Skyfall

Oh my word. Oh. My. WORD. People, I'm not even sure I know where to start talking about why I think Skyfall is basically the best thing ever, Bond at his most brilliant. Fifty years ago James Bond first appeared on movie screens in Dr. No, all Technicolor gloss, 1960's sophistication, and Sean Connery, all hard edges and devil-may-care attitude. Some incarnations of Bond have arguably been more successful than others, but always there are certain elements in place -- beautiful women, exotic locales, thrilling fight scenes, and unimaginable peril. In 2006 the franchise took the opportunity of reinventing itself once again with the introduction of Daniel Craig, the sixth actor to play Bond (in the officially licensed Eon Productions film series) -- and with a new actor, all hard angles, rough edges, and piercing blue eyes, the chance to re-align the film series with the gritty tenor of its source material. And in a post-Cold War world, where danger lurks in the shadows of cross-border ideological factions and cyberspace, it was a move that was not only smart but necessary for the series to survive and thrive in the twenty-first century.

If Casino Royale (and Quantum of Solace -- that movie seems to get a lot of flack for failing to live up to Casino, but from my standpoint anything with Craig is ten times better than a Craig-less Bond alternative) reintroduced Bond, establishing him as the dedicated agent, but one who is damaged and fallible, Skyfall returns the character to his roots -- both in respect to Fleming's text and the early years of the film series. This is Bond deconstructed, cut down, beaten but not bowed -- and reborn. A Bond who acknowledges his history with a wink and a cheeky hint of a smile while walking into a second fifty years of filmic possibilities.

Because I can't help myself, and like have NO filter when it comes to gushing about things like Bond films, this post is going to be VERY spoiler-y. This is also quite possibly going to be the longest movie post of all time, with a ridiculous number of pictures. You've been warned. I can't help myself. *wink*

And here's another one:

Skyfall opens with Bond (Daniel Craig) and fellow MI6 agent Eve (Naomie Harris) in Istanbul on a mission to retrieve a stolen hard drive -- a drive that contains the identities of every NATO agent embedded in deep cover operations with terrorist organizations around the world. The mercenary in possession of the drive, Patrice (Ola Rapace), left a room full of dead or critically injured agents in his wake. But to Bond's chagrin, M (Judi Dench) has no time for sentiment when the bodies are discovered -- the aim of the mission, the retrieval of the list, must be achieved no matter the cost. The ensuing chase through the crowded streets surrounding the Grand Bazaar is absolutely thrilling, one of my favorite moments being Bond's pursuit of Patrice via motorcycle across the roof of the Bazaar. In a suit. All spying shenanigans should involve men in such suits.

Eve and Bond have a deliciously cheeky rapport -- she is the best kind of "Bond girl" -- intelligent, smart, sassy, and more than capable of holding her own in a firefight. When Patrice and Bond take their fight to the top of a train, she stays in close pursuit. Bond's use of the back hoe ON the freight car was positively inspired, and the moment he connects the two cars, walking down the arm and into the passenger car -- and STRAIGHTENS HIS SHIRT CUFFS!! -- is BRILLIANT. Even this Bond, no matter how damaged, how emotionally eviscerated we've seen him, this is a man who is still used to winning. Who thrives on his unflappable, collected, capable image. This veneer comes crashing down when Eve sees the train -- and the fight -- about to disappear from sight through a tunnel, and from the London offices M orders her to take a shot at Patrice. But Bond and Patrice are still viciously engaged, and the shot isn't a clean opportunity. Eve takes the shot and hits Bond -- and in seconds one of M's most valuable agents is plummeting to almost certain death, and the precious list is in the wind. And that is all before the opening credits and Adele's gorgeous theme song.

I just adore Adele's theme, and against a seductive underwater backdrop, where Bond's shed blood mimics branches of coral the filmmakers give us perhaps one of the most introspective opening sequences in the franchise's history. Yes, there's the requisite silhouettes of beautiful women, but sprinkled throughout are startling images of death -- graves, falling daggers mimicking headstones, Bond shooting blindly at shadows, bleeding out all the while. Of course Bond survives the fall, but the result is perhaps a bit unexpected when taken in relative to the franchise's history. This near-death experience has left Bond in the throes of a mid-life crisis -- the once impeccably dressed, unflappable agent has traded in his designer suits for wrinkled shirts and stubble, and heavy (well heavy for him) drinking while dancing, quite literally, with scorpions.

Back in London, M is being called to account for the lost list, the endangered agents, and the death of 007. The new Intelligence and Security Committee Chair, Gareth Malloy (a very dapper Ralph Fiennes) urges M to take the opportunity to "retire with dignity" -- but M, ever the spitfire, refuses to leave until the job is finished, the list made safe. When returning to the office with her Chief of Staff Bill Tanner (Rory Kinnear -- and since I've read two of Fleming's novels, can I just say that he is perfectly cast? Also of interest, you can purchase his reading of the unabridged Live and Let Die, which is SUPERB), they receive word that their computer network has been hacked. The signal is traced to M's own machine, and when the arrive at headquarters they are stopped by a police barricade and are shocked to witness M's office blown sky-high. It's a surgical strike -- a personal attack on M and her power and influence, one that leaves MI6 and its already hard-hit leader reeling.

