Okt. Zusätzlicher Hinweis zu diesem Review: Bei der in diesem Review Auch der Ton der 'Casino Royale' Blu-Ray kann überzeugen, erreicht. 5. Okt. Mit prall gefüllten Seiten ist “Die Akte Casino Royale” das bisher dickste Buch der XXS Reihe und zeigt erneut auf eindrucksvolle. Juli März CASINO ROYALE stellt JAMES BOND vor, bevor er seine Lizenz zum Töten erhielt. Doch dieser Bond ist keineswegs weniger gefährlich.
The World Is Not Enough The Bourne Identity The Bourne Supremacy The Bourne Ultimatum Edit Cast Cast overview, first billed only: James Bond Eva Green Vesper Lynd Mads Mikkelsen Le Chiffre Judi Dench Felix Leiter Giancarlo Giannini Rene Mathis Caterina Murino Edit Storyline James Bond goes on his first ever mission as a Edit Details Official Sites: Black and White opening sequence Color.
Edit Did You Know? Trivia Before Daniel Craig was officially announced to play James Bond, there were several other actors considered for the part.
Wilson said that they looked over two hundred actors, searching for the right one. Most of them were deemed not appropriate to fit the role, while some others were nothing but media speculation.
Hugh Jackman reportedly turned the role down. Goofs Towards the beginning of the film, when Bond jumps off the van into the embassy, the patch of ground he lands on is obviously a landing mat with leaves and turf covering it.
Quotes [ holding a knife to Vesper's throat ] Gettler: Alternate Versions The Chinese version is cut for violence Obanno getting strangled, Bond cleaning up after the stairwell fight, and the torture scene and sexual content the foreplay on the boat.
Additionally, Judi Dench had to re-dub one line to pass the censors. Unlike recent Bonds, whose kills had no more weight than the one-liners that generally accompanied them, Craig's tend to be intimate, bloody, and devoid of glamour.
Casino Royale has the answers to all my complaints about the year-old James Bond series, and some I hadn't even thought of.
I hope Craig finds more moments like that in Bond. And I hope he gets to wear that tuxedo again and again and again.
I consider Daniel Craig to be the most effective and appealing of the six actors who have played , and that includes even Sean Connery.
Craig is also the best Bond in the franchise's history. James Bond is back, and as it turns out, he's been gone a lot longer than anyone even realized.
And the new Bond is blond. Daniel Craig has comfort ably slipped into the tuxedo, size , and left audiences shaken and stirred.
When Bond kills an adversary in a hotel stairwell, the violence is nasty and brutal - and you feel bystander Vesper's shock and revulsion too.
She doesn't merely wince and get over it, as so many of her predecessors did; she's clearly traumatised. Casino Royale is exactly what the franchise needs to keep in the game against the Bournes and Missions: Impossible of the world.
This is a much more serious Bond than we've seen in many years. Daniel Craig inhabits the dark side of the secret agent really well, he is absolutely the best Bond since Connery.
Craig's humanised, more flawed interpretation of the role balances Campbell's physical direction and co-writer Paul Haggis's sparing wit, while Eva Green provides an alluring love interest.
Rebooting a film franchise can often come across as an act of desperation: Perversely, the more successful a given reboot is, the easier it seemingly becomes to pull this same trick again the second that a particular instalment mildly underperforms.
It may seem hard to believe in an age of cinematic universes where knowledge of superhero continuity is a badge of honour - but then we remember that Spider-Man and Superman have both been rebooted twice in the space of a decade.
Die Another Day marked the Bond series' 40th anniversary in the most deeply disappointing way possible, serving up a glorified greatest hits compilation which played out like reheated leftovers.
Faced with its deserved critical kicking and Pierce Brosnan's subsequent departure, the guardians of the series must have felt that starting from scratch and going back was the only way forward.
Casino Royale is a worthy exception to the rule that reboots are pointless and underwhelming, delivering just the sort of reinvention that the franchise needed.
It may even be the best film in the entire series. Part of the secret behind the Bond series' longevity is that it has always adjusted its character and storylines to the culture and politics of a given period.
Sometimes it has done this so nakedly that the films in question date badly, whether it's Live and Let Die's attempts at aping Shaft, The Man with the Golden Gun cashing in on Enter the Dragon, or Moonraker trying and failing to be the next Star Wars.
