Wonder Woman (2017)

Director: Patty Jenkins

Starring: Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen, Elena Anaya

For as long as we can remember, superhero films have featured protagonists whose motivations consist primarily of a combination of two things: 1) a natural enemy to defeat and 2) someone whose death they feel compelled to avenge. #2 comes around a little less often than #1, but the fact remains that the hero is focused on defeating the villain. #1 is no different in the case of Wonder Woman, as she was born and bred for this purpose. But there is much that is different about her. Apart from Marvel’s Thor, Wonder Woman is unique in that she is the offspring of a god. Having the powers of an immortal god could have easily led to her imposing her will on all of humanity. But that’s not Wonder Woman’s style. She is not the sort who would destroy entire cities to end a threat, or perform a memory wipe on someone just to remove the burden of having to shield them 24/7. What truly helps Wonder Woman to stand out among the crowd is her unwavering desire to save people.

In 2017 Paris, Diana Prince (Gal Gadot) stares at an old photograph of herself and others from a century ago, recovered for her by newfound friend, Bruce Wayne, a.k.a. Batman. Her memories of a long ago era take her back first to her youth on the island of Themyscira, where she was one among the many of Amazonian warrior women who lived there. The island is obscured from the rest of the world for their (and, more specifically, Diana’s) own protection. Despite the objections of Queen Hippolyta (Connie Nielsen), Diana begins training for a battle yet to come. That battle, against Ares, the god of war, is one that Zeus (Ares’s father) believed was inevitable, and thus he created Diana through Hippolyta. In Hippolyta’s sister, General Antiope (Robin Wright), the greatest of all warriors on Themyscira, Diana could find no better teacher. Princess Buttercup is a general, now. How cool is that?!

Trouble arrives when a German plane piloted by American spy Steve Trevor (Chris Pine) crashes into the water just off the coast of Themyscira. Diana saves Steve, but he was followed, and although the ensuing German assault is soundly defeated, Antiope is killed. The Lasso of Truth forces Steve to reveal the nature of his mission: the theft of a notebook from the laboratory of Doctor Poison (Elena Anaya), who is developing mustard gas for the Germans, which indicates the plans to start a higher form of warfare. The Amazonians, up to now, had no idea that World War I was going on around them. Diana believes that this is a sign of Ares’ return, that he is posing as German General Erich Ludendorff (Danny Huston), and that it is her duty to find and defeat him.

Having no experience with the outside world, Diana is unaccustomed to a society where women have no say in any matters of importance. As such, there are many awkward moments, both in trying to assert herself and in trying to look the part of a woman living in the 1910s. Perhaps the best example of this is when Diana attempts to walk out onto the streets of London whilst carrying both her sword and shield. Not exactly the type of thing that would help her to “blend in”! At the War Council, Steve barges in and delivers the notebook, but is barred from taking any further action. An armistice with Germany is in the works, and they don’t want anything mucking it up. Steve is a soldier, and as such is willing to (reluctantly) accept orders once they are given, but Diana (whom Steve has introduced as Diana Prince) sees only foolishness in failing to act. One member of the council, Sir Patrick Morgan (David Thewlis) agrees to help them covertly.

After putting a team together, Steve and Diana head for Belgium. At the Western Front, the team finds what appears to them to be an impasse. In what has to go down as the movie’s greatest scene… perhaps one of the greatest scenes of ANY superhero film… Diana climbs from the trenches and walks through No man’s land, using her bracelets and her shield to deflect all incoming enemy fire. This moment is as breathtaking as it is inspirational. A village is liberated, and the photograph from the film’s opening scene is taken. Afterwards, Steve and Diana share a moment of intimacy. Alas, though the battle may be won, the war is far from over.

Diana tracks down and attempts to kill Ludendorff, but Steve stops her, believing that their mission to stop the gas attack would be compromised. Ludendorff subsequently orders a test of the gas on the very town which Diana and Steve just rescued. Distraught by the senseless loss of life and beginning to lose her faith in humanity, Diana lashes out at Steve and continues her pursuit of Ludendorff. Finding him once again, Diana does not fail in her mission to kill Ludendorff, yet she is puzzled. If Ares is now dead, why then does the war continue? That question is answered quickly. Out of nowhere, Sir Patrick appears, declaring himself to be Ares.

All along, Diana has assumed that Ares has been controlling the thoughts and actions of the Germans. In an attempt to simultaneously break her spirit and cause his sister to join him, Ares explains to Diana that he hasn’t deprived humanity of its free will, that it is they who choose to be evil. While this is going on, Steve pilots a plane carrying the mustard gas high into the sky where, in an act of self-sacrifice, he can detonate it safely. Despite some cheer-leading from Ares, Diana chooses not to murder a defenseless Doctor Poison, instead reassured and inspired by Steve’s final words to her as well as his final act, both of which were born from love. It is through the power of love… Diana’s love for Steve and for all of humanity… that Diana is able to summon the energy that has always existed within her to ultimately defeat her brother, once and for all.

Wonder Woman was already recognizable as being (easily) the best part of 2016’s Batman v Superman. As the star of her very own movie, the Princess of Themyscira makes 2017’s Wonder Woman one of the very best superhero movies ever made. Apart from the rather timely message of love conquering hate, Wonder Woman also features terrific set design (owing to its World War I setting), a great supporting cast (in which Chris Pine is the standout), and a powerful score by Rupert Gregson-Williams. Not since John Williams’ Superman (1978) and Danny Elfman’s Batman (1989) scores has a superhero been blessed with such appropriate music, particularly the track “Wonder Woman’s Wrath.” Incidentally, when Wonder Woman returns in Fall 2017 for Justice League, Danny Elfman will provide the music.

Finally, there’s Gal Gadot herself. A former Israeli model who owes her first big break in Hollywood (2011’s Fast Five) to actor Vin Diesel, Gadot’s hiring for Wonder Woman was widely criticized. So was Michael Keaton for 1989’s Batman, as well as Heath Ledger for 2008’s The Dark Knight. Unfairly, Gadot’s criticism had more to with her body shape than anything else. Gadot turned out not just to be a good choice, but a perfect choice. Like those before her who’ve entered the superhero genre and succeeded as mightily as Gal Gadot has with Wonder Woman, Gadot’s name will forever be synonymous with her character. For as long as Gadot wields the Lasso of Truth as Diana Prince, I will always be appreciative of what she brings to the table.

Suicide Squad (2016)

Director: David Ayer

Starring: Will Smith, Jared Leto, Margot Robbie, Joel Kinnaman, Viola Davis, Jai Courtney, Jay Hernandez, Adewale Akinnuoye-Agbaje, Ike Barinholtz, Scott Eastwood, Cara Delevigne

When the character of Harley Quinn first arrived on the scene in 1992’s “Batman: The Animated Series,” I never would have guessed that she would become a part of the comic book lineage as well, nor that she would ever be anything more than a throwaway sidekick/love interest for the Joker whose very presence undermined the more famous supervillain. Since that time, it had always been my belief that the Joker was better off without being tied to Harley Quinn. Now, with the release of Suicide Squad in 2016, I am left to wonder if the opposite can’t also be true.

The events of Batman v. Superman have (at least temporarily) led to a hole in the Earth’s protection against threats it can’t handle alone.  Enter the Suicide Squad: DC Comics’ version of The Dirty Dozen. This ragtag group of misfits and criminals who’ve been jailed by the likes of Batman, the Flash and others are recruited against their will by Amanda Waller (Viola Davis). Waller is tough as nails, takes no crap from anyone, and has as much of a mean streak as any of her new “recruits” do. All except for one: The Enchantress (Cara Delevigne), an ancient witch with god-like powers which has attached itself to the mind and body of Dr. June Moone. Enchantress doesn’t much care for being imprisoned and paraded around by mortals, so she bolts the first chance she gets and sets off on her plan to destroy the human race, with an assist from her brother, Incubus.

Even though it’s a mess of her own creation, Waller expects the Suicide Squad to clean it up for her, adding that she’s had nano-bombs implanted in each of their necks. Captain Boomerang (Jai Courtney) incorrectly calls her bluff, leading to an attempted escape by team member Slipknot, who is quickly killed as a demonstration. Captain Boomerang and the others acquiesce and follow the lead of Col. Rick Flag (Joel Kinnaman), who unbeknownst to them is the lover of Dr. June Moone. The rest of the Suicide Squad includes Harley Quinn (Margot Robbie), Deadshot (Will Smith), El Diablo (Jay Hernandez) and Killer Croc (Adewale Akinnuoye-Agbaje).

