Returning To A Dystopian Timeline

“They do not know what pain is yet. They will learn.” ~ Wallace

“I always told you. You’re special. Your history isn’t over yet. There’s still a page left.” ~ Joi

“There is an order to things. That is what we do here. We keep order.” ~ Joshi

“What do you want?” ~ Deckard 

“I want to ask you some questions.” ~ K

How does one follow up Blade Runner? The 1982 dystopian science fiction film gave us a dark vision of 2019, of a bleak world in decay where the only hope for a future was off world colonies, and where artificial life forms called Replicants were created as slave labour- until they became a problem. The film has been hailed as one of the greatest films of its genre, especially the director’s cut version of it, proving to be hugely influential in films that have followed. What is on its face a police procedural and film noir entry about a cop hunting dangerous beings becomes a deeply philosophical study on what it means to truly be alive, to have a soul. Plus it has a compelling storyline and lead actor (Harrison Ford) that keeps drawing the viewer in every single time it’s watched. Blade Runner 2049 returns to that dark world, stepping thirty years ahead in its timeline and bringing us right back into its despair, intrigues, and questions.

Officer K (Ryan Gosling) is a new blade runner for the Los Angeles Police Department in a world that’s gone even deeper into decay. As has been the case for those of his rank before him, his job is to hunt and put down rogue Replicants who have become a problem. Replicants are still produced decades after the events of the original film courtesy of the successor to the original film’s tycoon, this time by an ethically deprived entrepreneur, Niander Wallace (Jared Leto). K works under a supervising officer, Lieutenant Joshi (Robin Wright), and makes discoveries that threaten the status quo of the world, in a quest that leads him to a former blade runner who’s been missing for thirty years: Rick Deckard (Ford).

The idea of a follow up to Blade Runner goes back years, with various ideas tossed about as to where to take it. In this case, taking years to get it right was a good thing. Ridley Scott, who had directed the original, was on board as an executive producer, and Hampton Fancher, who had co-written the original, returned to write the script with Michael Green. The story captures the nihilistic tone of the original: a future where things are exceedingly bleak, where life and freedom are things that matter little in the face of profit and opportunity, and where the world is falling apart even more than before. It’s written as something of a police procedural like its predecessor: a cop following a trail taking him down some unexpected paths, and like its predecessor, moves into profound questions about science and ethics. If Star Trek presents a future of optimism, the Blade Runner mythos is one of overwhelming despair, mingled with the instinct to keep moving forward despite that despair. The script captures that quality throughout, successfully carrying on with the history of this alternate timeline in a way that makes sense.

Denis Villeneuve came on board as director for this, a wise choice as it turns out. The Canadian director got his start with French language shorts and movies before coming to wider attention internationally with films like Prisoners and Arrival. His previous work established him well in both character studies and stories asking big questions, particularly with Arrival, which shares the sci-fi genre this one features. Villeneuve brings us back into the world of the Blade Runner, the dark, rainy, noir future that is unsettling much of the time, recapturing Scott’s tone from the original. One of the things that made Blade Runner resonate so strongly has been its way of foreseeing things to come. Sure, we don’t have flying cars or artificial life yet, but video conferencing, wall to wall advertising, a mish-mash of cultures, and environmental calamity as we’ve seen in that original film certainly can be seen in our world today. And Villeneuve steps right in and brings that right back to life. We feel fully immersed in a dying, toxic future where the world has gone terribly wrong.

Part of that is visual effects; CGI for instance de-ages a character from the original film to look like they originally did, while special effects evoke the bleak Earth in a time when everything has gone out of balance, as well as the technology of that time period. Part of that is also in the style of the director, who proves quite adept at the ferocity of a fight scene and just as capable of building suspense or the quiet moments between characters. He strikes just the right balance between a film noir/ sci fi epic movie and the humanity that is still so central to the story. Villeneuve has a bright future ahead of him, and this bleak tale is an exceptional addition to his resume.

Two faces from the original film return for brief appearances. Edward James Olmos reprises his enigmatic role as Gaff, a colleague of Deckard back in the day. He’s aged in the decades since, but remains as cryptic as ever. Sean Young, who played the Replicant Rachael in the original, returns as well, playing the character in a roundabout way, as well as a clone. CGI is used to effectively make her look as young as she did in the first movie, something that wouldn’t have been possible ten years ago.

