Everything or Nothing:
Eon Productions Presents Ian Fleming's James Bond 007

"Bond, James Bond."


British Secret Service agent James Bond, code number 007, made his debut in the hit 1952 novel Casino Royale written by restless World War II English naval intelligence veteran Ian Fleming. An innately problematic idealized symbol of British exceptionalism and global policing ideology, Fleming conceived Bond as a man of decisive action, cold and merciless against his enemies, overindulgent in gambling and alcohol, and absolutely irresistible to women. Broadly appealing to readers seeking to vicarious partake in the primal pleasures of sex and violence neatly dressed is escapist fantasy, it was inevitable for 007 to leap off the page and become a film icon for the ages.

After failing to bring Bond to the silver screen himself, Fleming sold the film rights to his novels to producers Albert R. "Cubby" Broccoli and Harry Saltzman in 1961. Broccoli and Saltzman formed Eon Productions for the sole purpose of making James Bond adventure pictures, EON being an acronym for Broccoli and Saltzman's driving motto and a perfect summation of Bond's world view: "Everything or Nothing." Since the release of the Eon's adaptation of Fleming's sixth Bond novel Dr. No in 1962, the production company's James Bond film series quickly became one of the most prolific and lucrative cinematic franchises ever, featuring exotic locations, beautiful ladies, imaginative gadgetry, and spectacular stunts. However, the series is not without its share of creative and financial highs and lows.

As the audience's tastes change with the times, the direction and overall tone of the Bond films shift accordingly but not always gracefully. The franchise has of taken odd turns into disparate genres, co-oping styles of other successful action films and Hollywood blockbusters with mixed results. As a whole, the franchise may be viewed as a fascinating study on the evolution of action cinema

Showing a surprisingly amount of self-awareness and depth, the character of James Bond gradually grows throughout the series, particularly in the best films of the franchise. Bond transforms from a charming and clever hunk with a mean streak to a corny impeccable gentlemen spy to a defiant roguish hero to a quietly tormented deeply flawed freight train of a man with an unrelenting talent for murder. Later entries of the series ease into challenging 007's place in our ever-changing world and go as far as examining his damaged psyche, offering a fuller portrait of a government operative ready to kill and die for his country at a moment's notice.
Posted by
Labels:

Shang-Chi and the Legend of the Ten Rings

SHANG-CHI AND THE LEGEND OF THE TEN RINGS
2021 | Dir. Destin Daniel Cretton | 132 Minutes

"You are a product of all who came before you, the light and the dark, the legacy of your family. You are your mother and, whether you like it or not, you are also your father. Stop hiding who you are."



Following a surprise attack by deadly assailants on a public bus, mild-mannered San Francisco valet Shaun reveals to his true identity to his best friend Katy. Shaun is Xu Shang-Chi, the son of an immortal warlord who wields a powerful set of ancient otherworldly artifacts and commands a clandestine criminal empire. Reunited after years of separation, Shang-Chi and his estranged sister Xialing are captured by their ruthless father as the siblings hold the key to unlocking a mythical realm where their father hopes to reunite with their late mother.

Shang-Chi and the Legend of the Ten Rings brilliantly balances humor, kung fu action, and poignant family drama with elements of fantasy and even a surprising dash of horror thrown into the mix. Without wholesale rehashing standard superhero origin story tropes, director Destin Daniel Cretton introduces a new champion to Marvel's shared cinematic world by telling a story of defiance and self-actualization that young immigrants growing up in America, particularly Asian Americans, may find all too relatable. The narrative places equal focus on both its hero and villain, pitting a young man trying to escape his past and the legacy he is expected to carry against his profoundly heartbroken father who happens to be the leader of the world's deadliest criminal enterprise. Structurally, while the primary storyline is funny and action-packed, carried by the immense charisma and natural chemistry on display from leads Simu Liu and Awkwafina as Shang-Chi and Katy, the film takes its time to fill in the particulars of its central conflict, its true emotional core gradually revealed in numerous flashback sequences. Thankfully, these tangents into the past are exceptionally engaging thanks in no small part to a masterful performance from Tony Leung Chiu-wai in the role of the complex, startlingly sympathetic antagonist Wenwu.