The group’s mission is a simple extraction. Turns out the person in need of removal from the city is Waller herself. In the meantime, the Joker (Jared Leto) has come to free Harley. Having arranged for her implant to be disabled, the Joker steals a helicopter; the very one that was meant for the team’s extraction. Harley boards the helicopter, but falls out when it takes fire from Waller’s men. Deadshot is ordered to kill Harley, but he intentionally misses. The helicopter goes down, leading Harley to assume the Joker is dead.

Citizens and military personnel under the Enchantress’s control kidnap Waller, while Deadshot gets a hold of Waller’s confidential files, revealing the truth of the mission and Flag’s connection to it. Flag relieves the team of their obligation, and they all find the nearest bar. After downing a round or two (or three), they regroup and decide to take on the Enchantress anyway. Deadshot has the biggest motivation to do so, as he has a young and impressionable daughter who was present the night he was captured by Batman, and whom he wants to think highly of him.

The team climbs a long flight of stairs like in the original Ghostbusters, and gear up for the fight against Enchantress and Incubus. Diablo takes on Incubus alone. With the aid of explosive charges, Incubus is defeated, though not without the self-sacrifice of Diablo. Enchantress is not so easily handled, in fact she is nearly invincible. Ultimately, Harley Quinn acts as a distraction, pretending to have interest in joining the Enchantress’s cause. Instead, Harley Quinn cuts out the Enchantress’s heart. Acting as a team, Killer Croc then tosses an explosive into Enchantress’s doomsday weapon, while Deadshot fires the shot that destroys it. Flag then takes the heart and threatens to crush it unless June is brought back. Enchantress defiantly dares him to do it, even though it means her death. Flag is despondent, believing his lover dead, but she arises from the Enchantress’s carcass (yet another Ghostbusters nod).

The group is ready to disperse back into society, when a very much alive Waller emerges, still holding her finger on the kill button connected to the implants in their necks. Relunctantly, each returns to their cells, though not without special requests. Deadshot is allowed supervised visitations with his daughter. Harley Quinn, enjoying her new espresso machine, is broken out of prison by the Joker.

Like Batman v. Superman, Suicide Squad is a deeply flawed superhero film. The flaws begin almost immediately, as the audience is besieged by a soundtrack that can best be described as an amateur mixtape. Nearly the entirety of the first 45 minutes plays out like an elongated series of mini-music videos. Spread out, this wouldn’t be a problem, but there’s no chance for anyone to take a breath. Every character introduction requires another song.

Let’s talk about the characters in this movie. Of the main cast, only a handful has what one would call development. Viola Davis and Will Smith are both reliably good. Joel Kinnaman plays the conflicted hero role well enough. Jay Hernandez’s El Diablo is a decent tragic figure. On the other hand, Jai Courtney, Adewale Akinnuoye-Agbaje, Adam Beach and Karen Fukuhara are disposable as Captain Boomerang, Killer Croc, Slipknot and Katana.

Hands down, this movie belongs to Margot Robbie and her definitive performance as Harley Quinn. Robbie’s Harley is equal parts sexy, funny, and batshit crazy. More Harley is wanted, and more Harley is what we’ll get in both Gotham City Sirens and a Suicide Squad sequel. What I’m hoping to see as little as possible of in the future is Jared Leto’s Joker. Less psychopathic and more just plain weird, Leto’s performance takes up maybe seven minutes of actual screen time here. More footage was left out of the Theatrical Cut (I assume some is reinserted into the Extended Cut). Despite the insistence of Jared Leto and director David Ayer, I can’t imagine any more of this person masquerading as the Joker doing anything but harm the movie even further.

The plot itself is copied and pasted from other capers, superhero flicks and comedies, with a villain that is far too weak to be an ancient immortal god/witch. Fault in the Enchantress’s threat level may lie simply in the casting of supermodel-turned-actress Cara Delevigne. A flaw like this might have been overlooked had the Suicide Squad itself not been short on character development. Ultimately, Suicide Squad represents a step up from the mostly disastrous superhero films of a generation ago, but stands as below average in the same genre of today.

Batman v Superman: Dawn of Justice (2016)

Director: Zack Snyder

Starring: Ben Affleck, Henry Cavill, Amy Adams, Jesse Eisenberg, Diane Lane, Laurence Fishburne, Jeremy Irons, Holly Hunter, Gal Gadot

As a comics reader, I’ve always been more of a Marvel fan. The same is true of the movies… for the most part. There have been exceptions to that rule, of course, notably with DC’s adaptations of Alan Moore classics V for Vendetta and Watchmen. The big-screen escapades of DC’s two most popular characters, Batman and Superman, have also piqued my interest on occasion. Of the two, Batman, being a man who has no superpowers to fall back on, is infinitely more relatable than the Last Son of Krypton.  So, of course, when it comes to a showdown between the two, I would always choose the side of the Caped Crusader. Not to mention the fact that I can count seeing Tim Burton’s 1989 Batman at the age of 7 as the event which changed me from a casual viewer to full-blown fan of movies. From 1978 to the present day, each hero’s cinematic ride has experienced the highest of highs, and (extremely) lowest of lows. 2016’s Batman v. Superman falls into neither category.

After a brief opening credits sequence which features what feels like the millionth depiction of the murders of Thomas and Martha Wayne (played by “The Walking Dead” co-stars Jeffrey Dean Morgan and Lauren Cohan), the action moves to the climactic battle sequence from the end of 2013’s Man of Steel, where Superman (Henry Cavill) winds up causing more destruction in Metropolis than he is able to prevent in battling General Zod (Michael Shannon). Only, this time, we witness the battle from the perspective of Bruce Wayne (Ben Affleck).

One cannot watch this sequence without automatically thinking of 9/11, and that’s what makes this the most effective part of the movie. It also helps to establish a motive for Bruce Wayne/Batman to see Superman not as a guardian of Earth, but as a threat against it. Bruce, who has been at this superhero gig for a while now, is using a much more harshly defined sense of justice these days, which provides Clark Kent/Superman with reason to voice his opinion on the matter via Daily Planet articles.

Unlike the Superman of the 1980s, who somehow was able to convince the leaders of the world to allow him to rid the Earth of nuclear weapons, this version of Superman has a hard time assuring the U.S. government that he has our best interests at heart. He is even compelled to appear before a Senate committee hearing on the subject. Unfortunately, the hearing is interrupted by a suicide bomb, which kills everyone in attendance, including Senator June Finch (Holly Hunter). Everyone, that is, except for Superman. As it happens, this event, along with the seeds of doubt pitting Batman and Superman on opposing sides, have all been orchestrated by the unhinged head of LexCorp, Lex Luthor (Jesse Eisenberg).

Behind the scenes, Luthor has been very busy, collecting a Kryptonite sample, acquiring both Zod’s corpse and his spaceship, and also investigating the existence of metahumans. Bruce Wayne acquires both the Kryptonite and the info on meta-humans, the former to be used as a deterrent against Superman. The latter reveals to him four individuals with extraordinary gifts: the super-speedy Barry Allen/The Flash (Ezra Miller), the underwater-dwelling Arthur Curry/Aquaman (Jason Momoa), the part man, part machine Victor Stone/Cyborg (Ray Fisher), as well as Amazonian Princess and daughter of Zeus, Diana Prince/Wonder Woman (Gal Gadot). Bruce is already familiar with Diana, having bumped into her at a party at LexCorp. He only needs the one meeting to be able to sense that there is more to her than most men would notice.

Diana is also interested in the meta-human file, though only for a specific photo which she claims belongs to her. Bruce shares the file via e-mail, noting that this grainy black & white image from a century ago is not merely her possession, but is in fact a record of her involvement in the events of World War I. I reserve any further commentary on the matter, as the movie does, for 2017’s Wonder Woman.

The film’s promised fight finally gets underway thanks to Lex’s maneuverings, the final piece of which is the kidnapping of Martha Kent (Diane Lane), which will ensure that Superman fights Batman at Lex’s bidding, lest Martha meet a fiery end. So the two heroes fight, with Batman using Kryptonite as a means to level the playing field. Eventually, Batman gains the upper hand, but is startled by the notion that Superman’s adoptive mother and his own dead mother share the same first name. For most who have seen this movie, this scene is one of the most heavily scrutinized. It’s the jarring transition from beating the hell out of each other to suddenly being best buds which earns that criticism.

