'No Time To Die' Review

Synopsis: James Bond has left active service. His peace is short-lived when Felix Leiter, an old friend from the CIA, turns up asking for help, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.

Runtime: 163 minutes

MPAA Rating: PG-13 (for sequences of violence and action, some disturbing images, brief strong language, and some suggestive material.)

Who should see it? Fans of Daniel Craig's James Bond.

Daniel Craig's 15-year tenure as 007 has been rather interesting. Craig was reluctant to accept the part and went on record saying he'd rather slash his wrists than reprise the role. Though it's worth noting these comments followed a grueling shoot on Spectre in which Craig had broken his leg. But Craig's back one last time and clarified his comments were disingenuous. His series began amidst a widespread tonal shift for espionage thrillers and the action genre as a whole. Craig's films were more grounded than his predecessors and serialized in the wake of Jason Bourne and Christopher Nolan's Dark Knight Trilogy. The reception to his films has been admittedly uneven. I enjoyed the odd-numbered entries (Casino Royale and Skyfall) over the others, and fortunately, No Time To Die followed suit. 

Over the last few years, we've seen series conclusions that either respectfully acknowledged all that had come before or found themselves with selective memory. No Time To Die thankfully falls in that first camp, building on the foundation laid by all four preceding entries, warts and all. Bond actors traditionally have chosen to hang up their tux after their last outing. No Time To Die breaks the mold, with an intentional ending for Daniel Craig's 007. It was long believed Spectre would be his last, but I'm glad Craig had one more film left in the chamber because it proved to be his very best. 

Craig's films have accumulated a stable of respected talent over the years, and No Time To Die director Cary Fukunaga proves to be no exception. This is Fukunaga's first true blockbuster, but that's not something you'd glean from the screen because he has a deft handle on things. Neal Purvis, Robert Wade, and Phoebe Waller-Bridge contributed to the script alongside Fukunaga, keenly interested in deconstructing James Bond as they bid Daniel Craig a fond farewell. Fukunaga and company brave uncharted waters for the franchise, but they do so with an admirable assuredness. No Time To Die is nearly three hours long, but the time breezes by thanks to show-stopping set-pieces and an especially intriguing plot. I'd be remiss not to mention Daniel Kleinman's exquisite title sequence, Linus Sandgren's gorgeous cinematography, the exceptional stuntwork, booming sound mix, and Hans Zimmer's propulsive score. All of these elements coalesce for one of the most exciting action movies I've seen since Tenet.

Yet, No Time To Die is not simply a show of spectacle. It swells just as often as it explodes. Thanks to the groundwork of the four prior films, plenty of emotional weight lingers behind Daniel Craig's final mission. Here, character is just as essential as the action. The all-encompassing nature of this film permits Craig to go out on a high note with his best performance among the five 007 films in which he starred. As the plot unravels, audiences are shown new sides to his Bond. Despite any comments he may have previously made, he's devoutly committed to this material. 

The supporting cast features a mix of familiar faces and newcomers. Reprising her role of Madeleine Swann, Léa Seydoux remains a compelling love interest for Bond as more light is shed on her past. The dynamic between Seydoux and Craig is fascinating to watch, and I found myself much more invested in their relationship this time around. I'll leave it at that for the sake of not spoiling anything. Ralph Fiennes, Ben Whishaw, Naomie Harris, Jeffrey Wright, and Christoph Waltz stepped back into their roles with ease, while Billy Magnussen, Lashana Lynch, and Ana De Armas were thrilling additions to the cast. I particularly enjoyed the rapport between Craig and both Lynch and De Armas. It was amusing to see Craig and Lynch butt heads as Bond met his successor. Ana De Armas's Paloma only appears in the Cuba sequence but is impressionable due to her charisma and comic timing. It was interesting to see her act opposite Daniel Craig in such radically different roles than their previous collaboration in Knives Out. 

Regarding Rami Malek, I was taken aback by his villainous performance as Lyutsifer Safin. Safin is a genuinely evil foil to Bond, and Malek plays the part, channels an unsettling aura anytime he appears onscreen. It's impressive how Craig's antagonists have varied so much in personality from film to film but remain convincing threats to Bond. 

It's become increasingly rare for franchise films to be driven by bold storytelling choices, but when one comes along, I can't help but admire it... No Time To Die draws the Daniel Craig chapter to a close in an unexpected fashion, albeit delivering an appropriate ending for this iteration of Bond. Contrary to how James Bond prefers his martinis, Craig's swan song is an emotionally-stirring conclusion to his 15-year run as 007. Not one that was haphazardly shaken. 

