Skyfall (Sam Mendes)

Bond's back.

After the dud that was "The Bourne Legacy", we finally got the espionage film of the year that we all deserve in the form of "Skyfall", the 23rd entry in the Bond film franchise which also serves as an apt commemoration of 007's 50 years of cinematic existence. 

     

Compared to the masterful "Casino Royale" and the mediocre "Quantum of Solace", "Skyfall" is far less complicated in its narrative but heavier in terms of what is at stake. Our beloved 'M' (played by the great Dame Judi Dench), Bond's stern superior who has always been one step behind our equally beloved master spy, is at her most involved in this film, not to mention the fact that she's also the one who's gravely in peril this time. On the other hand, there's also Gareth Mallory (Ralph Fiennes), a man whose firm principles often clash with his bureaucratic job.  

     

If one would notice, "Skyfall" is a bit less in its action compared to Daniel Craig's first two Bond outings. With the film's biggest action set piece audaciously positioned even before the lush opening credits (with that beautiful song by Adele), director Sam Mendes has taken the ultimate gamble. If the film's best action sequence was immediately presented at the beginning, what, then, is left for "Skyfall"? Well, quite plentiful, really. 

     

Aside from the film's simplistic yet infinitely more compelling plot, the film is also rich in great performances, specifically by Judi Dench and Javier Bardem, whose portrayal of the villain Raoul Silva is as vengefully realistic as it is larger-than-life. Though he is not, in any way, a random anarchist like the Joker, Silva still mirrors the 'Clown Prince of Crime' especially in how he is concerned with flamboyant theatrics and metaphorical speeches. 

     

But then despite of Bardem's potentially scene-stealing role, I believe no one can easily overshadow Daniel Craig's power and screen presence as James Bond himself. If "Quantum of Solace" has served as a fairly muddled, speed bump-like transition film for him as 007, then I think "Skyfall" is the testament of how much he has really grown in the role. Right now, I can't help but think that he is indeed the most ideal Bond of all time, with apologies to Sean Connery and company of course. 

     

By possessing a more-than-convincing physique apt for a chick magnet, the physical abilities perfect for a globe-trotting, train roof-jumping secret agent and also the subtle wit that finely contrasts his intimidating exterior, Craig has all the elements of the quintessential Bond. No offense to both Sean Connery and Roger Moore, but can you really imagine either of them instigating a convincing fisticuff with anyone whom Daniel Craig has encountered all throughout his three Bond films? I doubt it. Granted, Sean did have that masterfully intense and claustrophobic train compartment fight with Robert Shaw in "From Russia with Love", but aside from that, there's next to nothing. What "Skyfall" has revived in the Bond tradition, at least in my view, is pure action grit. Never has Bond been more hard-hitting and convincing in action since Timothy Dalton and his brief 007 tenure. 

     

By relying less on the typical Bond ingredients (the girls, the gadgets and the usual dose of megalomaniacs) and more on how to put the words 'grit', 'emotion' and the name 'Bond' in the same sentence, "Skyfall" was able to elevate itself into something more than an action-packed spy feature the same way, eherm, here it goes, "The Dark Knight" trilogy has transcended the superhero genre (But then, I found out that "Skyfall" was indeed influenced by Nolan's powerful interpretation of the Batman legend). 

     

In a way, "Skyfall" is a film that's both ambitious in scope yet steadily humble in execution. It has the needed sense of modern-day sophistication and geographic vastness yet it also has this kick of old school flair, especially when that classic James Bond theme finally seeps in at almost exactly the same time the Aston Martin DB5 makes its on-screen return. Oh, and there's also the reinvention of both Q (Ben Whishaw) and Moneypenny (Naomie Harris); a bold move on Sam Mendes and company's part that has helped the film attain a fresh, more contemporary look while also maintaining a running sense of nostalgia. 