So, Batman volunteers to save Martha while Superman goes to confront Luthor. Unable to accept defeat, Luthor unveils his Plan B: the Kryptonian abomination known as Doomsday. It takes the combined efforts of Superman, Batman and Wonder Woman to provide adequate defense against the monster, but only Kryptonite can kill it, and the only fragment left was used by Batman to form a spear. It falls to Superman to find and use the spear, but because of his own weakness to the shiny green rock it leaves him just as vulnerable, and thus Superman and Doomsday simultaneously kill one another.

An epilogue, which is mainly a teaser for the forthcoming Justice League movie, shows Batman confronting a deranged Luthor in prison, who warns of the imminent arrival of supervillain Steppenwolf (whose actual name is never mentioned), leaving Bruce Wayne with the sense that, soon, the meta-humans will be compelled to answer the call to battle. Meanwhile, a funeral is held for Superman, who is recognized in death as the hero he was never fully appreciated as in life. But there are indications that he may not be totally dead just yet…

Batman v. Superman is a fundamentally flawed movie, which is pretty much par for the course with Batman and Superman’s movies (except for 2008’s The Dark Knight). It gives us a terrific Bruce Wayne/Batman (not to mention a decent Alfred as performed by Jeremy Irons), and a not-so-great Superman. The battle scenes are great, but character behavior/motivation is a problem. Particularly depressing is the portrayal of Superman not as the ray of hope he’s been known as through the majority of his existence since 1938, but as a dark, brooding character. That’s supposed to be Batman’s territory! The whole point is for them to have two wildly contrasting outlooks on the world and life in general.

So desperate was DC to compete with Marvel Studios that it got a little too greedy. It’s never a good idea to cross pollinate two completely different comic storylines into one movie. 2006’s X-Men: The Last Stand did the same thing. So did 2007’s Spider-Man 3. All it does is undermine both arcs. If you’re gonna throw in “The Death of Superman” right after his first meeting with Batman, that’s fine. A little weird, but okay. What you shouldn’t do is pass off their chronologically final confrontation from the comics (“The Dark Knight Returns”) as their first in this movie. It’s rather jarring.

This movie is neither fantastic, nor fantastically awful, although it is clear that this wasn’t the best way to introduce the DCEU (DC Expanded Universe). One thing that Batman v. Superman got fantastically right is its portrayal of Diana Prince/Wonder Woman. Even her theme music is badass! The scene-stealing Gal Gadot’s performance is spot-on; so much so that, by herself, Wonder Woman gave hope that her own adventure might just give DC the boost it needed after this misstep. But that, as I said, is a subject best left for another film review.

Captain America: Civil War (2016)

Directors: Anthony Russo & Joe Russo

Starring: Chris Evans, Robert Downey, Jr., Scarlett Johansson, Sebastian Stan, Anthony Mackie, Don Cheadle, Jeremy Renner, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Paul Rudd, Emily VanCamp, Tom Holland, Frank Grillo, William Hurt, Daniel Brühl

For the last eight years, since the inception of the Marvel Cinematic Universe, the clear favorite in terms of an individual character has been Tony Stark/Iron Man. But, in truth, his movies have only been as good as their lead actor. Remove Robert Downey, Jr. from the equation, and the “Iron Man” franchise is left with mostly average stories to tell. On the other hand the “Captain America” franchise, while it too needed the right guy in the pivotal role, has been less dependent on Chris Evans than its great storytelling. Steve Rogers’ journey from movie to movie has been unlike any that his fellow Avengers have experienced, and none have thus achieved the personal growth that Steve has. That streak continues in “Captain America: Civil War.”

Avengers team members Steve Rogers/Captain America, Natasha Romanoff/Black Widow (Scarlett Johansson), Sam Wilson/Falcon (Anthony Mackie) and Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) prevent the theft of biological weapons material in Lagos, Nigeria, but at too high a price. The terrorist Brock Rumlow (Frank Grillo), an enemy of Cap’s left over from “Captain America: The Winter Soldier,” chooses death by suicide bomb over being captured. Wanda does her best to contain the blast, but it still levels a nearby building, resulting in the deaths of many civilians. The team is later paid a visit by Secretary of State Thaddeus Ross (William Hurt) who lets them know that the United Nations are drafting a resolution which, when passed, will give the UN control over exactly when and where the Avengers can do their world policing. The news fragments the team philosophically, especially when Tony Stark/Iron Man reveals his intention to sign the accords. Stark is more motivated than most given that it was his creation, the artificial intelligence known as Ultron, which destroyed the Eastern European nation of Sokovia (Wanda Maximoff’s home country) only one year prior. Steve, whose once unyielding faith in his government has become irreparably shattered by mounting betrayals, outright refuses to sign.

Natasha attends the meeting in Vienna where the accords are meant to be finalized, and in the process meets King T’Chaka of Wakanda… whose country suffered several casualties in the incident in Nigeria… and his son, Prince T’Challa/Black Panther (Chadwick Boseman). Another terrorist bombing claims the life of the King, and evidence points to Rogers’ old friend Bucky Barnes (Sebastian Stan) a.k.a. the Winter Soldier, a former Hydra sleeper agent who still has yet to shake off his brainwashing. With the limited evidence at hand, T’Challa vows revenge while Steve wants to bring his friend in before the authorities make good on their threat to shoot on sight. The ensuing battle, which also includes Sam Wilson, leads to all four superpowered men being placed under arrest.

Meanwhile, unbeknownst to Earth’s Mightiest Heroes, a Sokovian named Helmut Zemo (Daniel Brühl) is in the process of setting his own sequence of plans in motion. He kills the man he used to pose as Barnes for the Vienna bombing as well as Barnes’ former Hydra handler. Next, Zemo maneuvers his way into the Berlin holding facility where Bucky is being held and poses as an interrogating officer. There’s something locked away inside Bucky’s mind… something having to do with a mission he’d performed as the Winter Soldier in 1991… that Zemo needs to know about. Once Zemo gets what he needs, he activates Bucky’s brainwashing to cover his own escape. Eventually, Steve is able to subdue and extract his friend, and discovers what information Zemo was after: the location of a base in Siberia where other Winter Soldiers are currently in cryostasis.

Unwilling to submit to the whims of government approval, Steve assembles the members of the Avengers whom are sympathetic to his cause and they head for the airport. In addition to Rogers, Barnes, Wilson, and Maximoff, this team also includes Clint Barton/Hawkeye (Jeremy Renner) and Scott Lang/Ant-Man (Paul Rudd). A government-approved team of Avengers intercepts and engages them. Led by Tony Stark/Iron Man, this team includes Natasha Romanoff/Black Widow, T’Challa/Black Panther, James “Rhodey” Rhodes/War Machine (Don Cheadle), the Vision (Paul Bettany), and Peter Parker/Spider-Man (Tom Holland), the latter of whom Tony traveled to Queens, New York to recruit. Why Tony couldn’t have made a stop in nearby Hell’s Kitchen while he was at it is beyond me… The resulting spectacular battle results in most of Team Captain America being arrested, while Steve and Bucky escape to Siberia. Team Iron Man, meanwhile, suffers one casualty: An errant blast by the Vision results in Rhodey being partially paralyzed. Natasha, who fought for Tony’s team, regardless must flee after facilitating Steve and Bucky’s departure.

Tony follows Steve and Bucky to Siberia, with T’Challa stealthily trailing behind. There, the other super soldiers are discovered dead, each of them shot through the head by Zemo while still in cryostasis. Zemo doesn’t want an army of super soldiers. Hardly. All he is interested in is revenge against the Avengers for the death of his family, casualties of the team’s climactic battle with Ultron in “Avengers: Age of Ultron.” He means for the team to fall apart from within. Aided by footage of a grim 1991 incident, meaningful to Tony and perpetrated by a brainwashed Bucky, Zemo’s plan succeeds. With Tony pitted against Steve and Bucky, the three are nearly killed in the ensuing fight, and wind up going their separate ways. Meanwhile, satisfied that his plan has worked, Zemo moves to attempt suicide, but is halted by T’Challa, who declares that he has decided to forego revenge for his father’s death. It is also strongly implied that T’Challa aids in the jailbreak of Steve’s team, thus turning them into what Marvel Comics fans will recognize as the “Secret Avengers.”