Film Assessment: A+

'Mary Poppins Returns' Review

Nominated For: Best Production Design, Best Costume Design, Best Original Song "The Place Where Lost Things Go" (written by Marc Shaiman and Scott Wittman), and Best Original Score.

Decades after her original visit and tenure at the Banks household, the magical nanny Mary Poppins returns to 17 Cherry Tree Lane, London to help the Banks siblings and Michael's children through a difficult time in their lives. 

Based on P.L. Travers' children's books, Mary Poppins Returns is directed by the renowned Rob Marshall and features a screenplay by David Magee and screen story by John DeLuca, Magee, and Marshall. Following up a beloved Disney classic fifty-four years later is not an enviable task, but Rob Marshall's taken the challenge to heart and delivered a long-awaited sequel which recaptures the spellbinding magic and musical whimsy of the original without completely recycling the first film. I foresee grossly over-exaggerated complaints that Mary Poppins Returns merely rehashes the original with the incorporation of somewhat similar story beats akin to fan complaints regarding Star Wars: The Force Awakens' love affair with A New Hope. There's admittedly an equivalent scene for all of the original's iconic moments, but much like The Force Awakens, the context surrounding each is drastically different (though some still aren't willing to concede that). It's surely the safe route, but Marshall traverses that beaten path in the most delightful way!

Mary Poppins Returns is the kind of old-fashioned musical which reminds you Hollywood doesn't make them like they used to. The vibrant, imaginative, and exuberant song and dance numbers pulled from Poppins' bottomless bag are show-stopping, to say the least! While the songs may not catch on as quickly as "A Spoonful of Sugar," "Supercalifragilisticexpialidocious," "Chim Chim Cheree," or "Step In Time," the new array of tunes are no doubt charming! I haven't listened to any long enough to pick a favorite, but I quite like the renditions of "(Underneath the) Lovely London Sky," "Can You Imagine That?," "A Cover Is Not The Book," "Trip a Little Light Fantastic," "The Place Where Lost Things Go," and "Nowhere to Go But Up." The songs by Marc Shaiman and Scott Wittman are all enchanting while Shaiman's score is sensational. It's been a while since I've been swept away by a string of stellar show tunes, but John DeLuca, Joey Pizzi, and Marshall have staged an extraordinary set of musical numbers!

Meanwhile, The blend of live-action and hand-drawn animation is seamless and, of course, evocative of the original. The animation was so well done in fact that I would love to see another feature-length, hand-drawn animation from Disney soon! It's, of course, time-consuming and Disney had to ask animators to come out of retirement to accomplish it here, but I'm hoping the inevitable success of Mary Poppins Returns will inspire studio executives to give two-dimensional animation another go! Other technical elements deserving of praise are the colorful costuming and thorough production design. In particular, there were some porcelain costumes (which can be glimpsed above), that really impressed me. I would not be surprised if Mary Poppins Returns swooped in to take many technical awards at the upcoming Oscars given the Academy's love affair with the original and the awards buzz surrounding this sequel.

As Mary Poppins, Emily Blunt is practically perfect in every way! Much like Alden Ehrenreich had to do in Solo: A Star Wars Story earlier this year, Blunt faced a Herculean task of stepping into an iconic role made famous by another actress. I'm referencing the magnificent Julie Andrews of course, and I'll say Blunt successfully put her own stamp on the role rather than offering a pale imitation of what had come before. I'd describe Blunt's Poppins as wittier and more sarcastic where Andrews often felt more serious I suppose. Otherwise, Blunt's singing and dancing were tremendous!

Stepping in for Dick Van Dyke's Cockney chimney sweeper Bert, Lin-Manuel Miranda's street lamplighter Jack was a suitable replacement. Many best know Miranda for his theatrical productions In The Heights or Hamilton, so it shouldn't be a surprise that he knows this role out of the park! Miranda's singing, dancing, and fast-spoken vocal delivery (rapping?) were all spectacular, not to mention he's quite convincing in the active role. The three Banks children, Anabel, John, and Georgie, played by Pixie Davies, Nathanael Saleh, and Joel Dawson are pleasant inclusions as well, helping to maintain the sense of fun, awe, and whimsey amidst the imaginative, animated insanity. 

Meanwhile, Ben Whishaw and Emily Mortimer are splendid as an older Michael and Jane Banks, imbuing their characters with sentiment and a touch of gleeful, childlike innocence at times. Regarding the film's flaws, I wish there had been more to Colin Firth's character and Meryl Streep's scene was honestly expendable, though she's excellent in it. There are also some cameos which I won't specify since some may consider them spoilers, but just know the actors I'm referring to are billed on the posters and their characters have been featured in the promotional material.

