In other words, Bond is setting off down a path that only leads to bloodshed and heartbreak. The song is also cognizant of Vesper Lynd’s ultimate betrayal, stating: “Arm yourself because no-one else here will save you. The odds will betray you.”
It’s basically exposing the very nature of 007’s very existence: he’s a hardened killer (hence “The coldest blood runs through my veins”) who always has a target on his back. There is no rest or normal life in the cards for James, a fact that reaches its expected conclusion in the titular track for No Time to Die.
You wanna talk iconic? Adele absolutely crushed “Skyfall” and rightfully took home a an Oscar for it. Skyfall was the first James Bond movie I ever saw in theaters (I was a doe-eyed college freshman at the time), so it will always hold a dear place in my heart, but that’s not the only reason its eponymous composition ranks so high on this list.
The movie was hailed as a return to form for the franchise (it brought back the spy-fi gadgets, classic Aston Martin, villain-owned islands, etc.) and the title song certainly fits into that description. In this instance, Adele sounds like a modern day Shirley Bassey, who sang some of the greatest Bond themes like “Goldfinger,” “Diamonds Are Forever,” and “Moonraker.”
From its opening horns, to the more calming piano bits, “Skyfall” hits that sweet spot of tragedy, scope, nostalgia, and sing-ability. It’s comforting, nourishing, and soulful in a way I can’t fully describe. Adele is the kind of artist you hire for multiple 007 films, so I hope she’s asked to return for an entry or two in the post-Craig future.
Looking at the lyrics, you have a reference to the fact that James ends up returning to his family home in Scotland. “Skyfall is where we start…a thousand miles and poles apart” draws a parallel between James’s upbringing and current profession. He had a rather humble existence before he became the globe-trotting, larger-than-life secret agent we all know and love. When Bond faces off with Silva (Javier Barden) in the climax, Skyfall literally becomes a place “where worlds collide and days are dark.”
Quantum of Solace gets a lot of flack, but it’s one of my favorite Bond movies; the way it bookends the kidnap of Mr. White (Jesper Christensen) at the end of Casino Royale is just perfect.
When James opens the trunk of his car and that electric guitar comes on the soundtrack (a musical embodiment of the mirage-like opening credits that refer to the desert setting later in the film) you’re filled with chills. Then you’ve got the quieter moments with the piano interludes that signify nightfall in the desert, which can be just as dangerous as the blistering heat of the day. And those drums and horns working together in tandem! Everything is in beautiful harmony here.
I struggled with this one a bit. At first, I thought “No Time to Die” was a little too quiet and soft for a Bond movie, especially one meant to close out a 14-year epoch. However, the more I listened to Eilish’s haunting delivery, the more I began to think of her song as a lullaby of sorts — a soothing elegy meant to put Craig’s 007 to bed.
When the song does pick up around the 2-minute mark, we’re made aware that Bond (enjoying a quiet retirement from active duty in Jamaica) is about to enter the espionage game once again.
Moreover, the line of “Fool me once, fool me twice…” refers to the fact that Dr. Madeleine Swann (Léa Seydoux) is harboring some kind of secret that drives her and James apart. His heart already shattered by Vesper Lynd’s betrayal four films ago, Bond can’t really take any more backstabbing from the people he loves.
He’s been through so much, that this track feels like a reflection of his overall weariness. MI6’s most famous operative has been so busy saving the world, he literally has no time to relax…or die. Those mortal courtesies just aren’t afforded to him, not when there are innocent lives in danger. It’s something of a cosmic joke and “No Time to Die” sounds as if James is finally understanding the punchline.
Ironically, this song should probably be higher on my list since the opening horns of profound tragedy remind me of John Barry’s work on 1965’s Thunderball (my favorite of all the Bond scores). There is something very old school about “Writing’s On The Wall” and you can almost imagine Bassey or Nancy Sinatra singing it.
It’s only fitting since Spectre is a throwback to some of the franchise’s greatest entries like From Russia With Love and On Her Majesty’s Secret Service. The opening line of “I’ve been here before” proves that, but also hints at the reveal of Blofeld (Christoph Waltz) being the mastermind behind all the Craig-era villains up to that point.
That gets an extra boost from: “A million shards of glass…that haunt me from my past,” while the title seems to suggest that Blofeld’s involvement has been obvious this entire time. However, as this great article from Rolling Stone points out, the retcon employed by Spectre didn’t feel all that believable or earned.
“Writing’s On The Wall” is also somewhat hindered by the fact that Radiohead was originally supposed to sing the title song. That composition (which you can listen to here) was ultimately scrapped in favor of Smith’s track, which went on to win Best Original Song at the Oscars.
The 48-year-old director admitted earlier this year she was keen to work on another instalment of the superhero saga – which features Gal Gadot in the lead role – as well as a spin-off set in the Amazon, but she’s abandoned any work on the projects until the coronavirus pandemic is over because she wants to „totally absorb“ the current state of the world as it will affect the tone of the films.
Speaking to Total Film, she said: „I’ve really hit the pause button. Because the truth is, where that plotline was coming from was our state of being six months ago.