When news breaks of the attack, Bond returns to London and unceremoniously shows himself into M's home. It is a stroke of genius, making the attack so personal. Of course there are wider ramifications (i.e., the endangered agents), but at fifty if a series is looking to prove its relevance, what better way to do so than to tear down the two most recognizable figures at its center -- M and her favorite "blunt instrument," the ever-faithful, always capable, James Bond. So Bond, broken and bruised, rehabilitates himself for field work. And this is where the script is just genius -- every ache is acknowledged. Craig pushes himself to the brink but keeps going, all with a wink and a groan and a long-suffering sigh. It's perhaps as "real" as this film is going to get -- but given Bond's historic oft-times seeming invincibility, it's a nice touch.

So that's the set-up -- and the balance of the film sees M and Bond proving their relevance and testing their mettle, seeking the mastermind behind the theft of the list and the bombing of MI6 headquarters. Taking a bit of a break from the play-by-play to look at what that does for the characters and storyline -- a veritable treasure trove for long-time Bond fans. MI6's temporary headquarters are in the old tunnels beneath London utilized by Churchill during the Blitz -- very literally taking the service back in time, back in history. Along with the "new digs" comes a new Q (Ben Whishaw), the Quartermaster in charge of equipping Bond for field work. Their first meeting was PRICELESS -- the wary Bond, representing the MI6 "old guard" and the floppy haired, thin as a rail Q who, much like his predecessor, refuses to be over-awed by Bond's brusque manner.

Q was played by Desmond Llewelyn for nineteen of Bond's twenty-three films, first appearing in From Russia with Love. When the film series is at its craziest, Q is responsible for equipping Bond with the most outlandish of gadgetry and weaponry. The rapport between Q and Bond, the former always exasperated by Bond's inability to return equipment unbroken is a long-standing story beat within the film series. Thanks to smart scripting, Whishaw and Craig have some fun with Q's history -- when he's given "only" a pistol (a Walther PPK/S -- I nearly squealed seeing Bond's sidearm of choice restored to him, with the added bonus of a grip coded to recognized only Bond's palm print) and a radio, Bond half-heartedly bemoans the lack of "bells and whistles." But by bringing the Walther PPK back into the spotlight as Bond's firearm, the film acknowledges it's history while maintaining a certain welcome level of street cred. *wink* And I nearly DIED when Q tells Bond to bring everything back in good working order -- of course that goes up in flames when a casino thug in Macau is dragged into an alligator's lair with Bond's pistol. When Bond hops on the alligator's back to escape their pit -- well I'll just say I wasn't expecting a nod to Roger Moore's escape from  Mr. Big's alligators in Live and Let Die.

When Bond's would-be assassin and thief behind the stolen agent list is identified, Bond follows Patrice to Shanghai with orders from M to discover the identity of his employer and then to eliminate him. Their fight, against the neon-lit backdrop of Shanghai's skyline, is just spectacular -- all struggling shadows, punctuated by gunfire and the glitter of broken glass. A gambling chip found among Patrice's belongings lead Bond to a casino in Macau, which of course got me to thinking about The Man with the Golden Gun. The casino is a classic Bond set piece, all rich reds and brilliant gold tones -- and it is there that Bond meets Sévérine (Bérénice Marlohe), the beautiful companion of Silva, the man behind the plot to discredit M and reveal the identities of the undercover agents. Sévérine fits perfectly within the canon of classic "Bond girls" -- as I'm learning from reading the novels, Fleming had a penchant for penning women as damaged -- or worse -- than his master spy. A study in that subject alone could prove very illuminating, to say the least.

With Bond's promise of help, Sévérine arranges to take him to Silva's location, a nearby island that Silva appropriated for his own purposes through fear-mongering and carefully-placed intel. Raoul Silva (Javier Bardem) is in many respects the other side of the coin when it comes to Bond -- the once-favored, capable agent, gone completely off the rails and turned cyber-terrorist. Silva, it turns out, blames M for his capture and torture at the hands of the Chinese years earlier. He's a curious, creepy mix of careful, precise manners masking a completely unhinged interior. Bardem makes Silva a megalomaniacal villain of the first order, in the best tradition of Bond villains -- only better (and by that I mean more disturbing) in that his focus is SO personal vis-a-vis M and Bond and the Service in general. He really reminded me of Christopher Lee's Scaramanga in Golden Gun -- not only the Macau setting, but the precision with which he approaches his work -- even their "duel" over a glass of 1962 Scotch (the year of Dr. No's release) placed atop the bound Sévérine's head for target practice (ending in her death, of course, because it is inevitable that at least one Bond girl dies per film). (Arguably among the most effeminate of Bond villains, some reviewers have pointed out similarities between Silva and other Bond bads such as Louis Jourdan in Octopussy or Wint and Kidd in Diamonds Are Forever, comparisons that likewise have much merit.)

With Silva's capture, all seems well -- and M heads to a public hearing on her leadership in office with the supposed win in her back pocket. But people, that would be all too easy -- for it was Silva's plan all along to be captured and brought within the confines of M's protected domain. With Q's backup (which was a brilliant balance of humor and tension), scenes of Bond chasing Silva through the London Underground and intercut with scenes of M in many respects on trial for her life, her very legacy at stake (interrogated by an Member of Parliament played by Helen McCrory, a.k.a. Mrs. Damian Lewis, the lucky woman). This is how much I get into this film series -- when she quoted the following lines from Tennyson's "Ulysses," I nearly cried:

Though much is taken, much abides; and though
We are not now that strength which in old days
Moved earth and heaven; that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

I loved seeing Mallory win Bond's respect during the ensuing firefight when he proves his mettle as a former field agent and takes a bullet in his should saving M's life. That wink of Craig's, oh that killed me. :) They win a temporary reprieve, and Bond takes M on the run, leaving Q and Tanner to spread a virtual trail of breadcrumbs for Silva to follow, culminating in a do-or-die face-off. (Mallory also wins their respect when he gives his stamp of approval to their unsanctioned, unorthodox scheme.) In a surprising and poignant move, Bond takes M to Scotland and Skyfall, which turns out to be the name of his old family home -- in the original Aston Martin DB5, first seen in Goldfinger. I knew that car was coming and STILL when it was revealed I could barely contain myself. 