Coordinated by Jackie Chan stunt team veteran Brad Allan and shot by acclaimed cinematographer Bill Pope, the fight sequences in Shang-Chi are indisputably the very best featured in a Marvel Studios production so far. The vast majority of the martial arts choreography is captured clearly and beautifully, especially during the first half of the film, the wire fu on display is expertly executed with graceful precision, and the incredible stunt work is absolutely inspired. Notable fights include the simply gorgeous opening encounter between Wenwu and the eventual love of his life Jiang Li, the exhilarating bus fight between Shang-Chi and Ten Rings assassins led by Razor Fist that properly reveals the hero's formidable skills, Shang-Chi reluctantly facing off against Xialing in an underground fight club, and the perilous escape sequence on skyscraper scaffolding leading to an intense brawl between Shang-Chi and the visually striking masked Death Dealer.

To the detriment of Shang-Chi, the superb kung fu is more or less benched for the second half of the film in favor of CGI spectacle. While the creature designs for the myriad of mythical inhabitants in the fantastical realm of Ta Lo are appealing and imaginative, the combat loses some of its visceral impact as it grows in scale only to become increasingly jumbled and augmented with visual effects. The viewer's mileage may vary regarding the sudden introduction of the Dweller-in-Darkness, a terrifying soul devouring eldritch horror, serving as a startlingly gnarly way to wrap up the picture with an epic conclusion. The issues with these sequences are mostly redeemed by the emotional content and drama inherent in the struggle between conflicted son and grief-stricken father and the tragic resolution to their conflict is reasonably satisfying.

Naturally charming and physically skilled, Simu Liu capably carries the film in the lead role performing both the stunts as well as the dramatic heavy lifting. Bringing her brand of comedy to the picture, Awkwafina is delightful as Katy, often the sole voice of reason as the narrative ventures ever deeper into the fantastical. The incredibly convincing friendship between Simu Liu's Shang-Chi and Awkwafina's Katy is one of the feature's greatest strengths. Hong Kong screen legend Tony Leung Chiu-wai imbues the character of Wenwu with a degree of emotional depth that only he can bring, giving the role an unexpected measure of pathos seldom seen in a comic book movie supervillain. As Xialing, Meng'er Zhang is believable as a hardened product of neglect and abandonment, an incredible foil to the central hero. The cast also features Fala Chen as loving wife and mother Jiang Li who can hold her own in a fight, Florian Munteanu giving featured henchman Razor Fist more personality than one might expect,  Michelle Yeoh regal as ever as Ta Lo guardian Nan, the return of Ben Kingsley's hilariously fuddled Trevor Slattery amusingly addressing his culturally offensive role in Iron Man 3 while further developing his character arc, and a brief appearance from Benedict Wong reprising the role of Master of the Mystic Arts Wong to weave story threads back to the overarching Marvel narrative as well as deliver a few good laughs.

Both a rollicking kung fu flick and an exhilarating superhero movie that heavily evokes wuxia flair and East Asian fantasy, Shang-Chi and the Legend of the Ten Rings immediately stands out as a unique picture among the top tier of Marvel Studios' ever-expanding canon. The film features an extraordinarily talented cast predominantly of Chinese descent in excellent, nuanced, and highly engaging roles that play to each performer's respective strengths, delivering easily some of the most outstanding Asian representation in a Hollywood feature ever, more than making up for the picture's relatively minor creative flaws. Asian Americans in particular may find an additional level of resonance in its portrayal of an immigrant hero struggling to embrace all facets of his heritage.


MID-CREDITS STINGER
Wong spirits Shang-Chi and Katy away and attempts to analyze the Ten Rings with assistance from Bruce Banner (Mark Ruffalo) and Carol Danvers (Brie Larson). The rings seem to originate from another universe and they've begun to signal an unknown entity. Unable to learn more, Shang-Chi, Katy, and Wong go to karaoke to unwind, belting out "Hotel California".


POST-CREDITS STINGER
Xialing takes over leadership of the Ten Rings, rebuilding the organization to her liking.