     

In the end, "Skyfall" may not be the most action-packed Bond film of all time, but it surely is the most emotionally demanding since, say, "On Her Majesty's Secret Service". Although "Casino Royale" certainly had its fair share of adequate dramatics that were seemingly amiss from previous Bond features (especially the Roger Moore vehicles), "Skyfall" still marks the franchise's highest emotional point. Why? Well, it's for me and all the other film fans that have enjoyed "Skyfall" to know and for you to find out. This is a roller coaster ride of a film, and that's not just pertaining to the action. Bond, amid the jumping, the fighting and lots of running, just proved in this film that he can also carry some serious dramatic weight. I think we're officially in for a new Bond Renaissance.

FINAL RATING

The Bourne Legacy (Tony Gilroy)

When initial news came out that a fourth 'Bourne' film is in the works, my reaction was that of apathy and surprise. Why squeeze out something from a franchise that's already been concluded. Oh, and then there's also another infuriating fact: It will be called "The Bourne Legacy" but without Matt Damon's Jason Bourne. What the hell was that all about? It's like producing a seventh Rocky film (which I wouldn't completely say as completely far-fetched) without Rocky Balboa or making a James Bond film without 007 himself. But then something came up: it was revealed that part of the film will be shot here in the Philippines. 

     

From surprised apathy, my feeling towards the film first became one of curiosity and then of grave anticipation. Add up the fact that rising star Jeremy Renner will replace the shoes worn by Damon and he will be supported by acting stalwarts Edward Norton and Rachel Weisz; now we have here a film of genuine potential. 

     

Forget the fact that either Damon or Paul Greengrass won't be returning, "The Bourne Legacy", with "Michael Clayton" director Tony Gilroy taking on the directorial helm (he has also written the screenplays for the three previous ‘Bourne’ films), is armed with all the right pieces for commercial and critical success. Hell, I even thought that it will be the sleeper hit of the year. Well, I guess my hunch missed the mark this time. 

     

Not only is "The Bourne Legacy" an unnecessary little sequel, it's also a film of questionable significance to the whole 'Bourne' mythology. In slight boxing terminologies, the film felt like an overlong 'undercard' bout taking place at the same instance as that of the big main event. It's quite interesting, yes, but you just can't help but wonder why they would bother for a sequel that wouldn't even further the ideas presented by the three previous installments. 

     

The film's timeline, for the sake of everyone's enlightenment, occurs while the whole 'Bourne' situation is nearing its shattering climax (see "The Bourne Ultimatum"). "The Bourne Legacy", as it turns out, is the unseen sideshow feebly playing in the shadows of Jason Bourne's action-packed, larger-than-life search for his identity. Indeed it is truly intriguing to know that, as per the tagline, 'there was never just one'. That Jason Bourne was never alone, that there was also one Aaron Cross (Renner), and that there's also a whole lot of other fistfights and revelations this side of the whole story. But instead of taking advantage of the fact that it can render the Bourne series' universe fresh once again, "The Bourne Legacy" has sadly settled for less. Instead of conjuring up bigger ideas, the film has lethargically decided to merely ride the series' recurring gimmicks of dizzying cinematography and globe-trotting tendencies. 

     

With the shaky-cam style very much withstanding, the film swerved to the wrong direction of just following the previous installments' blueprint when, in actuality, it could have easily headed to the right one. The characters, although performed well by the principal players, are merely functioning within the limitations of the plot. Norton's character, being the heartless bureaucrat that he is, shouts orders and that's that. Rachel Weisz, the reluctant heroine, evades continuous assassination attempts and certain death and that's it. Renner's Aaron Cross jumps shanties and constantly saves the often distressed Weisz and it's a dead end after that. The way they were written is just so frustratingly suppressed that the performances given by the three do not deserve the characters to which they were designated. Even the narrative itself is very much a rehash of the previous three, only this time it was more simplified and with a more science fiction feel with all those talks about performance-enhancing super drugs. 

     

Oh, and then there's the chase scene in the outskirts of Manila. Another famed running gimmick all throughout the whole franchise, it has always been imperative for each 'Bourne' film to include vehicular chase scenes to serve as nerve-wracking exclamation points to the whole shebang. "The Bourne Legacy" is, of course, not exempted from it. 

