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.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.