Shedding many of those trappings that make a James Bond movie well a James Bond movie Quantum of Solace is really the first sequel ever in the long-running series. While it’s always exciting something gets seriously shaken and stirred in the translation. Picking up exactly where the brilliant Casino Royale left off we see Bond (Daniel Craig) trying to get to the bottom of why his love Vesper Lynd had to die jumping right into the first of many MANY chases as he traverses six countries. Still on rogue patrol Bond then inadvertently meets the crafty and gorgeous Camille (Olga Kurylenko) who introduces Bond to the evil Dominic Green (Mathieu Amalric) the head of an eco-phony stealth operation angling for some prime desert land while financing a crooked Bolivian general’s planned coup. With the ever resourceful M (Judi Dench) trying to keep him in line at all times Bond must put his revenge plans on hold as he crosses paths not only with Greene and his fake pro-environment front but also the intriguing and mysterious group known as Quantum. In this outing Daniel Craig -- leaner and meaner than any previous Bond -- really becomes a man of single-minded determination and grit. He’s less like the James Bond we know and love and more a humorless killing machine like Jason Bourne (those two should really get together). Still Craig is such a compelling actor that we are with him all the way even if he doesn’t go for the suave Bond moves. Olga Kurylenko is a great foil but not totally in the tradition of a Bond girl. A later encounter with Gemma Arterton as a British agent in Bolivia does however briefly recall the heyday of Goldfinger. Judi Dench has taken the perfunctory role of M and turned it into a full-blown supporting role. Her dry wit and take-no-prisoners attitude is welcomed every time she shows up on screen. French star Mathieu Amalric (The Diving Bell and the Butterfly) doesn’t really pull off his villainous alter-ego ecologist while Jeffrey Wright is pretty much wasted as U.S. agent Felix Leiter. At least Giancarlo Giannini returns for some nice moments with his Craig. Although they usually leave the challenging job of steering the Bond ship to an English director oddly this time the baton was handed to Marc Forster known more for his intimate dramas such as Finding Neverland and Monster's Ball. His grip on the action sequences is secure but he never really seems to have a handle on what distinguishes this legendary movie spy from everyone else. There’s a reason Bond has survived as a screen icon for almost half a century but the sort of workman-like filmmaking Forster displays here does not represent 007’s finest hour. It’s almost like the producers had a checklist: car chase on winding roads; boat chase; airplane chase; rooftop chase -- all check. Quantum of Solace is definitely worth checking out however. I mean it IS Bond and we wait for these movies on bated breath. Just maybe next time a little less Bourne please.
On the eve of his first novel's publication San Francisco writer Amir (Khalid Abdalla) is called back to the Middle East for a chance to make childhood wrongs right. An extended flashback set in late-'70s Kabul Afghanistan introduces young Amir (Zekeria Ebrahimi) the bookish son of a forceful respected businessman (Homayoun Ershadi) who despairs over his son's tendency to let his loyal friend/servant Hassan (Ahmad Khan Mahmidzada) fight his battles for him. On the fateful day of the citywide kite-fighting tournament Amir's inability to stand up to bullies has heartbreaking consequences for both him and Hassan. Soon after Amir and his father flee the invading communists eventually ending up in California. Time passes but Amir's guilt doesn't fade--so when a long-lost family friend offers him the chance to redeem himself he returns to the city of his birth to face many difficult truths. One of the best things The Kite Runner has going for it is its cast of virtual unknowns; since none of them are familiar faces to American audiences it's much easier to become wholly absorbed in their story. Abdalla is earnest and solemn as grown-up Amir. Both haunted by and determined to forget about his terrible betrayal he's often hesitant and unsure of himself (except when he meets the woman who will become his wife and courts her in a series of charming scenes). More charismatic is Ershadi who imbues Amir's father with the perfect mix of honor ferocity and sentiment. And top honors go to the boys who play young Amir and Hassan. Making their screen debut (along with co-star Elham Ehsas who's coldly menacing as bully Assef) Ebrahimi and Mahmidzada are natural genuine performers who make their characters' complicated friendship both believable and heart-wrenching. With a resume that includes the tragic (Monster's Ball) the sentimental (Finding Neverland) and the surreal (Stranger Than Fiction) it's clear that Marc Forster isn't wedded to any particular style or genre. Which is fitting since The Kite Runner is so many things at once: a coming-of-age story a sweet romance a gripping war drama. Forster does a good job of balancing the story's many needs staying faithful to Khaled Hosseini's novel while also streamlining it to keep things moving. As in the book the movie's glimpses of a (relatively) liberal prosperous '70s Afghanistan are particularly compelling; audiences who only think of the country in the context of the ultra-conservative Taliban rule (and subsequent U.S. occupation) will be entranced. Later when Amir returns home to find fear despair and dusty emptiness it's impossible not to mourn right along with him.
On the surface Stay seems to be a straightforward psychological drama about a psychiatrist Sam Foster (Ewan McGregor) who is trying to keep a mysterious patient Henry (Ryan Gosling) from killing himself. But the deeper we get into it the decidedly weirder it gets. And not necessarily in a good way. Sam and Henry seemed to be inexplicably connected. While his girlfriend and former patient Lila (Naomi Watts) looks haplessly on Sam’s lightly held grip on the rational world begins to melt away. He can no longer figure out what is true and what is happening only in his head--all climaxing in a titular confrontation between life and death. Twilight Zone’s Rod Serling would have loved this one. Although he was surprisingly good as the romantic lead in The Notebook the usually somber Gosling is best known for playing quiet psychotics in such films as The United States of Leland and Murder By Numbers. In Stay he’s back to his old tricks as the suicidal Henry. Pale with mournful eyes and a perpetual cigarette in his mouth Henry is certainly a tortured soul looking for some relief. On the flip side Watts brightens the otherwise dismal surroundings as Lila but there’s also a tinge of sadness about her. The only weak link is McGregor. He can’t quite pull off playing the dedicated psychiatrist slowly losing his mind--but the Scottish actor sure has mastered the American accent (ditto for the Australian Watts). Director Marc Forster (Monsters Ball Finding Neverland) seems a bit out of his league with this jumbled-up hard-to-understand psychological fare. Granted the visuals are arresting. Forster strives to create a world which at first seems real but then little by little turns into a wildly shifting dreamscape in which scenes blend into one another seamlessly. The real problem here is the script by David Benioff (25th Hour). It tries to say “Look how clever!” by throwing you for loop after loop--except the loops don’t make much sense. You eventually stop saying “What the hell?” and start to get a pretty good idea how Stay is going to end up. And when the final twist is handed down it’s surprisingly not all that disappointing.