John Logan

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

Posted on by The Ultimate Rabbit

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

Posted on by The Ultimate Rabbit

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 * * * *

Martin Scorsese’s ‘Hugo’ is a Splendid Love Letter to the Power of Movies

Posted on by The Ultimate Rabbit

Hugo movie poster

Maybe it was Martin Scorsese’s desire to utilize the 3D format which kept me from seeing “Hugo” on the first day of its release. 2011 saw 3D movies get a serious public beating as audiences became convinced it existed solely for Hollywood studios to jack up ticket prices. But to watch “Hugo” is to be reminded of how amazing 3D can be when using the right tools and not just throwing cheap gimmicks at the audience. But moreover, it is backed up by a great story and remarkable performances as Scorsese shares with us his love of all things cinema.

Seriously, the first five minutes of “Hugo” will blow you away as you will feel like you are traveling over the Paris of the 1930’s. It truly looks as though the snow it is literally blowing in your eyes, and it reminded me of when kids were grasping at the snowflakes coming off of the silver screen during “The Polar Express.” Scorsese was lucky enough to use the same Fusion Camera System which James Cameron used to superb effect in “Avatar.” The images stretch out from the screen, and the extra dimension gives these visuals a depth which at times feels remarkably real.

Based on the novel “The Invention of Hugo Cabret” by Brian Selznick, Asa Butterfield stars as Hugo, a young boy living alone in a Paris railway station while maintaining the clocks and stealing whatever supplies he needs in order to survive. One major obstacle he has to deal with is Inspector Gustav (Sacha Baron Cohen) who patrols the station with his vicious looking dog. Gustav shows no hesitation in picking up orphans and sending them straight to the orphanage which, in the kids’ eyes, seems like an unforgiving house of horrors.

Two people come to play an important role in Hugo’s life: the toy shop owner Georges Méliès (Ben Kingsley) and his spirited goddaughter Isabelle (Chloë Grace Moretz). They enter Hugo’s life as he continues to work on fixing an automaton he and his father, Mr. Cabret (Jude Law), were putting it back together in working order when Mr. Cabret was tragically killed in a museum fire. It is this same automaton which will draw these three together in ways none of them could ever have imagined.

By taking us back to a time when motion pictures were in their infancy, effects we now see as cheesy and simple to create come to feel as magical as they once did. Scorsese is brilliant in putting us into these characters’ shoes as we watch audiences react strongly to a film with a train which looks like it is coming straight at them, or at Buster Keaton hanging on for dear life from a clock outside a tall building. Looking at the awe which is so vivid in the faces of these children reminds us of how movies can magically draw us into another world, and this is a feeling many movies do not give us these days. In this day and age, we take the power of motion pictures for granted.

Butterfield’s performance is remarkable. Showing the pain and resourcefulness of a young boy who has lost his parents and is forced to fend for himself is no easy task, and he ended up giving one of 2011’s most underrated performances. Butterfield inhabits the character of Hugo so deeply to where, after a while, it does not feel like we are watching a performance at all.

Kudos also goes to Moretz, the star of “Kick Ass” and “Let Me In,” for adding yet another superb role to her already splendid resume. As the adventurous Isabelle, she pulls off a flawless English accent which is worth noting as we have gotten so used to actors screwing them up. The warmth of her smile onscreen is utterly genuine, and she lights up “Hugo” whenever it feels like it is getting a bit too dark.

There are other great performances to be found in “Hugo” as well. Ben Kingsley is fantastic as usual as Georges Méliès, and the late Christopher Lee has some wonderful moments as bookshop owner Monsieur Labisse. One of the big standouts in the supporting cast though is Sacha Baron Cohen who takes a break here from his “Borat” and “Bruno” mockumentaries as Inspector Gustav. He’s a hoot throughout, and his interactions with the infinitely lovely Emily Mortimer (“Lars and the Real Girl”) who plays Lisette are hilariously sweet.

Scorsese has put together a truly beautiful motion picture which deserves a bigger audience than it received while it was in theaters. The fact that more people went to see “Alvin and the Chipmunks: Chipwrecked” than this is deeply depressing. A lot of moviegoers really hated 3D movies back in 2011, so this did not do “Hugo” any favors. But after watching it, you will find yourself believing this extra dimension is worth your money when it is put together by the best masters of filmmaking.

* * * * out of * * * *

‘Alien: Covenant’ Mixes the Old and the New for a Pulse-Pounding Ride

Posted on by The Ultimate Rabbit

Alien Covenant poster

With the “Alien” franchise, it always helps to keep your expectations in check. The first one, released back in 1979 was one of the scariest science-fiction movies ever made, “Aliens” was one of the most intense, “Alien 3” was one of the most infinitely depressing, and “Alien Resurrection” was the slimiest by far. When Ridley Scott, who directed “Alien,” returned to the franchise with “Prometheus,” he presented us with a film containing, as he said, “strands of ‘Alien’ DNA in it,” but it was also designed to have its own mythology and ideas while existing in the same cinematic universe. Each time, the filmmakers brought their own unique vision to this franchise and succeeded in creating something daring, and at times maddening, which no other franchise would have dared pulled off. As for the “Alien vs Predator” movies, the less said, the better.

