Monday, March 30, 2009
Monday, March 23, 2009
Thursday, March 19, 2009
He proves that he’s got the action chops in the film’s prologue where James Bond (Daniel Craig) ruthlessly dispatches several adversaries in a thrilling car chase along busy, twisty country roads in Siena, Italy. This film also returns to the franchise’s trademark opening credits sequence with barely silhouetted naked women float around in some kind of trippy limbo with Bond repeatedly firing his gun as Alicia Keys and Jack White provide a suitably hard-hitting, bombastic duet called, “Another Way to Die.”
Bond is still dealing with the death of Vesper Lynd, the woman he loved in the previous film. He’s also investigating a shadowy organization that boasts having operatives everywhere, including MI-6, much to the chagrin of Bond’s superior, M (Judi Dench). He uncovers one of the secret organization’s high level operatives, Dominic Greene (Mathieu Amalric – a dead ringer for a young Roman Polanski), a man who specializes in overthrowing governments in Third World countries in exchange for their resources. He currently has his sights set on Bolivia but of course Bond is determined to stop him because he also tried to kill the woman he loved in Casino Royale.
Daniel Craig builds on the foundation he established in the previous film. With the death of his lover, Bond has little to live for except for revenge and this gives him an icy intensity that Craig conveys so well with his penetrating blue eyes. He’s been one of the consistently fascinating actors to watch in the last ten years. He’s got undeniable charisma and backs it up with some serious acting chops.
Forster does a surprisingly excellent job creating a lean, no frills revenge story under the guise of a Bond film. He is more than capable of handling the action sequences, of which there are many, and invests us in Bond’s personal quest for vengeance all the while fulfilling the usual expectations of a Bond film: beautiful women, death-defying stunts, exotic locales, and world-dominating villains. In a refreshing break in formula, Quantum of Solace is not a stand-alone adventure but instead wraps up the narrative loose end left hanging at the end of Casino Royale. This gives the film a truly satisfying conclusion as Bond is finally able to put a painful part of his past to rest and move on to the next mission and, of course, the next film.
The first disc features a music video for “Another Way to Die” with Alicia Keys and Jack White in a slick video done very much in the style of the opening credits sequence. As far as Bond songs go, it’s actually quite good and a definite improvement over Chris Cornell’s song for Casino Royale.
Also included are teaser and theatrical trailers.
The second disc starts off with “Bond on Location,” which takes a look at the challenge of finding original locations all over the world for the film that fit the specific visual look that Forster wanted to achieve. This included set design, how the extras looked and so on.
“Start of Shooting” examines the daunting task of following up the phenomenonal success of Casino Royale. Craig had to do much more extensive training for this film, including things like stunt-driving.
“On Location” sees Forster viewing the film’s various locations as characters unto themselves. They shot in some pretty remote areas.
“Olga Kurylenko and the Boat Chase” takes a look at the new Bond girl and how they viewed her character as Bond’s equal. The actress did a lot of physical training so that she could do many of her own stunts.
“Director Marc Forster” talks about what he brings to the film. The cast speaks admiringly of him.
“The music” examines composer David Arnold’s work on the film and how he tried to reflect its themes in the music. Alicia Keys and Jack White talk briefly about working together and we see footage of them shooting the music video for their song.
Finally, there are “Crew Files,” a collection of mini-featurettes spotlighting various crew members who introduce themselves and then explain what they do on the film with behind-the-scenes footage.
Monday, March 16, 2009
Imagine the scene: a teenager is playing baseball. It's his turn up at bat and he promptly strikes out. He dejectedly leaves the diamond on his bike — presumably bound for home. On the way, he spots two cars with suspicious looking men in them. The boy quickly ditches the cars and finds a younger boy by giving a dog his shoe. It does not take long to deduce that they are brothers. No explanation is given for this rather odd behavior. However, we soon find out that the boy's name is Danny Pope (River Phoenix) and that his parents, Arthur (Judd Hirsch) and Annie (Christine Lahti) are 1960s subversives who went underground after claiming responsibility for bombing a military research lab that was developing napalm in 1971. The resulting action accidentally blinded a janitor which caused the Popes to become fugitives, roaming the country like gypsies, always trying to stay one step ahead of the law. Arthur and Annie made a choice a long time ago to live this kind of life. But their two sons are also stuck with this choice and its consequences. As Annie tells her husband at one point, "Look at what we're doing to these kids. They've been running their whole lives like criminals and they didn't do anything."
Monday, March 9, 2009
As the film opens, a
The Abyss was a project that James Cameron had dreamed of making ever since he was 17 years old. He wrote a “very, very crude and simple story dealing with the idea of being in the very deep ocean and doing fluid breathing and making a descent to the bottom from a staging submersible laboratory that was on the edge.” His original short story concerned the adventures of a group of scientists in a laboratory at the bottom of the ocean, “which is the sort of sci-fi idea that appeals to all kids, I suppose,” he said. Over the years, Cameron became involved in numerous other projects but he never forgot about this underwater adventure and wrote several drafts that changed radically over time but the original idea that started it all remained intact. When Terminator (1984) and Aliens became bonafide box office hits, Cameron was in a position to make his dream project a reality. He had no idea the problems that he would face trying to realize this dream.
