007 marathon: Just say yes to DR. NO

tinseltown tuesday meme morpheous

DR. NO is the first 007 movie, the world’s introduction to Sean Connery and an instant classic packed chock full of win — right?

Well, the first two things are true.

The last part isn’t. This film is imperfect.

It’s a rough draft of a rough draft, with big pleasures and big flaws and a lot of cheesy nonsense that you’ll recognize as the first fumbling gestures to what will become glorious 007 movie staples that will change movies FOREVER.

So DR. NO isn’t a perfect film or the amazing classic we all think it is. 

You should watch it anyway.

I just did. As part of a 007 movie marathon — we bought the boxed set of Every 007 Movie Known to Man — I’m watching each movie, in order, with our 11-year-old son who has never seen a Bond movie before.

DR. NO was our first. It will not be our last, nor will it be our favorite Bond movie of all time. Yet there’s something about the first that’s always worthwhile and interesting and magical, even in the bits that are a bit undercooked.

Sean Connery, the Best Bond Ever?

Not in this movie.

Sure, he’s got charm and a sense of menace. He’s instantly credible as Bond and fun to watch.

Best ever? Nope.

Connery in DR. NO beats the pants off Roger Moore any day of the week. Daniel Craig crushes Connery’s first whack at Bond, and I’d even give Remington Steele the win in GOLDENEYE versus Connery in this one.

The later Pierce Brosnan Bonds get a bit cheesy, and he gets massive demerits for all the invisible car nonsense in his last 007 film and singing ABBA songs in that movie with Meryl Streep, so Connery edges Brosnan overall.

Also: Timothy Dalton is under-rated, and gets mondo bonus points for appearing as a glorious bad guy in HOT FUZZ.

Also-also: George Lazenby just doesn’t count.

So here we go, ranking the 007s in order:

Daniel Craig > Sean Connery > Pierce Brosnan > Timothy Dalton > Roger Moore > George Lazenwhatever

The Bad Guy

DR. NO’s villain is a mysterious mad scientist named who lost his hands to radiation experiments or some such thing and belongs to SPECTRE, which he carefully explains to Bond stands for something like Some People Who Are Really Smart and Choose Crime Because It’s Way More Fun to Have Secret Lairs in Volcanos and Such, except he makes it spell SPECTRE.

Dr. No lives on an island with a ton of henchmen, a sweet underground lair and all kinds of fancy prison cells connected by the most awesome airduct system ever.

Basically, Dr. No is a trendsetter for supervillains to come: a rich, disfigured foreigner with some kind of nuclear / doomsday device in his underground lair and all kinds of henchmen who wear matching jumpsuits.

Related post: Out of fairness, I dissect my favorite genre, thrillers

The Bond Girls

There’s a random dark-haired girl in the beginning who Bond meets at a card game. She breaks into Bond’s apartment, which somehow endears him to her instead of making him fill her full of lead as a possible KGB assassin.

There’s a bad girl photographer working for Dr. No and another bad Bond girl at the British consulate who’s a double-agent for Dr. No and flirts with Bond before eavesdropping on him. So naturally he asks her out and winds up going to her place, which is an ambush. Ugh.

At this point, I’m yelling at the screen, “If you see any pretty girl, Sean the Connery, turn around and RUN FAR AWAY.”

Finally, we’ve got a blonde he meets on Dr. No’s mysterious and forbidden island: Honey Rider, the main Bond girl, who’s on the beach hunting for shells. Beautiful girl? Yes. Good actress? Nah. But it works alright.

The Gadgets

None, really. M makes Bond swap out his original gun for a Walther PPK because it has more stopping power.

Bond does have a neat little shoulder holster and displays some tradecraft when he plucks a hair and sticks it over his hotel closet door as a way to check if anybody comes looking around his room.

The Story

The opening sequence is a bit lame compared to later 007 movies. There’s a long bit with British men in a club, talking a lot, before anything really happens. Sean the Connery doesn’t really appear on screen until FOREVER.

What DR. NO does right is set up the basics of a 007 story: a suave secret agent traveling to interesting places around the world to sneak around and uncover plots by intriguing villains.

