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.

Continue reading “All the Time in the World: JAMES BOND in the 2020s”

Film, James Bond

Film Review: NO TIME TO DIE (2021)

For the very first time, the story of James Bond has an ending thanks to No Time to Die.

This turns out to be true of Cary Joji Fukunaga’s film on multiple levels. The much-delayed 25th 007 movie is, famously, the last outing for Daniel Craig’s take on Ian Fleming’s legendary spy and Craig has not only become the longest serving Bond in history (even if the official record holder of most Bond films remains Roger Moore), he has also played the role during the longest period of existential change both for the character and, more broadly, the nature of cinema. Pierce Brosnan might have last played Bond in 2002 but Craig is the first true James Bond of the 21st century and No Time to Die assures his place as the 007 who helped transform the franchise. The ending is a key part of that.

No Time to Die is a brawny, swaggering confluence of the two styles of Bond movie Craig’s era has often struggled to bring together. On the one hand, it has Skyfall’s sense of steely modern grandeur but also Spectre’s level of throwback adoration for perkier, flimsier and more colourful decades in the franchise’s history. Though it lacks the striking panache of Casino Royale or Skyfall’s emotional catharsis, No Time to Die is, in a sense, the perfect James Bond movie for the modern era for what it brings together, and one senses it could become a significant fan favourite. It frequently looks incredible, boasts the requisite stunt work and effects to (pun very much intended) die for, not to mention one of the strongest casts in Bond history, and it provides fans with many of the traditional ‘Bondian’ aspects they look for in these films.

On a creative level, No Time to Die serves as a capstone on five pictures over the last fifteen years which have elevated the James Bond franchise into something they rarely were before: fine examples of artistic, dramatic craft, as well as action, suspense, style and cool.

Continue reading “Film Review: NO TIME TO DIE (2021)”

James Bond, Writing

Book Review: THE LOST ADVENTURES OF JAMES BOND (Mark Edlitz)

Every franchise has their lexicon of tantalising lost projects, stories which failed to see the light of day, and James Bond is no exception.

Many of these tales are public knowledge and have been documented over the decades since 007 came to the big (and small) screen in various incarnations and guises, but Mark Edlitz is one of the few scribes to comprehensively piece together the fabric of James Bond narratives lost to the ages and weave them into a document which, rather forensically, presents many of these fascinating fragments into a coherent meta-narrative of his own.

The Lost Adventures of James Bond is the story of Bond that never was.
Continue reading “Book Review: THE LOST ADVENTURES OF JAMES BOND (Mark Edlitz)”

Film, James Bond, Writing

SPECTRE suggests James Bond’s ‘team-ethic’ future

Looking back at Spectre, 2015’s unfairly maligned James Bond film, it becomes apparent just how much of 007’s future may lie around a team ethic.
Historically, Bond was, of course, a lone wolf, certainly in Ian Fleming’s source novels and particularly in the film adaptations produced by Eon from 1962 onwards. Fleming describes Bond’s general routine, in Moonraker, as “evenings spent playing cards in the company of a few close friends, or at Crockford’s; or making love, with rather cold passion, to one of three similarly disposed married women; weekends playing golf for high stakes at one of the clubs near London.” Bond’s life is distant, remote and detached from the world around him, aside from gambling or disposable sex. His cinematic adventures bore this out. If ever we did see his personal life, which we seldom do across any of his incarnations, it almost always revolves around women as opposed to family or friends.

Spectre, building on character introductions and developments introduced in Skyfall, begins to change that. Bond only wins the day with the help of the MI6 team around him back home, and sometimes in the field. Q covers for him, later joining him in Austria to help him reach Madeleine. Moneypenny is no longer the sweet, desk bound, lovelorn secretary who he flirts with and leaves behind, she actively aids him in terms of intelligence, and aides him in the field in Skyfall. M, or Mallory, is the most narratively involved head of MI6 in the series’ history, working to expose Max Denbigh aka ‘C’s connection to villain Ernst Stavro Blofeld, and gets his own (admittedly rather anaemic) action tussle with the man toward the end. Blofeld’s plans are only foiled thanks to the entire MI6 squad backing up Bond’s determined action.
This marks a sea change in the Daniel Craig era that could well stick through the upcoming No Time to Die, and into the uncertain waters for 007 beyond, as the franchise adapts to a vastly changing cinematic landscape.
Continue reading “SPECTRE suggests James Bond’s ‘team-ethic’ future”

Film, Mission Impossible, Reviews

MISSION IMPOSSIBLE: FALLOUT is the most thrilling, bravura entry in the franchise yet

Given the stature and prowess of the Mission Impossible franchise, the sixth movie is not likely to bring the curtain down on this series, but were Fallout to be the swansong for Tom Cruise as Ethan Hunt, it would quite honestly be a perfect way to bow out.

Everything about Fallout has the sense of an ending. Christopher McQuarrie’s second film as writer/director does numerous things. It fully transforms Mission Impossible, in its twilight years, into his personal baby, on which he stamps his mark in a way not seen since Brian De Palma’s original 1996 adaptation of the 1960’s original TV show.

Fallout is not just a direct sequel to Rogue Nation, despite being the first Mission Impossible film to pick up where the previous one left off, but it also works to tie together from a storytelling perspective every film from Mission Impossible III onwards, while thematically reaching back to John Woo’s derided Mission Impossible II. It teaches a film like James Bond movie Spectre, which retroactively attempted to link Daniel Craig’s 007 into a string of continuity, how it’s done.

Mission Impossible: Fallout might just also boast some of the most intense, robust and powerful sequences of the entire franchise. This is doubly surprising given just how much of it doesn’t even feel like a Mission Impossible film at all.

Continue reading “MISSION IMPOSSIBLE: FALLOUT is the most thrilling, bravura entry in the franchise yet”
Film, Reviews

Franchise Retrospective: MISSION IMPOSSIBLE: GHOST PROTOCOL (2011)

If you ran a poll asking the average film goer, and indeed the average film critic, which of the Mission Impossible films they considered to be the strongest outing in the franchise, you would have a significant amount point to Ghost Protocol. On the face of it, you can see why. Once you scratch deeper, those reasons become more opaque.

Though it took another five years after Mission Impossible III for Tom Cruise to slip back into the shoes of super spy Ethan Hunt, Ghost Protocol operates far more as a sequel to J.J. Abrams’ picture than any of the other Mission Impossible films. As I discuss in my piece on MI:3, this in no small part is down to the fact Abrams’ film rescued Paramount’s franchise from becoming lost inside its own mythic storytelling, and wrenched it further back towards the original fusion of team-based espionage and escapist theatrics Bruce Geller’s 1960’s TV series made so popular.

These aspects are fully embraced in Ghost Protocol after the groundwork and foundations were laid by Abrams but, once again, Mission Impossible continues Ethan’s story by reinventing itself.

Continue reading “Franchise Retrospective: MISSION IMPOSSIBLE: GHOST PROTOCOL (2011)”