![]() ![]() We’re gonna kill them first.” The terse irreverence towards Bond tradition is once again welcome and refreshing. Perhaps his best moment in these 90 seconds comes when he sums up what I imagine is more or less the plot of the movie: “Some men are coming to kill us. ![]() Craig’s best moment in his first Bond film came when a bartender asked if he wanted his vodka martini shaken or stirred, and he replied, “Do I look like I give a damn?” Here Bond seems to give so little of a damn that MI6 ordered him some therapy. (Mendes has worked often with Deakins and, before his death in 2003, another great cinematographer, Conrad Hall.)īut while the imagery is the real star here, the storytelling, too, is economical-even witty. Much of that is due to the expert lens of Roger Deakins, the cinematographer and frequent Coen Brothers collaborator who has shot many of the most handsome movies of the last decade and more. That new noir look looks great on Bond-especially on the wide and weary-looking shoulders of Daniel Craig, who is no stranger to the genre. What does Bond associate with the word “agent”? “Provocateur,” which could mean someone who provokes others to doom themselves, or just lingerie, or both-a classic noir femme fatale. No one can be trusted, everyone is partly hidden. Where does that one step take us? Usually either into or out of a shadow: What Mendes ( American Beauty, Revolutionary Road, Road to Perdition) has given us here looks less like a spy actioner than a film noir. ![]()
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