    

Granted, the chase scene in this film was, in a miraculous harmony of technical execution and scheduling, pulled off rather excellently, what with all the constant traffic jams in Manila and the perennial 'rush hour' mentality prevalent among Filipino drivers. The flaw of the film's climactic chase scene, however, is not technical but very much contextual. The whole set piece felt very much forced to the point that the entire chase scene played out merely as a showcase of stunt choreography and nothing more.   

     

Now despite of all its flaws, "The Bourne Legacy" is still adequately enjoyable. But based on the three previous films' great reputation, this fourth installment felt short on every level both as a 'Bourne' film and as a potent action movie. It lacks narrative urgency and also of inspiration. It seems like the people who have said that this film won't work were quite right. They could have easily forewarned the creators, Jack Nicholson-style.

FINAL RATING

Mission: Impossible - Ghost Protocol (Brad Bird)

Above image: What movie stunts are all about.

The "Mission: Impossible" film franchise never really had any major missteps. In fact, all previous films are solid ones in their very own right regardless of how they were received by critics. But then there are always these particular flaws that may have never really affected the quality of the installments but nonetheless still left obvious holes in terms of execution. Brian De Palma's extreme complexity in the first film: an aspect that is very difficult to overlook let alone comprehend. And then there's John Woo's fetish for cool-looking, slow-motion action sequences (and those pigeons) in the second film which, more or less, beautified the film but seemingly favored pure stylish brawns over brains. Then finally, J.J. Abrams created the third installment, mixing just the right amounts of blockbuster spectacle and simplicity, but with the latter making the finale seems rather anti-climactic and stale.

Now we're into the fourth film in the franchise. It's the first film in the series that has a subtitle, and you must admit that 'Ghost Protocol' sounds rather pleasing. It's also the film in the series with arguably the hardest mission for the IMF yet (trying to stop a nuclear war), not even mentioning the fact that they must accomplish it as a rogue squad branded as fugitive terrorists. And most significantly, it is, I think, the first Mission: Impossible film that has flawlessly excelled both in storytelling and thrills, and also featured the most ideal incarnation of Ethan Hunt.

Maybe it is how Tom Cruise shows his maturity both in character and in looks, maybe it's Hunt's 'been through so much' game face nature or maybe because his status as an action hero skyrocketed because of his larger-than-life mission in this film. Wherever you look at it or whatever you choose among those aforementioned reasons for his forward march towards character transcendence and true iconic ascendance in the hierarchy of action heroes, "Mission: Impossible - Ghost Protocol", with its purity of intrigue and globe-trotting peril, complemented Tom Cruise's arguably most well-known film role in a manner that admittedly neither you nor I have anticipated or expected.

In strict confession, I never thought that "Mission: Impossible - Ghost Protocol" will even be a worthwhile watch as it looked, as the first trailers were released, nothing but a retirement tour of sorts for our ever so skillful and intelligent agent Hunt. And to add more to my initial skepticism, although Brad Bird is an Oscar-winning director, I really can't see him, a man who has directed heart-warming animated films after another, with one of them being about a gourmet rat, to helm such a frenetically-paced action movie.

Surprisingly, he has delivered a truly and thoroughly solid action movie that is relentless in its innovative action set pieces (the opening Russian prison brawl and the sandstorm-plagued car chase, among others) and imaginative in its new IMF devices, such as the retina-identifying hologram-like projector and the remote-controlled magnetic floater or whatever those things are called. Oh and there's also this little stunt involving Cruise's Ethan Hunt, some technologically-enhanced sticky gloves, and a tall-ass building.

However exciting the climactic sequences situated in Mumbai may be, it's this skyscraper-navigating mega stunt set in Dubai that will certainly be this film's flag-carrying image, just like how every previous installments had their own. In part 1, we have Ethan Hunt, with arms outstretched and body hanging in mid-air, infiltrating a secured CIA facility with a thin rope in his waist. In part 2, we have the black-clad, shades-wearing Hunt riding a bullet-evading motorcycle. In part 3, we have him sliding and jumping a tower somewhere in Shanghai.