As many hoped, Mary Poppins' return to the cinema screen amounts to an utterly delightful sequel which matches the quality of the original. It is with great pleasure I say Mary Poppins Returns is as sweet as a spoonful of sugar!

Film Assessment: A

'Paddington 2' Review

Paddington 2 finds Paddington well adjusted to his new home and overjoyed to now be a part of the Brown family after the events of Paddington. With his Aunt Lucy's 100th birthday on the horizon, Paddington decides he ought to search far and wide for the perfect present. While perusing Mr. Gruber's antique shop, Paddington settles on a unique pop-up book, but the book's out of his price range... Paddington then takes on a series of odd jobs to afford the precious present, but it's all for naught when the gift is stolen and Paddington is framed for the crime. It's then up to Paddington and the Browns to prove Paddington's innocence by uncovering the culprit truly responsible.

Paddington 2 bears witness to the return of Paul King as writer and directer, although King does receive some screenwriting assistance from Simon Farnaby this time around. King steps right back into his roles with relative ease as he's able to station audiences right back in the whimsical world they last left at the end of the fantastic first film. Oftentimes, sequels promise to deliver more of what viewers enjoyed about the original in their attempt to franchise a single commercial hit into a string of sequels and spin-offs. While Paddington 2 certainly follows that formula by keeping the charming characters and sentimental story up at the forefront, King successfully freshens things up a bit.

For one, the mild-mannered, marmalade enthusiast winds up in the slammer after a massive mishap. Perhaps, that may seem like an excuse for a series of silly shenanigans, but King utilizes the barren big house to emphasize how an infectiously upbeat attitude can turn an awful situation around. Obviously, this shouldn't be taken TOO literally. If you are imprisoned and attempt to befriend the hardened criminals surrounding you, you likely won't be as lucky as Paddington was. The films can be quite silly and unrealistic after all. However, King's messages are a cheerful source of encouragement to children that a positive outlook on life will always come in handy, even in the worst of times. 

It's well-intentioned moral lessons like this that are scarcely found among family-friendly fare these days. Sure, there are occasional animated ventures that stand above the rest. Last year, it was Coco and The LEGO Batman Movie, but for each of those exceptional examples, there were countless cash grabs to be found including the likes of Despicable Me 3, The Emoji Movie, and Ferdinand. I don't bring this topic up in order to drag those movies through the mud again, but rather to point out a greater problem in Hollywood. In an effort to make a quick buck, studios hardly pay attention to the importance of story, character, and worthwhile messages in their family-friendly content, which is precisely why it's reassuring to see such a sweet sequel as Paddington 2. I don't say this with the mindset that you won't find another quality family film released this year, because I'm sure there will be at least a couple, but merely to implore how genuinely goodnatured Paddington 2 is in comparison to other entertainment today.

Now I'm sure many of you reading this review have "100%" running through your mind because that's the current Rotten Tomatoes critic rating for Paddington 2... You may have come for further validation that this film is deserving of such a distinguished honor or because you think it's impossible that Paddington 2 of all things has a 100%. I personally believe the general public have begun to place way too much emphasis on this number, but that's a discussion I'd like to have another day with a post detailing why Rotten Tomatoes really doesn't matter. So to go ahead and quickly address this, I'll quickly explain the mechanics of Rotten Tomatoes (if you know how it works, go ahead and skip over this). A 100% rating does not mean every critic rated Paddington 2 with a perfect score. It actually means every Rotten Tomatoes certified critic gave the film a "fresh" review (meaning they liked the film). The Rotten Tomatoes score is set up as an aggregate compilation of the results of a binary choice, "fresh" or "rotten." A certified critic determines one or the other when linking their trade review to the site. The mass conspiracy that the site is rigged in favor of particular films is absurd and incorrect. It's as simple as the critic liked it or they didn't. That's all there is to it.

So with that insight, I wouldn't say the 100% necessarily reflects the film's quality, but it'd be especially difficult to find anyone who wouldn't be won over by Paddington 2's winsome charm. Paddington 2 is just as quirky, cute, and colorful as the original in every way imaginable. The cinematography ranges from simple and subtle-to-sweeping and grandiose while the editing enabled plenty of smooth transitions for almost two hours of well-paced pleasantries. The effort that went into the costume/production design, set decoration, and art direction is also quite apparent as the picturesque handicraft shines stupendously and Paddington once again looks extraordinary as a credible CG-creature in the live action setting, so hats off the vfx team as well! In regards to music, Dario Marianelli steps in as the sequel's new composer and manages to string together a swell accompaniment full of heart and character all on its own.