Dave Bautista appears as Sapper Morton, a Replicant who’s gone rogue and whose presence really sets the blade runner off on his quest. Bautista brings a tough physical presence to the role, which can be expected, and his own sense of ethics. Sylvia Loeks is just as tough in her role as Luv, a Replicant enforcer who proves to be tenacious and ruthless, assigned by her benefactor to carry out his orders. Her role is an interesting contrast to Rutger Hauer’s Roy in the original film; where Roy is brutal and vicious, he still ultimately shows humanity, something that seems to elude Luv.

K has two women in his life, in different ways, and they add to the enigmatic tone of the film. Joi (Ana de Armas) is a holographic companion who accompanies him, appearing in different ways through projectors and providing him with sympathy and a voice of reason, something the actress conveys throughout. Her physical counterpart is a Replicant named Mariette, played by Mackenzie Davis, being the physical surrogate Joi can’t be, while having secrets and agendas of her own. Part of what makes K work as a character is the dynamic he has in turn with each. Another woman, pivotal to the plot, is a scientist, Ana Stelline, played by Carla Juri. She’s a memory designer for Replicants, and the actress plays her as sympathetic but cryptic, and for good reason.

Jared Leto takes the role of Wallace, a tycoon who manufactures Replicants as his predecessor, Tyrell, did in the first film. The actor has an eclectic resume, last appearing as the Joker in Suicide Squad. Here, like Tyrell before him, he is a man devoid of ethics, more concerned with his own wealth, ego, and advancement, a sociopath entirely without conscience. Others may do his bidding, but Wallace is the real evil here, and Leto makes him chilling.

Caught in the middle of all of this, and in a role she makes the most of, is Robin Wright as Lieutenant Joshi. She’s a superior officer to K, and while that position might make her seem authoritative at times, she does possess a conscience and sense of ethics, and follows them. She’s loyal to her officers too, and has earned their loyalty in return. Wright conveys the character with the sort of resolve that you’d expect, less world weary than her counterpart in the original film.

Ryan Gosling is surprising in the role of K. I say that because this is the first time I’ve seen him in anything that I liked. I despised The Notebook, which I would argue constitutes cruel and unusual punishment, but let’s be fair- that’s more or less because Nicholas Sparks adaptations are cruel and unusual punishment. And I didn’t like The Ides Of March, which felt like a misfire, but that’s more the material. As for La La Land? I will never see it, because I’d rather crawl through broken glass than watch a musical. So watching him play K was seeing him with fresh eyes. There’s less of a world weariness in the character than we saw with Deckard in the original film, though he lives doing the job in a world that has only gotten worse. K finds himself confronting a mystery that calls into question what he knows about the world, and the actor invests the character with a sense of curiousity in how he responds to that. He gives the character gravity and weight, and K is our point of view character as he negotiates his way through the bleakness that is his world.

Harrison Ford reprises one of his iconic roles as Deckard, only appearing in the second half of the movie, though his presence hangs over things before we see him. Deckard is years older, with his cynicism still there, still mixed with principles he didn’t know he had. He’s suffered losses, is wary of strangers (and for good reason), but even after all this time is not someone you want to provoke. Ford’s performance feels like he’s been living in the character’s skin this whole time and we’ve just missed thirty years of his life- Ford knows the character, and brings him back to life effortlessly. There are questions raised, but left to the interpretation of the viewer, about Deckard, and Ford plays to that, but also invests resolve and integrity in the character.

Blade Runner 2049 picks up in a dark future that carries on the Blade Runner continuity in the right way. It’s probably not possible to match or top the original- that film is a masterpiece. And yet this film stands out very well on its own and succeeds. It is imaginative, thought provoking, eerie, impressive, and a visual wonder. The story poses difficult questions and moral dilemmas in ways that are profound. Its cast is well chosen, each actor investing strongly in their performances, bringing to life this dark world and its disparate agendas. Its director proves to impress once again and shows that he is the sort of talent to keep an eye on. And the film is a worthy successor to what has come before.

Bickering Out In The Cosmos

Today I have a movie review. And for another take on this one, check out Norma and Collin's reviews and Mark's review.

