Casino Royale (2006) [Blu-ray] [2006] [2015]

When the decision was taken in 2005 to press the reset button on the Bond series I was not surprised, this cinematic institution had back itself into a wall, the previous instalment in 2002 was a typical globe trotting gadgets laden farce of a film and subsequently current Bond Pierce Brosnan's final mission in the role. The film celebrated the films 40th anniversary with all the subtlety of a sledgehammer but it was the C.G.I para-surfing and invisible car that showed that time needed to be called on this type of thing.Back in 1999 Barbara Broccoli and her step brother Michael G Wilson had finally secured the filming rights to Ian Fleming's first Bond novel Casino Royale, Having settled a rights dispute the film was now in a position to be made by EON productions the official Bond film production company run by Brocoli and Wilson. The book had been previously filmed back in 1967 directed by a total of 6 people including John Huston at one point, the film has gained cult status over the years but bears no relation to the original series or Fleming's novel for that matter. This being Fleming's first Bond story the makers needed to make a decision would they retool this to fit an older more experienced 007 or was it time to let the current actor go and search for new talent to take on the role.While the idea of rebooting a series may sound common place now back in 2005 it had been attempted rarely but the idea was on the radar especially as Warner Brothers had rather successfully relaunched the Batman franchise earlier that year. The film while not a monster (that would be its sequel) was a big enough success to secure the opportunity for more, it stole the thunder that summer from George Lucas' final Star Wars prequel Revenge Of The Sith but more importantly appeared to wipe the memory of the hole that Joel Schumacher had dug for the series back in 1997 with the atrocious Batman & Robin. This is not to say that Brosnan final film had been a disaster it was clearly liked by the public having been at that point the most lucrative film of the series. Though the reboot option was one way to start again plus the advent of the Bourne films had changed audiences expectations of what to expect from the spy genre and also 9/11's impact can not be underestimated as a factor into why films took a darker direction in the 21st century.Back in 1995 it seemed that EON had tried to change things with Goldeneye the film did seem different to what had previously been but it was business as usual when Brosnan returned 2 years later in Tomorrow Never Dies, it was like Roger Moore never left (this is not a compliment), the series had been ridiculed by the likes of the Austin Powers franchise and the next three entries starring the Irish man seemed to be completely oblivious to this, appearing as farcical as those parodies. Could a noughties audience really take this version of the character serious again? If James Bond was to appear relevant again he would need a serious remodelling so when Broccoli and Wilson announced in 2005 that they'd found their new Bond and that they would be bring Fleming's celebrated first Bond novel to the screen with Goldeneye director Martin Campbell returning to take the helm with the reset button pressed, the expectation was huge and things didn't begin too successfully to start with.Daniel Craig a critically acclaimed stage and screen actor who had been bought to the public's attention in 1996 when he appeared in the BBC adaptation of Peter Flannery's masterful Our Friends In The North alongside future Doctor Who Christopher Eccleston and rising star Mark Strong. Craig then settled into a series of roles in acclaimed drama appearing alongside Derek Jacobi's Francis Bacon in Love and the Devil, Roger Mitchel's controversial The Mother and playing Ted Hughes alongside Gwyneth Paltrow in Sylvia. Craig also flirted with blockbusters with a supporting role alongside Angelina Jolie in the first Tomb Raider movie. Although it was been cast in Mathew Vaughn's gangster flick Layer Cake that brought him to a bigger audience and also caught the attention of Brocoli who believed she'd found her Bond.Craig's announcement wasn't received that favourably, the brick bats were out pretty quickly, the tabloids voiced their disapproval and a web site craigsnotbond was set up where Bond fans could voice their concern of his appointment, too short, too ugly and too blonde were comments that were bandied about at the time. Craig certainly wasn't typical of what had previously been seen in the role, his looks while to some immediately set up as a global sex symbol were to some just not good enough to play their super spy (incidentally many of these were male). Although what Craig did have was a strong dramatic background. EON wanted to dispense with what had gone before and felt for their new Bond they needed something far more serious than what had gone before, the attempt to make Bond more likes Fleming's character with Timothy Dalton in 1987-89 had not gone down well with the public despite Dalton's terrific but brief time in the role, the time hadn't been right for a gritty Bond. EON felt now in the 21st century some 17 years later that now they would be.The thing that strikes you about Casino Royale is that it feels like a proper film, not some