Month: November 2014
My contempt for the Bond formula has been extensively chronicled, especially my blame against Goldfinger for starting it all. It was thrilling, therefore, to see Casino Royale go in another direction, a very “back to basics” version of the franchise that was reminiscent of even earlier entries in the series, Dr. No and From Russia with Love. In those films, action, plot, and character were balanced precariously, yet perfectly. And in Casino Royale, that balance was brought back; Bond was suave without being a superhero, the political context was intact without being a punchline, and the stakes were high enough without a muddled plot.
Skyfall went somewhere else. It is unlike any other Bond film in the rest of the franchise. It literally is something else. And James Bond is someone else. At its core, it resembles 1995’s GoldenEye and Christopher Nolan’s The Dark Knight, but I’d hesitate to call such a comparison disingenuous because the former is one of the best Bond films, and certainly Pierce Brosnan’s best entry, and The Dark Knight is one of the strongest superhero films in recent memory. It’s that tone of morbidity of the latter, and its re-envisioning of its character, which seems to inform how many perceived what some might call The Nolanization of James Bond. Read the rest of this entry »
It seems relatively fair to posit that Taylor Swift has made some of her career based on the image that she’s America’s Sweetheart, the Girl Next Door, and any number of very gendered archetypes which put her into a box of Innocence and Purity. In David Fincher’s Gone Girl (written by Gillian Flynn and based upon her best-selling novel), Amy Dunne (Rosamund Pike) similarly has that kind of porcelain face, and, even more so, has had to live up to the same standards that society has set for her. Hiding behind those masks, though, is something else. All you have to do is watch the video for “Blank Space” and Gone Girl. Read the rest of this entry »