“Just who do you think you are?” ~ Ayesha

“All you do is yell at each other.  You’re not friends.” ~ Nebula

“You need to find a woman who’s pathetic. Like you.” ~ Drax

“The fate of the universe lies on your shoulders. Now whatever you do,  don’t press this button, ‘cause that will set off the bomb immediately and we will all be dead. Now repeat back what I just said.” ~ Rocket 

“I am Groot.” ~ Groot

“Can we put the bickering on hold until after we survive the massive space battle?” ~ Gamora

“Sometimes the thing you’ve been looking for your whole life is right there beside you all along.” ~ Peter Quill

After the success of 2014’s Guardians Of The Galaxy, of course a sequel would be in order. The comic book adaptation of cosmic Marvel characters bickering with each other and dealing with galactic level threats proved to be popular with audiences, opening up new parts of the Marvel cinematic universe. Now the cast and crew have returned for the second film in the series, helmed once again by director James Gunn, in a story that maintains the banter, humour, and cosmic scope of the previous film, while opening up new horizons.

In the wake of the previous film, in which the rag tag band of misfits called the Guardians of the Galaxy brought down the Kree accuser Ronan and his schemes to destroy Xandar, the team find themselves dealing with Ayesha (Elizabeth Debickie), the somewhat cranky leader of the Sovereign, after a job doesn’t go quite according to plan. Peter Quill (Chris Pratt), Gamora (Zoe Saldana), Drax (Dave Bautista), Rocket (Bradley Cooper), and the sapling version of Groot (Vin Diesel) encounter a mystery man called Ego (Kurt Russell), who promptly reveals himself to be Quill’s biological father. Meanwhile, Ayesha hires Yondu (Michael Rooker, returning from the first film) and his rogue crew of Ravagers to track down the Guardians. It doesn’t take long before things get complicated.

Gunn wrote the story, having had co-written the original screenplay. The tale is largely based on the status quo of the team as brought together in the comics by Dan Abnett and Andy Lanning, who assembled a motley assortment of cosmic characters together to face dire threats in the universe. There’s an older version of the Guardians in the comics, from a thousand years in the future, and some of those characters show up here as well as the story goes along, albeit in a different context. Gunn’s story continues the funny, space meets swashbuckling tone of the original, blending in the personal- the search for answers about a person’s heritage and just what family really means- with the large scale in the form of a dire threat to galactic peace.

Along the way there are some character developments woven into the narrative- Nebula’s change of allegiances is a welcome one, while Yondu’s motivations for taking the young Quill from Earth in the first film become clear, and having Groot remain pint sized through the bulk of the film is a creative contrast from the first film, where the three word speaking walking tree was the biggest member of the ungainly team. In fact, the little Groot's status quo provides quite a laugh early on while he dances during the main titles- with a massive battle taking place in the background behind him, establishing the irreverent tone of the film.

The story also presents a new character, Ego, in pretty much the only way he’d work in a live action movie. In the comics, Ego is a living planet- when one approaches him, you see a planet, and facial features on that planet. Trying to transfer that over to live action, you’d wind up with something out of the original Star Trek television series- if all we saw was a floating head in space, it would end up coming across as very cheesy. Instead we have a Celestial being who can present himself as a human being, but is deeply connected to the planet he calls home, and it’s a good work around of where the character came from.

Gunn takes all of these elements and weaves them into the film, which his directing style is well suited for. As previously shown, Gunn has a good touch for the comic book adaptation, particularly the cosmic level of it all. He can give us a scene set in the midst of chaotic battle and ferocious fighting, and keep track of what’s going on. We see fantastic worlds, distant stars, and strange looking alien beings, and while a lot of that comes down to CGI, it all blends well in with what the actors do. This is probably best manifested in Ego’s planetary form, which winds up being perhaps the biggest visual effect in movie history, but it also shows earlier on, giving Russell a younger look in the opening sequences set in 1980.

The cast are all well chosen in their roles. There are a multitude of cameos- Stan Lee gives one of his funniest yet, and actually kind of feels like a connection to all of his other cameos in the Marvel Cinematic Universe. Michelle Yeoh, best known to American audiences for her Chinese spy protagonist in the Bond film Tomorrow Never Dies turns up as Aleta, one of Yondu’s old crew, while Sylvester Stallone joins the MCU as another former friend of Yondu, Stakar, suitably grumpy but principled in the role. There’s a moment between his character and Rooker’s Yondu that’s a good reversal of roles the two actors played in terms of an estranged friendship in Cliffhanger.

