Daniel Craig’s Bond bids us goodbye in No Time to Die, the culmination of his fifteen-year tenure as the gentleman’s spy – but is it really Bond? The character, and the films in which he appears, have changed in tone and attitude in recent years, in response to several factors, including criticisms of misogyny and the cinematic influence of the Bourne series, all of which results, for José, in a film that while good, just isn’t Bond any more. We consider what makes No Time to Die‘s Bond different, discussing his clothing, the intensity of serialisation from one film to the next, and the Bond girl – and, as Mike suggests, the character’s key change in attitude: Craig’s Bond takes things seriously and is capable of being outraged.
Although we pick at these things, the film is easy to recommend. The action is well-executed, Rami Malek’s villain beautifully played (if lazily written), and the entire affair is hugely enjoyable. Where Bond goes from here, who knows, but No Time to Die is a good send-off for Craig’s incarnation.
Writer-director Rian Johnson’s playful, knockabout whodunnit Knives Out has been receiving praise for its screenplay that we feel isn’t quite warranted, and isn’t much to look at either – but it’s a lark, and one that carries some unexpected sociopolitical commentary. José argues that Johnson doesn’t learn enough from the films upon which his pastiche is based, making too little of both the wonderful cast he’s assembled and the wonderful sets he’s had assembled for him, though the film isn’t devoid of flair or structural neatness. Mike was with the film more or less all the way, though suggests that it won’t play as well in the distracted environment of the home, the minutiae of the countless plot details easy to lose track of as one tries to make sense of them. So it’s worth a watch, but it’s neither as elegant nor as charming as we’d like.
The podcast can be listened to in the players above or on iTunes.