It was with some trepidation that I approached the latest big screen adaptation of Agatha Christie’s seminal Murder on the Orient Express. For one thing, my enduring affection for both the novel and Sidney Lumet’s 1974 film meant I was already predisposed to not liking the new kid on the block. For another, I’d heard some very polarised reactions to the new film with some not liking it one bit. I can’t remember the last time that my father was ever as vitriolic about a film as he was after seeing this at the local Odeon.
Given all that, I was surprised by how much I liked the new film. Its by no means a match to the original version, nor even to the delightful 1994 BBC Radio 4 dramatisation by Michael Bakewell starring John Moffatt as Hercule Poirot (the pictures are always better on the radio.) But it’s nonetheless a solid, quality production which strikes a balance between sensible reverence for the source text with the necessary updates to appeal to a 21st century cinema-going audience. Read the rest of this entry »
Even for a creative team that includes some of the best talent working in cinema today such as Oscar-winning director Sam Mandes and cinematographer Roger Deakins, the prospect of taking on Skyfall must have been a daunting one. No one wants to be the person who fumbles the ball and mortally wounds one of the most successful movie franchises of all time, after all. Quite apart from the whole 50th anniversary hooplah surrounding the latest instalment of the Bond series, there is the worrisome matter of having to follow on from a previous film widely regarded as a disappointment, and after a too-long hiatus caused by the latest financial strife at MGM/UA.
But even the best creative team has to start the process by asking itself: what sort of Bond movie do we want to make? Everyone has their own image of what a ‘true’ Bond film should look like and the elements it should contain but in fact the series has been consistent only in how much it has varied through the five decades, from the style-setting early Connery thrillers to the light-hearted family entertainment Moore outings. Where the series once created a whole new spy thriller genre, it later fell behind and seemed perpetually scrambling to keep up with the competition: hence the blaxploitation and science fiction outings in the 70s, or the quintessential mid-80s drug war/vendetta instalment, or more recently the feeling that the series needed to get back to realism and basics while assimilating the parkour DNA of the Bourne franchise. At times, the series seemed so busy dodging around copycats and wannabes, finding a new raison d’être for Bond after the end of the Cold War and adapting to the latest cinematic trends that it arguably lost the heart and soul of what it meant to be a Bond film altogether. For me, the successful recent run of entries in the Bond series was under Brosnan, which managed to reinvent the character and make it relevant for the end of the millennium, combined the serious thrillers with the spectacular and absurd, and did it all with a sleek new modern style that was both old-time Bond and wholly fresh.
What, then, should Mendes and his team do for a 50th anniversary film? What film in 2012 could possibly adequately pay homage to the entire history of such a multi-faceted storied franchise? Read the rest of this entry »
With Skyfall launching into cinemas today, I thought I’d mark the occasion with a special “one post, 25 reviews” bumper instalment on all cinematic things Bond. One brief paragraph for each, plus the Radio Times Film Guide rating out of five stars as a benchmark and my own counter-bid alongside it. I look forward to hearing which you agree with and which provoke violent dissent in the ranks! Read the rest of this entry »