d-apergis Reviews

Rocky Balboa (2006)

Thumbs up

[7/10 · 10 April 2010]

The movie is a definite winner any way you can look at it, even if the storyline needed some doctoring so that the events and situations that lead to the final fight would appear more credible. Still however, as it is, it's a gritty and moving character-driven drama with a deep humanity in it. And this feat can only be attributed to Stallone who wrote and directed the piece. There is a genuine sense of innocence that pervades the film and it is as intriguing as the final hyped-up fight, while the depressive view of a suffocating world that Rocky lives in easily brings to mind Aronofsky's "The Wrestler" at times. Thumbs up.

Die Another Day (2002)

A dismal case of a Bond picture

[5/10 · 2 January 2010]

Following an initially intriguing premise, the narrative of this Bond movie takes every ludicrous turn possible in order to force any cheap-jack interest it can get. Consequently, every time the film falls in a trap set by itself it simply resorts to inanity to get back on track, brackishly exclaiming its Bondian identity. The producers might have thought that this was a smart thing to do, but the joke is utterly played at the audience's expense: We are aware of Bond's invincibility from the outset therefore what we'd rather see is the upping of the stakes in the thrill factor than consistent provocation of smug self-reference. And since the narrative itself -the movie's spinal cord- is so hideously marred, dullness sets in within half hour into the film. There are flaws elsewhere as well. The film lacks the imaginative depth to sustain a plot device such as an 'ice-palace', the much-publicized CGI special effects are not special at all (they are often laughable), the hyped-up battle between the Aston Martin and the Jaguar is woefully inter-cut with scenes of Jinx getting drowned, director Tomahori constantly attempts to give Jinx a more prominent stage to the point of making Bond a second banana, and the climax is so laboriously shot on foot that feels as if it ends before it even starts. A dismal case of a Bond picture the kind of which hopefully we'll never have to experience again, and a major warning to the producers that Bond should be tampered by people who love the material rather than just appreciate it.

The World Is Not Enough (1999)

falls flat on its face

[6/10 · 1 January 2010]

A Bond movie which admirably aspires to insert the 'neo-noir' concept into the Bond genre and ultimately falls flat on its face thanks to an ultra-convoluted plot that is not as interesting as it sets out to be, an over-appliance of technological idiom that regularly leaves the audience baffled, and a couple of inadequate villains who provoke more pity than dread. Director Apted's technique of never deviating from the storyboards doesn't give the film enough air to 'breathe', often rendering it suffocatingly uninvolving. Consequently, the film gets its greater impact during the interactions between Bond-Elektra-Renard and sleepwalks through its action sequences. Brosnan, on the other hand, overdoes the smooth to not always good effect: talking to ladies in the silky sexed-up voice is absolutely fine but talking to Q in that same manner is probably not such a good idea. As a whole, though not successful, this has to be respected for its ambitions and an admittedly spectacular pre-credits sequence.

Tomorrow Never Dies (1997)

A missed opportunity

[7/10 · 30 December 2009]

For the first half of its length this is a terrific Bond movie: fast, funny, clever, exciting, glamorous and full of intrigue to keep everyone happy. Moreover, its commentary on the power of media and its abuse of public consciousness is cunningly and caustically composed, played like an Oliver Stone conspiracy theory. And then, in a sloppy and perfunctory second half set in Vietnam, the whole falls apart with indignity. Direction becomes discomfited, the script is written on foot, the action succumbs to horrid slo-mo and dull martial arts derring-do, and Bond himself gets to deliver some of the worst one-liners in the series. A missed opportunity.

GoldenEye (1995)

a confident display of sophistication

[7/10 · 29 December 2009]

A Bond movie that stoically makes a milieu out of the Bond character, something which the series failed to do for quite some time. And it does so, even if the geekiness which it is regularly subjected to is rather unnecessary. Otherwise, this is well-timed and highlighted by some effective action and henchwoman Onatop's steamy scenes. Under the circumstances which demand a politically correct Bond, Brosnan delivers a smooth and refined performance without ever aspiring to counteract Connery's virtues. The film's masterstroke, however, is that it gleefully recycles Bond shenanigans with irony obliquely suggesting the character's past sell-by-date status, and yet it manages to glorify him as a timeless hero; and this can surely be defined as nothing else but a confident display of sophistication.