As for the film's illustrious ensemble, those brilliant Brits have done it again! Voicing the polite Peruvian bear, Ben Whishaw exceptionally articulates Paddington's goodnatured, naive intentions once more. Newcomer Brendan Gleeson steals a great many scenes as Knuckles McGinty, the prisons's hardened chef who's quickly won over by the courteous, cuddly teddy. The other inmates offer ample comedic relief, but none were necessarily stand-outs.

Sally Hawkins, Hugh Bonneville, Madeleine Harris, Samuel Joslin, and Julie Walters all return as the respective members of the Brown family including the compassionate mother Mary, fervent father Henry, headstrong Judy, insecure Jonathan, and fiery Ms. Bird. Each has their moment in the limelight, but Hawkins and Bonneville are allotted the most screen-time as the peculiar parents. Other familiar faces (and voices) found among the distinguished ensemble are Peter Capaldi, Imelda Staunton, and Jim Broadbent who excel with the material provided to them.

Taking the place of Nicole Kidman's campy antagonist, Hugh Grant plays an array of kooky caricatures as formerly well-renowned character actor Phoenix Buchanan. He doesn't quite relish in his malevolence like most villains... Instead, Grant delightfully soaks in the glory of Buchanan's ego, acting abilities, and a bit of Sondheim (stick around through the first half end credits to see an utterly delightful song and dance number). 

Paddington 2 is a family-friendly film that best bears resemblance to its titular marmalade-obsessed Ursidae. It's a sequel that's cute, kind, full of wholesome values, and well worth spending an afternoon alongside.

Film Assessment: A

Throwback Thursday Review: 'Paddington'

This week I'm reviewing Paddington to coincide with American release of its sequel this weekend. I hadn't seen the film prior to last Saturday, but it's on Netflix for those interested. Reviews you can expect for the remainder of the month include Throwback Thursday Reviews of The World's End and The Shining, reviews of new releases Paddington 2, The Commuter, Proud Mary, 12 Strong, and Maze Runner: The Death Cure. I'll be reviewing any films from 2017 that I missed out on as I watch them so look forward to seeing some of those reviews up sometime soon as well. 

'Paddington' Review

Paddington journeys alongside a young bear after the devastating destruction of his quaint home in the Peruvian rain forest forces him to seek shelter and solace in London. Through circumstance, the altruistic bear meets the considerate Brown family while waiting at London Paddington station. The Browns then temporarily extend their home and hospitality in addition to bestowing the bear with an English name, "Paddington."

Paddington is a feature length film written and directed by Paul King that adapts Michael Bond's classic Paddington Bear children's book series. Beloved children's stories are regularly adapted to film nowadays, so the fact Paddington joined the pack wasn't too surprising. However, these modern adaptations typically lose sight of the source material's wholesome family-friendly angle. Instead, audiences are treated to crass, tasteless humor catered way too heavily towards children... Thankfully though, Paddington never found itself ensnared by such absurdity. 

King's script can sure be silly at times, but the humor is genuinely funny and well thought out. King could easily have appeased to younger audiences with stupid, purposeless jokes encompassing flatulence, but Paddington rises above every opportunity to tell a charming, virtuous tale about a marmalade-loving bear from Peru. 

In regards to the film's technical prowess, Paddington looks and sounds very much like a Wes Anderson production due to a quirky, colorful aesthetic and a breakneck score from Nick Urata, but I can assure you it's not one. King was clearly inspired by Anderson's work, but that's not the only influence on Paddington, as the Peruvian bear even tips his red hat to Raiders of the Lost Ark and Mission: Impossible in two distinct instances. Now, I probably couldn't finish writing this review without applauding the film's vfx team for the wonderful work on creating a convincing CG-Paddington. Oftentimes, CG-creatures found in live action family films aren't quite authentic in their appearance, instead seeming distinctly digital. However, the vfx department's fine craftsmanship here did not go unnoticed.  

Paddington's cast features the likes of abundant accomplished actors from Great Britain, and everyone turns in a fine performance. Front and center, Ben Whishaw bestows Paddington with a kindred spirit and naive nature through his sufficient voice work. Sally Hawkins makes for a calm, endearing presence as Mary Brown while Hugh Bonneville's Henry Brown is ill-tempered and uptight, and their troubled parental dynamic wound up being a plus for me! The Brown children, Judy and Jonathan, are portrayed by Madeleine Harris and Samuel Joslin respectively, who each offer up quality performances for their age. While I wouldn't say they quite fit into that upper echelon of young actors who have emerged lately, I'd still consider them the cream of the crop as far as child talent goes. 