This isn’t the first time I’ve seen Elizabeth Debicki in a film- she appeared briefly in the 2015 Everest, but this time she makes more of an impression as Ayesha, a long time presence of the comics. The character is a high priestess and leader of her people, and the actress plays her as someone devoid of humour, pompous, and not to be trifled with. Pom Klementieff appears as Mantis, a character well established in the comics with ties to the Guardians, the Avengers, and others. She’s an empath, with connections to Ego, and her encounters with the Guardians brings out a new aspect to the character. Lacking social interaction throughout her life, she’s something of an oddball, curious about what she encounters, and the way she plays off of Drax, who’s an oddball himself, is particularly fun to watch. Karen Gillan returns from the original film as Nebula, where she was an antagonist. She’s a sister to Gamora, and the film touches on the darkness in their backgrounds. Gillan takes what was an unsympathetic character and makes her someone the audience can empathize with- we see the emotional cracks in her armour as the story goes along.

Kurt Russell turned out to be an inspired choice for Ego. In the comics, Peter Quill’s father is a ruthless bastard and ruler of an alien race called the Spartax. It was clear that the cinematic version would not be that character, but it was hinted in the first film (courtesy of Yondu) that Quill’s father had that same quality. Ego is welcoming and friendly at first, but he’s hiding a whole lot of secrets from everyone, and Russell plays the character in a way that’s close to the vest- we’re not really getting inside his head. He might seem friendly, but there’s more beneath the surface, which is fitting, considering he’s a planetary being.

Michael Rooker returns as Yondu, the hardass alien with a rather handy fighting style from the first film. He was less sympathetic last time out- after all, he came to Earth, kidnapped a child and took that child out into the stars for an unclear reason, and was generally hesitant to get involved and do the right thing at first. The reason he didn’t bring Quill to his father plays out here in this film, and Rooker retains the hardass aspect of the character while becoming the third element of a story of a son and the two father figures in his life. His character rises to the occasion as things go along, and the actor makes it the best performance of the film.

Bradley Cooper does voice duty as Rocket, the genetically engineered cranky alien mercenary who happens to look a lot like a raccoon. He complains, he wonders what his place is among the Guardians, and he takes care of Groot (whose same three words over and over again he understands perfectly well). Rocket’s a formidable character, largely CGI, but Cooper, whose work in live action I generally avoid, gives the voice of the character the right amount of grumpiness (and even poignancy) it requires.

And speaking of vocal roles, the same applies to Vin Diesel, who returns to voice Groot, the walking tree who’s more of a sapling this time out. All we ever hear him say is “I am Groot”, even though in each instance, the meaning of the words are vastly different. The CGI of the sapling Groot (or Baby Groot if you will) renders the character as oddly cute, where the full sized version of the first film was formidable. For Diesel, the challenge would have been in the nuances of a line recorded in post production- what context are those three words used in at any given moment- and in giving Groot a vocal sound that’s quite different from what the actor actually sounds like.

Dave Bautista returns as Drax, and again, proves to be hilarious to watch as he goes along. The character is a warrior sworn to revenge against Thanos (who will eventually turn up big time in the cinematic universe). He’s a formidable looking wall of alien muscle, the sort you wouldn’t want to pick a fight with, which works well for the actor, who comes from that kind of background as a wrestler. Bautista adds into it a certain obliviousness, socially speaking, to personality interaction (Drax can make the whole room feel awkward), and a hint of innocence and heartbreak- there’s a moment when he’s speaking of his late wife that plays to that. He’s also become more invested in the idea of the Guardians as a family.

Zoe Saldana returns as Gamora, the fierce warrior without much of a sense of humour, drawn out of a dark background. She’s resourceful and cunning in a fight, but keeps her guard up, particularly with Nebula (until the walls come down for both of them), but also in a different way with Quill. The actress gives the character a sense of tough fortitude, and a yearning for redemption from her own past. As much of a force of nature as she is in combat, she’s also the voice of reason in this motley team of misfits at times, which is a refreshing touch, and she and Pratt give their characters just the right touch of chemistry.

Chris Pratt reprises the role of Peter Quill, the human who’s spent most of his life out in the stars, abducted in the wake of his mother’s death from cancer, not knowing who his father was, and growing up among inter stellar mercenaries. It’s made him something of a swashbuckler, a dashing charmer who’s trying to be more responsible now. Finding his father- with the mixture of emotions that has to bring- doesn’t quite lead to what he might have expected, which Pratt plays off of. Learning that his half-Celestial side gives him access to great power might seem ideal at first, but ultimately the character’s humanity serves to be his anchor.