I cannot begin to articulate how much I LOVED THIS TWIST. The novels hint at James's backstory and life as an orphan following his parents' deaths, but never, ever have we seen the childhood home, met the crotchety caretaker who new James as a child (Kincade, played with aplomb by Albert Finney). This was a storytelling stroke of genius. Not only has this film made multiple nods to Bond's antecedents, forced himself to re-evaluate his life and worth as an agent, but it takes us quite literally to where it all began -- the desolate moors and a home worthy of playing a setting in a Bronte novel. 

The final fight is a spectacular affair, seeing Bond, M, and Kincade face-off against Silva and his thugs, resulting in Bond's childhood home getting torn to PIECES. That hurt. But seeing no other recourse, when Bond chooses to set the fuse that literally blows his past sky-high -- that was a fantastic, layered moment. For while this entire film is in many respects a homage to Bond's past, by his willingness to burn his final tie to his childhood bond becomes a literal phoenix, rising reborn from the ashes, refined by fire. I loved the dichotomy between Silva and Bond's relationships with M here. The wounded M barely has the strength to withstand Silva, who reveals in full his complex emotions toward M, his "mother" -- issues that eerily reminded me of Norman Bates in Psycho. But it is Bond who proves true -- and on the land containing his parents' graves Bond saves M, only to have her die in his arms -- losing another parental figure (though neither would admit to it, I'm sure) on land positively saturated with painful memories. That scene just about killed me -- though Bond was soaked from his previous battle in the lake with one of Silva's henchmen, I have to choose to think those drops hitting M's face were a few hard-won tears. At his childhood home, Bond proves to be M's greatest legacy, the one thing she got right. (The water imagery from the aforementioned lake fight -- the idea of rebirth and renewal through this fight is really powerfully done, especially in light of the scenes immediately following with M.)

The final ten minutes or so of this film is a brilliant, BRILLIANT set-up for the movies to come. Having come through the fire and been reborn multiple times (three in this film alone by my count) Bond and MI6 are renewed and ready for duty. These last ten minutes -- oh it was like CHRISTMAS to my James Bond-loving heart. From the moment atop HQ where Eve gives Bond his bequest from M (a Royal Doulton Bulldog figurine painted with the Union Jack -- a possible nod to Bulldog Drummond as a proto-Bond figure), with the sun shining and the flag in the background -- which would be lovely enough, but IT GETS BETTER. Then Bond follows her below into her new office, where she's agreed to serve as Mallory's executive assistant -- and the moment I saw the coat rack I nearly fell out of my chair, and could barely contain myself from screaming oh no they didn't!! For Eve's last name, you see, is Moneypenny. Best character reveal EVER -- their rapport, their banter is going to be priceless in the coming sequels. And then to have Tanner open that familiar leather-covered door with a "he's ready to see you, sir" and Bond to enter to find Mallory behind the desk and say "reporting for duty, M" -- I am smiling SO HARD typing this as I relive that moment it is ridiculous. But I can't help it. In an uncanny fashion Bond has come full circle, always the same yet entirely made new.

Director Sam Mendes and team have delivered a Bond adventure that skates the delicate balance between embracing tradition and prepping for the next phase in the storied spy's career. After seeing this film, I'm thrilled to learn that screenwriter John Logan has already been contracted to pen the scripts for the next two films that will see Craig through his current Bond commitment. This is a smartly scripted action flick filled with humor, and daredevil thrills -- the bar is set extraordinarily high, for this Bond flick is very nearly perfect. I'm a shameless score junkie, and I was pleasantly surprised by the caliber of Thomas Newman's score for this film. A Bond flick seems a bit out of his norm, but he adroitly incorporates the notes of the original John Barry theme and its David Arnold adaptation while wrapping it in a lush, orchestral score with exotic flourishes reflecting the film's globe-trotting canvas. (I LOVED the moment when Silva destroy's Bond's car, and the look on Bond's face coupled with the notes of his theme was absolutely DIVINE!)

Skyfall is slick, spy-caper storytelling at its finest -- this, can this ever get old? I think not. *wink* If I missed any nods to the Bond canon, please chime in with a comment -- obviously, I can talk about this subject endlessly. :) 

Wrath of the Titans

This weekend I went to see Wrath of the Titans with my friends Kaye and (the sadly blog-less, ha!) Lori. Wrath is the sequel to the 2010 film Clash of the Titans, the remake of the 1981 film of the same name. Now the only thing I like about the original Clash is its little stop-motion animated monsters (they are Ray Harryhausen classics after all) -- in all other respects I prefer the remake, which turned out to be a surprisingly fun and entertaining popcorn flick.