FRAGMENTS
- Growing up watching him in Hong Kong TVB television series and countless Hong Kong films, I never though I'd ever see Tony Leung Chiu-wai in a major Hollywood film, let alone one from Marvel Studios; I am beyond thrilled that not only did Marvel Studios give him an incredible role, but that he delivers such a memorable performance

- Absolutely love how Zach Cherry hilariously reprises his role from Spider-Man: Homecoming

- The posters for Stephen Chow's Kung Fu Hustle and Walter Hill's The Warriors in Shang-Chi's apartment are on point

- Andy Le's Death Dealer for all of his imposing style was ultimately a letdown considering how the character just unceremoniously dies

- Comedian Ronny Chieng is also a delight in his brief appearance as Xialing's assistant

- First time we've seen the Abomination since The Incredible Hulk, curious if we'll ever see how he and Wong came to know each other

- It's also a thrill to see kung fu character actor Yuen Wah in a small role, a total shame the character bites it without doing anything significant

- Michelle Yeoh previous appeared in Guardians of the Galaxy Vol. 2 as the Ravager Captain Aleta Ogord, making her the first performer to play two distinct characters in the Marvel Cinematic Universe

- Awkwafina, Michelle Yeoh, and Ronny Chieng previously appeared together in Jon M. Chu's Crazy Rich Asians

- Awkwafina referring to Shang-Chi's finishing move on the Dweller as a Kamehameha (from Dragon Ball) is priceless




007 CONNECTIONS
- Michelle Yeoh (Wai Lin in Tomorrow Never Dies)
Posted by
Labels:

Black Widow

BLACK WIDOW
2021 | Dir. Cate Shortland | 134 Minutes

"It's funny. My whole life, I didn't think I had any family. Turns out I got two."


On the run from UN forces after violating the Sokovia Accords, Natasha Romanoff confronts her past when Yelena Belova, her surrogate younger sister from her short-lived childhood, brings news that the clandestine organization behind the nefarious Black Widow program that ruined their lives is active and thriving despite Natasha's efforts to dismantle it years ago. To destroy their abusive former master once and for all, Natasha and Yelena must enlist the help of their former parental figures, the erstwhile Red Guardian and a seasoned Black Widow agent.

After playing a significant supporting part in seven Infinity Saga films over nine years, Natasha Romanoff finally gets her chance to take the lead role in Cate Shortland's Black Widow. Interestingly, Natasha's solo feature is decidedly not a thorough exploration of the mysterious character's past. While the film references events that shaped Natasha's life that were hinted at in her previous appearances, such as her dehumanizing Red Room conditioning and her defection from the KGB finalized through regretful actions committed during a mission in Budapest, the focal point of the picture is Natasha's first pre-Avengers found family, a group of deeply flawed but remarkably likeable spies, each operative betrayed by the Red Room in different ways. The picture's central themes of overcoming disillusionment and of reclaiming personal agency are rather empowering if slightly underdeveloped. Iffy Russian accents be damned, the film's greatest strength lies in its supporting cast of appealing newly-introduced characters, particularly Yelena who serves as a more impulsive, more naive foil to Natasha. The genuine bond between Natasha and Yelena at the heart of the story, primarily presented through candid conversations between the two women, is appropriately moving.

The pacing of the film is notably a bit unconventional for a Marvel Studios production. Following an emotionally fraught prologue that offers a brief glimpse into Natasha's teenage years as a young spy in a surprising setting, the narrative slows down and doesn't truly gain momentum until its second act. Natasha, wary from the events of Captain American: Civil War, is understandably hesitant answer the call to adventure and take on another mission. As the plot unfolds, and as the roster of supporting players is gradually filled through introductions that involve inspired set pieces, the picture quickly builds to a high-flying explosive conclusion. Stand-out action sequences include a thrilling vehicular chase through the streets of Budapest, a prison break sequence that culminates with a massive avalanche, the breathtaking climatic mid-air fight sequence, and every confrontation that involves the intimidating Taskmaster.

