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    Movie Review

    Daniel Craig bids farewell to James Bond in No Time to Die

    Alex Bentley
    Oct 7, 2021 | 12:25 pm
    Daniel Craig bids farewell to James Bond in No Time to Die
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    The last we saw of James Bond, it was in 2015’s Spectre, an altogether disappointing affair that seemed to have more interest in looking backward than forward. It’s been a long road to get to the follow-up film, No Time to Die, not least because the release of the 25th official 007 movie was delayed 18 months due to the pandemic. But if that time between movies accomplished anything, it was to ensure the filmmakers didn’t repeat the mistakes of their predecessors.

    The film finds Bond (Daniel Craig, for the final time) living in semi-retirement bliss with Madeleine (Lea Seydoux), his love interest from Spectre. He gets drawn back in to the spy life after an unexpected attack, finding an MI6 that’s at once familiar and drastically different. People like M (Ralph Fiennes), Q (Ben Whishaw), and Moneypenny (Naomie Harris) are still in charge, but an agent named Nomi (Lashana Lynch) has usurped Bond’s position in more ways than one.

    Bond and Nomi essentially team up to find the source of the attack, which could be the imprisoned Blofeld (Christoph Waltz), somehow pulling strings from behind bars, or the mysterious Lyutsifer Safin (Rami Malek), who also has a connection to Madeleine. With help from American agents Felix Leiter (Jeffrey Wright) and Logan Ash (Billy Magnussen), they unfurl a plan that’s as dastardly as expected in a 007 film.

    Directed by Cary Joji Fukunaga and written by Fukunaga, Phoebe Waller-Bridge, and longtime Bond writers Neal Purvis and Robert Wade, the film is sprawling, not just in the number of locations it visits but in sheer length, clocking in at 163 minutes. It’s a lot to take in, but the filmmakers keep things relatively focused, taking the story in a straight line instead of veering off into unnecessary tangents. It appears as if they wanted to give Craig as big a farewell as possible, and he gets many showcases throughout the film.

    Even more so than usual, however, Bond shares the spotlight. The series has always given the character a female costar, usually as a love interest, but this time around the women are much more empowered. There’s much speculation whether the character of Nomi will take over Bond’s mantle, but whether that happens or not, she more than holds her own in the action department in this film. Ana de Armas shows up in a brief but impactful appearance as Paloma, a Cuban agent who assists Bond in his visit there.

    The action scenes are plentiful but not as breathtaking as in past films. Fukunaga and his team take their time getting to any significant sequences, with the opening credits coming a good 30 minutes into the film. Craig is as unflappable as ever, although the scenes don’t call for him to do quite as much as in past films. Bond’s famous gadgets only come into play a few times, but his dry wit while the action is going on is as present as ever.

    Opinions will differ, but for my money, Craig has made for a great Bond, making him brawnier than previous iterations but equally as suave and charming. The supporting cast are all fantastic, especially the standbys of Fiennes, Whishaw, and Harris. While the villain characters still don’t pop as much as they should, both actors are good, even Malek, whose acting style is an acquired taste.

    The James Bond/007 series has been the most enduring property in movie history, and it will be interesting to see what direction they go in now. No matter what they do, they’ve given Craig a great send-off in No Time to Die, even if it’s not as spectacular as some of his earlier entries.

    ---

    No Time to Die opens in theaters on October 8.

    Ralph Fiennes, Naomie Harris, and Rory Kinnear in No Time to Die.

    Ralph Fiennes, Naomie Harris, and Rory Kinnear in No Time to Die
    Photo by Nicola Dove/MGM
    Ralph Fiennes, Naomie Harris, and Rory Kinnear in No Time to Die.
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    Movie review

    Messy Frankenstein movie The Bride! stitches camp and confusion

    Alex Bentley
    Mar 9, 2026 | 3:45 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

    moviesfilmmaggie gyllenhaalannette beningchristian balejessie buckleypeter sarsgaardpenélope cruzmovie review
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