Now Wrath is a ridiculous movie. COMPLETELY RIDICULOUS (much like its predecesssor). If you're a serious student of mythology these are most assuredly not the films for you. But if you are in the mood for an action movie, with lots of flash and spectacle (and lava, in this case), this movie delivers on that score. Of course the main reason I wanted to see it was Sam Worthington as Perseus. I think he's adorable. ADORABLE. And this movie is kind of interesting because it gives Perseus a shade or two of vulnerability. Opening ten years or so after Clash, we learn that Perseus has done his best to live a completely normal (i.e. human) life, working as a fisherman and doing the single parent thing, raising his young son Helius (John Bell) alone following the death of his wife Io (Gemma Arterton). Side note: I thought Io was immortal, but apparently when Zeus brought her back at the end of Clash she became human again? I'M OVERTHINKING THIS.

Fatherhood has apparently really mellowed Perseus out when it comes to his own father Zeus (Liam Neeson, looking remarkably like Moses), as the daddy issues that consumed Perseus for most of Clash are largely absent. Yay for father/son bonding! HOWEVER, Zeus's favorite demigod son is still reluctant to embrace his divine(r) half, even though the world is apparently going to friggin' end because the gods have fallen out of favor and that means Kronos (and all evil Titans) are going to be unleashed on the earth, destroying humanity. So all that really means is that there's NO MORE OLYMPUS and all of the gods (except Ares, Posiedon, Hades, and Zeus) are apparently already DEAD. How this came about is never really detailed, however my theory is since Luke Evans' film career (he played Apollo in Clash, the most interesting god IMO) is taking off the filmmakers figured WHAT'S THE POINT in even trying to maintain Olympus. Wrath's loss is Middle Earth's gain, lemme tell you. Also, Zeus is no longer blindingly SHINY, and this makes me sad. But whatever, I still have Sam Worthington and he is ADORABLE with curly hair, even if as Perseus, his determination to live a normal life means he has really let his fighting and winged-horseriding skills go.

Look! I am ready to play Moses!

So OF COURSE Perseus should've listened to Zeus, because weird two-headed creatures pop out of the earth and go all crazy over his fishing hamlet. Whoops. Perseus leaves his son in the care of John Thornton's mother...I mean Clea (Sinead Cusack), some random woman whose apparently become Helius's adopted grandmother. When he tries to make contact with Zeus, Poseidon (Danny Huston) shows up instead with the horrible news that Hades and Ares have made a deal with Kronos and taken Zeus prisoner, and if he wants to defeat Kronos he has to take his trident to one of his own kids, some guy named Agenor (Toby Kebbell) -- AND THEN HE TURNS TO DUST (traumatic, no?).

Somehow Pegasus knows Perseus needs him which is good because Pegasus is COOL, so Perseus rides off to find his cousin, who is apparently attached to the Greek queen's court. The queen is in the battlefield, fighting off random creeptastic creatures, and she turns out to be JANE BENNET...I mean Andromeda, only this time Andromeda is played by Rosamund Pike and not Alexa Davalos. (I didn't remember this in the theater, so when Andromeda and Perseus are making eyes at each other and dancing around the issue of this oh-so-obvious mutual attraction, I didn't remember THERE WAS A HISTORY THERE. Apparently getting saved from the Krakken inspired Andromeda to become a kick-butt warror queen. More on her in a second.) Perseus's cousin turns out to be some sort of leech or something, but that's okay because he's really good-natured and provides some comic relief. (He may look familiar to those who've seen War Horse.) He just needed A CAUSE to set him on the right path! So yay, now everyone who wants the earth to LIVE has a plan: find a way into Tartarus and FREE ZEUS (who is being drained of his powers, horrors!).

Now it's time for the quest to COMMENCE. Everybody piles on a ship (which reminds me of Jason and the Argonauts) and heads off to find the fallen god Hephaestus, because he designed Tartarus so of course he can get them in. But that's easier said than done since he lives on an island protected by Cyclopes, which is a pretty neat little action sequence (and reminds me of the second Percy Jackson novel, The Sea of Monsters, which is weird because now a period mythology film is taking its cues for a YA novel? LOL). Cue the second surprise of the movie -- Hephaestus is a wee bit crazy and he's played by Bill Nighy, AND I LOVE BILL NIGHY, so the next few scenes are awesome. Not only did Hephaestus build Tartarus in his heyday, he's responsible for the Big Three's signature weapons -- the lightning bolt (Zeus), trident (Poseidon), and pitchfork (Hades), which when combined, form the Spear of Triam which is the only thing that can defeat Kronos, and surprise, surprise, Perseus is the only one capable of wielding it.

So everybody goes to the entrance to Tartarus, and the revolving "puzzle door" entrance and the subsequent layout of the labyrinth are really pretty cool. But before we can get to the maze Ares (this time played by Edgar Ramirez) shows up, and he has become a ROYAL JERK since Clash, consumed with daddy issues since he's a god and Perseus is only HALF-god but dad likes him better and DANGIT, THAT'S NOT FAIR RIGHT?!?! Sadly Hephaestus sacrifices himself in order to give Perseus, Andromeda, and Agenor a chance to enter the maze safely, and all I've gotta say is this film had far too little BILL NIGHY. *sigh* So ENTER THE MAZE, and like I said I think the design is really quite cool, and the whole experience is very stressful for everyone since they're seeing things and the walls are trying to crush them, etc. But I can't help but feel that somewhere Theseus is upset that he got gypped out of a film deal. Whatevs, though, because Perseus takes care of that pesky Minotaur gatekeeper thingy and Zeus gets rescued BUT IT IS TOO LATE because Kronos has SUCKED OUT MOST OF ZEUS'S POWERS!!!!!!!!!!!!!!! EEEPPP!!!!