„And so I want to make sure that I’m totally absorbing whatever the result of this pandemic is.
„We’re not starting to work on that movie right away.
„I’m hoping to do this Amazon movie before we do the third ‚Wonder Woman‘. And I may not do either of them. You never know what will happen in this world, you know?“
If she does go ahead as planned, Patty admitted she doesn’t think her planned storyline will radically change.
She added: „But yes, I think the plotline will stay very similar, probably. But I want to make sure it’s influenced by all of this.“
Patty previously admitted there were things she wanted to „explore“ with a third ‚Wonder Woman‘ film.
She said: „‚Wonder Woman 3‘ oh wow! „I’m trying to make myself not think about that because every movie has to be taken on its own but there’s definitely final things for me that I haven’t got to explore with ‚Wonder Woman‘ that we’ll have to see if we can go and explore.“
Lynda Carter, the original Wonder Woman, is a huge fan of the Washington Capitals. So local illustrator, Erle Howard, decided to give her costume an update just in time for Independence Day.
Erle updated the design of Carter’s bodice so that it included the Capitals’ Weagle logo.
“[I] drew a costume update of Caps super fan Wonder Woman, while waiting for the eventual return of NHL hockey and Wonder Woman 84!” Erle, who has an associate’s degree in graphic design from CCBC and a bachelor’s in illustration at the Philadelphia University of the Arts
Toni Collette is a sure thing in Dream Horse, a thoroughly predictable but ultimately winning underdog sports movie. Based on the true story of a group of down-on-their-luck Welsh villagers who pool their assets to sponsor a racehorse, the movie goes a long way on the strength of the Oscar-nominated actress’s emotional performance as an unfulfilled wife and mother who decides to bet on herself. Director Euros Lyn overdoes the feel-good trappings, but it’s hard to deny the genuine sentiment that the movie stirs up.
This Sundance premiere will appeal to general audiences who just want a little uplift from their movies when it opens in the UK on April 17 and in the US in May. Collette fans will be pleased as well, and horse lovers should be charmed by the title character’s soulful eyes and knack for coming up big during the story’s most critical moments.
Set in the economically depressed Welsh community of Cefn Fforest, Dream Horse stars Collette as Jan Vokes, who works at a co-op and a bar to make ends meet. (Her husband Brian, played by Owen Teale, is out of work because of crippling arthritis.) With their kids grown, Jan (who’s always adored animals) is having trouble coping as an empty-nester — which partly explains her interest in supporting a racehorse, which might be a financial windfall and, more importantly, a way to add meaning to what she feels is a pretty humdrum life.
This real-life tale was previously the subject of the 2015 Sundance documentary Dark Horse, and there’s no mystery to why the material would lend itself to a likeable feature film. Recalling indie hits such as The Full Monty, Dream Horse is principally a salute to small-town characters who take a chance, in the process finding personal satisfaction. The movie’s target audience will want to believe that these downtrodden people can beat the odds, and Dream Horse does nothing to upset those expectations.
To raise the money, Jan and Brian start up a syndicate that includes other locals — notably, a tax advisor named Howard (Damian Lewis) who has experience with racehorses. Dream Horse soon brings together a cadre of colourful supporting players, although the movie is principally focused on Jan, Brian and Howard, who all look at their horse, whom they christen Dream Alliance, as a symbol of hope for a village that hasn’t known much optimism in a long time.
Lyn (who directed the miniseries Kin) keeps the story moving along briskly, adhering to each familiar plot point with enthusiasm and heart. Dream Horse is far too cutesy when it comes to the syndicate’s one-note supporting players, but Collette makes Jan far more nuanced than might be expected. Screenwriter Neil McKay deftly explores how Jan views this racehorse as not just a friend but also in some ways a child; she’s getting the chance to be a nurturing mother again now that her kids are adults. Jan’s bond with Dream Alliance is touching but also bittersweet — by fixating on the horse’s performance on the track, Jan is distracting herself from the unhappiness she feels in a moribund marriage.
Lewis and Teale similarly do a lot with characters who are a bit banal. Howard was never more content than when he spent time backing horses — even though his previous investments nearly forced his family to lose their home — and Lewis gives us a man who’s dead inside due to a soul-killing job. Likewise, Teale brings tenderness to his portrayal of Brian, a defeated husband who reclaims the vigour of his younger days after seeing how much Dream Alliance means to Jan. The actor’s warm rapport with Collette suggests a long-term relationship that has grown stale but, maybe, might be able to reignite.
To be sure, Dream Horse suffers from a problem that affects all movies about racehorses: The story’s principal athlete really isn’t aware of what’s happening around him, and his successes or failures don’t have anything to do with Jan’s melancholy. A more interesting film might have investigated the fact that, for as much as this syndicate has pinned their emotional well-being on Dream Alliance’s victories, they are actually powerless to control the outcome. Nevertheless, Dream Horse exudes such good feeling that it seems petty to point out that and the film’s other shortcomings. Like Dream Alliance, the movie’s got spirit and finishes strong.
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