But the more I think of the sick building stunt here in "Mission: Impossible - Ghost Protocol", the more I think that it is indeed not just this film's highlight, but of the movie franchise's as a whole. It is indeed a most proud moment for the action genre.

While Simon Pegg's humorous on-screen skills is a given, it's a surprise to see Jeremy Renner, known for playing hardened characters such as the war-addicted bomb expert in "The Hurt Locker" and the lethal bank robber in "The Town", stretching some comic muscles and building a great relational chemistry with Pegg, Cruise, and the smokin' Paula Patton; a true revelation to me considering that the trailers suggest that his character in the film, an ally of Ethan Hunt, may or may not be what he seems to be.

But indeed another surprise is Michael Nyqvist of the "Millennium Trilogy" fame. An actor which I came to admire as a heroic journalist in the form of his character Mikael Blomkvist in the said trilogy, he is a breath of fresh air as the film's sublime chief villain, a bold yet risky character choice that has given the film a bold benefit, considering that most popcorn blockbusters prefer a more outspoken and often theatrical antagonist.

When all is said and done, the "Mission: Impossible" series, with what "Mission: Impossible - Ghost Protocol" has done to give it a forceful upward pull, may have solidified its position up there as one of the most enjoyable action franchises of all time with enough tricks in its sleeves to immerse us in a world of covert agents, dangerous adventures and complex missions, while at the same time indulging itself in a cunning chess match with cinematic timing and delivery. Light the match and play the film's musical score in your head over and over again, get pumped up or maybe buckle up, let the clichéd testosterone-filled statements flow, this is a genuine blockbuster treat, and it's quite adamant that you accept it.

FINAL RATING

Harry Potter and the Deathly Hallows: Part 2 (David Yates)

The much awaited confrontation with 'You-Know-Who'.

At last, we reached the end. The final Harry Potter film. The final adventure of the characters we both loved and hated. The heated conclusion. The teary-eyed farewell. As I see the vicinity of Hogwarts in complete rubble and places such as the Forbidden Forest nothing but abandoned, although I never followed the "Harry Potter" saga that much closely, there's this subconscious childhood reminiscence of the wondrous universe that these films have once created, and how it's extremely saddening to see these faint memories of colorfully magical places turn into a grayish limbo-like battle arena. But then again, like Voldemort's villainous return to form, this transformation is purely inevitable to reach the peak of the story's ultimate crescendo.

Going with the tradition of the last 3 films of the series, "Harry Potter and the Deathly Hallows: Part 2" remained at ease with having small in-between adventures before it goes relentlessly full-speed to the much-anticipated final encounter between the Dark Lord and our hero, whose bravery is put to the greatest test.

A particularly well-made scene is the initial action sequence of Potter and company escaping from the vaults while riding an obviously exhausted and aging dragon. From these wonderfully computer-generated dragon alone, one can easily see the sense of magical realism that the film is heading into. It's not your usually 'bold' representation of the said creature where it flaps its enormous wings like it's a perfect god of the skies. Like how the "Harry Potter" film franchise has grown and aged, the dragon shows the passing of time and its attachment into a serious, more visually conscious fantasy film whose emotional core is also very much attended to.

The film, like the previous ones, is littered with great performances all around that are more or less fueled by a common dramatic baggage that senses both victory and defeat in a constantly contradicting fashion. But Alan Rickman, who portrayed Severus Snape with pitch-perfect indifference and apathy all throughout the saga, was highlighted by the film (finely integrated into the film with rich visuals) using a clever flashback that has put into exposition both a startling plot twist and an unexpected heroism.

All of that, enhanced by Rickman's best performance in the series yet, greatly contributed in properly depicting maybe the best character of the whole J.K. Rowling wizard universe aside from Harry Potter himself (though some may passionately argue that he's merely a monotonous poster hero).