Licence to Kill (1989)

mediocrity in both script and direction

[5/10 · 27 December 2009]

A clumsy picture which outrageously suggests that in order for a Bond movie to classify as 'adult', all one has to do is throw in a few more action sequences and relish it with light smugness. Under this constrictive principle and despite its awe-inspiring stuntwork, the film never becomes the 'adult' Bond movie it would like to think it is; it doesn't even come close to being yards away from that, as a matter of fact. With the plot having Bond defected from Secret Service, the film lacks the intellectual stamina to sustain a credible narrative of its hero outstripped from his '00' prefix, it is utterly devoid of the finesse and the elegance closely associated with the Bonds, it is even deficient of the cheesy fun of the lesser Moore outings. Dalton is dismally unfaired by mediocrity in both script and direction, and even the film's soundtrack is a straight copycat of the "Die Hard" and "Lethal Weapon" movies. Dire.

The Living Daylights (1987)

a monogamous Bond

[6/10 · 27 December 2009]

Starring a stage actor who looks slightly too earnest to be fully enjoyable as 007, this outing commits the unforgivable crime of featuring a monogamous Bond; a blatant attempt by the producers to discard all that has gone before. Additionally, the much-publicized 'edgier' type of Bond is woefully absent here, and what we are actually acquainted with is a soft-centred Brit.

Consequently, despite its pacey action and epic final third, it goes through the motions being neither too distinguishable nor too Bondian. And Dalton, in spite of his admirable acting skills, cannot disguise his discomfort in dealing with a slack director like John Glen.

Great John Barry soundtrack, though.

A View to a Kill (1985)

mainly tired

[6/10 · 27 December 2009]

Suspension of disbelief past breaking point is kindly asked from the audience at the sight of 58-year-old Roger Moore, hastily lured back for one last gig as Bond and sporting a creepy toupee and a dismal tan. This fact alone doesn't give the film much room to manoeuvre, yet somehow the film just about manages to pull this off thanks mainly to John Barry's soundtrack, Alan Hume's interesting cinematography, an amusing Christopher Walken and a couple of effective pieces atop the Eifel Tower and the Golden Gate Bridge. Otherwise, this is mainly tired, aspiring to be nothing more than what it delivers to an audience that no longer expects more than it gets. Bond's eventual teaming up with henchwoman Mayday (played by the deliciously eccentric Grace Jones) in the film's last section is the series' indisputably all-time lowest point.

Octopussy (1983)

harmless adventure

[6/10 · 26 December 2009]

The colorful and glittering locations of India just about compensate for an over aged star and a narrative that takes some following. Its livelier moments somewhat atone for the occasional direness, but even the most prominent of script-doctors wouldn't elevate this above the level of a corpse being forced to walk with whatever means necessary. Thus, it plods along as a humorous and harmless adventure, just a way to kill one's time so to speak.

Mainly notable for a sequence in which Bond, dressed as a clown, attempts to diffuse an atomic bomb inside a circus; a sequence that can only be read as a deft display of self-deprecation.

For Your Eyes Only (1981)

nothing new

[6/10 · 25 December 2009]

A Bond movie that tries too hard to credit itself as an espionage thriller but gets ultimately lost amidst its reliance upon an aged star, its affinity on whimsical gags and a lamentable shortage of stuntmen who can look like their doubles. Despite some good moments, it goes through the motions in an indifferent fashion offering nothing new in the process. Its greatest downside, however, has to be Bond's acquirement of philosophical chic (due to his advanced years, presumably). "When you set out on revenge, you first dig two graves" he paternally consults an avenging-fixated Melina whose parents have been mercilessly gunned down by the baddies. This isn't Bond, James Bond.

Moonraker (1979)

the series' sole straightforward comedy

[6/10 · 24 December 2009]

Ultra-expensive Bond movie of epic proportions which goes over the top from start to finish, and which compulsively insists on being played for laughs. The big budget is unashamedly evident throughout, with Bond being utterly and dismally diminished not only by the vastness of the whole enterprise but also by his own buffoonery, a clear sign of the producers' crass efforts to adjust the hero to a hype of mass consumption.

It holds the distinction of being the series' sole straightforward comedy; and a physical comedy at that.

Still, there are bits and pieces to chew on, even if one is often appalled by the drollery.

Hannibal Rising (2007)

excruciatingly bad

[1/10 · 24 December 2009]

An excruciatingly bad picture which manages to deprave its celebrated hero to the point of raising suspicions over the filmmakers' bizarre intentions. After the movie is 10-minutes-old yawing sets in at a by-the-numbers typical revenge story, Gaspard Ulliel as Lecter acts as if he's suffering from hemorrhoids, and the movie's revelation that Hannibal Lecter was tentatively trained in kung-fu martial arts has definitely got to be an in-joke; and a bad in-joke for that matter.

