This film makes no sense. It’s like a film made by people who had a film described to them, but have never actually seen one, and a script written by an alien AI who read a dictionary. Baffling how this was released in this shape. A true turd of a film.
Superlative thriller-cum-crime caper, masterfully told with an ensemble cast at the top of their game. An audacious plot wrapped around noir trappings mark this as one of the best films of its generation. A true classic that still shines bright today.
A political attempt to neuter M16 is found to be the work of an enemy organisation. The first two acts work well, but the last hour falls apart through trying to stitch the Craig-era Bond films into a single narrative with an awkwardly-revealed Blofeld at its centre.
Bond investigates stolen spacecraft so he can avert a nuclear war. Fifth in the franchise and the cracks are starting to show. Connery is jaded, and the Roald Dahl script is awkwardly dated at best. Impressive production design and a couple of neat directorial moments lift some of the tiredness.
An international police agency investigation uncovers the existence of a secret society of ninjas. Clumsy backstory and some awkward plotting aside, this is enjoyable and well-directed action fluff, with gonzo fight scenes galore and much spectacular CG-augmented gore.
A child survivor of a cult mass suicide returns to the site; as an adult with a documentary crew. There’s some good stuff here – not least in Thomas Jane’s rockstar performance as a Jim Jones-ish messiah figure – but the narrative is messy throughout, and the washed-out visuals are an affectation too far.
An ex-agent under an assumed identity has his cover blown; now he has to rescue his child. Straightforward DTV actioner with plenty of decent fist fights and some okay gunplay; a slightly clunky script and some variable acting aside, this is fun, and works well within its limited budget.