September 29, 2021
In a pandemic reality It’s not time to die it will remain for me perhaps the most symbolic film. It was with him that, in March 2021, we realized how serious the situation is. It was probably the first blockbuster to be thrown into the vacuum, and the premiere, due to the spread of the virus, did not take place in April 2020. Bond waited, and successive waves prolonged his absence, since Specter after all, more than 6 years have passed. October 2021 begins, and we finally welcome the new Bond on the screens. And although the film itself does not show the freeze, the work of Cara Joji Fukunaga must also address how the tooth of time has gnawed at the very archetype of the 007 character. This seems a bit more difficult task.
The first fragments of the film are typical of the production, the predecessor of which was supposed to be a complete product. Other decisions have been made in the cabinets, which is reflected in the opening. Daniel Craig goodbye He’s already in Specter, so whatever it takes he can’t make him come back even half of the mission. He has a quiet life with Madeleine, he travels around Italy, it’s fun. However, he is just visiting the grave of Vesper Lynd. Therefore, it can be assumed in advance that one day he will want to visit him and that it is from this event that his life will start to happen again.
The new Bond builds history on the foundations of the previous ones, with distinction Specter. This is a bit of his problem, because even though I like Mendes’ previous film, it is impossible not to say that he left the foundations for further telling about unfinished matters quite thin. The plot thus loses out on weaving it further around the colorless character of Christoph Waltz, his mysterious organization, but most of all on Madeleine’s relationship with James. The second film is told how great love this is and how important the relationship is, and the characters are still characterized by a complete lack of chemistry. While Craig and Lea Seydoux are two great actors, they just can’t work out on screen what happened so naturally with Eva Green. Although the script tries to underpin this relationship as much as it can, there is still something about it that does not allow it to fully resonate. And let alone emotionally pull a 160-minute-long film.
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A film that, in the frame itself, is unfortunately nothing more than a fairly average sensationalist. Although it is nice, well shot and staged, it is difficult to find scenes that we will remember and that will be able to throw the jaw onto the floor or the eyes out of their sockets. A lot is happening, the pace has been taken care of despite the downtime, but especially due to the stakes and the role of this It’s not time to die something more was to be expected in the series. So that it goes beyond the solid Bond average, split as usual among very diverse landscapes.
I have already mentioned the drawing of not the best plots of Madeleine and Blofeld, and it seems so much more off the mark as the new characters are doing very well. A great entry into the series is noted by Lashana Lynch, knowing her place in the row and, despite taking over a very important role, not trying to appropriate the screen for herself. What was a pretext for online storms before the premiere was solved perfectly. Rami Malek is also good, in the role of a typically Bondian walking archetype of the evil. After the most absurd Oscar of the last few years being his participation, or rather, looking at the shooting period, on the wave of this award, it might seem that his character will again go solely into visual attributes. However, the casting selection is hit, because it perfectly highlights both his acting manners and hides shortcomings. Just naming Lucifer was unnecessary. There is also Ana De Armas, but there is no need to dwell too long here, because her character, unfortunately, has absolutely no meaning. It is a pity, because I have the impression that if this film was released in a timely manner and a more expressive role, it could get dangerously close to the shelf of acting icons of contemporary pop culture. The one on which Margot Robbie, Scarlett Johansson and Emma Stone sit.
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The length of the series is already taking its toll on Bond, but the director and screenwriters are trying to enter into a dialogue with his contemporary image, which is very beneficial for the film. You can say that they adapt 007 to the current realities. Most importantly, however, they do it very naturally. This character, which has always been built on more or less charming archaisms, is a bit lost in today’s world. The great scene with Ana De Armas handing him a suit best expresses how Her Majesty’s most famous agent has to change his attitude towards women. His approach to the world, on the other hand, redefines the entire film for him.
Most importantly, however, despite the obvious defects of the script, a large amount of pure exposure or over-zealous explanation of the obvious symbolism, the film fulfills its mission of discharging a sufficiently large emotional load due to the fact that it is Daniel Craig’s farewell to the role of Bond (now it should not be unscrew). I don’t know how they do it, but the ending sounds and in its simplicity it hits the right strings, being one of the most emotional things we’ve seen with blockbusters in recent years. You can for these experiences It’s not time to die forgive a lot.
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About six months ago, the biggest football clubs in the world came out with the Super League, wanting to take over the entire industry for themselves. The opponents of this solution, i.e. the vast majority of observers, said that the matches between the greatest in this world would become more common and lose their attractiveness, because something that is rarely repeated is a bigger holiday than when we can watch it every week. The new Bond and my feelings about it confirm this thesis in the film industry. This means that one film in four years will always be more emotional than four in a year. Therefore, if exactly the same was issued under the flag of any other series, I would probably be shaking my nose. Here, however, apart from the aforementioned, rarely occurring exclusivity, the British elegance and class remained. And, as the classic said, you can’t buy it.