Countless times it has been said that the entirety of Harry Potter's story isn't for children in the first place or are there little to no purely kid-friendly subjects in it save for the occasional awes and wonders. But "Harry Potter and the Deathly Hallows: Part 2" simply takes the cake as the most matured by way of how it has subtly analogized Dumbledore and Snape's relationship to that of Jesus Christ and Judas' and its realistic contemplation about death and sacrifice (highlighted by the scene where Harry Potter, Radcliffe saving what maybe his best performance for last, asks Sirius Black whether or not dying hurts).

Judging from its overall positive reception by audiences, comparisons with "The Lord of the Rings: The Return of the King" is a given, but unlike the aforementioned Peter Jackson film, "Harry Potter and the Deathly Hallows: Part 2" is much more narrow in its conclusion, preferring simplistic summation rather than full, overlong and seemingly endless walk towards a very satisfying end.

But sadly, it is also short in its much-hyped duel between Potter and Voldemort, which I think would have made the film a perfect one if only it would have been a minute or two longer. And Is that epilogue really necessary? Is Neville Longbottom really that essential a character to be a full-fledged hard hero? Like Voldemort's strategic positioning of his Horcruxes, this film proves to be very, very powerful yet particularly flawed.

But needless to say, it's still a fitting end to a decade-long cinematic display of love, magic and friendship that has undoubtedly left a mark to each and every one's imaginations who had the chance to witness it all from the innocent start until the very end. But as we see Potter's tranquil smile in the end, something tells me that sadness is all but absent. Somewhere, there's still heaviness. A feeling that channels ours. Somehow, we never really wanted it to end. There's a reason why "Pottermore" was created.

FINAL RATING

Harry Potter and the Deathly Hallows: Part 1 (David Yates)

Harry, Hermione and a Horcrux.

It's easy to say that "Harry Potter and the Deathly Hallows: Part 1" pumped you up for the final Potter film. But aside from that plain rave about the film (I honestly think that saying that this merely 'pumped' you up for the next one undermines this film's true worth as a pure film on its own), this one's also a well-conceived exercise in atmosphere building. True to the inevitability of its transition of tone, it's given that "Half-Blood Prince" fully paved way for the immense darkness that has since fully set in into the whole magical saga. But this first-half adaptation film really makes the previous installment seem like an exuberant daisy farm.

With "Harry Potter and the Deathly Hallows: Part 1" indulging its key story into such themes as death, emotional degradation and desire, one can easily suffice that this one's a true departure of what the film series used to be. But again, unearthing these dark undertones and integrating them into the mythos of Harry Potter purely enhanced the potential of what the series can really be.

The film opened with a stark dramatic introduction into the emotional and decisive conflict of Potter and his friends, looking at windows and uttering 'Obliviate' spells as they try to meditate on their final adventure where both Hogwarts and the world's fate lie. Through this and a cunning initial action sequence (that has brought magical carnage into the city outskirts), it's easy to see that this film won't be hesitant anymore in its displays of negative emotions and suspenseful chaos.

Then the film suddenly transports its heroes' quest into the Ministry of Magic itself that seems like a fantastical remodeling of the bureaucratic, uber-cyclical world of Terry Gilliam's "Brazil" (with a Graham Chapman look-alike as Ron Weasley's disguise). Two introductory scenes of pure adventures wrapped in dark intents and intrigues. These types of moments, no matter how bordering craziness some scenes may look like, truly conforms with the wondrous tradition of the Potter lore. But hinting at shades of blackness and blue, "Harry Potter and the Deathly Hallows: Part 1" is much grittier in its collection of episodic tasks and missions and are ultimately more satisfactory in their respective in-between catches of breath.

But this time, there's no dragon-riding suspense or broomstick-riding, flying keys-fighting excitement just for the sake of it and how the word 'fantasy' relate with the name Harry Potter just like how the term 'adventure' connects with Indiana Jones. This time, there's much more at stake.

