Her er de første 007-anmeldelser SPOILERS....

Her er de første 007-anmeldelser


De toneangivende britiske medier har allerede fældet dom over den nye James Bond-film. Læs anmeldelserne her



Rune Melchior Sjørvad - 15:25 - 20. okt. 2008 Senest opdateret - 15:40 - 20. okt. 2008
Selv om den nye James Bond-film - 'Quantum of Solace' - først har dansk premiere den 7. november har flere større britiske medier allerede lagt deres anmeldelse af filmen på nettet.
Filmen - der er den anden i rækken med Daniel Craig i hovedrollen - bliver kaldt endnu mere hårdkogt end den foregående 'Casino Royale', der ellers må siges at indeholde en ganske god portion voldsom action og tortur-agtige forhørs-scener.
'Quantum of Solace' er for øvrigt den korteste James Bond-film nogensinde med en spilletid på blot 106 minutter. Til gengæld er den med en pris på intet mindre end 1,3 milliarder kroner den dyreste 007-film i historien. Det skriver den britiske avis The Mirror.
Nedenfor er links til et par af de allerede offentliggjorte 'Quantum of Solace'-anmeldelser.
Hvis man vil vide, hvordan danske Jesper Christensen, der har en birolle i filmen, bliver bedømt, må man væbne sig med tålmodighed til de danske anmeldelser bliver offentliggjort.

FIRST REVIEW OF NEW JAMES BOND MOVIE 007



By David Edwards Mirror Film Critic 18/10/2008
Covered in oil, the thick black fluid dripping from her naked body, the latest girl to fall for James Bond lies dead on a hotel bed.
Sleeping with 007 has always been bad for a woman's health. And MI6 Agent Fields is the latest Bond girl to meet with a sticky end in Quantum of Solace, in a scene that brilliantly evokes the death of Shirley Eaton in Goldfinger.
Two years after Casino Royale, Bond is back. Hundreds of fans queued around London's Leicester Square for last night's world premiere of the 22nd Bond movie.
And the spying theme wasn't confined to the big screen - security stopped anyone from entering the Odeon with a mobile phone.
Even as Jack White and Alicia Keys' theme tune, Another Way To Die, rolled, guards patrolled the aisles watching for illicit recordings.
If security was high, expectations were higher. Could Daniel Craig equal his last Bond outing? Nearly. He just falls short, but 007's licence to thrill is still intact.
Quantum of Solace is a leaner, meaner animal, rammed with shoot-outs, a boat chase and even an aerial dogfight. And our hero is an angry, embittered man out for blood.
Mostly it doesn't feel like a Bond film at all. Not once does Craig say: "The name's Bond. James Bond." There's no Q or his gadgets. Heck, we even see Bond in a cardigan.


There are no risque quips or arched eyebrows. This Bond is a soul in torment having lost the love of his life when Vesper Lynd drowned.
Quantum is the shortest 007 film at 106 minutes - and the most expensive, having cost £130million.
Taking its name from Ian Fleming's 1959 short story, the action kicks off in tyre-screeching fashion. Bond, in his black Aston Martin, is chased by two Alfa Romeos through winding cliff-top roads above Lake Garda in Italy. That is followed by a vertigoinducing rooftop action scene.
Saving the world is way down 007's to-do list this time - he is out to avenge Vesper's death.
If Bond was a cold killer in Casino Royale, here he's a cauldron of boiling rage. M even puts him on MI6's capture-or-kill list while the CIA threaten to take him out. Craig puts in another powerhouse performance. Gemma Arterton (who plays Fields) and Olga Kurylenko (troubled moll Camille) are also impressive.
Best of all, Brits get to see the film a week ahead of its worldwide release.
It doesn't disappoint - just don't expect the brilliance of Casino Royale.
Quantum of Solace is released on October 31.

http://www.mirror.co.uk/news/top-stories/2008/10/18/first-review-of-new-james-bond-movie-007-115875-20815336/