The same shades of grey that drove “Captain America: The Winter Soldier” exist here. Certainly we all have our favorite between Tony Stark/Iron Man and Steve Rogers/Captain America, but in the story presented in “Captain America: Civil War,” it’s not as easy to take sides as you might think. None of the heroes come off as being entirely righteous. Sure, everyone means well, but they are all of them misguided. Even Helmut Zemo, the film’s antagonist, is not your typical black hat villain. Has he done horrible things? Certainly. But he is not an entirely unsympathetic character either, which is more than you can say for most of Marvel’s one-and-done bad guys.

“Captain America” is a rarity among superhero franchises. Unlike most which find themselves starting to decline by the third chapter, this one has only gotten stronger. 2011’s “Captain America: The First Avenger,” by virtue of being a WWII-era adventure, remains Marvel’s most aesthetically pleasing film. However, in terms of scale, character-growth, and for what it symbolizes in regards to securing the future of the ever-expanding Marvel Cinematic Universe, none has more successfully dotted its I’s and crossed its T’s than “Captain America: Civil War.” In fact, it is the new faces which are the most enjoyable parts of this movie. Whatever degree of interest I had in “Spider-Man: Homecoming” and “Black Panther” was magnified by the impressive appearances of Peter Parker and T’Challa in “Civil War.” In particular, Tom Holland’s wisecracking teenage Peter Parker is really spot-on. I look forward to more from him and Aunt May (Marisa Tomei, who also has a short scene). More time is needed to be able to tell how well that “Captain America: Civil War” will hold up against repeat viewings, but I foresee no problems for this, one of Marvel’s greatest cinematic achievements.

The Incredibles (2004)

Director: Brad Bird

Voices of: Craig T. Nelson, Holly Hunter, Sarah Vowell, Spencer Fox, Jason Lee, Samuel L. Jackson, Elizabeth Peña, Brad Bird

Can it be that I’ve gone almost three years on this page without reviewing a single animated film? Shocking. The truth of the matter is that I just don’t watch them with the frequency that I once did. Even more surprising is the fact that it’s taken until now for me to have seen 2004’s “The Incredibles” for the first time. Given my love for superhero films in general, that made no sense at all. More to the point, with the premiere of “Captain America: Civil War” only hours away, now seemed like as good a time as any to give “The Incredibles” a look. I’ve spoken often of my disdain for movies with misleading titles. False advertisement really bugs the hell out of me. That’s not a problem here. This superhero family is exactly what they say they are.

In a situation not unlike the one about to befall the heroes of the Marvel Cinematic Universe, mounting incidents have begun to sway public opinion against superpowered humans, or ‘supers’ for short. As the lawsuits continue to pile up, the government finally steps in and forces the ‘supers’ into retirement. Some find civilian life a lot harder to handle than others. Fifteen years pass, with Bob and Helen Parr (Craig T. Nelson and Holly Hunter) having officially renounced their powers of super-strength and super-elasticity, and are now married with three children. Helen, the former Elastigirl, wants to live as normal a life as she can even as her two oldest children now exhibit superpowers of their own. Bob, on the other hand, can’t let go of his glory days as Mr. Incredible.  Carrying on the facade of an ordinary man with a desk job, Bob still moonlights as a vigilante with his old friend Lucius Best, a.k.a. Frozone (Samuel L. Jackson). Bob is still so tuned into the seedy goings-on around him that he puts his boss through several walls when he is prevented from putting a stop to a mugging. Naturally, this causes Bob to lose his job, not that he lets Helen know about it.

Bob’s luck seems to change almost instantly, as he is coaxed into resuming his role as Mr. Incredible and given a mission by a woman named Mirage (Elizabeth Peña). He goes to a remote island to destroy a giant robot without knowing from whom this mission came from. Bob doesn’t seem to care so long as he’s free to be himself again. He gets a brand new suit from his old costume designer, Edna Mode (director Brad Bird), who also makes matching costumes for Helen and children Violet (Sarah Vowell) and Dash (Spencer Fox). Back on the island, Bob discovers the ugly truth: His new missions are all a sham devised by a jilted fan-turned-enemy. Years ago, Mr. Incredible had been dogged one night by a kid looking to become his sidekick. Mr. Incredible refused. Buddy Pine (Jason Lee) has since grown up into the disturbed, technology-dependent supervillain Syndrome. Buddy’s great scheme is to eliminate all existing ‘supers,’ trick the public into accepting him as a heroic figure by defeating one of his own robots, and then subsequently sell his technology. Thus, once everyone is a ‘super,’ this will be recognized as the new ‘normal.’

With Bob captured, Helen pilots a jet to the island, not realizing that Violet and Dash have stowed away. Though they are children and are sneaky little devils, it is also true that Violet has the powers of invisibility and Dash… naturally… has super speed. So both will come in handy, especially once their plane is detected and shot down. Thinking his family dead, Bob threatens to kill Mirage, a proposition to which Buddy seems indifferent. Not surprisingly, this will lead later to Mirage helping the Parr family escape together. With the help of Lucius, they destroy Buddy’s robot, but their nemesis eludes them, heading to the Parr household to kidnap their infant son Jack-Jack. His plan now is to raise the boy as his evil sidekick. Jack-Jack, once thought to be the only normal member of the Parr family, finally manifests his own powers, that of shapeshifting. As Helen comes to Jack-Jack’s rescue, Bob kills Buddy by hurling the family car at him, causing Buddy to get sucked into the turbine of his getaway plane.

Made before the superhero genre had kicked into the high gear it has enjoyed since 2008, “The Incredibles” works fantastically as an animated film that could just as easily have been a big-budget live-action phenomenon. It’s also a better “Fantastic Four” movie than any of the existing turds which have sullied the good name of one of my favorite comic series. I think first and foremost of “Watchmen,” (from which this movie takes some cues) as another example of a superhero story I’ve read/seen where the costumed vigilantes have arrived at a point in their lives where they are trying to adapt to normal life, which is an interesting concept that “The Incredibles” plays with quite well.

Beyond the great writing and the terrific voice actors, what really makes “The Incredibles” FEEL like a great superhero movie is Michael Giacchino’s wonderful score. As I watched the film, I found it to be close to the kind soundtrack that I would expect to hear in a movie either made or set in the 1960’s. That’s no accident, as I came to find out. In fact, Brad Bird is a fan of both comics and spy movies from that decade, and his first choice to compose the soundtrack for “The Incredibles” was John Barry (who, sadly, declined). Furthermore, in the theatrical trailer for “The Incredibles,” a remix of the first few notes of Barry’s theme from “On Her Majesty’s Secret Service” can be heard. Purely by coincidence, OHMSS was the sixth James Bond film just as “The Incredibles” was Pixar’s sixth full-length animated feature. An “Incredibles” sequel is planned for a 2019 release. With the landscape of the superhero genre constantly evolving, one wonders what type of world the Parr family will find themselves in when next we check in on them.

Ranking the James Bond Films

One thing you’ll never catch me doing on this blog is using star ratings. It’s not that I don’t believe in them. I just find them a bit too arbitrary for my own taste. Opinions can change so fast that you could give two or three stars to a film that you later realize is an all-time classic. I normally avoid making lists of rankings for similar reasons. Apart from how my own thoughts are subject to change, that’s nothing compared to how different others would think the same list should look. But then that’s kind of the point, isn’t it? The subjectivity of it all?

Besides, when you have a series of films with the kind of history that the James Bond franchise has enjoyed… and the wide range in quality it has experienced over 50+ years… that makes it the perfect candidate for a list such as this. Never having the pleasure of watching the entire series back-to-back before now, it’s been quite a trip through time. There were at least two, possibly three which I’d never seen before. Others I hadn’t seen in a long time. There are those which I almost know by heart and love very much, and some which at times tested my sanity. Through it all, the most unexpected of events took place: The James Bond series has within the space of the last month or so turned into my favorite film franchise! Without any further delay, here they all are, ranked by level of my own personal enjoyment, counting from 24 up to Number 1.