Dr. No himself gets a great build-up. You don’t see his face for a long time. The first scene with Dr. No, you only hear his voice. The second scene, his body and metal hands. Great stuff. My only quibble is when you finally do see his face when Dr. No dines with Bond and Honey Rider, it’s a let-down. The actor is pretty wooden. I wanted to be even more impressed, to keep up the momentum and menace.

Some of the sidekicks are simply bad story. There’s a boat captain who’s almost — not quite, but close enough — the Jar Jar Binks of Dr. No. The ominous man following Bond from the airport isn’t a bad guy, but a friendly CIA agent, which was a little too cute.

Overall, though, the first Bond story sets up a nice template for all the other movies. Big hero, big villain, big stakes.

The Verdict

This movie won’t blow you away. You’re not going to see the credits roll and shout “Again again!” like a crazed Teletubby.

Despite the rough edges, for any real fan of 007, this is required viewing. You’ll see the seeds of future bits, the origin of characters and tropes that will show up in film after film.

Grade: B+. There’s tension, action and excitement, and at the time, this was ground-breaking stuff.

A short film full of win

This is insanely well done.

I salute you, filmmaker peoples with remote-control car collections, Michael Bay obsessions and creativity oozing out of your pores. GIVE US MORE.

DECAY, a zombie movie made by real scientists

Not just any old scientists playing with beakers in the lab or whatever. No.

Brilliant boffins who work at the world’s greatest superconducting super-collider made this zombie movie, using the creepy tunnel parts of their fancy machine as movie sets.

I would actually watch this thing.

Not too shabby, scientist peoples of CERN — keep on making these things.

One second, every day, for one year

This is shockingly fun to watch and interesting.

Without trying to tell a story, this man tells a story.

I tip my hat to you, Mr. One Second Every Day — well done, sir. Well done.

The great thing: anybody with a smart phone can do this, and do it well.

What made SKYFALL so insanely great?

Yes, the cinematography was beautiful. Just watch the trailer, which is packed with great shot after great shot.

But that’s not why.

Also: cinematography is just a fancy word for “hiring the right dude to actually work the camera and stage amazing shots, because the director is really the Big Boss of the film and not the guy behind the camera, though papers of news will confuse you about this by talking about the man behind the camera when they talk about directors.”

Also-also: the dialogue and writing was much, much better than your typical Bond film. But that’s not what made SKYFALL so excellent that it may be the first Bond film in the history of modern civilization to get nominated for Oscars.

So what truly made SKYFALL so good?

Story.

Story is the reason that Michael Bay can waste $250 million apiece on movie after movie about robots that change into cars or whatever, movies that only 12-year-old boys really enjoy watching.

Story is the reason THE KING’S SPEECH — made for about $20 million — crushes any Michael Bay explosion-fest known to man.

As a big fan of cheesy action movies, I appreciate ones that embrace their cheesiness. They make it more fun. When you start taking a movie about robots from outer space too seriously, it shows on the screen and stops being fun.

SKYFALL rocks so hard because it takes something else seriously: story.

Just for comparison, I watched a typical 007 movie from the Roger Moore era: THE SPY WHO LOVED ME.

Here’s the trailer for that piece of cinematic trash:

SKYFALL and this Roger Moore thing have the same ingredients: (a) suave spy for the British Secret Service who (b) can’t walk down the street without tripping over 27 beautiful women, half of whom are (c) trying to kill him because they work for (e) some insane villain with pet sharks and a secret lair inside a volcano. There will be (f) glorious gadgets and (g) amazing chase scenes and (h) witty one-liners.

That formula means nothing if you — the audience and the director and the actors — don’t care about the characters.

Bond has typically been made of cardboard. Oh, he’s got the tuxedo and the charm and the gadgets. He gets the girls. But what makes him tick? Does he ever suffer and sacrifice and change?

Roger Moore never really suffered or sacrificed or changed.

Daniel the Craig definitely suffered and sacrificed in CASINO ROYALE. And he bumped that way, way up in SKYFALL.

Sidenote: A big reason that A QUANTUM OF SOLACE stank up the joint was the Hollywood writer’s strike meant the writing and story was thrown together by the director and Craig, on set. Not a recipe for success. 