cookie cutter entry in an on going series with the usual tick the box antics that audiences had just come to expect, no sense of drama or thrill it was obvious Bond was going to get out of whatever predicament he was in. Royale presented Bond as a newly minted 00 who in the pre title sequence of the film in monochrome black and white (a series first) in Prague would be introduced performing his second kill to earn his status while we flash back to him performing the first one, Craig's Bond informs Dryden (Malcolm Sinclair) a corrupt government official who seems unruffled until he realises Bond is cementing his 00 credentials as him as his second kill as he intones nervously "made you feel it did he?" Cutting back to Bond in a brutal punch up in a bathroom with an assailant. The scene switches back as Dryden says " ...you needn't worry. The second is-- " Craig cutting Dryden sentence short with a single silenced gun shot followed with a witty quip, " Yes Considerably" Craig immediately announcing his presence in the role. We cut back to the bathroom as the assailant goes to shoot Bond as we get the camera view of him looking straight at us and shooting his target as the scene dissolves into a familiar sight as the colour bleeds in as the opening credits begin.The producers choosing wisely not to begin traditionally as all the Bond films since 1962's Dr No with the gun barrel sequence as we are clearly witnessing Bond begins, instead having Daniel Kleinman incorporate into the titles a redesigned gun barrel, kleinman having grabbed the baton with aplomb back in 1995 from series titles legend the late great Maurice Binder, here Kleinman delivers his best and most striking titles to date using the card theme of the story. Soundgarden's Chris Cornell and David Arnold co written title song "You Know My Name" while not being a instant classic is definitely the best since Bono and the Edge penned Goldeneye theme sung by Tina Turner, the title of the song announcing the arrival of the new Bond with a real fan fare.The second half of the film would pretty much be a straight adaptation of Fleming's novel, the first half being original material written by Bond regulars Neil Purvis and Robert Wade with some polish been applied by Oscar winning director and writer Paul Haggis. We have brief introduction to our villian Le Chiffre (Mads Mikkelsen) as well as shadowy operative from an unknown organisation Mr White (Jesper Christensen) as details of a sinister stock market transaction are revealed, then we fling into a break neck pursuit sequence in Madagascar (actually Abandoned Motel, Coral Harbour, New Providence Island, Bahamas) with Craig's Bond pursuing a terrorist bomb maker Mollka, real life Parkour expert Sebastian Foucan, Foucan's skill adding an extra dimension to the chase sequence. After witnessing a Bond who for most of the time can't get around without the help of some gadget or other it refreshing to see Craig's Bond go at full throttle, the new post 9/11 007 a real physical presence if not a tad reckless. This new Bond is not the Bond we all know and love just yet, the idea that Purvis and Wade would introduce him as not quite the finished article, even Arnold's score would tease small amounts of the Bond theme (although not played in full till the end) to signify each time he Bond earned one of his stripes. Craig's Bond would appear impulsive and after being told by M (a returning Judi Dench) to go and bury his head after his altercation with Moloka ending in a hasty execution which unfortunately for M & Bond his documented by the worlds press. This being Bond never one to fade into the background with the Intel he acquires heads to The Bahamas.The idea of Bond's actions causing a scandal the Bond of old would seem to cause havoc with no real accountability, the writers inserting somewhat of a more real world feel than previous instalments. Craig said he watched all the previous entries for preparation for the role and then promptly forgot them. Although he presents a new interpretation of the character, there are little subtle nods to Connery and even Moore. Bond using the opportunity of been mistaken for a valet at his hotel in the Bahamas to obtain surveillance to further his investigations has more than a hint of Sean and when he says to the receptionist " What if I felt compelled to" echoes a touch of Sir Roger. Arnold teases a little of the theme out as Bond wins a vintage Aston Martin DB5 from the next suspect on his list Dimitrios (Simon Abkarian). Purvis and Wade's script touches on the literary Bond's penchant for married women, the ease of the seduction of Dimitrios' wife Solange (Caterina Murino). The film offering a welcome touch of dialogue and intrigue before Bond ends up in Miami foiling the destruction of the Skyfleet airliner in an action packed chase sequence, setting up Le Chiffre's being forced to set up a high stakes poker game to retain the money of the client he has just lost on his rather risky venture foiled by Bond. Setting up the events that would pick up Fleming's novel for the duration of the film.Murino's Solange is more typical Bond girl material although Vesper Lynd is probably the most significant female in Bond's life and evolution. Eva Green charged with the job of bringing to life on the screen establishing her relationship with Bond with a rather