Spy thriller, directed by Martin Campbell and starring Daniel Craig in his first outing as 007, with Eva Green, Mads Mikkelsen, Judi Dench and Giancarlo Giannini. Martin Campbell has twice been the guy EON turns to when. S first turn as 007 in 1995’s GoldenEye before reinvigorating the franchise again with Daniel Craig in 2006’s Casino Royale.

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Casino Royale. Directed by Martin Campbell (U.S.)

The latest James Bond vehicle - call him Bond, Bond 6.0 - finds the British spy leaner, meaner and a whole lot darker. Now played by an attractive bit of blond rough named Daniel Craig, Pierce Brosnan having been permanently kicked to the kerb, Her Majesty's favorite bad boy arrives on screens with the usual complement of cool toys, smooth rides, bosomy women and high expectations. He shoots, he scores, in bed and out, taking down the bad and the beautiful as he strides purposefully into the 21st century.

Campbell is the director of Casino Royale, the latest (and 21st “official”) James Bond film, and he is in Australia to help promote the film together with the man playing the new Bond, Daniel Craig. “I’m a New Zealander,” says Campbell, without a trace of the accent, “and it’s always nice to be back on this side of the world.”. Oct 09, 2018  Martin Campbell’s Casino Royale proves one of the series’s unequivocal highlights. Taking elements from previous Bonds (Connery’s stature, Moore’s martini-dry wit, Lazenby’s emotion rawness, Dalton’s free-agent grittiness), Craig brings Bond into the present movement, not so much a text as a meta-text, commenting at once on the thrills and hang-ups of the franchise. Director Martin Campbell first entered the world of James Bond in the mid-1990s to helm Goldeneye, the first of Pierce Brosnan's outings as 007. A decade later, Campbell returned to the franchise.

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It's about time. The likable Brosnan has always been more persuasive playing Bond as a metaphoric rather than an actual lady-killer, with the sort of polished affect and blow-dried good looks that these days tend to work better either on television or against the grain. Indeed, two of his best performances have been almost aggressively anti-Bond turns, first in John Boorman's adaptation of the John le Carré novel 'The Tailor of Panama,' in which he played a dissolute spy, and, more recently in 'The Matador,' a comedy in which he played a contract killer with a sizable gut and an alarmingly small bikini underwear. Brosnan did not demolish the memory of his Bond years with that pot, but he came admirably close.

Every generation gets the Bond it deserves if not necessarily desires and, with his creased face and uneasy smile, Craig fits these grim times well. As if to underscore the idea that this new Bond marks a decisive break with the contemporary iterations, 'Casino Royale' opens with a black-and-white sequence that finds the spy making his first government-sanctioned kill. The inky blood soon gives way to full color, but not until Bond has killed one man with his hands after a violent struggle and fatally shot a second. 'Made you feel it, did he?' someone asks Bond of his first victim. Bond doesn't answer. From the way the director Martin Campbell stages the action, it's clear that he wants to make sure we do feel it.

'Casino Royale,' introduced Bond to the world; it was made into a 1954 live- television drama with the American actor Barry Nelson as Jimmy Bond and, in the following decade, into a ham-fisted spoof with David Niven as the spy and a very funny Peter Sellers as a card shark. For reasons that are too boring to repeat, when Ian Fleming sold the film rights to Bond, 'Casino Royale' was not part of the deal. As a consequence, the producers who held most of the rights decided to take their cue from news reports about misfired missiles, placing their bets on 'Dr. No' and its missile- mad villain. The first Bond film, it hit in October 1962, the same month that Fleming's fan John F. Kennedy took the Cuban missile crisis public.

The Vatican later condemned 'Dr. No' as a dangerous mixture of violence, vulgarity, sadism and sex. Ka-ching! The film was a success, as was its relatively unknown star, Sean Connery, who balanced those descriptive notes beautifully, particularly in the first film and its even better follow-up, 'From Russia With Love.' In time, Connery's conception of the character softened, as did the series itself, and both Roger Moore and Brosnan portrayed the spy as something of a gentleman playboy. That probably helps explain why some Bond fanatics have objected so violently to Craig, who fits Fleming's description of the character as ironical, brutal and cold better than any actor since Connery. Craig's Bond looks like he has renewed his license to kill.

