If Mr. 007's worth is poor, he has also faced the crisis of being laid off as times change. Nowadays, the standard for looking at men is no longer a suave gentleman with a white face. The 007s before Greg were the spiritual sustenance of pure people. Today, Mr. Bond's extraordinary performance is no longer a spiritual dream.
Fortunately, Greg was amazing overnight, and he showed off a tough version of the new era of Bond role models. Although Mr. 007's usual romantic style will certainly remain unchanged, the new 007's transcendent power-type hormone secretion is really in line with the current public taste for innovation and perfection. Mr. Bond was reborn, bid farewell to the embroidery frame, and was really close to the real person.
Moreover, modern people prefer the real stimulation of the critical sense, and do not like the utopian fantasy at all. Based on this, Greg's Bond is all the more remarkable. What's more powerful is that this Mr. Bond prequel story seems to describe the bloody history of "how steel is made". Among the popular prequels or trilogy films, "Quantum of Solace" is a typical example.
The successful promotion of the "Bourne Bourne" trilogy is very tempting, creating a new model and new fashion for spy movies. Greg's previous work, "007 Casino Crisis," was also successful with its responsiveness and cleverness. When it comes to this sequel "Quantum of Solace", the level has obviously dropped. It is not like the former one is more exciting than the other, and it has a sense of embarrassment.
007 of "Quantum of Solace" can be called the gentlest, most innocent, most simple, but most violent Mr. Bond in history. The director of the literary film did his best to create a humanized Bond in all aspects. Not only is it completely different from the usual perception in the minds of the public in the past, but it also jumps straight to the other end. If it weren't for the 007 font size, who would know that this is a suave Bond.
Bond in the film is extremely ethical, and all the things he experiences are also full of strong emotional shocks. Abandoned and fighting alone, old friends died in the arms, and the bad emotions created by dead love, such a delicate narrative has never been seen in the 007 series, which almost overturned the usual normal of 007 movies.
The director plays with the narrative technique of parallel montage in a literary film routine, with intense action on the one hand and a metaphor of humanistic eulogy on the other. Maybe Mr. Bond in the previous work was too domineering and aggressive, degrading his gentle demeanor; maybe the pain of his dead wife must have promoted the establishment of the character; maybe the Greg version was too successful, and Bonn was too successful.
Anyway, Mr. 007 suddenly became a morally burdened redeemer, violently venting his emotions and embarking on the road of self-redemption. This is the literary version of Bond's face. And when it finally disappeared, Mr. Bond escaped and became a political commissar of the company. It was really surprising that he taught the Bond girl earnestly but not a cloud of rain.
He is also a director of literary and artistic films, and he is definitely not a professional in action dramas. The high repetition of "The Bourne Bourne" in the whole film of "Quantum of Solace" is unbearable. The scene, the scene, the sense of the camera, including the content of the chase scene are all the same, especially the running chase, the difficult jumping and the fast and fast cutting techniques, which are too tribute.
Without the running experts from the first film, the chase scene in Quantum of Solace is actually going backwards. The film is too many to focus on the pursuit of technical pleasing to the eye, which seriously damages the grandeur of the 007 series of films. Moreover, the dangerous characters in the film are too simple, and the low-level face of a blackmailer can't help but disappoint. Another example, Dr. D's secret weapon was completely eliminated, and 007 was reduced to the embarrassment of borrowing money to survive.
It is unforgivable that the props in the action scenes of the film are all old-fashioned guys, and the highest air chase scene turned out to be the collision of old-fashioned planes. This overly realistic style seriously hurts the unique taste of 007 films. In fact, the character's heart and action style can be new, but why should the original gluttonous part of the 007 movie be castrated?
Greg's version of 007 was amazing and had a bright future. But as a sequel to the new and forging ahead, it jumps to the other end of the balance excitedly. This kind of risk is destined to produce a sense of loss, giving up the essence of N that has gathered for decades, and creating a realistic novelty like a mean street. Even though the core question is still correct, the perception is greatly reduced, and it lacks the stimulation and entertainment it deserves.
In one detail, the Bond girl died, and her body was covered in black crude oil. This scene directly pays homage to the Bond girl who died of gold painting in the classic "007 Goldfinger". Just the senses are dark and golden compared to the other, and it's like a dog's tail. Once again, it can be seen that the extreme force of the literary version of 007 is too "left".
The director tried to create a literary version of Mr. Bond to explain how the romantic and suave was finally made, but he staged a small tragedy of chaos and abandonment with the taste of Ye Gonglong. This move has a lot to do with our domestic blockbusters. We took the extreme road with good materials, and we couldn’t get a full house in the end. The tides come and go, and Mr. 007 in the new era must go all the way.
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