Casino Royale starts at the beginning as James Bond (Craig) takes his first baby steps as a Double O agent. His first assignment is to track down a terrorist cell in Madagascar but he’s a bit of a loose cannon and things quickly go awry. Bond’s superior M (Judi Dench) is soon regretting giving the arrogant Bond the promotion. Nonetheless Agent 007 takes it upon himself to follow a lead to the Bahamas and discovers that all nefarious dealings point to Le Chiffre (Mads Mikkelsen) a nasty fellow who has money ties to terrorist organizations. Le Chiffre is planning to raise money in a high-stakes poker game at the Le Casino Royale in Montenegro—and Bond gets in to beat him at his own game. Along with a hefty bankroll M also sends the beguiling accountant Vesper Lynd (Eva Green) to keep Bond in check. They are skeptical of each other at first but as the danger escalates it becomes apparent there is a growing attraction—and affection—between them. Natch. Can these two crazy kids make it work immersed in the cutthroat world of international intrigue? Well this is Bond after all—and we know how he ends up. Craig absolutely gets it. Whatever doubts people may have had when Craig was first announced as the new Bond are washed away in the first few minutes of the film. Sure if Casino Royale was anything like the last few Bond movies then maybe the understated Craig wouldn’t have fit in as well. But this is a different Bond. The British actor plays him not as the icon we’ve come to know but as a flawed man warts and all who flies by the seat of his pants isn’t necessarily refined and yes can even fall in love. Craig also raises the acting bar. His brief scenes with the impeccable Dench for example simmer and pop unlike anything we’ve seen before in a Bond film. Danish film star Mikkelsen (Pusher) is quite effective as the main baddie with a particularly gruesome physical malady while the always good Jeffrey Wright (Syriana) shows up as CIA Agent Felix Leiter. The one weak link unfortunately is Green (The Dreamers). She certainly looks the part of a “Bond girl ” but her Vesper is supposed to be whip-smart able to engage in witty banter with 007 and the French actress can’t quite pull it off. Craig needs more of a challenge. Too bad Judi Dench isn’t 30 years younger; she would have been perfect. Casino Royale the first book in the Ian Fleming series is basic Bond 101. Director Martin Campbell--who helmed Goldeneye Pierce Brosnan’s first and probably best foray into the franchise--strips it of all the far-fetched gadgets (save for a few new-fangled PDAs) and over-the-top action sequences leaving just good clean action devoid of any invisible cars armored Russian tanks and the such. Oh wait Bond does use a bulldozer at one point but that comes briefly in the middle of a rather extensive and hair-raising foot chase. It just proves action can be just as riveting without having to completely suspend your disbelief. Casino Royale is also rare in that it shows how Bond became THE James Bond the one we’ve seen in countless movies over the years in the stylish tuxes drinking the martinis driving the Aston-Martins and bedding all the beautiful women. Casino Royale breathes new life into the franchise and one can only hope they can keep up the good work without once again lapsing into the ridiculous.
Prosperous therapist Giovanni's roster of highly neurotic patients are a stark contrast to his own well-adjusted family which consists of his beloved wife Paola and teenage kids Andrea and Irene. The family resides in a picturesque seaside town on Italy's eastern coast where they share a comfortable book-filled apartment adjacent to his office. But the bourgeois comfort they enjoy is tragically upended when son Andrea dies in a diving accident on a sunny Sunday morning. Not dealing well with the profound grief that ensues Giovanni loses interest in his patients Paola withdraws and daughter Irene rebels. Only when Arianna a previously unknown young female friend of Andrea's unexpectedly emerges does the family find closure and begin to understand that life must and can go on.
Well-known Italian filmmaker Nanni Moretti is terrific in the carefully nuanced role as Giovanni a confident professional and devoted family man who learns he's as fragile and vulnerable as his own patients. Moretti's accomplishment is all the more noteworthy because he is also the film's director co-writer and co-producer. Laura Morante is warm and touching as the wife and Jasmine Trinca and Giuseppe Sanfelice as the kids are also top-notch. The natural demeanor of all four actors heightens the authenticity of this close-knit family in crisis. The Son's Room also serves up convincing performances in supporting roles especially those of Giovanni's often desperate patients.
Moretti known for less grim subject-matter shows here his ability with melancholy thoughtful drama. He also skillfully shifts the film's moods drifting from mundane family happenings to the often droll behavior of his neurotic patients to an anguished study of grief and loss to welcome cathartic relief. But the critically acclaimed and similarly themed In the Bedroom covers much the same territory and perhaps deservedly has stolen all the thunder. Moretti's drama is sensitively and convincingly told but is runner-up in the current sweepstakes of films about middle-class grief spawned by loss of a good son.