Léa Seydoux

Crimes of the Future

  • Title: Crimes of the Future
  • IMDb: link

Writer/director David Cronenberg returns to science fiction and body horror in a film about the evolution of the human race and the spectacle of surgery as entertainment. Viggo Mortensen and Léa Seydoux star as a pair of artists in this new world. His body continues to grow new organs which she removes in front of an audience as both spectacle and, as both admit to each other, sex.

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No Time to Die

  • Title: No Time to Die
  • IMDb: link

Daniel Craig‘s tenure as British Secret Agent James Bond comes to an end as the troubled No Time to Die (first delayed by a director swap then by COVID) finally makes it into theaters. More than Craig’s last film, the four writers credited to the film set out to make it Bond’s last film creating a scenario where Craig both begins (Casino Royale) and ends Bond’s legacy. For those agree that Craig is the definitive Bond, the choice may be easier to swallow than those of us who believe, at best, he ranks third or fourth in a franchise spanning nearly 60 years.

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Spectre

  • Title: Spectre
  • IMDb: link

SpectreFirst introduced in Dr. No more than 50 years ago, and not heard from since the pre-credit sequence of For Your Eyes Only, SPECTRE represented a global terrorist organization focused on achieving their own goals. The rebooted Bond films, which began with Casino Royale, finally get around to reintroducing us to the classic villains and their leader Ernst Stavro Blofeld (Christoph Waltz) in the fourth movie of the series appropriately enough entitled Spectre.

I’ve never quite warmed to the rebooted Bond which stripped away several important pieces of the Bond films in rebranding our hero as more thug than spy. Don’t get me wrong, I enjoyed large parts of both Casino Royale and Skyfall but they’re middling entries to franchise that don’t compare to the best of Connery or Moore. And if Spectre has a major flaw its that while attempting homages to previous entrants to the franchise it constantly reminds the audience of aspects of better films we’d rather be watching. Everything from Blofeld’s new secret lair to the close-quarters fight aboard a moving train against an evil henchman (Dave Bautista) hearkens back to better moments from better films.

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