Now Scott returns again to the franchise with another prequel, “Alien: Covenant,” which looks to be a return to basics after the mixed reaction “Prometheus” received. Sure enough, composer Jed Kurzel’s score starts off with a taste of Jerry Goldsmith’s theme from “Alien” which has the audience feeling like they are entering familiar territory. But Kurzel’s music also has the music Marc Streitenfeld created for “Prometheus,” and it made me realize Scott was not about to leave the themes he explored previously in the dust.

“Alien: Covenant” picks up ten years after “Prometheus” as we come across the spaceship Covenant making its way to a remote planet where colonists intend to start a new life. These plans go awry when a neutrino blast hits the ship, killing some of the passengers and leaving the survivors in a state of devastation they cannot be expected to quickly recover from. Suddenly they intercept a human radio transmission from a nearby planet not on their charts and despite some objections, which of course are ignored, they change course to investigate. From there, you have a pretty good idea of what will happen.

Scott, as usual, works visual wonders along with cinematographer Dariusz Wolski which put us right into the action instead of just viewing it from a distance. Seeing these humans arrive on a planet we know many of them will not leave, not in one piece anyway, jacks up the tension in no time at all, and he still knows how to make those xenomorphs look more vicious than the average sci-fi creatures.

At the same time, he continues the themes of “Prometheus” with the assistance of one of its best actors, Michael Fassbender (god he has an awesome last name!). Fassbender returns as David, the synthetic android who is revealed to be alive and in one piece on this new planet, and he also plays Walter, another synthetic android assigned to look after the crew of the Covenant. Seeing David and Walter share scenes with one another prove to be some of this movie’s most fascinating for me as Fassbender makes you forget special effects were involved in him having a conversation with himself.

The balance between the themes of “Prometheus” and the typically visceral action of the average “Alien” movie is a tricky one, and Scott manages to pull it off for the most part. Still, it will be interesting to see how audiences react to this one as they may like certain parts of “Alien: Covenant” more than others.

I do wish Scott and screenwriters John Logan and Dante Harper had given more attention to the characters here as many of them appear to be too one-dimensional for this movie’s own good. This franchise thrives on our getting to know these characters as individuals we can relate to, but many of them appear to exist solely for the xenomorphs to rip apart limb from limb. Some characters fare better than others, but the rest of the pack deserved more attention than they got.

Katherine Waterston, unforgettable in Paul Thomas Anderson’s “Inherent Vice,” has a big challenge here as she is essentially playing the Sigourney Weaver/Ellen Ripley role as terraforming expert Daniels Branson. What I really admired about Waterston’s work here is how she never invites easy comparison to Weaver, and I never bothered spending time comparing the two actresses as the movie unfolded before me. Waterston fully embraces her character’s complex emotions as she is forced to deal with an unexpected tragedy which would easily wreck another, and she turns Daniels into formidable warrior long before the movie’s furious climax.

Another actor I got a kick out of seeing here was Danny McBride who plays the chief pilot of the Covenant, Tennessee. McBride is best known for his no-holds-barred comedic performances in “Pineapple Express,” “Tropic Thunder,” “The Foot Fist Way,” and the HBO series “Eastbound & Down,” and several critics have said they felt he was miscast here. I completely disagree as he brings the kind of the down-to-earth character the “Alien” movies can’t exist without as well as a subtlety which makes his emotions feel genuine and never faked. Once again, I truly believe that if you can do comedy, you can do drama.

I also have to give Billy Crudup a lot of credit for taking a character like the self-serious man of faith, Christopher Oram, who lacks the confidence a leader should have and making him into someone more human than any other actor could have. I say this because this kind of character usually comes across as totally annoying and infinitely idiotic, but Crudup succeeds in making Christopher down to earth and more empathetic than you might expect. And those scenes he has with Fassbender in the latter half? Priceless.

Does “Alien: Covenant” reach the exhilarating heights of the first two “Alien” movies? No, but I wasn’t surprised it didn’t. We have long since gotten used to these vicious creatures to where they aren’t as terrifying as when we first met them. Still, I found “Alien: Covenant” to be a pulse-pounding ride with strong performances, a sleek design and the kind of stunning look you can always expect from the average Ridley Scott film. It pays homage not just to its predecessors, but also to “Blade Runner” as well, and it has an infinitely unnerving conclusion which reminds us all that in space, no one can hear you scream.

Just try to go into it with an open mind. There is a bit of the old here which I know fans will enjoy, but there is also a lot of thought put into the story which you don’t often get with the usual summer blockbuster.

* * * ½ out of * * * *