spiky introduction, her obvious cynicism in Bond's mission. A credit to the writers and director Campbell as the rather mundane idea of a poker match is made a tense experience interspersed with some drama and a brutal hand to hand combat. Craig and Mikkelsen spark off each other with a game of one-upmanship leading to the famous torture sequence detailed in Fleming's novel, apart from some black humour inserted this is pretty much to the letter of the book with some minor adjustments.The events of the conclusion of the book are played down with Vesper's fate but it would be churlish to expect EON to go the same route with their climax, the sinking house sequence has caused much division among fans and critics. I for one are more of a fan of this than the watered down Raiders of The Lost Ark truck sequence in the Miami segment of the film. It was always going to be the case that this moment was never going to as subtle as the book, the series was being relaunched and this was supposed to be the most significant moment that starts to mould the new Bond into the fully formed 007 and the big emotional climax was the way to go. These films are not made for a small percentage of fan boys who's wet dream scenario's would most likely have no bearing on the general public, these films are made for a mass audience and they weren't going to let their re-booted franchise go out on a whimper. It is also an imaginative sequence that also incorporates a big emotional and significant climax for Bond.Of course thing were not going to end with Bond down and out and the epilogue see's a suited and booted Daniel Craig finally get to utter the famous line in a brief but big moment with Arnold letting rip finally with the fully fledged Bond theme to close proceedings which also sets up the first full blooded sequel of the series history as the sign off tantalises of what is to come.Casino Royale is not perfect no Bond film is, the Miami sequence of the film could have been handled with something more than a generic chase sequence, it seems a little pale after the inventive parkour pursuit. Like most Bond films the script is not perfect (although better than anything seen in the series for decades), yes there are clunkers, an unforgivable piece of blatant product placement in the Bond/Vesper introduction which brings an otherwise great scene to a halt. Despite some attempt to include some subtle dry wit for the most part the little finger line would be more welcome in a Carry On flick and is as juvenile as the puerile lines in the Moore and Brosnan era. It's unclear who's to blame while Purvis and Wade had their critics and are no script writing gods it's possible Haggis is responsible although he probably lent the film the dramatic weight it needed. This David Arnold's fourth score, while most likely the best work he's produced to this point it still feels wanting, he makes good use of alternative arrangements of his and Cornell's title theme, he creates an emotional Vesper theme and seems to cope enough without having his usual safety net of the JB theme to lean on. Although at times his score just seems to be just pounding percussion with no melody and we hit an all time low when he lets loose with the blaring brass that would be more welcome in the Austin Powers franchise when the Skyfleet plane is unveiled in the Miami sequence, marring an already problem sequence of the film. Would this film have been better with a John Barry score? Of course it would, when you consider the substandard entries that Connery and Moore were afforded Barry musical gold and Daniel Craig gives more to the role than any actor in the series history and he's rewarded with Mr Arnold trying.These things aside this arguably the best entry since 1969's On Her Majesty Secret Service, choosing Martin Campbell to helm once again after he successfully did in 1995 this time getting a proper actor rather the then TV actor Brosnan. In Daniel Craig we have found an actor who has added dramatic weight unlike Pierce he approaches the role with no awe or fan boy wonder, just wanting to do an impressive job, never raising to any of the criticism flying around while this was being filmed just quietly getting on with the job and spectacularly proving people wrong who questioned his appointment a year before. He also cuts an impressive figure filling out the tux like no other actor since Sean Connery and getting as close to that panther strut that personified the Scots man in 1962. While his critics will baulk he hasn't the confidence of Connery's 007, at this point he's not supposed to . This a newly introduced Bond the films have never approached the character from this point before, it's always been an established agent, with this re-boot option we are getting to see Bond earn his stripes and although we are seeing this here it's obvious this Bond is still learning. While Connery's 007 in 1963 From Russia With Love set the bench mark for the definitive fully fledged Bond, Craig's is the most impressive all out performance of any actor in the series to date and hints at a bright future for this enduring character.*I couldn't justify a 5 star review so add an extra half to this, Amazon doesn't offer that option so 4.5 stars

For me this is the best Bond Film. Great drama, the beautiful Eva Green and of course that fabulous Aston Martin. Byron.

