Movie Review #676
Studio: Metro-Goldwyn-Mayer – Columbia Pictures – Albert R. Broccoli’s Eon Produtions – B22
Distributor: Sony Pictures Entertainment (SPE) – Columbia Pictures – Sony Pictures Releasing
Country: UK – USA
Spoken Languages: English – Spanish – Italian – French – Swiss German – German
Directed by Marc Forster. Produced by Barbara Broccoli and Michael G. Wilson. Written by Paul Haggis and Neal Purvis & Robert Wade.
Rated PG-13 by the MPAA – violence, infrequent sexual content. Runs 1 hour, 46 minutes. London premiere on October 29, 2008. Premiered at London Film Festival on October 29, 2008. Wide release in the UK on October 31, 2008. Wide release in the USA on November 14, 2008.
Featuring Daniel Craig as James Bond (007), Olga Kurylenko as Camille (Bond girl), and Mathieu Amalric as Dominic Greene (Bond villain). Starring Judi Dench, Giancarlo Giannini, Gemma Arterton, Jeffrey Wright, David Harbour, and Jesper Christensen. Also starring Anatole Taubman, Rory Kinnear, Joaquín Cosio, Jesús Ochoa, Lucrezia Lante della Rovere, Glenn Foster, Paul Ritter, Simon Kassianides, Stana Katic, Neil Jackson, Karine Babajanyan, Sebastien Soules, Brandon Jovanovich, Martin Busen, Alexander Krawetz, and Dale Albright.
“Like you said…take a deep breath…make it count.”
Camille (Olga Kurylenko)
Opening up, the only thing about “Quantum of Solace” that isn’t wildly unfocused is the title animation, set to the song “Another Way to Die” by Alicia Keys and Jack White. We’re constantly being told where Bond is in heavily stylized title overlays, and in fact, it seems to be all about style. James Bond, in the opening action sequence, faces a deadly fight all across town, and he manages to escape with a nosebleed and a gash on the forehead. The editing is horrible, with jump cuts galore.
And so it continues as one, long chase sequence. But believe it or not, “Quantum of Solace” doesn’t need a line of true dialogue to bring out what it really is (and what it really should be): a direct sequel to “Casino Royale”. That was not only a reboot, but a reinvention of the series. We got a depthy look into Bond’s beginning. Now we see how Bond proceeds after the death of Vesper Lynd, whom he loved ever so dearly. We don’t see him with a Bond girl in the “usual” Bond girl-ish way for, well, the whole movie, because he’s wrought with his own grief. His anger and vengeful attitude makes this all the more tense. And when the writers get to this sentimental side of the tale, the film flies by. As Judi Dench would describe it, this movie is “bloody exciting.”
You Will Meet a Tall Dark Stranger