Coming a long way since the character's debut as a deadly sexpot in Iron Man 2, Scarlett Johansson is convincingly clever and tough but also more human than ever in what may be the last time she takes on the role of Natasha. Florence Pugh's Yelena is the film's secret weapon, hilarious, believably deadly, and truly adorable. The natural onscreen dynamic between Johansson and Pugh is the very best thing about the film. As the boastful washed-up super soldier Alexei Shostakov, David Harbour plays it broad and delivers a big entertaining performance that's also appropriately touching when it needs to be. While her role is underwritten, Rachel Weisz is brilliantly cast as the master chemist mother-figure Melina Vostokoff. As one of the simpler, shallower Marvel villains, Ray Winstone's Dreykov is amusingly slimy though less than memorable in the grand scheme of things. There isn't much to his character but Rick Mason is a lot fun as Natasha's private contractor friend. William Hurt's presence as Thaddeus Ross only seems to serve as nothing more than a continuity reminder. The cast also features a brief appearance by Olga Kurylenko giving a moving performance as a rather tragic character despite her limited screen time.

Delivering big action spectacle with a wealth of amusing character moments elevated by its phenomenal supporting cast, but offering few significant revelations regarding its central heroine's overall character arc, Black Widow plays less like an essential secret origin story and more like a curious lost episode in the rough life of Natasha Romanoff. For the uninitiated, it would be a superb standalone adventure if it weren't for frequent references to its placement in between cataclysmic events on the timeline of the overarching narrative. For long-time fans eager for nothing more than one last daring escapade with the crafty superspy, the film is a fine, if incomplete tribute to the most cunning Avenger, functioning best as a well welcome passing of the torch.


POST-CREDITS STINGER
While Yelena has an emotional moment visiting Natasha's grave, she is interrupted by her new employer Valentina Allegra de Fontaine (Julia Louis-Dreyfus) who reveals her next target: Clint Barton, presented to Yelena as the man responsible for Natasha's death.


FRAGMENTS
- The opening credits sequence set to Think Up Anger's cover of "Smells Like Teen Spirit" just doesn't quite work

- Natasha watching Moonraker to relax and saying a cheesy one-liner along with Roger Moore is surprisingly endearing to me, more so than Yelena's fondness for Don McLean's "American Pie"

- As far as origin stories go, the film is a brilliant origin story for the vest Natasha wears in Avengers: Infinity War

- It's incredibly amusing to see David Harbour in a frigid Russian prison as the teaser for the upcoming season of Stranger Things scheduled to be released after this film shows Harbour's police chief Hopper toiling in a Siberian labor camp

- Alexei's insistence that he faced off against Captain America is rather curious as Steve Rogers would have been frozen in ice and Isaiah Bradley was either imprisoned or in hiding during the timeframe when Alexei was an active operative


SUPPLEMENTAL STUFF


007 CONNECTIONS
- David Harbour (Gregg Beam in Quantum of Solace)

- Olga Kurylenko (Camille Montes in Quantum of Solace)
Posted by
Labels:

F9

F9
2021 | Dir. Justin Lin | 145 Minutes

"It’s not about being the stronger man, Dom. It’s about being the bigger one."


Dominic Toretto's crew is called to action again when rogue agents forcefully extract their nemesis Cipher from Mr. Nobody's custody. With help from a long lost friend, Dom must confront his past in order to save the world from a would-be despot in league with an unexpected adversary, Dom and Mia's estranged brother Jakob.

While there is still plenty of mindless fun to be had, F9 is equal parts forced sequel and unnecessary prequel, loaded with flashbacks dubiously attempting to manufacture a plot that barely holds together the film's set pieces while serving up a massive helping of perhaps misguided fan service to those who have stuck with the films through thick and thin. The sudden introduction of a long lost Toretto sibling this late in the game doesn't quite work despite all the effort expended to weave him into established continuity. The sequences featuring younger actors filling in as Dom and Jakob in their pre-The Fast and the Furious youth do a decent job of fleshing out the story of their father's tragic demise while bringing the picture back to the franchise's racing roots, but they also show just how far the series has come in a bad way, juxtaposing sharply against its current loud, over-the-top, mostly nonsensical smorgasbord of impossible stunts and espionage action. More in response to fan demand than to serve the overarching plot of these pictures in any meaningful way, the more the filmmakers attempt to explain Han's seemingly miraculous return the less it makes sense on a story level, arguably invalidating the mid-credits twist at the end of Fast & Furious 6 and practically discarding the entire dramatic motivation behind Furious 7. The one aspect of the script that works remarkably well is the self-referential humor offered up by Roman and Tej as the bickering duo become aware of and question the crew's apparent invulnerability.