One to remember.

good Daniel Craig movie good price

Every Bond film before (with possible exception of From Russia with Love) & every Bond film after must be measure by this film. Daniel Craig was the best.

With almost 300 reviews already online for this DVD, my contribution might get lost in the action, but here goes anyway for my first ever 5-star Bond movie review. (I have all the others up to this one.)This was Martin Campbell's second Bond movie. He did Pierce Brosnan's opener `Goldeneye', and here he does the same for Daniel Craig. This is not only a new Bond, but a new style of Bond - and I like it. In fact, I would go so far as to say, that Craig is arguably the best Bond so far. In this review, I hope to explain my reasoning for that statement, but for me the best thing about Craig's Bond is that he is not a likeable character. He's a trained killer with a dirty job to do; we are not supposed to like him. This was the problem with other Bonds, that made their roles so incongruous with their desire to be loved by their audience.What other reasons are there for praising this film as a breath of fresh air into the franchise? Well, the production, first of all, demonstrates a new imagination; the choice of filming the pre-credit sequence in black & white was a good idea. Next, the credit sequence itself dose not have a naked woman in sight; full marks for toning down the sexism. Then we actually see Bond get blood on his face; full marks for injecting a much needed element of realism.The film is also significant for what it leaves out. No Q - or R - hurrah! The sense of starting afresh and being rid of outdated traditions extends to other areas that might have been thought as sacrosanct: "Vodka Martini", demands Bond of the barman. "Shaken or stirred?" "Do I look as if I give a damn?" And Bond has a car crash and ends up not looking too good: this isn't supposed to happen in a traditional Bond movie.It's rare of course for bond to have deep emotions for the opposite sex, and this film certainly strays into `On Her Majesty's Secret Service' territory with the relationship between Bond and Vesper Lynd. Some have criticised this element, but over the years it's amazing how OHMSS has risen in the estimations of Bond aficionados.There are still the usual Bond thrills and spills. Watching it for the first time in the cinema, the African scenes had me almost suffering vertigo. One has to question why anyone being chased would choose to climb upwards, but the scene graphically illustrates the craze of free-running as an art form, and the choreography is fantastic nevertheless. Equally amazing is the CGI on the collapsing Venetian palazzo.And there is still some humour, as demonstrated with the parking of cars at the Bahamas hotel. The humour also strays in a more fully developed mode than usual into Bond's relationship with the leading lady. When moving towards the hotel lift, Vesper says she'll take the next one: "There isn't enough room for me and your ego." The humour is there but not in the form of groaning throw-away one-liners that plagued previous films. The humour is interactive - with Vesper, with M, with Le Chiffre - rather than solely addressed between Bond and the viewer.The one area of which I did not approve was the torture scene, which I thought went a little too far; I am amazed that the film received a 12 classification. Was this scene really needed? And surely Le Chiffre is being ironic when he states that he never understood "all these elaborate tortures". What! In a Bond movie? But the scene is so well-acted all the same. Can you imagine Roger Moore doing it? Or even Pierce Brosnan?Finally, one piece of plotting to ponder: M is surely wrong to tell Bond at the end that he was kept alive because Vesper pleaded for his life - surely he was kept alive because he had the password to the account!This is a review of the 2-Disc Collector's Edition, so here's a word about the extras. We have a 25-minute film called `Becoming Bond', which is a `making of ...' documentary. The emphasis, we learn, was to be on a tougher, harder Bond. Judi Dench as M is the only character to return from previous films; as Daniel Craig explains, she is the balance to Bond's misogyny. The feature `James Bond For Real' concentrates on the stunts - for real! `Bond Girls Are Forever' sees Maryam D'Abo (from `Living Daylights') interview former Bond girls from Ursula Andress and Honor Blackman all the way up to Halle Berry and Rosamund Pike and Eva Green. This is a very professional production, co-written and co-produced by D'Abo. Finally, there is the music video of the theme song.