As if this wasn’t enough of a challenge, the actual shoot consisted of a grueling six month, six-day, 70-hour a week schedule that took its toll on cast and crew alike. “I knew this was going to be a hard shoot, but even I had no idea just how hard. I don’t ever want to go through this again,” Cameron remarked at the time. And yet, the sense that what they were making was groundbreaking and worth doing was the glue that kept everything together. The film’s producer, Gale Anne Hurd clearly viewed The Abyss in this fashion. “No one has attempted this before, and we had to solve everything from how to keep the water clear enough to shoot, to how to keep it dark enough to look realistic at 2,000 feet where it’s pitch black.” By all accounts, the cast and crew thrived on this challenge, and as the final results demonstrate, succeeded in producing a truly stunning work.
Cameron’s production company had to design and build experimental equipment and develop a state-of-the-art communications system that allowed the director to talk underwater to the actors and dialogue to be recorded directly onto tape for the first time. For all of the underwater scenes they used three cameras in watertight housings specially designed by underwater cinematographer expert Al Giddings, known for his incredible work on The Deep (1977). Another special housing was designed for scenes that went from above-water dialogue to below-water dialogue. Underwater visibility was a major concern for Cameron as he wanted to see the actors’ faces and hear their dialogue. Western Space and Marine built ten experimental diving units for the film. They engineered helmets which would remain optically clear underwater and installed innovative aircraft quality microphones in each helmet.
The production difficulties that plagued The Abyss have become the stuff of
As Cameron demonstrated with Terminator, he has a real eye for action sequences and The Abyss is no different. One scene in particular, demonstrates Cameron's ability to create moments of white knuckle intensity. Several compartments of the underwater rig begin flooding, while crew members try frantically to escape to a safer area. Cameron's hand-held camera follows these men through the claustrophobic hold at such a breakneck pace, via a compelling first person point-of-view angle, that one can't help but get caught up in the feeling of urgency brought on by this dangerous situation. At times, it feels like you are actually bouncing through the tight corridors of the rig alongside the characters and this enhances the thrill and excitement of such adrenaline-fueled sequences.
The Abyss is also similar to Cameron's previous film, Aliens in the sense that both have a top rate ensemble cast. The crew of the rig all have their own distinctive personalities, which are each given their own moment to shine and never detract from the larger story. The interaction between these people has a ring of honesty and authenticity, which suggests that every character is important and crucial to the film’s outcome. But these colorful characters never obscure the three main principles that are also fully-fleshed characters each with his or her own agenda. Ed Harris portrays Bud as a man dedicated to his rig and his people, but he cannot balance his work life with his personal life. Mary Elizabeth Mastrantonio's Liz is, as she later admits, "a cast iron bitch," but underneath the hard, tough exterior there are occasional glimpses of a sensitive dreamer fighting to get out. Cameron regular, Michael Biehn (an underused actor also seen in Terminator and Aliens respectively) personifies intensity as the leader of the Navy SEALs who slowly loses his grip on reality and his priorities, posing a threat to the safety of everyone on the rig. Each of these characters has their own inner conflicts as well as the larger conflict that threatens everyone. One of the pleasures of watching The Abyss is seeing how these personal conflicts play out and resolve themselves by the end of the film.
The Abyss was ultimately sunk by poor timing. Being released after two horrible underwater films was not a wise move. Critics and audiences were just not receptive to yet another underwater film, especially one that clocked in at over two hours. Newsweek’s David Ansen wrote, “The payoff to The Abyss is pretty damn silly – a portentous deux ex machina that leaves too many questions unanswered and evokes too many other films.” In her review for the New York Times, Caryn James claimed that the film had “at least four endings,” and “by the time the last ending of this two-and-a-quarter-hour film comes along, the effect is like getting off a demon roller coaster that has kept racing several laps after you were ready to get off.” The Globe and Mail’s Chris Dafoe wrote, “At best, The Abyss offers a harrowing, thrilling journey through inky waters and high tension. In the end, however, this torpedo turns out to be a dud – it swerves at the last minute, missing its target and exploding ineffectually in a flash of fantasy and fairy-tale schtick.” However, the USA Today gave the film three out four stars and wrote, “Most of this underwater blockbuster is “good,” at least two action set pieces are great. But the dopey wrap-up sinks the rest 20,000 leagues.”
Harmetz, Aljean. "A Foray into Deep Waters." The New York Times. August 6, 1989.
James, Caryn. "Undersea Life and Peril." The New York Times. August 9, 1989.
McLean, Phillip. "Terror Strikes The Abyss." Sunday Mail. August 27, 1989.
Sujo, Aly. "Abyss Puts Studio Executives on Edge." Globe & Mail. August 8, 1989.
Walker, Beverly. "Film Plot Mirrored Filmmakers' Troubles." Washington Times. August 9, 1989.