Quantum of Solace




He's back. Daniel Craig allays any fear that he was just a one-Martini Bond, with this, his second 007 adventure, the perplexingly named Quantum Of Solace.
I've got to admit that this didn't excite me as much as Casino Royale and the villain is especially underpowered. But Craig personally has the chops, as they say in Hollywood. He's made the part his own, every inch the coolly ruthless agent-cum-killer, nursing a broken heart and coldly suppressed rage. If the Savile Row suit with the Beretta shoulder holster fits, wear it. And he's wearing it.
This is a crash-bang Bond, high on action, low on quips, long on location glamour, short on product placement.
Under the direction of Marc Forster, the movie ladles out the adrenalin in a string of deafening episodes: car chases, plane wrecks, motor boat collisions. If it's got an engine, and runs on fuel, and can crash into another similarly powered vehicle, with Bond at the wheel, and preferably with a delicious female companion in the passenger seat - well, it goes in the movie.
There are plenty of references to other Bond moments. A horribly dangerous skydive recalls The Spy Who Loved Me. A pile-up in Haiti which spills a macabre lorryload of coffins recalls the voodoo creepiness of Live And Let Die. And, most outrageously of all, the grotesque daubing of a female corpse brings back Goldfinger - though Sean Connery got an awful lot more mileage out of that sort of thing.
As in Casino Royale, the famous John Barry theme tune is saved up until the end; a baffling, decision, I always think, not to use this thrilling music at the beginning of the film.
Bond has hardly got his 007 spurs, when he's infuriating M, Judi Dench, with his insolence and insubordination. Out in the field, he's whacking enemy agents in short, sharp, bone-cracking bursts of violence when he should be bringing them in for questioning.
In theory, he is out to nail a sinister international business type: Dominic Greene, played by French star Mathieu Amalric, who under a spurious ecological cover plans to buy up swaths of South American desert and a portfolio of Latin American governments to control the water supply of an entire continent. As Greene, Amalric has the maddest eyes, creepiest leer, and dodgiest teeth imaginable.
Clearly, Bond has to take this fellow down. But he also wants to track down the man who took his beloved Vesper away from him in the previous movie: he is pathologically seeking payback, and to the fury of his superiors, this is getting personal. But it hasn't stopped him cultivating female company in the traditional, fantastically supercilious manner. His companions are as demurely submissive as ever. Olga Kurylenko plays Camille, a mysterious, smouldering figure, out to wreak vengeance on the corrupt Bolivian dictators who killed her family.
Britain's Gemma Arterton plays Agent Fields; she greets 007 wearing a trenchcoat with apparently little underneath, like some sort of MI6 strippogram. And she is the recipient of his ardour in the luxury hotel suite - that quintessential Bond habitat. This movie is, in fact, a reminder of how vital hotels are in Bond films, providing the essential narrative grammar: the checking in, the fight with the stranger in the room, the messages left at reception, the luxury cars lovingly photographed outside.
I was disappointed there was so little dialogue, flirtation and characterisation in this Bond: Forster and his writers Paul Haggis, Neal Purvis and Robert Wade clearly thought this sort of sissy nonsense has to be cut out in favour of explosions. Well, perhaps that is what Bond fans want (not this Bond fan, though). But I was also baffled that relatively little was made of the deliciously villainous Amalric: especially the final encounter.
But set against this is the cool, cruel presence of Craig - his lips perpetually semi-pursed, as if savouring some new nastiness his opponents intend to dish out to him, and the nastiness he intends to dish out in return. This film, unlike the last, doesn't show him in his powder-blue swimming trunks (the least heterosexual image in 007 history), but it's a very physical performance. Quantum of Solace isn't as good as Casino Royale: the smart elegance of Craig's Bond debut has been toned down in favour of conventional action. But the man himself powers this movie; he carries the film: it's an indefinably difficult task for an actor. Craig measures up.

http://www.guardian.co.uk/film/2008/oct/18/jamesbond1

James Christopher




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Quantum of Solace


James Bond is back, and this time it’s mighty personal. Daniel Craig’s craggy agent picks up exactly where he left off in another bruising thriller that leaves you feeling both drained and exhilarated.
There are hand-to-hand fights that make your eyes water and old-school stunts involving motorbikes, speedboats, jet fighters and expensive cars that give you whiplash just looking at them. Really, nobody does it better than the new 007.