The more brilliant move by Sam Mendes and his writers was to give serious character arcs not just to Bond, but to the traditional supporting cast at MI-6, the characters who are usually just pieces of scenery.

In the old Bond movies, M was just a boss behind the desk and Moneypenny was a pretty secretary that flirted with Bond as he hung up his coat and went in for his next assignment.

In SKYFALL, Moneypenny is an amazing driver who shoots somebody you don’t expect. She’s actually important to the plot.

Even a minor character played by Ralph Fiennes goes from bureaucrat and enemy to courageous ally. He gets a story arc.

And this time, M is absolutely crucial to the plot.

Crucial to Bond, who suffers quite a lot because of a decision she made: “Take the bloody shot.” Crucial to the villain, Silva, who suffered just as much, if not more, because of M.

Finally, M is crucial to the film’s story itself. You could argue that it’s her film.

Sam Mendes gives us a movie that’s not just chase scenes and gadgets and Bond girls — he makes us care about the characters. He takes us on a journey with them, with each of them forever changed.

And that’s the power of story.

007 villains: Getting rid of incompetent henchmen

Bond villains need all kinds of minions, right?

Somebody has to feed the sharks, build the secret lairs, hide in hotel closets to attack 007 and all that.

HOWEVER: You can’t just fire a henchmen, not when they know all your secrets. That wouldn’t do at all. And you need to send a message about accountability to the remaining employees of your secret shebang.

IRON MAN 3 trailer gets all Sweded

If you don’t know what a Sweded movie is, well, ask a Swede like me.

Either way, watch and enjoy this frame-for-frame Sweded trailer of IRON MAN 3: TONY STARK GETS ALL ANGSTY AND SUCH.

Why new STAR WARS movies by Disney are an achy breaky big mistakey

yoda after the death star blows up

Disney just bought LucasFilm for $4 billion dollars, causing a great disturbance in the Force, as if millions of souls suddenly cried out in pain and anguish.

Maybe because they did cry out in pain.

Now, you can argue that this is not so bad, because (1) this definitely means George Lucas isn’t directing new STAR WARS movies, which does, indeed, avert disaster, (2) Disney didn’t do half bad after it bought Marvel and started pumping out IRON MAN movies and CAPTAIN AMERICA and THOR and such, which leads to the Ultimate Fanboy Fantasy of (3) Joss Whedon directing a STAR WARS movie, which would cause the universe to implode out of sheer awesomesauce.

HOWEVER: All those reasons are destroyed by the Death Star of one simple truth.

And no, that truth is not the fact that Disney buying STAR WARS means we will be swimming in all kinds of direct to video trash aimed at five-year-olds, along with special editions and special-special editions and God knows how much other new nonsense the Disney factory will pump out, month after month, year after year, until kids who grew up watching STAR WARS movies band together and march upon the House of the Mouse to burn that sucker down.

Here’s why STAR WARS: EPISODE 7 OR WHATEVER is a terrible idea: the hero and villain are both dead.

But oh, you say, we’ve still got Luke and Leia, Han and Chewie, C3P0 and R2-D2. They’re still alive, right?

Sure. I bet Jar-Jar Binks is still breathing after the Death Star blew up for a second time. That’s beside the point. Who’s the hero of STAR WARS? Who’s the villain?

Those two serious questions need serious answers. If the answers stink, or make no sense, the new movies will stink no matter how many dollars you throw at the screen in CGI nonsense.

Luke isn’t the hero. He’s only in the last three movies.

Obi-Wan seems like the hero, and is heroic, but he’s dead for the last three movies. He’s a glowing spectator, and his role is mentor anyway.

Han Solo is a great character, but he’s not the hero. He’s comic relief and part of the love subplot with Princes Two Buns on Her Head.

The Shiny Robot Who Complains A Lot and his pet tin can, hey, they’re in all six movies. Are they the heroes? No. More comic relief. More sidekick action.

Hmm. We seem to be stuck. The hero is AWOL … except he’s not.