Guardians Of The Galaxy Volume 2 serves up more of the irreverent, adventurous tone of the first film, while addressing the idea of what family really means. While its protagonists might bicker endlessly, we can see the informal family they have become, and the story, cosmic in scope but quite personal too, plays to that. It opens new horizons in the Marvel cinematic universe, presents a threat of a formidable scale, and proves to be a thrill ride that mixes together humour and poignancy- sometimes in the same conversation. 

201 Ways To Destroy An Expensive Car

“If you don’t leave now, we’ll die together.” ~ Lucia Sciarra

“I can think of worse ways to go.” ~ James Bond

“You are a kite dancing in a hurricane, Mr. Bond.” ~ Mr. White

“It was me, James. The author of all your pain.” ~ Franz Oberhauser

“I have a mortgage to pay and two cats to feed.” ~ Q  

“So you’d better trust me. For the sake of the cats.” ~ James Bond

“You’ve got a secret. Something you can’t tell anyone, because you don’t trust anyone.” ~ Eve Moneypenny

“Is this what you really want? Living in the shadows? Hunting, being hunted? Always alone?” ~ Madeleine Swann 

“I don’t stop to think about it.” ~ James Bond

The world’s greatest cinematic spy is back on the big screen (sorry, Ethan Hunt, but you suffer from the terminal condition that comes with having Tom Cruise play you, so you’ll never qualify). James Bond returns to the dark world of spies, terrorists, assassins, and intrigue in the new film Spectre. Daniel Craig reprises his role as the suave and relentless British agent for the fourth time, while Skyfall director Sam Mendes returns once again to direct this follow up. In a plot that crosses the globe, pits Bond against the mysterious Spectre organization, and draws out secrets of the past, the film may be Craig’s final take on the iconic character, and if so, it’s a fitting send off.

The film opens in Mexico City on the Day of the Dead, where we come across Bond among the crowd. He’s seeking out a target, an assassin named Marco Sciarra (Alessandro Cremona), who’s conspiring to blow up a stadium. Bond takes the initiative and takes measures to stop the plot in a spectacular pre-credits sequence through and above the streets of the city. As it turns out though, the mission wasn’t sanctioned, and M (Ralph Fiennes) is decidedly unhappy with 007, putting him on leave. M has problems of his own, dealing with a power struggle with C (Andrew Scott), the head of the Joint Intelligence Service, the newly merged MI5 and MI6 services.

Bond, however, has other ideas, having had removed a ring from Sciarra with a strange symbol on it; he reveals to Moneypenny (Naomie Harris) that he was acting under orders- from the previous M (Judi Dench, in a cameo), who issued him specific orders before her death. And so the secret agent sets out on his own mission, with some assistance from Q (Ben Whishaw), which takes him into encounters with Sciarra’s widow Lucia (Monica Belluci), an old adversary, Mr. White (Jesper Christensen), a doctor, Madeleine Swann (Lea Seydoux), a mountain of a henchman by the name of Mr. Hinx (Dave Bautista), and a face from his past, Franz Oberhauser (Christoph Waltz), who leads a nefarious organization (no, not the Boy Scouts).

The script has nods towards both the larger history of the James Bond films as well as continuity threads to the Daniel Craig incarnation of the character, with Spectre revealed to have connections to the earlier adversaries, particularly the Quantum organization that appeared in Casino Royale and Quantum Of Solace, now shown to be a subsidiary of Spectre. Four writers are credited with the screenplay. Neal Purvis and Robert Wade have a lot of experience with the world of 007, having had been involved in the writing of each Bond film since The World Is Not Enough. John Logan has a lot of screenplay experience, having had worked on Gladiator, The Aviator, and with Purvis and Wade on Skyfall. Jez Butterworth has more experience with the stage, but his film screenplay work includes The Last Legion and Edge of Tomorrow.

The story concerns itself with themes like government surveillance, the use of private information, secrets of the past, and the idea of whether or not a spy has a choice about the life he leads, something that’s strongly brought up in conversation between Bond and Madeleine in a quiet moment. Another quiet moment stands out to me among the action of the film, a conversation between Bond and an old adversary that turns their old antagonism completely around. It’s a good character moment for both men, and quite unexpected.