What's interesting about this movie is the overall theme of familial reconciliation and sacrifice (along with a healthy dose of family dysfunction). Hades (Ralph Feinnes), who caused all of the problems in Clash, even has a change of heart here, sacrificing a good portion of his power for his brother, and they end up having one last hurrah on the battlefield. And of course there's the issue of the problem with parental favoritism, as that clearly sent Ares off the deep end. In that respect I think Wrath improves on its predecessor by deepening its characterizations and their motivations to some extent. (Also an improvement -- the score by Javier Navarrete, who provides a more traditional, rousing adventure movie score than its predecessor got.) Of course along with that there's a lot more explosions and fighting and special effects -- and the last battle, especially, was just a bit too much. Kronos the lava monster really overwhelmed the screen, losing the human characters -- and while I realize all of that is to be expected in a movie of this type, I prefer the one-on-one confrontations, such as the final Ares vs. Perseus battle, which actually has a bit of depth to it since Perseus is fighting for his father and his son.

Hands-down the surprise of this movie is Rosamund Pike's performance as the warrior-queen Andromeda. I was really rather worried about her appearance in this movie since I'm used to her playing classy types like Jane Bennet. But I needn't have worried because she was really quite good -- she seemed to really throw herself into the role, and I have to imagine that all of the action scenes were a refreshing change from ther norm. She has the delicate beauty and demeanor of a lady, so seeing her prove an adept on the battlefield just makes her that much more awesome. :)

So slaying Kronos and seeing his daddy turn to dust has made Perseus realize that it is HIGH TIME he quits fighting the inevitable. All of this means the fishing gig is out and he needs to step up and embrace his inevitable destiny as a LEADER OF MEN. This is a handy realization because of course Amdromeda might like to make him her king if HE WOULD JUST KISS HER ALREADY...and after being egged on by Agenor, he finally makes that happen, and I am really happy about that so all is well. But then the filmmakers decide to stress me out by having Perseus give his sword to his son, and leaving me wanting to yell "don't pass the torch!!!! don't pass the flippin' torch!!!" Because people for as much fun as these two Titans movies can be, of this I am convinced...we don't need Revenge, Return, whatever of the Titans with Perseus junior. That would just be a bit too much. Leave me with the happy thought that Perseus and Andromeda are going to rule Greece and I'll be ecstatically happy . :)

Masterpiece update

I thought it was high time for a Masterpiece update. For the past three weeks, Masterpiece Mystery has been airing Case Histories which was a total bust as far as I'm concerned, except for this:

I couldn't resist. *wink*

This Sunday, Masterpiece Contemporary begins with a brand-new drama entitled Page Eight.

I'm actually quite curious about this one -- I love me some Bill Nighy, and the rest of the cast is fabulous -- Rachel Weisz, Ralph Fiennes, Michael Gambon! Here's a bit about the story:

What happens when spies grow older in a post-9/11 world? Sixty-something MI-5 agent Johnny Worricker has amassed an impressive art collection, an amicable collection of ex-wives, and a droll, unflappable relationship with the work he enjoys alongside his boss and best friend, MI5 chief Benedict Baron. But when Benedict brings to light damning evidence of British complicity with illegal American torture operations, it falls to Johnny to do the right thing. And the right thing, in this morally ambiguous new era, is unclear — as unclear as the motives of Johnny's neighbor, Nancy, who draws Johnny in with her sad beauty and a secret of her own.

Starring Bill Nighy (Love Actually, He Knew He Was Right), Michael Gambon (the Harry Potter films, Cranford), Rachel Weisz (The Constant Gardener) and Judy Davis (Husbands and Wives), Page Eight is written and directed by David Hare (The Hours), whose stylish spy thriller resonates with today's uneasy coexistence of security and uncertainty.

And here's a short trailer:



I'm not sure if I'll be watching this one live -- the draw of Once Upon a Time and Pan Am on Sunday nights is pretty strong. But I will definitely be checking it out at some point. If you watch Sunday night, I'd love to hear your thoughts!

Coriolanus trailer

It has been years...and I mean YEARS...since the words "Ralph Fiennes" and "hot" shared the same thought in my brain -- but after seeing this trailer, I'm thinking Ralph might be on his way to changing that opinion.



William Shakespeare?
GERARD BUTLER????

I'm intrigued. Apparently this is slated for a January 2012 release. Need to brush up on the play...

Harry Potter and the Deathly Hallows, Part One

Spoilers...

Oh Harry...where oh were do I begin? I'm not really sure how to review Harry Potter and the Deathly Hallows, Part One. I can't recall the last time I've ever looked forward to film with more excitement, balanced with equal amounts of trepidation. It's not that I was concerned about how J.K. Rowling's fantastic series finale would be brought to life on-screen, it's more that I just don't even want to contemplate the end of the journey. When the seventh book came out I wasn't as crushed by "The End" of the series as much as I could have been, because I knew we still had films in the pipeline to look forward to. And now, the nearly decade-long film journey anchored by Daniel Radcliffe, Emma Watson, and Rupert Grint is drawing to a close - and I loved every second of it.

Going into the film, I hadn't re-read the book. I haven't re-read any of the books in ages, actually, now that I stop and think about it. Chronic case of too many books and way too little time. I've never been one who has been bothered by any omissions or changes from book to film. I typically do a pretty good job of "filling in the blanks" when it comes to any changes or omissions the filmmakers made in order to bring the stories to life on-screen. I'm actually quite glad I didn't re-read Deathly Hallows prior to seeing the movie - there was a lot that I'd forgotten, so I feel like I was able to approach the story with somewhat fresh eyes. It was rather like reading the book for the first time - a revelation in every scene instead of on every page.

