James Bond

All the Time in the World: JAMES BOND in the 2020s

As we bask in the long-awaited glory of No Time to Die, if not the pinnacle of the Daniel Craig era as James Bond then a fitting conclusion, the inevitable question on everyone’s lips is simple: what’s next?

You can totally understand the thinking of Eon Productions head honchos Barbara Broccoli & Michael G. Wilson behind giving themselves space to enjoy Craig’s swan song. No Time to Die has spent a torturous 18 months thanks to the Covid-19 pandemic ready to go and suffered delay after delay as Eon & MGM (now Amazon) waited for the right moment to give audiences the best chance to see it in cinemas. Their patience will pay off given No Time to Die is tracking to be a huge hit, even if it is unlikely to match the box office haul of either Skyfall or Spectre.

Although in decades past the wait between the announcement of Bond actors was shorter, with Roger Moore or Timothy Dalton replacing their predecessors within two years, we will almost certainly not know who the next Bond will be until 2023. We had to wait three years between Die Another Day and Craig’s unveiling and that was 15 years ago. We are unlikely to see Bond 26 until, at the very earliest, 2024 and personally I would wager it will more likely be 2025. Which means, in all likelihood, Bond in the 2020s will reflect the 2000s as a transitory decade giving way to the next Bond’s debut, and his second movie before the decade is out. Anything more is likely to be very optimistic, and this is even without pandemics or other unnatural global events getting in the way.

The future, however, is not just about who plays James Bond as it perhaps was in many previous decades. The future of the Bond franchise now has many broader questions attached. After No Time to Die, is the franchise ever quite the same? What kind of Bond should the character be? How does he figure into a rapidly changing geopolitical and cultural fabric? A fabric in even greater flux than when Craig assumed a harder edged, stripped back version of the role in the wake of 9/11 and the global ructions of the terrorism threat that shaped much of his Bond era. And how exactly does this uniquely produced franchise continue to exist, and more importantly work to evolve, in an entertainment landscape that increasingly threatens to leave the style of how Bond is made behind?

These, for me, are the questions that will define the discourse around James Bond’s future over the next few years.

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Jason Bourne, Season Reviews, TV

TREADSTONE is fun spy action, just don’t say the ‘B’ word… (TV Review)

Treadstone feels like a show that somebody made in 2008 and forgot about for over ten years.

There is something a little strange about Tim Kring’s series set in the Jason Bourne universe. For one thing, it seems utterly determined to never mention the ‘B word’ at any point. Not Blackbriar, the second secret CIA project to recruit, train and brainwash super-spies. That gets a mention, having collapsed during The Bourne Ultimatum and The Bourne Legacy. The events of those films, particularly Ultimatum, are expressly referenced or at least heavily hinted at. Bourne himself is referred to (as “the asset”, or something deliberately wink wink nudge nudge), but his name? Nope. It could be a rights issue. The credits do after all say “based on an organisation from the Bourne series of novels by Robert Ludlum” which is about as thin a tether as you can mine in order to put together a TV show. You can have the name Treadstone, and that’s it.

Yet at the same time, Kring goes out of his way to make this show, effectively, a lower-budget tribute act to the Bourne franchise, predominately the Paul Greengrass films which really established the tone and style of that saga – all shaky cam, pass the sick bag Krav Maga fight sequences, a global travelogue, lots of shady government intelligence agents in rooms trying to outfox assassins working as much with raw instinct as intellect. You’ve all seen a Bourne film, right? This doesn’t just inhabit the same narrative world but also the same visual and iconographic one. The music has John Powell’s percussive style. The fighting is close combat, no quarter, balletic hand to hand. The intrigue is post-Cold War (and mid-Cold War, actually) spycraft. It works to place itself as a side-story to the Bourne saga in the same manner as The Bourne Legacy from Tony Gilroy. That worked to distance from Greengrass in many ways. Treadstone works to revel in the comparisons.

The biggest surprise of all is that Treadstone, well… it’s actually not that bad, for what it is, even as a show caught between two worlds and two eras.

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Counterpart, Essays, TV

Starz In Your Eyes: COUNTERPART and the dawn of the Streaming Wars

Raise your hands, who reading this article has seen Counterpart, the recently cancelled science-fiction drama starring JK Simmons? Just as suspected… that’s not very many hands.

Honestly, had you ever even really heard of it in the first place? Counterpart, created by Justin Marks, has spent over a year across two seasons being critically feted by writers yet largely being ignored by audiences. Most people who have found Counterpart have seemed to embrace its ‘Fringe for grown ups’ narrative; Simmons in the dual role of a UN diplomat, Howard Silk, with two very different personas across adjacent parallel universes in danger of edging into conflict with each other. Counterpart is stylish, measured, dramatic and filled with great performances… so why, two seasons in, has it been dumped?