In the antagonistic camp, Nicole Kidman plays Millicent as an over-the-top taxidermist, and it totally works due to Kidman's commitment and the sometimes cartoonish setting surrounding her. Peter Capaldi, who's probably best known as the last Doctor Who, steps into the shoes of the Brown family's nefarious neighbor Mr. Curry and manages to constantly complain about the beloved bear in astonishingly amusing ways. Also, there's a number of familiar faces from the Wizarding World to be found among the film's exceptional British ensemble including the likes of Julie Walters, Michael Gambon, Imelda Stanton, and Jim Broadbent in roles of varying size and substance. 

At its best, Paddington is a bear-y good example of something that doesn't come around too often these days... A loving, wholesome adaptation of a classic children's book that the entire family can enjoy.

Film Assessment: B

'Spectre' Review

Nominated For: Best Original Song "Writing's On The Wall"(written by Sam Smith and James Napier).
Won: Best Original Song "Writing's On The Wall"(written by Sam Smith and James Napier).

Spectre is the newest Bond flick and possibly the last one that will star Daniel Craig and if it is indeed the last one with him as the infamous gentleman spy it was a very satisfying conclusion to the Daniel Craig 007 films that goes full circle. I went to go see the film last night at a early premiere showing for the film after watching all of the previous Daniel Craig led Bond flicks these past three weeks in preparation for the film and must say I quite enjoyed it. The film hits the ground running as per usual in these latest 007 films with an incredible Day Of the Dead action sequence. This sequence incorporated so many great elements and wrapped them all together for a phenomenal action scene. The costume and production design in this sequence as well as the entire film really cooperated in establishing location and looked incredible onscreen for all the exotic locations. The film's score also is quite effective in servicing the film adding to the experience, especially in the opening Day of the Dead scene. The opening Day of the Dead sequence was then accompanied by a wonderful opening credit scene that featured and really visualized  Sam Smith's contribution "The Writing on the Wall" perfectly.  The action was top notch from beginning to the end of the Day of the Dead sequence from Bond running on rooftops to an intense chase to an insane chopper battle above the celebratory parade. The action also doesn't let up for the remainder of the film with a car chase in Rome, an epic battle down the Austrian mountainside, and a visceral hand to hand combat fight with Mr. Hinx onboard a train. The only action sequence I found slightly underwhelming was the anticlimactic final fight. Spectre was a visual delight though as the car chase in Rome was gorgeous thanks to some awe-inspiring cinematography. The film also sports some of the best performances of the recent 007 films. Daniel Craig with this film provides his best take at the iconic gentlemen spy cementing his place as one of the best James Bond's to grace the screen. Lea Seydoux made for a great Bond girl as she not only did well in regards to acting but action as well. She made for a nontraditional Bond girl in that sense and differentiated from the rest since she is here to stay as opposed to the usual one offs. Ben Whishaw as Q, Ralph Fiennes as M, Naomie Harris as Moneypenny each have slightly increased roles and really add to the film in their terrific supporting performances.  In regards to the film's villains, Dave Bautista makes a serviceable, menacing henchman as Mr. Hinx but one glaring problem with this role for me was that he came across also to be a brutal thoughtless henchman. I felt like Bautista was very underused as unfortunately he literally had one lie of dialogue and could have been better portrayed had he not come across as a meathead henchman. On the other side of that coin, Christoph Waltz's performance as a cold, calculating megalomaniac Franz Oberhauser. I thought Waltz was perfectly cast and made for a great villain although he had much less screen time than I anticipated. I did like that his reveal was saved for the middle of the film and the character was shrouded in mystery and intrigue until that point. I will say however that I felt Javier Bardem made for a much more interesting villain in Skyfall.  Unfortunately despite all of the impressive qualities of Spectre there is a blaring weakness of the film. It's narrative that seemed eerily familiar to two recent films, Captain America: The Winter Soldier and Mission: Impossible - Rogue Nation with a very similar basic plot that incorporates elements that are explored in both films. The story for Spectre wasn't "bad" it just didn't really feel very original. However I did like that the film's narrative brought all of these Daniel Craig Bond films full circle back to Casino Royale where it all began.  To sum it up, Spectre is a love letter to the classic Bond flicks incorporating elements from them in a modern context and setting that is visually delightful, contains top notch action, a rousing score, and exceptional performances. I have reviews on all three of the Daniel Craig led Bond flicks if you'd like to read them the hyperlinks are as follows: Casino Royale, Quantum Of Solace, and Skyfall.

Film Assessment: A-