24. A View to a Kill (1985)

Having Christopher Walken as the main villain ought to make any film enjoyable on some level. Not so much with “A View to a Kill.” Watching Grandpa Bond (58-year old Roger Moore) hop into bed with women young enough to be his daughters is too depressing to think about. The plot doesn’t help matters either. Much of the early portion of “A View to a Kill” has something to do with horse steroids. That’s funny, because the whole thing makes me feel as though I’m on Ambien.

23. Octopussy (1983)

As a matter of fact, I DID have to show off another image of Roger Moore dressed as a freaking clown! It really puts into perspective just how bad “A View to a Kill” is when “Octopussy” can make Bond look this ridiculous and still manage not to be the worst film in the series.

22. Die Another Day (2002)

Bad music. Bad CGI. Bad acting. Bad writing. Bad Halle Berry, too. Bad, bad, bad. The only good thing to come out of this frozen turd was that it eventually led to the hiring of Daniel Craig as the next James Bond.

21. Diamonds Are Forever (1971)

Yes, they are forever… and, sadly, so is this halfhearted effort from the guy who used to completely own the role of James Bond. That’s what happens when you do it all for the money. The only actual gem in “Diamonds Are Forever” is Charles Gray, who to this very day is still the best actor ever to play Ernst Stavro Blofeld.

20. The Spy Who Loved Me (1977)

This’ll probably be the one to raise the most eyebrows, seeing as how “The Spy Who Loved Me” is usually well-thought of, and considered by many to be Roger Moore’s best as Bond. Not by me. Moore and Barbara Bach don’t have near the amount of chemistry that their characters require, and the plot is way too familiar… something that’s probably less problematic if you’re watching this one as a stand-alone. I didn’t, so I can’t excuse it.

19. Moonraker (1979)

Stupid, bloody stupid movie. The first 2/3 are hard to watch under any circumstances. Jaws is brought back for a second go-round after “The Spy Who Loved Me,” only now he’s even more of a punchline than ever before. Poor guy belongs in a Road Runner cartoon. The outer space stuff in the last 1/3 is so beyond crazy that I actually end up liking this part of the movie… just because it had the balls to be this silly. Still doesn’t make “Moonraker” a good James Bond film.

18. The Man with the Golden Gun (1974)

Hey! I know what let’s do! Let’s take the two very best things about “The Wicker Man”… Christopher Lee and Britt Ekland… put ’em together again and set them up to fail. We’ll even throw in Tattoo from TV’s “Fantasy Island”! Still not enough? How ’bout we bring back Sheriff J.W. Pepper? You liked him the first time, didn’t you? …Well no, damn it, I didn’t! Ekland ends up looking like a stereotypical dumb blonde. Someone should have done some hard time for writing her that badly. But Christopher Lee is up to the challenge and pretty much carries “The Man with the Golden Gun” all by himself. Almost makes up for the things the movie gets wrong. Almost.

17. Tomorrow Never Dies (1997)

Pierce Brosnan’s second adventure as Bond is actually not half-bad. Certainly got a lot of help from his co-star, Michelle Yeoh. Bond’s cold-blooded murder of Vincent Schiavelli’s Dr. Kaufman is a true moment of fist-pumping satisfaction. But for whatever reason, Jonathan Pryce just isn’t all that threatening as the villain.

16. Quantum of Solace (2008)

One of the only truly disposable Bond films. It’d be further down on the list if it weren’t for Daniel Craig. Also kind of wish we’d gotten more out of Gemma Arterton’s Strawberry Fields (pictured with Craig) before her unfortunate demise.

15. Spectre (2015)

The only Bond film I had to go back and reassess after compiling this list. The good: some of the most spectacular action scenes of ANY Bond film. The mesmerizing: THAT dress! The so-so: the chemistry between James Bond and Madeline Swann. The not-so good: Bond and Blofeld’s familial connection, and the notion that Blofeld and SPECTRE were behind the plots of each of the first three Daniel Craig films. Still, all in all a damn good movie which I intend to see again sooner rather than later.

14. You Only Live Twice (1967)

So much build-up leads to such a crushing disappointment. Ernst Stavro Blofeld had existed only in the shadows for several of the preceding films, and all but the final twenty minutes of this one. “You Only Live Twice,” although it would never have been considered perfect, was pretty good right up until the reveal of Donald Pleasence (whom I otherwise love). Gone is the menace, replaced by a laughably defeatable wimp who can’t fire a kill shot at Bond when he has the chance to take it. Not that I’d actually want him to.

13. Dr. No (1962)

Another one that most fans would be likely to place higher. It’s a solid introductory chapter, but it’s just that there have been several others since with more high octane plots and Bond girls who have more to do than stand around, look beautiful and need rescuing.

12. The Living Daylights (1987)

The series had begun circling the drain until Timothy Dalton gave Bond back his balls in “The Living Daylights.” He won’t turn big and green, but you still don’t want to make this guy mad. Explosions were the name of the game in 80’s action films, and this one was more than willing to oblige.

11. The World Is Not Enough (1999)

Say what you will about Denise Richards, but man was she a hot one back in the late 1990’s! Still, Richards isn’t the big draw. That honor belongs to Sophie Marceau (pictured), the series’ second female main villain. As Elektra King, she’s also the only one to ever force Bond to kill an unarmed woman. That counts for a lot in my book.

10. Live and Let Die (1973)

Made in an attempt to cash in on the blaxploitation craze of the early 70’s, a few points are deducted for the needless creation of comic relief character Sheriff J.W. Pepper, played by Clifton James. I’m not gonna lie… The reason I love “Live and Let Die” as much as I do is easy to explain. Her name is Jane Seymour.

9. For Your Eyes Only (1981)

Without question Roger Moore’s best Bond movie, and the first true spy story in the series in quite some time. It works so well primarily because it forces its star to play against his perceived strengths. SPECTRE isn’t missed, not even after Blofeld (yes, we’re sure it’s him) is dropped down a smokestack in the prologue.

8. Thunderball (1965)

Claudine Auger (Domino) and Luciana Paluzzi (Fiona Volpe) provide the stunning eye candy, Adolfo Celi (Largo) provides the terrific Bond villain, and Tom Jones provides the ultimate Bond theme song. Could have gone higher on the list but for the the tedious underwater sequences.

7. Licence to Kill (1989)

Bond is out for revenge, and anyone he holds responsible is going through the meat grinder! Well, actually just henchman Benicio Del Toro. Bond has other methods for disposing of the rest of the slimy characters in this movie. The underrated “Licence to Kill” shows us a Bond without the pretense of professionalism, something we wouldn’t see to this extent again until the role was Daniel Craig’s.

6. From Russia With Love (1963)

In the end, for me, it’s all about the train. The fight between Sean Connery and Robert Shaw is such a classic that I need both hands to count the number of times it’s been redone… by the Bond series.

5. Goldfinger (1964)

This was the one that introduced me to Bond… James Bond. It’s also the one that set up the formula which the series has followed through most of its run. Only thing that doesn’t fire on all cylinders for me is the finale aboard Goldfinger’s plane.

4. GoldenEye (1995)

My favorite for a long time, it’s still a joy all these years later. Sean Bean made the most significant impact on me as the villainous Alec Trevelyan. Pierce Brosnan had one hell of a debut. But somebody else had a better one, and with the very same director…

3. Casino Royale (2006)

Back from the brink and kicking ass like never before! “Casino Royale” brought a dark tone the series had been in need of for a while. Daniel Craig doesn’t look like a guy who was just settling into the role. Still, it takes two to create chemistry, and the other element I speak of is Eva Green as Vesper Lynd. An amazing beauty with the talent to match, Green aids Craig in creating a modern classic. But Craig had yet another one up his tuxedo sleeve…

2. Skyfall (2012)

The dark tone from “Casino Royale” carries over into Craig’s third and best effort as Bond. It also made him my favorite James Bond. But, once again, he couldn’t have done it alone. Javier Bardem… What else can I say except that this guy is one outstanding actor! As the chaos-loving Raoul Silva, his vendetta against Judi Dench’s M turns Bond’s whole world upside down, and I kinda love him for it.