As is often the way with American networks, it all comes down to ratings. Counterpart aired on Starz with just a network average share of 500,000 viewers across its second season. When Netflix are boasting about Gillian Anderson-starring teen dramedy Sex Education netting 40 million viewers, half a million is chump change. Counterpart is filmed in Europe often on location, with actors such as Simmons, Olivia Williams, Harry Lloyd etc… who don’t come dirt cheap, and ultimately the sums simply don’t add up. Not enough people watched to justify the expense. So goes the story of hundreds of other shows a core fan base loved but ended unresolved and sometimes ignominiously.

The difference now is that something like this just should not happen to a show as critically applauded as Counterpart. Not in the streaming era of peak TV.

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Jack Ryan, Season Reviews, TV

TOM CLANCY’S JACK RYAN (Season 1) entertains but does little new with a well-worn genre (TV Review)

How do you solve a problem like Jack Ryan?

This appears to be a question Hollywood has been asking itself for over two decades. Tom Clancy’s most famous creation—the lowly, bookish CIA analyst who over the course of around a dozen modern espionage novels becomes President of the United States—has assiduously avoided successful attempts at long-term adaptation. Amazon’s new take on the character, starring John Krasinski, is the fifth attempt in a long line of varying tries to make Jack Ryan a cinematic icon.

The most well-known incarnation still remains, arguably, the two pictures Harrison Ford portrayed him in – 1992’s Patriot Games and 1994’s Clear and Present Danger, both from Australian director Philip Noyce – and it is perhaps one of the most unfortunate roads not taken that Ford didn’t continue in the role and build to Ryan’s Presidential years. While Clancy was still writing books featuring the character, Ryan then went away for a while, cinematically.

Ford wasn’t, of course, the first incarnation of the character.

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Essays, Film

ANON: The Quandary of the Joint Home/Cinema Release

Just to clarify, starting a title with Anon is not me trying to go all highbrow and Shakespearian on all of you.

It does of course refer to a new picture being released next Friday, starring Clive Owen & Amanda Seyfried, written and directed by Andrew Niccol, which is being promoted with a curious affectation: it is both being released in UK cinemas and on the Sky Cinema service as a premiere simultaneously on the same day. In a world where people worry about how Netflix Original movies are threatening to make cinema obsolete, this only adds fuel to the fire.

Now I haven’t seen Anon. My website Set The Tape was at the press screening and our guy there gave it a decent review, but the film didn’t set his world alight. I will refrain from judging Anon until I’ve seen it, and I will see it, but will I see it at my local cinema? Probably not, in all honesty. Why would I? I’m fortunate enough to have the means to have Now TV, and by extension Sky Cinema, so I can get home from work on Friday, grab a snack from the cupboard, put my feet up on my sofa, and watch Anon on my 45’ plasma. Alternatively I could travel five miles, pay for snacks, sit next to a stranger, and not even be able to stop the film for a cuppa. Again, why would I?

This sounds like I’m down on the cinema as an entity. I’m really not. There remains nothing like the experience of watching a movie on a big screen with an audience. Last year, I experienced the beauty of hundreds of people in hushed, hold your breath silence at the end of La La Land, or this year dozens of people crying out when that character suffers a potentially fatal blow in Avengers: Infinity War. You can’t replicate that at home on your couch. The honest truth, however, is that unless you’re an absolute fanatic with time to spare, a Cineworld Unlimited card (or variant), or it’s your job, you won’t watch everything at the movies. In this world, we have to pick and choose what we go and see.

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Game of Thrones

Game of Thrones – (Series Overview + Reviews)

Game of Thrones changed television. Not many TV shows can say that but Game of Thrones, unequivocally, can. There had never been a show quite like it in terms of scope, grandeur, ambition and ultimately international commercial and critical success. It broke the mould.

George R. R. Martin first began writing his long-form, magnum opus of novels, known collectively as A Song of Ice and Fire, over twenty years ago before the publication of his first, A Game of Thrones, in 1996. Set in a fictional fantasy world, primarily on a continent known as Westeros, Martin’s prose was at times pulpy and ripe but his reach was astonishing; taking more than a cue from Tolkien, Robert Jordan and Frank Herbert among others, Martin swiftly created a vibrant fantasy world with an incredible amount of detail and depth lurking behind a complicated, exciting and layered narrative.

Despite the roughly five year gap between publication of Martin’s tomes (seriously, the lighter A Song of Ice and Fire novels clocks in at around 800 pages), production companies soon came sniffing around Martin looking to adapt his books into a feature film. Quite understandably, Martin soon made the point that doing A Song of Ice and Fire as a movie would be nigh on impossible, explaining how just one of his books is longer than The Lord of the Rings, which itself was adapted into three enormous movies by Peter Jackson. The scope was just too large. It belonged on TV.

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