The action scenes are competent but they frankly just aren't as fresh as the ones from previous, better installments. The jungle sequence in the first act featuring a car chase through a minefield culminating is a physics-defying, logic-defying vehicular swing across a mountain range is absolutely ridiculous even for this series. Thankfully, the mid-film and climatic chase sequences through Edinburgh and Tbilisi heavily featuring highly exaggerated electromagnet mayhem are much more amusing. Roman and Tej's impractical excursion into Earth's orbit is also good fun despite leaving the strong impression of being shoehorned into the picture to address years of mostly-ironic speculation from fans. Leaving much to be desired, all of the hand-to-hand combat sequences are sloppily performed, and choppily shot and cut.

Disappointingly, Vin Diesel practically sleepwalks through this film despite being the de facto lead this time around. John Cena does a fine job as Jakob, appropriately intimidating while easily selling the role of a sympathetic antagonist. Playing young Dom and Jakob, Vinnie Bennett and Finn Cole deliver serviceable impressions of Vin Diesel and John Cena while lifting more dramatic weight than either top-billed star. JD Pardo also stands out as Toretto patriarch Jack, giving the character an proper face as well as a bit of unexpected nuance. Thue Ersted Rasmussen plays a rather forgettable antagonist that's a cross between a poor man's David Bowie and an even poorer man's Elon Musk. Michael Rooker is a great addition as Toretto family friend Buddy but his role is mostly thankless. Michelle Rodriguez and Jordana Brewster return not only to take part in a fair amount to the action but also share a few decent dramatic beats as Letty and Mia for once. The natural comedic chemistry between Tyrese Gibson and Chris "Ludacris" Bridges is at its very best, allowing the pair to deliver the best Roman and Tej moments to date. Nathalie Emmanuel capitalizes on her chance to show off her comedy skills as Ramsey in one hilarious action sequence. It's a thrill to see Sung Kang return as Han but he oddly doesn't have very much to do besides escorting a living McGuffin played by Anna Sawai, doing what she can with such a vague sketch of a character. Tokyo Drift alums Lucas Black, Bow Wow, and Jason Tobin are a welcome sight despite being awkwardly slotted into the plot. Also returning from previous films are Kurt Russell, Charlize Theron, Shea Whigham, Helen Mirren, and Don Omar in what amount to glorified cameos.

Constructing its plot through excessive retconning and packed with increasingly silly novel gimmicks, F9 fully embraces the franchise's post-shark-jump status with mostly mixed results. While it's an entertaining installment overall, more discerning audiences can't be blamed for checking out entirely at this point. This one can only be recommended for ride or die Fast & Furious fans.


MID-CREDITS STINGER
Deckard Shaw (Jason Statham) letting off some steam beating a sniveling man inside a punching bag is interrupted by a knock on the door. Shaw opens the door to see Han.


FRAGMENTS
- The series' tradition of assigning unconventional titles to its sequels continues; while the title of this installment is neat and succinct F9, the marketing campaign gives this film, and perhaps the mainline series itself, the rather heavy-handed subtitle The Fast Saga

- In Japan, the title for this film is Wild Speed: Jet Break

- The film opens with a variation of the Universal Pictures logo based on the version from the 1990s

- The drag race flashback sequence is particularly amusing in how features a complete cast of actors playing young versions of the Dom's entire original crew from The Fast and the Furious

- While it's not any more out of place than anything else featured in this series, the Cardi B cameo is super distracting 

- Revisiting stock footage of pre-Wonder Woman Gal Gadot's Gisele from Fast & Furious 6 sure is trip

- The Star Wars banter between Otto and Cipher is actually kind of hilarious



- Charlize Theron (Clea in Doctor Strange in the Multiverse of Madness)
Posted by
Labels:

Luca

LUCA
2021 | Dir. Enrico Casarosa | 101 Minutes

"Some people, they’ll never accept him, but some will, and he seems to know how to find the good ones."