I've read a couple of reviews that made statements to the effect that this is a complete tonal shift from all previous movies in the series. Yes, there's no Hogwarts in Part One, and yes, with different directors bringing their own vision to Rowling's world, none of the films have ever been cookie cutter copies of the others in the series. But like the novels, Deathly Hallows felt like a natural progression of everything that's come before. The characters we've come to know and love and watch grow up before our very eyes are in more danger than ever - quite frankly at the end of their rope. When all seems hopeless and overwhelming, this is where the rubber meets the road, relationships are tested and fears are faced. This is where everything that's come before has led - all pointing towards a final showdown with overwhelming darkness. You must pardon me if I sound more melodramatic or over-the-top (than usual), but I love these characters and stories so much that I can't help but feel emotionally invested in watching this story play out on the big screen.

I can remember joking when Return of the King came out that the last hour of the movie was rather like Peter Jackson's long, endless goodbye to the characters and their adventures in Middle Earth. That's rather how I feel about Deathly Hallows - and if the "goodbye nods" in Part One have gotten to me, after Part Two you're going to need to scrape me off the floor, I'm sure to be a sobbing puddle. *wink* The filmmakers are doing their level best to be thorough and I so appreciate all the little touches this film contains, bringing the whole series to a glorious close. We get to briefly revisit Harry's Aunt Petunia (Fiona Shaw), Uncle Vernon (Richard Griffiths), and cousin Dudley (Harry Melling) as Harry sees them off as they go into hiding - characters we hadn't gotten to see since Order of the Phoenix. (Side note: When Harry took one last look inside the cupboard under the stairs before being picked up by the Order, I nearly started bawling.) It was also great to see Madame Maxime (Frances de la Tour) return for Bill and Fleur's interrupted wedding - watching Hagrid (Robbie Coltrane) make eyes at her once again was a fun moment. And speaking of Fleur and Bill, it was great to finally, finally meet Bill Weasley on-screen (played by Domhall Gleeson). And words cannot describe how happy I was to see the role of Rufus Scrimgeour played by Bill Nighy. That was pitch-perfect casting.

Of course it was wonderful to see the rest of the Weasley clan and members of the Order make return appearances. We only get to see Mad-Eye Moody (Brendan Gleeson) briefly at the beginning of the film, but it served to remind one of just how perfectly Gleeson was cast in the role. Lupin (David Thewlis) and Tonks (Natalia Tena) are of course married now, and let me tell you with as much as I adore Lupin there's a part of me that is not looking forward to seeing him again in Part Two. *sigh* I simply adore Molly (Julie Walters) and Arthur (Mark Williams) Weasley, though their on-screen time was all too short. Can't wait for Molly to utter "the line" during her final fight. *wink* And the twins, Fred (James Phelps) and George (Oliver Phelps), they just about broke my heart. I loved seeing their humor and bravery - I know they're gonna break my heart in Part Two. And isn't Ginny Weasley (Bonnie Wright) just too adorable for words?! (Interesting fact: According to the IMDB, Wright is engaged to Jamie Campbell Bower, who plays Gellert Grindelwald - interesting connection, no?) Oh, and I've just got to tell you while I loved catching glimpses of Dumbledore (Michael Gambon), I can't wait to see him again in Part Two! Gambon is one of my favorite bits of casting for the entire film series - he's pretty much exactly as I'd imagine Dumbeldore when reading the novels.

My absolute favorite returning character belongs to Dobby the house elf, voiced by Toby Jones. I love Dobby, and honestly I've quite missed the fact that he hasn't been seen on-screen since Chamber of Secrets. But returning for this film means Dobby returns in style - he gets his finest moment here, sacrificing himself heroically for his friends - and I loved that. It was a wrenching note on which to end this installment, but it was not without hope. For as sad as Dobby's burial scene was, I loved the way the scene was staged - Dobby was a character that, thanks to Harry's actions at the end of Chamber, got to finally live life on his own terms.

Of course plenty of villains (I can't bring myself to include the Dursleys in the out and out villains category) and familiar settings get revisited in this film - it's nothing if not thorough. I was so, so happy to see Jason Isaacs back as Draco's father, Lucius Malfoy. My oh my that man can rock the long blonde hair. Loved seeing the normally smooth and suave Lucius borderline unhinged from the pressure of trying to deal with Voldemort. I also really like Helen McCrory as Narcissa Malfoy. I don't think she had a single line in this movie, but oh goodness does she have the look and attitude I'd imagine for Narcissa. I also love me some crazy Helena Bonham Carter - she was pitch-perfect casting as Bellatrix Lestrange. Her face-off with Hermione at Malfoy Manor was chilling and so well-played! And of course there's my beloved Draco (Tom Felton). I am so, so glad he stuck with the film series - I can't imagine anyone else playing Draco half so well. It's nice, too, that the other "kids" have caught up with Felton - it seems like he hit his growth spurt/maturity a bit before Harry, Hermione, and Ron. It was also great to see Dolores Umbridge again (Imelda Staunton) when Harry, Ron, and Hermione break into the Ministry of Magic to steal the Horcrux locket. She is so over-the-top and prissy it always cracks me up, and I enjoyed experiencing her cat obsession when they all started meowing from the plates in her office - hilarious! Of course we get to see Severus Snape (Alan Rickman) - I'm really, really looking forward to seeing how Rickman plays Snape's pivotal scenes in Part Two.