What makes Marc Forster’s film such an intriguing watch is that this is the first of the 22 Bond movies where the plot flows organically from the last instalment, and Quantum of Solace looks a far stronger picture for this rare continuity.
Needless to say the plot is as forbidding as the title. After the death of his girlfriend, Vesper Lynd, at the end of Casino Royale, Bond mixes revenge and duty dangerously as he hunts down the shadowy group that blackmailed Lynd to betray him.
A link to a bank account in Haiti puts Bond on the scent of Mathieu Amalric’s chief creep and ruthless businessman, Dominic Greene. All great Bond adversaries are generously blessed with kinks and quirks and Greene is no different. Amalric has a wonderfully wormy arrogance.
His sidekick, Elvis (Anatole Taubman), sports a monkish fringe, and Tarantino bad looks. But it’s the manner in which Amalric manages to poison all trust in Bond, even from his nearest and dearest, that makes him one of the classic arch-adversaries.
Cold rage threatens to derail Bond’s mission to crack Greene’s dastardly organisation known as Quantum, and I doubt that there’s a better actor at bottling rage than Daniel Craig.
All muscles, he has defined himself as a darker and more bare-knuckle Bond than any of his elegant predecessors.
The deadpan humour is still there. And despite the occasional blasts of visceral and grisly violence, Craig is threatening to become the most popular 007 yet, certainly with the younger generation.
Even the famous Bond babes seem to be getting tougher. Olga Kurylenko’s stunning, hard-as-nails beauty, Camille, has her own private vendetta that she wants to bring to a bloody conclusion, with or without Bond’s help. And Gemma Arterton’s effortlessly foxy Agent Field appeals to the better side of the wounded anti-romantic.
“Do you know how angry I am at myself,” says the naked, raven-haired M16 agent as Bond kisses his way up her spine. But Bond rarely lets a life-threatening difference of opinion get in the way of a decent flirt.
The familiar faces returning from Casino Royale pose a far more subtle, acidic test for Bond who has to tread carefully around treacherous old friends: Jeffrey Wright’s lugubrious CIA agent Felix Leiter; Giancarlo Giannini’s silky string-puller, René Mathis; Jesper Christensen’s duplicitous Mr White; and Judi Dench, of course, as his witheringly unimpressed boss, M.
“When you can’t tell your friends from your enemies it’s time to go,” growls Dench.
Of course, Bond is having none of it. There are new necks to break and toys to play with as the action rips across Austria, Italy, and South America.
The global stakes are as precarious as ever. Amalric’s masterplan to destabilise a South American regime, install a dodgy dictator, General Medrano (Joaquin Cosio), and take control of the biggest source of fresh water in the world is fabulously cock-eyed. But that’s one of the main reasons why we can’t get enough of the greatest franchise of them all.
The director, Marc Forster, has absorbed the lucrative lessons discovered in Martin Campbell’s Casino Royale. He has also managed to pace his sequel much better. Royale felt slightly wheel-clamped by one too many longeurs. If anything, the crunching chase sequences in Quantum of Solace are even more magnificently dangerous. And the daredevil leaps and tumbles through glass roofs are just as sensational as the splintering high-speed pyrotechnics.
But it’s the amount of heartache and punishment that Craig’s new Bond absorbs that makes him look so right for our times.
Bond is no longer a work in progress. He is now the cruel, finished article.

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/london_film_festival/article4965892.ece