1. On Her Majesty’s Secret Service (1969)

How could #1 possibly have been anything else? I’ve said it before and I’ll say it again: Bond films are always best when they are dark and emotional. How much darker can you get than by having Bond fall in love and get married, only to lose the love of his life in a drive-by shooting perpetrated by his worst enemy? Gut-wrenching, brutal, and bloody brilliant. Every time I watch “On Her Majesty’s Secret Service,” I’m reminded of just why I fell in love with actress Diana Rigg. As Tracy, Rigg takes full command of each scene she’s in, making damn sure that you hang on her every word. Nothing has and nothing ever will beat this one.

Bondathon #24: Spectre (2015)

Director: Sam Mendes

Starring: Daniel Craig, Christoph Waltz, Léa Seydoux, Ben Whishaw, Naomie Harris, Dave Bautista, Andrew Scott, Monica Bellucci, Ralph Fiennes

A recurring line from “Skyfall” was “Sometimes the old ways are the best.” This was an observation which was backed up by several callbacks to previous films, as well as the simple method by which the major villain’s plot was finally put to an end. Taking a much less subtle, but at the same time far more traditional approach in telling its story is the 24th James Bond film, “Spectre.” As hinted by its very title, the criminal organization known as SPECTRE, makes its return after a 44-year absence from the franchise. There’s no hollowed-out volcano lair this time, but one should still have a pad and pencil handy to document all of the classic era references which are present, as “Spectre” more than any other Bond film is a movie made by fans for the fans. As such, it’s a fitting one to end a marathon with… just as I have done.

“Spectre” starts things off by giving us what will go down as the most spectacular prologue in the series’ history. James Bond (Daniel Craig) is in Mexico City carrying out one last order from the dearly departed M (Judi Dench). Unsanctioned by MI6 and the new M (Ralph Fiennes), Bond kills three men plotting a terrorist bombing, inadvertently demolishing an entire building by destroying the bomb and tossing the lead terrorist out the side of an airborne helicopter. Before doing so, Bond relieves the man of a sinister-looking ring with an octopus symbol on it. Additionally, although Sam Smith’s “Writing’s on the Wall” pales in comparison with Adele’s “Skyfall,” the accompanying visuals are as striking a main title sequence as any that we’ve seen from this franchise, and somewhat creepy on top of it all.

Grounded by the new M for his actions in Mexico City, Bond hasn’t finished his old boss’s mission just yet, travelling to Rome to attend the funeral of the man he tossed from the helicopter. Bond seduces the man’s widow, Lucia Sciarra (Monica Bellucci) for the purposes of gaining information about the late terrorist’s employer, which turns out to be SPECTRE. At the same time, M is butting heads with C (Andrew Scott), who considers the 00 Agent program antiquated and means to replace it with an Orwellian global surveillance network which he calls Nine Eyes. Bond, wearing the late Mr. Sciarra’s ring, attends a SPECTRE meeting where the organization’s head, Franz Oberhauser (Christoph Waltz) calls him out by name. Realizing his presence there has not merely been anticipated but planned, Bond escapes certain death at the hands of SPECTRE henchman Mr. Hinx (Dave Bautista). Afterwards, Bond enlists the aid of Miss Moneypenny (Naomie Harris), whom he asks to look into Oberhauser, a man whom Bond recognizes from his own past… and whom he previously believed to be dead.

In the meantime, Bond looks up his old enemy Mr. White (Jesper Christensen),  who now is slowly dying from thallium poisoning. Bond promises to protect White’s daughter, Madeline Swann (Léa Seydoux) in return for information. Prior to taking his own life with Bond’s gun, Mr. White tells Bond that Madeline will point him in the direction of L’Américain, which will then lead Bond to SPECTRE. Bond finds Madeline working as a doctor at a clinic up in the Austrian Alps… where one can only hope that no one is secretly plotting global takeover through germ warfare. The initial meeting between Bond and Madeline doesn’t go so well, and Bond is about to leave when he sees that Mr. Hinx has showed up to kidnap Madeline. Rescuing her, Bond introduces Madeline to Q (Ben Whishaw), who has used Sciarra’s SPECTRE ring to uncover a link between that organization and all of Bond’s previous tormentors: Le Chiffre, Dominic Greene and Raoul Silva. Finding Bond more trustworthy now, Madeline reveals that L’Américain is actually the name of a hotel in Tangier.

At L’Américain, Bond discovers a secret room where Mr. White had all kinds of information on SPECTRE’s operations, which includes the directions to a secret base out in the desert. Bond and Madeline travel to their destination by train, where they encounter Mr. Hinx one last time before Bond ejects him from the moving train car, apparently killing him. Afterwards, Bond and Madeline become intimate. Upon their arrival at the SPECTRE base, a few unsurprising facts are revealed. First,  SPECTRE is behind C’s Nine Eyes project. Duh! The ability to watch your enemy’s every move is just the sort of thing an evil criminal organization would spring for! Next, Oberhauser reviews his personal history with Bond. Oberhauser’s father served as Bond’s temporary guardian in the aftermath of his parents’ death. A jealous Franz would later kill his father over this and stage his own demise. This would allow Oberhauser to re-emerge with the identity of Ernst Stavro Blofeld and form SPECTRE.

*Sigh* You know, these movies always manage to do one aspect of the character of Blofeld poorly, and I think in “Spectre” it’s the reveal of his origin. It’s not a fatal flaw, mind you. In part because Mike Myers had already done the “he was your brother all along” angle with Dr. Evil and Austin Powers, it’s a little hard to take it seriously. There’s also a ridiculous device that Bond is hooked up to which can supposedly drill into and screw with parts of his brain. We see it working not once but twice, yet Bond is 100% fine afterwards. He and Madeline break custody and blow up the base (a magnificently HUGE explosion, by the way), and Blofeld is presumed dead. Of course he isn’t dead… just disfigured like the Donald Pleasence version of the character from “You Only Live Twice.”

While M and Q put a permanent stop to the plans of C, Blofeld captures Madeline and forces Bond to search for her through the ruins of the old MI6 building (abandoned after the attack in “Skyfall”), which Blofeld will thoroughly demolish with explosives in a matter of minutes. Though Blofeld insists that Bond must make a choice between saving his own ass and dying in the attempt to save Madeline, Bond gives those choices the finger by rescuing Madeline AND getting out of the building in time. Not only that, but Bond also shoots down Blofeld’s getaway helicopter. An injured Blofeld crawls from the wreckage. Instead of killing him as promised, Bond elects to throw away his gun and walk away with Madeline while MI6 takes Blofeld into custody.

The way that “Spectre” ends, it offers a convenient out for Daniel Craig should he indeed wish never to play James Bond again… an honor which none of the previous actors to play the role (whose tenures fizzled out) were awarded. I’ve already come up with my own shortlist for who I think should be the Bond girl for “Bond 25,” but I can’t even fathom who the next James Bond could be if Craig really is done. Replacing Sean Connery was tough enough, but Craig has raised the bar so impossibly high that I don’t envy whomever follows in his footsteps. Even Daniel Craig’s least effective entry, “Quantum of Solace,” is still a decent film compared to some of the turkeys of the 70’s and the 80’s.

I have my concerns about “Spectre,” but despite being the longest James Bond film, the pacing isn’t one of them. The whole thing is practically non-stop, grab-you-by-the-throat action. It loses a tiny bit of steam in the final act, but not a significant enough amount. Virtually abandoning the darkness that makes both “Casino Royale” and “Skyfall” so attractive, Bond is more confident even in the face of an imposing threat like SPECTRE. You never for a moment believe that he won’t win the day, which makes this Bond more like Sean Connery than he’s ever been before. Likewise, Ralph Fiennes’ portrayal of M is eerily reminiscent of Bernard Lee. Christoph Waltz is as terrific as Blofeld as I had expected him to be, and wouldn’t mind if he returned as he has teased that he might. Less effective is Léa Seydoux. She’s good, but I’m not sold on Madeline Swann as the girl that James Bond would consider leaving MI6 forever to be with.

A movie as big as “Spectre” pretty much demands repeat viewing. As this was my first, time will tell if my opinion on it changes at all. But I feel safe in saying that it’s one of the better films in the series despite not being in the caliber of either “Casino Royale” or “Skyfall.” As long as you’re not setting your expectations too high, anticipate no surprises and go in ready to have the kind of fun you had with the Bond of old, “Spectre” will not deceive you.

