u/IndigoP08

For me, the Daniel Craig era of Bond peaked here. Casino Royale is top-shelf Bond.

I think Daniel’s performance in this film is the single best performance by a Bond actor in a Bond film (followed closely by Tim in LTK). Yes, he has blonde hair and blue eyes, but from the very first moment he appears on screen, he is absolutely Bond.

It’s an incredibly strong script, packed with great dialogue, memorable characters, and excellent performances throughout.

Judi Dench is in fine form as M, and I love every scene she shares with Bond in this movie. Mads Mikkelsen delivers one of the all-time great Bond villains, and I adore how much time the film gives us to simply watch him and Bond trying to outthink each other across a table. Eva Green is fantastic as Vesper, and her chemistry with Daniel is outstanding.

The action sequences in Madagascar, Miami, and Venice are all superb, and the film has consistently strong pacing throughout, backed by another incredible score from David Arnold.

You Know My Name by Chris Cornell is an all-time great Bond theme, and I think Daniel Kleinman’s title sequence visuals here are the best in the entire franchise.

Tonally, this was absolutely the right direction to take after Die Another Day, especially in a post-9/11 world.

Martin Campbell further cements himself as one of the most consistent Bond directors we’ve ever had, while Phil Méheux’s cinematography is dynamic and beautiful to look at. Most Bond films have been shot on film, but in Casino Royale, that “film look” feels especially accentuated thanks to the heightened contrast, punchy colour grading, and shallow depth of field used throughout. Visually, it’s one of the best-shot Bond films alongside OHMSS, Moonraker, Skyfall, and NTTD, imo.

I don’t really have a bad word to say about this one. How do you find it? I'm interested to know...

To put it simply, this film starts incredibly well - so how and why does it go so wrong?

For me, the pre-title sequence is top-tier Bond. 007 in North Korea, the desaturated grey colour palette - it’s all really well put together. The film throws us straight into the mission with no foreknowledge, and there’s this overwhelming feeling in the way the film’s directed, scored and edited - that things aren’t going to go right this time..

I love how Moon lines Bond up in what is essentially a firing squad situation. There’s no tying him up for a three-minute villain monologue - Bond is immediately sent to the gallows and has to improvise his way out, leading to a visually awesome hovercraft chase backed by another great Arnold score.

The title song isn’t one of my favourites. It’s a fine pop song I guess? Just not a great Bond song imo. But Daniel Kleinman once again delivers with title visuals that perfectly fit both the themes of the film and the song itself.

The idea of Bond being captured and brutally tortured for an extended period is such a great setup. I just wish the film did more with it instead of brushing past it so quickly.

The Cuba sequence is great, save for Halle Berry, who I just don’t rate as a Bond girl. It feels like the film tries way too hard to make her “cool” throughout. “Yo mama” .. good lord lol.

The Graves vs Bond sword fight is fantastic, and I loooove the Ice Palace. Unfortunately, what feels like it could’ve been heading towards a 4-star Bond flick descends into complete ridiculousness during the late second act and entire third act. The invisible car just wasn’t needed, and the CGI tsunami surf escape… oh boy. lol. The film dabbles in far too much CGI, and it’s worse off because of it. And then Moon turning out to be Graves.. ugh.

A shame really, because the first act sets up what could have been a great Brosnan entry. For me, this is one of the more pure “popcorn flick”entries in the series. If I sit down and switch my brain off, that’s where I get the most enjoyment out of it. But if I’m in the mood for a slick, layered Bond film that reveals new things with every rewatch, this definitely isn’t the one I’d put on.

Where do you stand on this one Bond fans? I’m interested to know…

This was one of my favourites as a kid. I loved the Q Boat chase, Renard, Brosnan, Elektra.. - all of it.

Revisiting it for the podcast retrospective and trying to view it without nostalgia-tinted glasses, it’s not as good as I remember. That said, I do think there’s a great Bond film hidden in here somewhere...

At the time of its release, it had the longest pre-title sequence of any Bond film by quite a margin. In many ways, TWINE attempts things in its script that Purvis and Wade would later refine during the Daniel Craig era. This film, in particular, feels like a precursor to Skyfall, which revisits many of the same themes and ideas - with varying degrees of success, imo.

In fact, Javier Bardem was initially considered for the role of Renard - just one of several interesting parallels the two films share.

The idea of Renard as a henchman disguised as the primary villain works for me. I think Robert Carlyle is genuinely intimidating and very serviceable in the role, despite the character’s lack of physical presence. My issue is that the script severely underutilises him, especially given the build-up and his supposed near-superhuman ability, which is barely explored and could have been developed much further.

The pitch for the film - “what if Bond thinks he’s met his new Tracy, only for her to turn out to be Blofeld?” - is a strong one. Sophie Marceau is excellent as Elektra. The problem, for me, is Christmas Jones. If the film hadn’t felt the need to shoehorn in that particular Bond trope, the central relationship could have been given more time to develop and breathe before Bond tragically learns the truth and is forced to make a difficult choice. Instead, Bond falls for Elektra far too quickly for my liking, and it never quite feels organic. When he does uncover the truth, it’s handled in such a telegraphed way ("HUH???") that the audience can see the twist coming a mile off.

Another issue, imo, is the noticeable difference between Michael Apted’s direction in the more dramatic scenes - particularly those between Bond and Elektra shot at Pinewood - and the second-unit material, like the ski chase and the caviar factory sequence. Those moments feel disjointed and less engaging to me...

The third act, once Elektra is out of the picture, also becomes a bit of a slog for me. I’m not sure if I’m alone in that, but I found myself scrolling on my phone... not a good sign.

Overall, it’s a strange film - one that, at times, feels like a Roger Moore-era entry, and at others like it’s reaching toward the tone of the Craig films and not quite getting there.

What do you think of this one? Where does it land for you?

I know there’s a general consensus that the Brosnan films get worse and worse from Goldeneye onwards. Personally I’ve never been in that camp.

I love Tomorrow Never Dies, I think it’s one of the most rewatchable in the entire series based on just how fun it is throughout.

Pryce hams it up as Carver and I actually kind of love it, he’s unironically one of my favourite Bond villains. Stamper is pretty.. eh. But for what he lacks it’s made up for with the one scene show stealer that is Dr Kauffman. What a character! Awesome scene.

Wai Lin is a great Bond girl, capable, cool - if anything I wish we had more of her! I think if Die Another Day’s original plans to have her return had have happened - it would’ve bumped that film up a tad.

I love the pre-title sequence, it’s classic bond and one of my very favs. Accompanied with what is an all time bond score through the film by David Arnold, who is absolutely the spiritual successor of John Barry.

This film has two of the best chases in the series I would argue, the car and motorbike chases, which both work to freshen things up and do it a little differently.

The stealth boat looks great, Elliot’s plan is sheer lunacy, ahh I just have so much fun with this film.

The only thing I don’t really love in this era is Bond mowing down NPCs like he’s in a 007 PS1 game lol.

Where does this one land for you?