago are being judged. This is what I connected with. I wanted to be a voice for that. This is the incredible advantage I got from doing this movie; the connections I had as a human being and the revelations I had on the set.

Marlohe described her preparation as being very serious, but it was especially important to her that she be relaxed when on set. She also recalled joking around a lot with Craig on a daily basis.

Bérénice Marlohe: You have to be very relaxed and build your connections to the other actors so that it shows onscreen. The shower scene for instance, we (Daniel and I) were so relaxed that I would sing in the shower and he would be like, what? Daniel was doing some impersonations and other stuff in between takes, and the six months we worked together were like that so it was fabulous.

When it comes to Bond’s relationship with women, many still debate if he is still the love them or leave them type, or if 007 has evolved in this three movies Craig has starred in. Marlohe herself hopes that it her character’s destiny were different in “Skyfall,” a huge love story would have come about between Bond and Sévérine. Still, she describes Craig as succeeding in making Bond seem like a real human being.

Bérénice Marlohe: You can see that through his relationship with M (Judi Dench) that he has a sensitivity. They have a very beautiful and pure relationship that is very human and moving.

Some Bond girls develop a great career after they have appeared in a 007 movie while others have somehow vanished without much of a trace. Watching Bérénice Marlohe in “Skyfall” makes me believe we will be seeing a lot more of this French actress in the near future.