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Like a lot of action films, the Bond franchise has always used comedy to blunt the violence and bring in big audiences. And, much like the franchise's increasingly bloated action sequences, which always seem to involve thousands of uniformed extras scurrying around sets the size of Rhode Island, the humor eventually leached the series of its excitement, its sense of risk. Brosnan certainly looked the part when he suited up for 'GoldenEye' in 1995, but by then John Woo and Quentin Tarantino had so thoroughly rearranged the DNA of the modern action film as to knock 007 back to zero. By the time the last Bond landed in 2002, Matt Damon was rearranging the genre's elementary particles anew in 'The Bourne Identity.'

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'Casino Royale' - which opens worldwide this month and next - doesn't play as dirty as the Bourne films, but the whole thing moves far lower to the ground than any of the newer Bond flicks. Here, what pops off the screen aren't the exploding orange fireballs that have long been a staple of the Bond films and were taken to new pyrotechnic levels by Hollywood producers like Jerry Bruckheimer, but some sensational stunt work and a core seriousness. Successful franchises are always serious business, of course, yet this is the first Bond film in a long while that feels as if it was made by people who realize they have to fight for audiences' attention, not just bank on it. You see Craig sweating (and very nice sweat it is too); you sense the filmmakers doing the same.

The characteristically tangled shenanigans - as if it mattered - involve a villainous free agent named Le Chiffre (the excellent Danish actor Mads Mikkelsen), who wheels and deals using money temporarily borrowed from his equally venal clients. It's the sort of risky global business that allows Campbell to jump from Sierra Leone to Montenegro and other fictionalized points in between as Bond jumps from plot point to plot point, occasionally taking time out to talk into his cellphone or bed another man's wife. Craig, whose previous credits include 'Munich' and 'The Mother,' walks the walk and talks the talk, and he keeps the film going even during the interminable high-stakes card game that nearly shuts it down.

If Campbell and his team haven't reinvented the Bond film with this 21st edition, they have shaken (and stirred) it a little, chipping away some of the ritualized gentility that turned it into a waxwork. They have also surrounded Craig with estimable supporting players, including the French actress Eva Green, whose talent is actually larger than her breasts. Like Mikkelsen, who makes weeping blood into a fine spectator sport, Green brings conviction to the film, as do Jeffrey Wright and Isaach De Bankolé. Judi Dench is back as M, of course, with her stiff lip and cunning. But even she can't steal the show from Craig, though a human projectile by the name of Sébastien Foucan, who leads a merry and thrilling chase across Madagascar, almost does.

Casino Royale (2006)

Directed by Martin Campbell

Casino Royale Martin Campbell Mo

Genres - Action Sub-Genres - Glamorized Spy Film, Action Thriller Release Date - Nov 17, 2006 (USA) Run Time - 144 min. Countries - Czechia , Germany , United Kingdom , United States MPAA Rating - PG13

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Casino Royale Movie

As both a kick start to the James Bond series and a throwback to the original vision of Ian Fleming's super-spy, 2006's Casino Royale is a sumptuous feast of action, humor, and dramatics, the likes of which Bond audiences have not witnessed in some time. While nearly every fan of the series has his or her own favorite actor in the lead role, there's no denying that -- despite the early criticism -- Daniel Craig irrefutably nails his acting assignment with an assured performance that's equally magnetic in excitement and attraction levels. And while much was made of the stripping down of 007, most of what people love about the character is still there in one form or another. From the cocky looks to the crooked crooks, there's no doubt this is a Bond film through and through. As far as the action goes, director Martin Campbell takes a note from international cinema with the film's first big chase sequence, echoing the free-running sequences in District B13 as he deftly takes the awe-inspiring foot chase to a new, dizzying level. Backing up the whole ride is a solid script that throws viewers for a few loops along the way to the somewhat expected climax, which finds Bond hardened in his '00' status and, for the first time in a long stretch of the series' history, sets up a formidable villainous group for him to go up against in future installments. To put it in Hollywood terms, Casino Royale succeeds because of its skillful reinterpretation of what has attracted audiences to the character for decades now, although it is not without fault. First off, Chris Cornell's opening theme is completely misguided in its alterna-rock aesthetics, even if it's padded nicely by David Arnold's slick orchestration. Also this 144-minute behemoth is just long enough for most audiences to get antsy as 007 finds love in a string of scenes that could have easily been whittled down in the script stage. Despite these hiccups, the franchise is livelier than ever with this revamp. This might be a grittier Bond full of far more emotions than gadgets, but it's hard not to be excited when the full-blown theme emerges at the end, promising more fantastic adventures to come.