Before Skyfall, Sam Mendes would have been an unlikely choice for a director of an action film, let alone a James Bond film. His previous work included American Beauty (which I disliked), Revolutionary Road, The Kite Runner, and Road To Perdition (which I really liked as a character study). And yet with that film he proved just how good he can be with the genre. So his return to helm this film was a welcome one. He has a good touch for action, for the intensity that the genre requires, and I like the way he frames sequences (an early sequence that follows Bond crossing over rooftops in Mexico City has a mesmerizing and creative feel, and might give people who have problems with heights an issue or two).

He and his camera crew capture the action well- fistfights are delivered with the right amount of intensity, while grand set piece chases involving cars, planes, and boats become breathtaking. A good deal of the filming was done on location in Britain, Italy, Austria, Mexico, and north Africa, and that sense of globetrotting comes across in the way Mendes shoots the film. It also shows itself in the work of the rest of the crew- special effects are well done (particularly a showstopper of an explosion that’s still done in a way that doesn’t feel obnoxious- Michael Bay’s explosions by contrast are always obnoxious). 

Costuming work this time out is also nicely done- the Day of the Dead costuming for the pre-credits sequence, not only for Bond but hundreds of extras- looks exactly like what you’d expect out of the festival (the costume designers deserve an Oscar nomination just for that). And a dress Madeleine wears at one point inspires a playful moment- she tells Bond he shouldn’t stare, while he quips “well you shouldn’t look like that.” Thomas Newman, who frequently collaborates with Mendes, returns again to compose the score, weaving the familiar 007 theme into his music, and shows a great skill for action music while also continuing his own good reputation for character driven themes.

The cast are well chosen. Jesper Christensen returns as Mr. White, the shadowy antagonist from Casino Royale and Quantum Of Solace for a cameo appearance, but an important one. He’s developed something of a conscience since last we saw him, as well as a deep concern for his daughter. Spectre has thus turned on him, and the character’s dying and looks like a wreck. His conversation with Bond is an enlightening one- the man is at the end of the line, dealing with the consequences of his own actions, and how the two men reach an understanding is a surprise.

Andrew Scott has become well known for his role as the malevolent Moriarty in the current BBC series Sherlock, playing the adversary to the great detective. He dials down the crazy on the way he plays Max Denbigh, aka C, but fundamentally the audience doesn’t trust him (I found myself wondering if he’s typecasted himself playing Moriarty). Where M clearly has principles and has experience in the field, C doesn’t seem at all to care about the real consequences of his policies. When the character’s true motives are revealed, it’s not quite a surprise.

Dave Bautista really makes an impression as Mr. Hinx; in fact he seems more interesting as the villain than his boss. Bautista comes from a background in wrestling, so we’re not talking about a Shakespearean actor, but I really like what he did with the role. The character is largely silent throughout the film- he speaks only one word- but he’s ferocious right from the start. Hinx establishes himself early on as brutal, ruthless, and dangerous, a powerful fighter who can kill without hesitation and never seems to give up. Essentially the character seems to thrive on violence. We haven’t really seen a character like this in the Bond films since Gotz Otto played the henchman Stamper in Tomorrow Never Dies.

Christoph Waltz has done most of his work in European cinema before working with Quentin Tarentino in Inglourious Basterds (side note: I really don’t see why anyone pays attention to Tarentino). We only see him briefly at first before he really shows up later in the film. Oberhauser seems polite on the surface (before he starts resorting to things like torture and nefarious ideas), and comes with old ties to Bond himself, as well as another name he’s used. Oddly, the character seems underperformed, as if Waltz is really dialling down the way he’s playing the role. He still plays him as smart and ambitious- and totally sociopathic.

Bond’s workplace colleagues get a surprising amount of exposure this time out, and a lot to do, something that I particularly liked. The character Bill Tanner has been around the books and movies before, and during Daniel Craig’s tenure has been played by Rory Kinnear in each film since Quantum Of Solace. The character is the Chief of Staff at MI6, and Kinnear has always played him as a professional, organized, calm under pressure sort of person. This is the second appearance for Ben Whishaw as Q, and I welcomed his return. He has a dry sense of humour that’s perfect for the quartermaster of the spy organization. His banter with Bond is done just right, and this time out he finds himself an active part of the story, dealing with danger on his own and showing himself to be as resourceful as one might expect.