I've always been a bit iffy on the casting of Ralph Fiennes as Voldemort. I fully acknowledge that's more due to my bias against him as an actor than his actual acting abilities. But this time around I felt like Voldemort was finally unleashed if you will, and Fiennes took the creep factor to a whole new level. From the opening scene at the Death Eaters "convention" (haha) were Voldemort terrifies Lucius by asking for his wand, and then murders Charity Burbage, to the scene at the very end where he breaks into Dumbledore's crypt to steal the wand, I finally felt like I really was satisfied with Fiennes' casting. He was creepy and disturbing and insane, everything Voldemort needs to be.

But of course the heart of the movie is the relationship between Harry, Ron, and Hermione. They are the heart and soul of the movie, and the chemistry between Radcliffe, Grint, and Watson are one of the main reasons I love the movies so much. The studio hit the casting jackpot when they bestowed the roles of Harry, Ron, and Hermione on these three - it's been a joy to watch them grow up on-screen, hasn't it? This movie was, as is fitting, almost painful to watch at times because of the severe testing Harry, Ron, and Hermione undergo throughout their journey to outwit Voldemort and the Death Eaters and find the remaining Horcruxes. There are so many great moments between these three. From Ron and Hermione's budding relationship (loved Watson's delivery of the line about always being mad at Ron) to Ron's jealousy of Harry nearly costing him his two closest friends (wasn't expecting nearly naked Harry and Hermione though, LOL), to Harry's close, protective relationship towards Hermione - these "kids" have grown into some really great actors. Wasn't the moment where Harry and Hermione dance just to die for? LOVED the expressions on their faces. It was a nice way of acknowledging that there *could've* been something between Hermione and Harry, but they choose not to go there. Didn't expect it but very well played by Watson and Radcliffe. Each successive film has stretched and tested the abilities of the main three, and Deathly Hallows feels like a culmination of that process. I really look forward to seeing what projects come from Radcliffe, Grint, and Watson's post-Harry careers.

I want to touch on two of my favorite scenes in the entire film. The first is where Harry and Hermione visit Godric's Hollow, and Harry sees the destroyed home where he became "The Boy Who Lived." They also visit James and Lily's graves, and oh the look on Radcliffe's face as he stood over their tombstone ripped my heart out. And when I saw the inscription, "The last enemy to be conquered is death" (1 Corinthians 15:26), I nearly lost it right then and there. That hope, that type of worldview, is just one of the many reasons I adore the Potter stories. Rowling crafted characters whose faith and resilience are a ray of hope and light in the face of overwhelming evil and darkness. It's their choices that make these characters so beloved and unforgettable, and examples of the best mankind has to offer. I also loved the way the film brought "The Tale of the Three Brothers" and the fabled Deathly Hallows to life when the three visit Luna's father, Xenophilius Lovegood (Rhys Ifans). The animation was just fantastic and just seemed to fit so well in the Potter universe. I never expected an animated interlude in a Potter film like that, much less one that worked so well. And seeing things "click" for Harry, Ron, and Hermione as the Hallows are described was a great moment. (Side note: I loved seeing Evanna Lynch's take on Luna Lovegood again, she was just perfectly cast. But I'm not sold on Ifans as her father. Physically he was a good match, just not quite as I imagined.)

Deathly Hallows marks director David Yates third outing at the helm of a Potter film. I've got to say I've been quite pleased with his vision for bringing the stories to life, and I think it's served the series well, as it builds towards its epic finale, that the same director has been overseeing the last few installments of the series. The camerawork and pacing of this movie is superb - never a dull moment, for a film with only a few action sequences and a lot of "down" time for our leads, I was riveted throughout the movies two and a half hour runtime. I loved the look of the movie - often bleak and empty, the settings place our characters in an eerie physical and spiritual, if you will, isolation that intensifies their struggles to cope with the dangers before them. I also thought that Alexandre Desplat's score was terrific. This is the prolific composer's first score for a Potter film, and I thought he did a fantastic job marrying the music to the action. We've come a long way from the childlike wonderment evident in John Williams' score for the first two Potter films, but no matter the composer subsequently, the magic has never been lost and the emotion still remains.

Oh how I can't wait for Part Two in July. The wait seems interminable, but I know all too well that the time will fly by. I'm sure I'll greet the premiere with even stronger mixed emotions, but it is a moment I anticipate even more now that I've seen Part One of Deathly Hallows brought to life.

So, Harry Potter fans, if you've seen Deathly Hallows, please chime in with some comments, I'd love to know what you think! There's so, so much more I could say about this film - in a way I feel rather like I'm still "digesting" it if you will. It will take another few viewings to really take everything in, don't you know. I could go on and on, but I've got to stop this post sometime. :) After all, I've been working on this post for over a day as it is...

Nanny McPhee Returns

Friday I went to see Nanny McPhee Returns with Kaye and Lori. And while I expected to enjoy the film, I was surprised by exactly how much I did so since going into it, I wasn’t entirely sold on the idea that the first Nanny film required or merited a sequel. Nanny McPhee came out five years ago (already?! – my, how time flies!), and was a wonderful, magical adventure from start to finish. I absolutely loved seeing Colin Firth as the loving but completely overwhelmed father of the wild, irrepressible Brown children. The film also featured several noticeable guest stars, including Angela Lansbury, Imelda Staunton, and Derek Jacobi, who gave the production some added gloss. With a sparkling predecessor like that, I really had my doubts that a sequel could bring anything new to the table. Happily, I was wrong on all counts – I never should’ve doubted the brilliant Emma Thompson’s work.