Bondathon #23: Skyfall (2012)

Director: Sam Mendes

Starring: Daniel Craig, Judi Dench, Javier Bardem, Ralph Fiennes, Naomie Harris, Bérénice Lim Marlohe, Albert Finney

It has been said that the darkest hour is just before the dawn, that you have to experience a fall before you can see the light at the end of the tunnel. For the James Bond franchise, on occasion, this has meant that the series has weathered a less-than-stellar entry just before being blessed by a magical one. “On Her Majesty’s Secret Service” followed the disappointing “You Only Live Twice,” “Casino Royale” stood the series back up on its feet after “Die Another Day” had knocked it down, and the forgettable “Quantum of Solace” was made up for by the mighty “Skyfall.”  This sentiment gets turned on its head when the same application is given to Bond himself. In each of the three superior films cited, Bond’s usual armor of invincibility is penetrated and he is forever changed by the experience.

After a breathtaking chase sequence from rooftops to a train in Istanbul, the prologue to “Skyfall” literally ends with James Bond (Daniel Craig) taking a fall, having been accidentally shot by Eve Moneypenny (Naomie Harris). He’d been trying to recover a stolen hard drive containing a list of MI6 agents currently undercover in the not-so-nice parts of the world. Not the sort of information you want leaking out, but leak it most certainly will. With Bond presumed dead and the mission a complete bust, M (Judi Dench) is the one who must shoulder the blame. It is suggested by Gareth Mallory (Ralph Fiennes) that she retire with grace and dignity. M would much rather clean up her mess first, but she’s got a long way to go before being able to do that. On the way back to MI6, M’s car gets caught up in traffic. She then receives a cryptic message on her computer just moments before witnessing an explosion at MI6 headquarters. Catching a CNN breaking news bulletin about the attack, a very much alive Bond resurfaces. Although he dismally fails the required physical and mental evaluations (which include a rather amusing word association test), M nevertheless restores Bond back to active service.

Following a lead provided by shrapnel removed from Bond’s shoulder wound, 007 tracks the hard drive thief to Shanghai where the man, named Patrice, is performing an assassination. Not only does Bond not prevent the murder, but the ensuing struggle leads Patrice to plummet to his death without revealing the identity of his employer. Among Patrice’s things, Bond finds a gambling chip, redeemable at a casino in Macau. Once there, Bond meets Séverine (Bérénice Lim Marlohe), a woman employed by the same person as Patrice. Séverine was curious to see who might be the one to cash in the casino chip. Working under duress and in fear for her life, Séverine promises cooperation if Bond agrees to kill her boss. Once Séverine has brought Bond to the private island her boss acquired for himself, the man reveals his identity as that of Raoul Silva (Javier Bardem), a disgruntled former MI6 agent with a personal vendetta against M. Silva worked for MI6 from 1986 to 1997, until being captured by the Chinese while pursuing an unsanctioned mission in Hong Kong. Feeling abandoned and betrayed, Silva has plotted his revenge ever since. Silva shoots and kills Séverine, but Bond uses the radio transmitter given to him by Q (Ben Whishaw) to signal for backup and takes Silva back to MI6 as his prisoner.

All is not as it seems, however. It turns out that Silva had intended all along to be caught so that he could attempt to kill M. Bond realizes this when Q foolishly attempts to access Silva’s computer, thereby allowing it to hack into MI6’s mainframe and free Silva from his cage. Dressed as an officer of the law, Silva and a few other armed men barge in on a public inquiry regarding the stolen hard drive and opens fire. Thanks to resistance from Bond, Mallory and Moneypenny, Silva is unsuccessful in his attempt to kill M, but hasn’t given up on his goal yet. Knowing this, Bond drives away with M in his 1964 Aston Martin DB5 and heads directly for his childhood home of Skyfall in Scotland. Intending to end the chase once and for all, Bond tells Q to leave a trail for Silva to follow. Sure enough, Silva and his men show up and start shooting up the place. Unfortunately, Skyfall is not as well-stocked with weapons as it once was, and Bond sends M through a secret passage with Bond family friend Kincade (Albert Finney) while he remains behind and booby traps the house. Bond joins them in the tunnel just in time as the explosion destroys the house and takes with it Silva’s helicopter, the villain watching in shock from a safe distance on the ground below.

A confrontation between Bond and Silva’s men results in the ice beneath their feet giving way. Satisfied that Bond has either been killed by his henchmen, drowned or frozen to death, Silva presses on to the chapel where M and Kincade are hiding out. Upon arrival, Silva discovers that M has sustained a gunshot wound during the battle, and attempts to force her into using his gun to fire a single bullet through both of their heads. Quietly, Bond enters the chapel and throws a knife into Silva’s back, killing him.Despite defeating his enemy, Bond has arrived too late to save M, who succumbs to her earlier wound and dies in his arms. For the orphaned Bond, losing M is like losing his mother all over again. An epilogue shows off a more old school MI6… with Miss Moneypenny now a secretary, Mallory installed as the new M, and M’s office almost an exact duplicate of the one which appeared from 1962 until 1989.

If “Casino Royale” was Bond’s “Batman Begins,” then “Skyfall” is most certainly his “Dark Knight.” It isn’t just that Raoul Silva has a lot in common with Heath Ledger’s Joker (including his affinity for the creation of chaos), or that Bond bests his nemesis while failing to protect a woman he cares for. “Skyfall” is also just a hair better than “Casino Royale”… no small feat. There’s so much that “Skyfall” gets right that it renders any plotholes insignificant. Adele’s Oscar-winning title tune is the best piece of Bond music since Paul McCartney’s “Live and Let Die.” Javier Bardem, though not as menacing as he was in “No Country for Old Men,” makes Raoul Silva my favorite Bond villain. I also love the fact that Judi Dench is given a meatier role here than in any of her previous appearances, which date all the way back to “GoldenEye.” But the greatest of all is, of course, Daniel Craig. It was with “Skyfall” that Craig dethroned Sean Connery as my favorite actor to portray James Bond. I have nothing but love for a movie that can pull that off! To date, “Skyfall” is the only Bond film I’ve ever seen theatrically. My knee-jerk reaction to it at the time was to call it my all-time favorite Bond film. It’s not quite THAT good, but it’s brilliant enough to get closer than anything else the series has produced in years.

Bondathon #22: Quantum of Solace (2008)

Director: Marc Forster

Starring: Daniel Craig, Olga Kurylenko, Mathieu Amalric, Giancarlo Giannini, Jeffrey Wright, Judi Dench

Among the many differences between the James Bond film series and its original source material penned by Ian Fleming, there is the fact that the plots of the novels tended to all be interconnected. The only real continuity that ever existed between Bond films were passing references to previous gadgets and deceased characters. But the stories which each film told were otherwise self-contained… that is until “Quantum of Solace.” Fans of the books who had hoped that “Casino Royale” might be followed by the second filmed version of “Live and Let Die” (since that was the second Bond novel) were in for a disappointment. So was anyone looking for Bond to move on to an entirely new mission.

“Quantum of Solace” picks up in Siena, Italy, mere minutes after the end of “Casino Royale.” James Bond (Daniel Craig) leads a bunch of would-be attackers in a high-speed car chase, with Mr. White (Jesper Christensen) locked away inside the boot. Back at MI6, Mr. White is interrogated about the organization he works for, known as Quantum. Mr. White laughs, noting that Quantum has influence everywhere. With that, M (Judi Dench)’s bodyguard attacks her and Mr. White escapes. Bond pursues and kills the bodyguard. A search of the dead man’s flat reveals a lead which Bond follows to Haiti. A hitman has been hired by businessman Dominic Greene (Mathieu Amalric)… a truly pathetic individual… to kill Greene’s girlfriend, Camille Montes (Olga Kurylenko). Greene is also plotting to help install an exiled Bolivian general named Medrano as that country’s next president, one whom just so happens to have also been responsible for the death of Camille’s entire family. Bond prevents Camille’s murder, but inadvertently also prevents her from exacting revenge for her loved ones… a subject to which Bond can relate.

Bond tracks Greene to an opera in Austria, where members of Quantum are meeting in secret. Bond sneaks in and snaps a few key photos before he’s discovered and a gun battle begins. At the end of it, Bond drops one Quantum member off the side of a building, a man who turns out to be a bodyguard to an adviser of the British Prime Minister. Although the fall doesn’t kill him (despite landing on the hood of a car), Greene has him shot and killed to make it look like Bond did it. M takes the bait, and revokes Bond’s credit cards and passports when he won’t report in. Instead, Bond heads back to Italy to contact Mathis (Giancarlo Giannini), whom he has forgiven for his perceived betrayal at the Casino Royale, and persuade Mathis to accompany him to Bolivia.