Naomie Harris makes a welcome return as Eve Moneypenny after her debut in Skyfall, and I like her take on the character. Moneypenny’s always had something of a playful relationship with Bond, and that’s seen here, but Harris also plays the role as a person entirely in possession of herself, secure in herself as a person, and not necessarily making moon eyes at Bond, unlike some previous Moneypennys. I like that Bond, who finds it hard to trust anyone, chooses to trust her, and it speaks to a mutual respect between them. 

Ralph Fiennes, who’s played such a rich variety of roles through his career, was an ideal choice to come in as the new M, starting with Skyfall, and continuing on here. Usually the role is a mix of gruff laying down the law to 007 and worrying about agents in the field, but Fiennes gets a lot to do through the film, including action. I like that he starts as being at odds with 007 over tactics, and yet shows strongly held principles and integrity during a conversation with his counterpart C. As a former military officer, M also demonstrates calmness in a dangerous situation late in the game.

There are always Bond girls- more properly Bond women in this day and age. The only complaint I would make here is that one of them was underused. Monica Belluci only appears briefly as Lucia Sciarra, widow of a Spectre assassin, not particularly grieving her husband. And yet she makes such a strong impression in her performance that you wish she was around longer in the film. There’s good chemistry between she and Craig (and it’s a rare thing in a Bond film, since the two are roughly a match in terms of their age), and the actress makes the most of the role.

Lea Seydoux is a surprising choice for the other love interest, and as it turns out, a very good choice. She’s a French actress primarily, but came to international attention in the erotic romance Blue Is The Warmest Colour (do not watch that film in the presence of nuns, your parents, or your children). I also recommend her in the recent French language La Belle Et La Bete, otherwise known as Beauty and the Beast. She plays Madeleine, who we first hear of before we meet her. Madeleine is the daughter of Mr. White, and Bond swears he’ll protect her, a driving influence for 007 throughout the rest of the film. 

Bond meets her at a medical facility in the Alps, and Seydoux first comes across as professional and believable as a doctor- this is a sharp contrast to Denise Richards in The World Is Not Enough, as there’s  no way the audience could have bought her as a nuclear physicist. Madeleine has turned her back on her father, unwilling to forgive his crimes and sins as part of Spectre- and yet beneath that resolve there’s the hint of grief and regret that Seydoux plays to.  I like that the character is a complete person in and of herself- she’s smart, capable, accomplished, and she doesn’t need Bond to make her a whole person. I also like their interaction as the connection between them develops- her suggestion that he does have choices about his own life is something that wouldn’t have occurred to him.

This may or may not be Daniel Craig’s last turn as James Bond. He’s done well in the role, bringing a physicality to the role, a tough determination to the spy. He has that dry sense of humour that the character has always had, the sense of an intelligent man who uses his brain as much as his brawn, generally calm under pressure and able to adapt and improvise. While the character’s charming and suave, there are elements of Craig’s performance that I’ve also seen in Timothy Dalton’s interpretation of the character. The self-loathing and notion that he doesn’t care if he gets fired is common to both portrayals of Bond, and feels true to the character and how he was written in the books.

I like how Craig’s taken things over the course of these films. He’s the relentless, never give up agent that’s been common to the actors playing the role (honestly, when is a villain just going to take a hint and put a couple of bullets in him straight off instead of deciding to brag?). When Craig started this role in Casino Royale, Bond ended that movie betrayed and bitter, becoming the icy killer the character required, and that betrayal by Vesper lingered ever after (and is touched upon in this film). There’s always been a streak of ruthlessness in Bond- the ending of Quantum Of Solace shows that in how he leaves the villain in the middle of the desert to die rather than just end his life mercifully. Skyfall started showing his humanity more, and that carries on here- rather than come to the conclusion that his life as a spy isn’t a  matter of choice, he comes to the point where he understands he can make choices for himself, and his choices by the close reflect this sense of his own humanity, as well as the notion that he’s letting go of that bitterness that’s haunted him since Vesper’s death.

Is Spectre the end of the line for Daniel Craig playing Bond, or will he come back one more time as the secret agent? If this is the end, it’s a worthy finish, with formidable enemies, well crafted romantic interests, and a James Bond that has grown and changed. Even if he still has a habit of destroying incredibly expensive cars.