Nanny McPhee Returns jumps about 60 years or so into the future, taking the story to the 1940s. Anyone who has read this blog for any length of time knows that I love studying pretty much anything to do with the World War II time period, so this setting was most welcome. This time around we’re given a harried, stressed mother as the main character, one Isabel Green – here played by Maggie Gyllenhaal. I have to say I was quite impressed with her turn as a young British mother struggling to keep her children in line and keep a roof over their heads while her husband is away at war. She exhibited a very creditable British accent, and she really was completely believable as the young mother of three barely treading water during a most difficult time. Gyllenhaal just has a look that fits the clothes and mannerisms of the 1940s surprisingly well, and the glimpses she gave of the pain and concern she carried for her little family were quite moving.

Her wild trio of children is anchored by son Norman, played by Asa Butterfield. He looked so familiar, but I couldn’t place him while I was in the theater. Thankfully Kaye set the record straight – Butterfield is also known as the unbelievably creepy young Mordred in the television show Merlin! I’ve got to say it was really quite nice seeing him play a sympathetic kid for a change, LOL! Norman’s nemesis for the first part of the film is his cousin Cyril, played by Eros Vlahos. Cyril and his sister, Celia (Rosie Taylor-Ritson), were sent from London to live with their poorer cousins in order to escape the German bombs – and their culture shock is extreme, to say the least! Norman’s two siblings are Megsie (Lil Woods) and Vincent (played by an absolutely adorable Oscar Steer). When these five children are first thrown together, they are in desperate need of structure, guidance, and Nanny McPhee’s “five lessons” (though they would be loathe to admit it!). I really feel like this group of children got their act together a lot faster than the children in the first film. This felt appropriate to the time (even though they are just kids, they are very aware of the war and its affect on their lives), and true to the trying situation the children found themselves in through no fault of their own. This turnaround was anchored by Norman and Cyril coming to terms with each other and working to discover the whereabouts of Norman’s missing father. I really, really liked how those scenes played out – these kids matured fast and did it well.

As with the first film, this movie is full of humor and magic, with perhaps an even greater reliance on Nanny McPhee’s magical abilities than the first movie (though it’s been ages since I’ve watched that one, so I could be forgetting some scenes). These movies just feel like wonderful storybooks come to life with their vibrant, eye-popping colors, quirky sets and costumes, and gorgeous music. James Newton Howard provides an appropriate magical-sounding score, taking the reins from the great Patrick Doyle’s work on the first film. Howard’s work feels like a natural extension of Doyle’s, though not a carbon copy, full of his own flourishes and unique take on Nanny McPhee’s fantastic world. I also liked how the filmmakers used period songs two or three times throughout the movie – it was a nice touch that added to the 1940s atmosphere.

Nanny McPhee Returns is just as much of a who’s who of British acting talent as the first film. Rhys Ifans plays Isabel’s wastrel brother-in-law Phil. While Phil is definitely the villain of the piece his misadventures also provide some of the movie’s funniest scenes as he attempts to placate debt collectors, the delightfully named Misses Topsey and Turvey (sort of a whacked out Tweedledum and Tweedledee). Ralph Fiennes makes a brief appearance as Cyril and Celia’s father, the imposing Lord Gray of the War Office. (I could go off on a tangent here and discuss how far Ralph Fiennes has fallen role-wise in recent years – Voldemort notwithstanding, and honestly I do question if he was the best candidate for that role – but I will refrain.) I’ve saved the best two for last, though – Maggie Smith gives a sweet and hilarious turn as Mrs. Green’s employer, shop proprietress Mrs. Docherty. Mrs. Docherty has an unexpected connection to Nanny McPhee, and if you’re like me the reveal will bring a tear to your eye – very sweet and very well played. (The presence of Fiennes and Smith, along with Thompson, make this a mini Harry Potter reunion…and it makes me wonder why they could appear in this movie and the final Potter films, and Thompson bowed out. Granted, Nanny McPhee was her “baby” as far as projects go, and Smith and Fiennes’s scenes were limited…but still, I would’ve loved to see her return as Professor Trelawney. Oh well, c’est la vie!) And finally, Ewan McGregor makes a surprisingly and thoroughly welcome appearance as Mr. Green, the beloved husband and father away at war. I think he had something like two lines between his two scenes, but I just cannot begin to tell you how perfect those moments were – he was ideally cast as the family’s devoted husband and father.

If you enjoyed the first Nanny McPhee movie, I feel safe in whole-heartedly recommending this sequel as a thoroughly enjoyable way to spend an afternoon. In many ways, thanks to the setting and war-centered storyline, I think I may end up preferring this sequel to first in the long run. The acting chemistry between the kids also help sell the movie – this time around this group gelled really, really well and I loved watching them overcome their differences and come together as a family. I have to commend Emma Thompson for once again a job well done bringing Nanny McPhee to life – she’s so good as this character. There’s something so heartbreaking when you stop to think about McPhee’s role in the lives of her young charges – she can only stay when she’s needed, but not wanted - and when she’s finally wanted, that’s when she must go. It’s really a powerful reminder to treasure the relationships that matter in one’s life through thick and thin, especially parental relationships, I think. Between Thompson’s energetic script and elegant on-screen presence (warts and all!), Susanna White’s fast-paced direction (she’s behind Jane Eyre and several Bleak House episodes), sparkling sets and costumes, and wonderful acting, Nanny McPhee Returns is heart-warming, not-to-be-missed fun. With a sequel this good, I say bring on a third installment…