Upon their arrival, Bond is confronted by Ms. Fields (Gemma Arterton), who is under orders to bring Bond back to the UK. Naturally, it won’t work out that way, as Bond persuades her to jump into bed with him instead. Fields’ first name is never uttered on-screen, but her full name is listed in the end credits as Strawberry Fields. The second Beatles-inspired name in the series’ history (after the title for the movie “Tomorrow Never Dies”), Strawberry Fields shows how far we’ve come since Sean Connery’s Bond deliberately badmouthed the Fab Four in “Goldfinger.” Speaking of “Goldfinger,” Strawberry Fields will sadly meet a fate similar to that of Jill Masterson, the difference being that Fields is covered head to toe in crude oil, not gold paint. Mathis also is killed by the Bolivian police working for Medrano. Bond goes with Camille and discovers that Quantum is damming the Bolivian water supply. CIA agent Felix Leiter (Jeffrey Wright) tells Bond about the meeting place between Greene and Medrano. Bond kills the Bolivian Chief of Police in revenge for Mathis’s death, and gives chase to Greene while Camille confronts and kills Medrano. Bond catches up to Greene and leaves him stranded in the desert, only to learn later that Greene’s body turned up with two fatal bullet wounds.

An epilogue finds Bond in Russia where he has tracked down Vesper Lynd’s former boyfriend, the one for whom she was blackmailed by Quantum. It turns out that the creep is a Quantum member himself, and that his specialty is the seduction of women with connections in high places. He’s in the middle of seducing his latest mark when Bond interferes. Turning the bastard in to MI6 custody rather than kill him, Bond finally finds it in his heart to forgive Vesper.

In the decades-long run that the James Bond franchise has enjoyed, there has been only one film which truly called for a direct follow-up… and “Casino Royale” wasn’t it. Perhaps in some way Bond needed to forgive Vesper, but we didn’t, and we didn’t need a whole movie devoted to that subject. Daniel Craig is still in top form as Bond, but he’s surrounded by a less interesting story and faces off against a decidedly weak sauce villain. You could probably skip this one entirely, jumping from “Casino Royale” straight into the 23rd Bond film, and not even miss a thing. Still, although James Bond has participated in his share of bad movies, “Quantum of Solace” isn’t one of them. It’s more that type of ‘okay’ movie that is completely disposable despite still being fun to watch.

Bondathon #21: Casino Royale (2006)

Director: Martin Campbell

Starring: Daniel Craig, Eva Green, Mads Mikkelsen, Jeffrey Wright, Judi Dench

The James Bond series has taken many risks over the years, but waited until crossing into the 21st century to make its biggest gamble yet. After the sub-par “Die Another Day,” I welcomed the news of a complete series reboot. I also chose not to join the crowd of objectors to the hiring of Daniel Craig, noting that once upon a time even Sean Connery was doubted at first. That “GoldenEye” director Martin Campbell was returning only added to my enthusiasm. The consequences of failure could have been a permanent retirement of the character. But “Casino Royale” didn’t just ensure the series would survive. It gave us the best James Bond since Connery and the best film in the franchise since the 1960’s.

“Casino Royale” establishes its gritty tone by beginning with a prologue shot in black and white. Here, we see MI6 agent James Bond (Daniel Craig) acquiring his 00 status by performing his first two kills. The first one, inside a public restroom, is as sloppy as it is brutal. The dead man is an accomplice of a traitorous MI6 section chief named Dryden, Bond’s second target. Bond gets the drop on Dryden in his office and, before Dryden can finish assuring Bond that the second kill is easier, Bond puts a bullet right between Dryden’s eyes. Bond later botches an assignment in Madagascar where, after a long and dangerous chase on foot, he kills the target he was supposed to apprehend for questioning. Chiding him for his recklessness, M (Judi Dench) speaks to Bond like a mother reprimanding her insubordinate son.

At the same time that all this is going on, a meeting takes placein Uganda between freedom fighters and Mr. White, a man from the same criminal organization as the man Bond killed in Madagascar. Mr. White introduces the freedom fighters to Le Chiffre (Mads Mikkelsen), a financier of terrorism. It will be Le Chiffre’s job to look after the Ugandan warlord’s money. To this end, Le Chiffre is going to gamble the money on the failure of an airline company, which he means to ensure by blowing up the company’s new plane. Bond heads for Miami, where he is able to put a stop to the bombing just in the nick of time. The loss of the Ugandans’ money forces Le Chiffre to set up a high-stakes poker game at the Casino Royale in Montenegro. In an effort to force Le Chiffre into accepting help against the Ugandans from the British government in exchange for information, MI6 sends Bond to Montenegro to beat him in the poker game. On the train ride Bond meets his banker, Vesper Lynd (Eva Green), a woman who is about to change Bond’s life forever.

As the game gets underway, Bond believes he’s learned the signs to look for to tell when Le Chiffre is bluffing, and gains confidence. During a pause in the game, Le Chiffre is accosted in his suite by the Ugandan warlord. Bond eavesdrops nearby, and is spotted by the Ugandan, whom Bond chokes the life out of with his bare hands. When the game resumes, Bond incorrectly assumes that Le Chiffre is bluffing and blows all of his money. When Vesper refuses to front him any more money, a furious and impulsive Bond decides instead to kill Le Chiffre, but is stopped at the last minute by a fellow player: CIA agent Felix Leiter (Jeffrey Wright). Felix notes that his own odds are not improving, and agrees to trade the money Bond needs in exchange for custody of Le Chiffre when it’s all said and done. Bond’s luck begins to change almost immediately, prompting Le Chiffre to have Bond’s vodka martini poisoned. Bond nearly succumbs to the poison, but is resuscitated by Vesper. Determined to win now more than ever, Bond ultimately cleans Le Chiffre out with a straight flush.

A sore loser now in fear for his own life, Le Chiffre baits Bond by capturing Vesper, leaving her in the middle of the road so that Bond will be forced to swerve to miss and then crash his car. Le Chiffre reveals that Bond’s MI6 contact, Mathis, actually works for him. Le Chiffre then tortures Bond for his account password (which is V-E-S-P-E-R), but Bond refuses. Having completely and utterly failed, Le Chiffre is shot and killed by Mr. White. As Bond recovers in a hospital, MI6 takes Mathis into custody. Bond expresses his love for Vesper, and sends his letter of resignation to M. After Bond and Vesper arrive in Venice, M calls Bond to inform him that Vesper has stolen the poker winnings. Bond spots her as she meets with the intended recipients of the money. They kidnap her and lock her in an elevator inside a building under renovation. Bond kills Vesper’s captors, but the battle causes the building to collapse and sink. Bond attempts to free Vesper from the elevator, but she allows herself to drown. Mr. White then takes possession of the money.

Feeling betrayed, Bond rejoins MI6. M tells Bond of the true nature of Vesper’s involvement in the scheme. It turns out that Vesper had a boyfriend whom the mysterious criminal organization had captured and threatened to kill if she didn’t cooperate. Vesper’s love for Bond was real, however, and it was that love which saved Bond from being killed by Mr. White along with Le Chiffre. Checking his cell phone text messages, Bond discovers that Vesper had left him Mr. White’s name and phone number. The movie ends with Bond tracking down and arresting Mr. White.

You would think that a Bond movie revolving around a high-stakes poker game would be a tough sell to a modern audience. If that were all there was to “Casino Royale,” then it’s conceivable there might be a problem. However, the incredible action sequences (which draw inspiration from “The Bourne Identity” and “Batman Begins”) coupled with the dazzling chemistry between Daniel Craig and Eva Green (the best Bond girl since Diana Rigg) make “Casino Royale” a modern classic. Far, FAR greater than I remembered, it is in my opinion one of the absolute best films in the series. I love seeing Bond at this early point in his career: more violent than the Timothy Dalton Bond, yet also more vulnerable than the George Lazenby Bond. The producers were wise to bet the series’ continued longevity on Daniel Craig, and even smarter to ask him to return. As if I wasn’t already sold on Craig as Bond, after “Casino Royale” I was all in.