This is really Darth Vader’s story. He’s in all six movies, and he’s got a real character arc: Darth is good, gets really whiny and turns to the Dark Side — that’s the first three (prequel) movies. Then he gets conflicted about the whole Dark Side thing, wants Luke to join him and kill the emperor (THE EMPIRE STRIKES BACK) and finally sacrifices himself to kill the emperor and save his son.

Darth Vader goes from slave to Jedi, from Jedi to Sith, then Sith to Jedi again. He finds redemption. It’s his story.

So: who’s the villain?

Well, at first we thought it was Darth Vader, because he really was the bad guy in the first STAR WARS movie and such. The emperor barely got any screen time until RETURN OF THE JEDI.

Don’t let the sea of mini-bosses fool you. Darth Maul, Count Dooku, Jabba the Hut, the Trade Federation dipsticks, General Grevious Chest Cold — all those guys are random nonsense. They sell toys, fine.

The villain through all six movies, however, is clearly the emperor.

Accept no substitutes.

Here comes the Big Stupid Problem

And now we come to the giant flipping problem with any future STAR WARS movies: who’s your hero and who’s your villain?

Because your real hero, Anakin / Darth Vader, is a goner.

Your real villain, Emperor Wrinkly Pants, got thrown down a bottomless pit in the Death Star right before that sucker went all kabloomy for a second time. He ain’t coming back.

Unless the new movies are going to be space opera-style romantic comedies about Han and Leia’s Big Fat Alderan Wedding, or Christmas on Tatooine, you need a villain worthy of the surviving band of rebels and Jedi, seeing how they’re not rebels anymore. They won. They’re in charge.

Sure, there are all kinds of books out there, books I don’t read, that supposedly tell the story of what happens after the Ewoks do their jub-jub dance and shoot off all kinds of space fireworks. People tell me the Sith aren’t really done for, that Luke sort of turns bad, or Han Solo and Leia have a dozen kids and half of them turn into angsty teenage Vader wannabes or whatever. And that there’s some kind of thing where the emperor gets cloned, or random Sith Lords and remnants of the old Imperial army and navy and marines (no Air Force?) come back for more space battles and such with stormtroopers who can’t shoot straight to save their lives.

None of that will fly.

Why? Because the first six movies kept telling us, over and over, that Anakin / Vader was The One, just like Neo in the Matrix.

They beat us on the head with the fact that the prophecy told us Anakin would wipe out the Sith and bring balance to the Force, and peace to the galaxy. Also, that he would cut marginal tax rates by 20 percent and eliminate capital gain taxes entirely, because that’s how you create jobs in places like Tatooine.

Either they lied to us for six movies or they didn’t.

Another hurdle: Yoda and others kept saying stuff like “always two, are there” when talking about the Sith — a master and an apprentice. Now, this wasn’t entirely consistent, since the emperor had Darth Maul and Count Dooku at the same time, but those movies also included the anti-reality field known as Jar Jar Binks, which means anything that happens in those flicks doesn’t really matter or count.

A third hurdle: if you bring in a secret new villain from the outside, or invent five new villains to throw at our remaining collection of random heroes, then it just becomes an incoherent mess.

The bottom line is we’re in for more movies that may stink more than the prequels, if that is possible. And more commercialized nonsense like this Darth Vader – Emperor dance-off on Kinnect or whatever.

THE PROTOTYPE trailer is what movies should be

Now, sometimes a bad movie can fool you by putting together 3 minutes of good stuff — the only 3 minutes that don’t stink — into the trailer.

Not this movie. You can feel that it’s going to be good, just like five seconds into the ARGO trailer, I knew Ben Affleck had strapped himself into a chair and watched GIGLI for 72 hours before vowing to atone for his sins, which also include PEARL HARBOR and any other movie he doesn’t also direct. He is born to direct, and to have shaggy hair with a beard.

HOWEVER: This is preventing you from watching one of the best trailers I’ve seen in forever. Here you go.

Skydive from space — with Legos

It takes guts, monies and sponsors to float 25 miles into space and break the sound barrier skydiving down — then not going splat like the coyote in a Road Runner toon.

HOWEVER: I am equally impressed and entertained by this re-enactment of the space dive, done with Legos.