Badly conceived, badly made, badly directed, badly written, badly acted and badly thought of being done in the first place. "Flawed" is not the word.

A Clockwork Orange (1971)

typically Kubrickian

[9/10 · 23 December 2009]

A masterclass in stylization and aestheticism, this is a typically Kubrickian film boosted with all the quirkiness which the director is famous for, but as a diatribe upon the notional context of individuality-authority-society it doesn't really go anywhere further than the hero's bleak vision, no matter what its fans and so-called intellectuals claim for it. Subsequently, the film narrates its intriguing tale with a virtuoso display of bizarre imagery and unconventional soundtrack, encompassing -along with everything else- its skepticism on individual freedom. In all, this is an irresistible and essential viewing, but one should not dwell too much on its 'deeper' meanings.

The Spy Who Loved Me (1977)

phenomenally grand

[7/10 · 23 December 2009]

A slick Bond epic made with energy and verve, but which is ultimately overdone by its own revisionist approach on the franchise it belongs to. It is essentially a "greatest hits package", and as such it provokes a feeling of nostalgia for a bygone era; a feeling that finally acts against the movie's favor.

The action sequences, the production design and the locations are all phenomenally grand and spectacular. But within this whole vastness, the film lacks that distinguishing cheesy texture -the guilty pleasure of a bad vice- that made the Bond movies urgent entertainments.

Still, great fun. And Jaws is a terrific henchman.

The Man with the Golden Gun (1974)

rather poor and constrained

[5/10 · 23 December 2009]

This film is a rare oddity in the series in that it is the only Bond movie that looks rather poor and constrained, a flaw that would never be repeated again. Director Hamilton's flair and virtuosity are still evident throughout, the locations are first class and Christopher Lee is absolutely terrific as Scaramanga, but the film is utterly let down by an inept script and a cursory lack of 'pompous largesse' - an abiding characteristic of the Bonds. Thus, it does feel sort of being deflated with a long hiss, at least in its second half. And last but not least, the film is crucially marred by Moore's funny inability to adopt an edgier idiosyncrasy for his persona. And if that's not bad for a Bond movie, I don't know what is.

Live and Let Die (1973)

colourful blaxploitation gloss

[7/10 · 23 December 2009]

Moore's charm smooths over the inevitable comparisons with Connery and is in keeping with the lighter tone that the films had already been accustomed to and which they would go on with throughout his tenure. The film is especially intriguing in that it is the only entry in the series which features metaphysics (Solitaire's ability to read the Tarot cards and predict the future) as a credible plot device. Otherwise, LALD's colourful blaxploitation gloss, confident pace and a few modern touches give it a vigour which was missing from its predecessor, "Diamonds Are Forever".

Plus, it features an all-time great moment: Bond's escape from the crocodile pool. A winner.

Diamonds Are Forever (1971)

curiously short on action

[6/10 · 23 December 2009]

A Bond outing that is curiously short on action and one which is often criticized by Bond-enthusiasts as being responsible for the lighter tone that has been subsequently prevalent in the series. It is not without its merits: It does have some of the wittiest exchanges in the series, Hamilton's direction and Adam's production design ensure some definitive Bond moments, Barry's score is top-notch, and Connery exudes his usual authority. But the film has only a couple of cursory car chases and an anticlimactic climax to complement it, which is a pretty humble deal in comparison to the extravagance of its predecessor. Additionally, the Las Vegas setting feels rather dull, failing to offer much scope for adventure. In all, though not bad, the film somewhat compulsively refuses to elevate itself into a higher plane. Strange.

Hannibal (2001)

limp and ponderous

[4/10 · 22 December 2009]

Producing a sequel to "The Silence Of the Lambs" was never going to be an easy task. But then again, delivering an outing as bland as this one is quite a remarkable achievement in itself. Veneered with some pictorial elegance, as was expected from director Scott, it tries in vain to compensate for a narrative as limp and ponderous as Mason Verger, Lecter's wheelchair-bound nemesis. In its discomfiture to adopt a right footing, the film is forced to duly provide a few gory moments shamelessly reducing the brilliant and dangerous psychiatrist we adored into a gastronomer boogeyman as scary as toasted bread. Ultimately, trapped by its inept plot line and having nowhere to go, the film concludes with an ending which must rank amongst the gravest mistakes in the history of cinema. Pity.