Disguised as humans, teenage sea monsters Luca and Alberto enter a small coastal town looking for a Vespa with dreams of traveling the world. Giulia, a fisherman's plucky daughter, recruit the duo to enter a triathlon in hopes of besting the town bully. Though constantly at risk of discovery by the fearful townspeople while dodging Luca's over-protective parents, Luca and Alberto have the summer of their lives.

Set in the Italian Riviera, Luca is an ode to Italian culture and youthful summer days spent with friends swimming, biking, gorging on pasta, and dreaming in the sun. For better or worse, the tone of the film is as light as its low-stakes plot, though the narrative gains a considerable amount of momentum at the end of the second act as the picture's central relationship, a fully-realized friendship with ups and downs that are true to life, eventually presents a conflict more compelling than the one posed by the story's antagonist. In its third act, the picture comes together beautifully, particularly during the frantic climatic triathlon sequence. Beyond the bountiful comedy mined from its literal fish-out-water premise, jokes and physical gags that practically write themselves, the simple story of a mythical creature going to great lengths to pass as human in order to live among them may easily be applied as a metaphor for the experiences of anyone who has ever been labeled an outsider by society.

As to be expected from a Pixar film, the attention to detail in every aspect of the production design is meticulous and absolutely lovely. Populated with countless interesting unique extras and landmarks that quickly become recognizable, weathered to perfection, the fishing town of Portorosso feels alive, believable, welcoming, and very Italian. While the animation quality is splendid throughout, the fantastical dream sequences within Luca's imagination in particular are full of wonder and spectacle.

Jacob Tremblay delivers a natural performance as the eponymous hero of the story, lending his youthful voice to a boy who gradually learns to stifle his fears and pursue his dreams. Tremblay plays perfectly off of Jack Dylan Grazer's over-confident, secretly insecure Alberto, creating an amusing dynamic. Voicing the fiery Giulia, Emma Berman is appropriately full of pep. Slightly over-the-top, Saverio Raimondo imbues the bully Ercole with almost too much smarm. Maya Rudolph and Jim Gaffigan's opposing comedic stylings are perfectly fit Luca's high-strung mother and laid-back father. The film also features Marco Barricelli as Giulia's taciturn father with a heart of gold, Sandy Martin as Luca's knowing and subtly supportive grandmother, and Sacha Baron Cohen as the bizarre anglerfish Uncle Ugo.

Luca is a real crowd pleaser, full of joy and emotionally resonant where it counts. A brisk ride through an idyllic Italian summer setting, it is a heartwarming if rather modest picture greatly elevated by Pixar's customary top quality artistry. Its small-scale story of friendship and overcoming fear as an outsider isn't the most dramatic narrative by modern animated feature standards, though it may be a richer allegory than expected for audiences who care to read into it.


POST-CREDITS STINGER
Uncle Ugo monologues about life in the deep to a lost sheepfish.


A113
Luca's train ticket to Genova is ticket number A113


PIXAR INTERCONNECTIVITY
- The ball from 1986 Pixar animated short Luxo, Jr. appears on the roof of one of the buildings during the triathlon sequence

- A Pizza Planet Piaggio Ape appears during the final rainy stretch of the triathlon


FRAGMENTS
- The film is credited as "produced in our slippers around the bay area" in reference to how the picture was produced remotely by Pixar staff during the COVID-19 lockdown of 2020

- Luca's surname is Paguro which means "hermit crab" in Italian, while Alberto's is Scorfano which means "scorpionfish"

- The town of Portorosso is named after Hayao Miyazaki's 1992 film Porco Rosso

- 94608, the number on the train to Genova, is the zip code for Pixar Animation Studios in Emeryville, California

Posted by
Labels: , ,
Subscribe to: Posts (Atom)