Among the other films in the series, this film is the most mature in its exploration of the Potter-Granger-Weasley friendship dynamics and marks David Yates' pure ease and proper form as a "Harry Potter" film director. Its only minor flaw, though, is the eponymous Deathly Hallows' improper narrative positioning within the duration of the film and how it was actually tackled. For 2 and a half hours, the film has gotten itself from the most dangerous of perils and into the most bitter of jealousies yet the very titular 'Deathly Hallows' were only imposed into proper exposition in the last 20 minutes or so of the film. Although the very retelling of the "Canterbury Tales-like" story of the Deathly Hallows legend is thoroughly overdue, it was visually told in a style that has likely to have merged Indonesian 'Wayang Kulit' puppetry with atmospheric CGI animation that bursts of great imagination.

Now, if 'hyped' is the only thing that you've felt after watching "Harry Potter and the Deathly Hallows: Part 1", then the film has failed to inculcate its whole power unto you. For me, I'll describe it as a very 'powerful prelude that can wholly stand alone'. But of course, speaking of the anticipation regarding part 2, I was also truly pumped, alright.

FINAL RATING

Harry Potter and the Half-Blood Prince (David Yates)

The two with a task.

Now this is what's great when a Potter film is done particularly right. After a slightly weak effort in "Harry Potter and the Order of the Phoenix", director David Yates has replenished this film with a brilliantly balanced mix of teenage love (developing between Potter and friends) and the gritty abundance of dread polluting and tinting the air as the brooding presence of the Dark Lord is getting more and more overwhelming and his powerful than ever arrival a pure inevitability.

For the first time, although it initially looked like "Harry Potter and the Half-Blood Prince" will be a conflicted film, tone and theme-wise (whether it will emphasize the romantic subplot more or fully focus on the desperate quest to uncover Voldemort's secrets and exploit a loophole in his self-achieved immortality), it came out as a great combination of both and ended up as a truly ideal film in the franchise that can appeal both to those who seek the obviously inescapable romance between our heroes (mainly the teenage audience) and those who like their Potter film broodingly stirred and menacingly thawed.

Daniel Radcliffe, who I found to be quite stiff in the previous chapter, has qualitatively raised his performance a notch higher and looked more comfortable and eager as the lightning-scarred chosen one. On surface level, his character may look too hard to comprehend. One scene he is as confident as ever, but in the next, he's as insecure as the next nerdy fellow. He may be a reluctant hero, but his Harry Potter role can be viewed, especially in this film, as a representation of the destruction of people's 'not a care in the world but confused as all hell' teenage monotony. A cyclic stage in one's life broken by one's choice to move deeper and deeper into the intricacies of a dangerous, world-threatening affair as part-curiosity and part-bravery.

Maybe 'revenge' is Potter's ultimate goal, but looking at his numerous adventures that seems to beat more around the bush than to progress, I can quietly see that J.K. Rowling attached this 'retribution' scenario (and also the 'chosen one' prophecy) as subtle MacGuffins to subtly move the whole intricate plot line so that her characters' countless adventures can be wholly justified. After all, "Harry Potter" is essentially a children's fantasy book, a genre where bulks of make-believe journeys are nothing but commonplace.

But back into the whole "Half-Blood Prince" situation, it was a beautifully placed (and enhanced by the film's revelations' seamless narrative timing) penultimate complication that creates what seems like momentary displays of adolescent happiness and then juxtaposing these emotional elements with the contrasting difficulties that lies ahead for Dumbledore (a great performance by Michael Gambon) and company like a massive Herculian task. It's a film, although mainly tinted with pale, eviscerated colors, that supports itself with the strength of its solid 'black and white' visual comparisons (scenes of romance and of downfall). And with that alone, I think the film has succeeded to be a very strong installment in the franchise with such a simple cinematic approach in contrast.

Another note-worthy performance is of Jim Broadbent as Horace Slughorn, a very crucial character that is rightfully downplayed by Broadbent with the needed lack of awareness and apathetic ineptitude towards the darkening weather of events. True, "Harry Potter and the Half-Blood Prince" might as well be one of the most uneventful films in the franchise in terms of action sequences, but as a Potter film that is finally equipped with the needed bridge across a trodden path into an impending end, this is a film of heart-pounding emotional proportions. Raising wands and trickling tears, this one's one of the best in the series.

FINAL RATING