You Only Live Twice (1967)

dazzlingly lavish

[8/10 · 22 December 2009]

Expensive Bond extravaganza in which everything goes astray, including credibility. Its production design is dazzlingly lavish as is its visual gloss, Pleasence's Blofeld surpasses camp level and Connery is smoother than ever, but Bond's expressionless invincibility is tediously and irritatingly played for laughs here (the man appears able to produce anything he wants from his pocket, never blinks an eye when faced by death and only looks petrified when he is informed by Kissy that they 'll sleep in separate beds). However, the film's sensational aspects -such as the villain's volcano lair and the mayhem that ensues within- and the irresistible corniness of the whole enterprise are now legendary in the series and have reached a cult status on their own.

On Her Majesty's Secret Service (1969)

Top Bond entertainment

[8/10 · 22 December 2009]

The kaleidoscopic look and frenetic editing are this film's two distinguishing trademarks, a fact that somewhat betrays director Hunt's greater attention towards the technical aspects of it than Lazenby's performance. Don't get me wrong, Lazenby is more than credible, but he is utterly diminished by the film's grand scope. After 40 minutes of relaxed and confident introduction, OHMSS reaches top gear with four overblown climaxes that generate more energy and punch than all Bond movies put together. For this reason and not only, the film is emblematic in the series and a real treat to enjoy over and over again. Top Bond entertainment.

Thunderball (1965)

veneered with glossy pop exoticism

[7/10 · 21 December 2009]

Main problem here is the overlong underwater sequences which nowadays make the film look more like a Cousteau documentary than a Bond episode. Despite their novelty at the time, they feel somewhat sluggish now and do slow the film's pace.

"Thunderball" does, however, have its thrills and some of the best lines in the series, and Connery shows a harder edge which was missing from the previous installment "Goldfinger".

Additionally, the film is veneered with glossy pop exoticism (due to the story's setting in Bahamas) that makes one feel sorry for not having lived in the sixties.

But as a whole, it doesn't really take off until its final third.

Don't Look Now (1973)

a mystifying tour de force

[10/10 · 21 December 2009]

Every now and then and quite far in-between, there comes a movie that simply cannot be described or be reviewed, but it rather has to be seen to be believed. Such is the case of "Don't Look Now".

From its heartbreaking opening sequence to its depressing settings of Venice, and through its lyrical symbolism (red, glass and water are dazzlingly repeated throughout the film) right up to its terrifying climax, "Don't Look Now" is a mystifying tour de force, a cinematic enigma that keeps its answers deep into the darkest realms of metaphysics and human psyche.

An enchanting, unforgettable experience. Magnificent.

Goldfinger (1964)

the essence of cool cinema

[8/10 · 20 December 2009]

Sadly, the hard edge of the first two installments in the series has given way to a less harmful and more popularized texture here, but this is undeniably the essence of cool cinema.

Done with flair and style, it goes through the motions with a lively sophistication, presenting each deadly situation with its tongue firmly in cheek. Connery is smooth, Frobe is an amusing villain and Harold Sakata has achieved iconic status as henchman Oddjob. Jill Masterson's "golden corpse" is one of the eeriest and most psychedelic depictions of death to ever grace the screen.

A classic, although I cannot fail to point out the fact that Bond gets knocked unconscious a worrying three times.

Die Hard (1988)

both exciting and funny

[8/10 · 20 December 2009]

An action film pumped up with energy and punch, and one that manages to be both exciting and funny. It's basically the old unmistakable formula of the ordinary man going against the odds, exquisitely done with panache, fully equipped with smart-ass wisecracks and amusingly induced with irony towards the gung-ho Americanism that has always been so prevalent in Hollywood films of this genre.

Willis' John Mc Lane is the perfect cynical hero and Rickman's Hans Gruber is the quintessential European villain.

The movie established a new era in the action genre which pretty much says it all.

The Shining (1980)

A shameless assault on the senses

[9/10 · 20 December 2009]

A shameless assault on the senses, this is essentially a director's vehicle in which everything comes second to Kubrick's grandeur, and all the better for it really as the material on offer here is fairly standard. Comprised by hyper-lit sets, eccentric soundtrack and visual extravagance, this becomes a tour de force that constantly teeters between psychopathology and paranormality and manages to transmit a genuine feeling of eeriness.

It does however feature a star performance that would probably be better off had it been more restrained. As it is, Nicholson's take tends more towards caricature rather than madness.

Still, this is horror at its best.