Often Bond has been at his best when he acknowledges his mortality and the world changing around him, while retaining the character elements which made him so popular in the first place.
Goldeneye made a big deal about the Cold War ending, but it still felt like a story in which Bond had a rightful place.
The spectre hanging over Casino Royale, and indeed all of the Daniel Craig era, is the Bourne series. The first three films shifted the goalposts of what constituted a modern action-thriller, innovating with its gripping storylines, sharp camerawork and relatable yet remarkable protagonist.
Even Brosnan admitted that the series would have had to raise its game in the face of what The Bourne Identity did; watching that and Die Another Day now, it's hard to believe that they came from the same decade, let alone the same year.
Casino Royale manages to match The Bourne Supremacy for quality, borrowing some of its aesthetic touches particularly in the chase sequences while also capturing the intrigue of Ian Fleming's original novel.
Like Paul Greengrass, Martin Campbell understands the need to knit action and character scenes together to create a holistic, gripping package; the action feels like an integral and natural part of the drama, rather than interrupting it in order to show off the budget.
Campbell brings the same calm, steady and methodical touch that he brought to Goldeneye; having saved Bond from irrelevance once, he does it again in some style.
Skyfall so often gets praised for acknowledging Bond's past while still being modern and relevant, but Casino Royale manages to pull off this same trick, and arguably does it slightly better.
Where Skyfall consciously tips its hat to the older films through costumes, characters or props such as the iconic Aston Martin DB5 , Casino Royale is more subtle; all the classic elements are there, but they've been modernised and refined so that they make more sense in the real world.
It's still fitting for Bond to drive an Aston Martin, and it's a nice touch to see its distant predecessor roll by. But it wouldn't make sense for Bond's car to have many gadgets that he doesn't need, and having the car be wrecked to save Vesper makes complete sense.
Where Roger Moore or Brosnan's films glorified the gadgets, this restores some welcome credibility and keeps the hardware under wraps unless absolutely necessary.
Along these same lines, the screenplay takes all the best elements of Fleming's novel and transposes them into a contemporary setting.
It still has all the glamour of the classic casino scenes from the Sean Connery era, but the playful banter and flirting has been replaced with high stakes, tense glances and much more serious consequences.
Le Chiffre's relationships with arms dealers and dodgy speculation on the stock market felt current for its day and still feels very fresh; great effort is expended to ground the character's motivations while maintaining an air of intrigue, mystery and threat.
The film takes itself seriously, but not too seriously; it wants to have fun, but it puts credibility above out-and-out entertainment, unlike many of Moore's entries in the canon.
Le Chiffre's characterisation is also an interesting departure from what the Bond villain archetype has become. Where the likes of Drax, Stromberg and Blofeld wanted to single-handedly destroy or take over the world, Le Chiffre is essentially a middle-man; he is to the Craig era what Kristatos was in For Your Eyes Only, but better written and with a more interesting, more murky motivation.
Like Bond, he is ultimately a pawn of bigger forces who struggles at times not to buckle under the pressure as the torture scene demonstrates ; by making him so small, he becomes more believable and more intimidating, even without the bleeding eye.
He may look like the lead singer of Franz Ferdinand in his haircut and dress sense, but Mads Mikkelson plays him brilliantly, bringing a cold, dead-eyed feel to the character which both intrigues and repulses an audience.
Creating convincing poker scenes in films is pretty difficult. The vast majority of efforts go for a highly stylised or choreographed approach, where audience expectations are pandered to through needless editing trickery; think of the final hand in The Cincinnati Kid, or the royal flush sequence in Maverick.
Casino Royale's poker scenes may be more stylised than those in, say, The Sting or Rounders, but they are still very well-executed with good pacing and a frisson of unpredictability.
What really makes them work, however, is the build-up in the script; there are little poker motifs dotted throughout, with comments about tells and misdirection.
Because the film makes such a big theme out of bluffing and people not being what they seem, the card games don't feel like isolated set-pieces, and the later developments with Mathis and Vesper feel credible and yet still surprising.
It isn't just that both characters ultimately don't make it past the final reel; the characters are both instrumental in the making of Bond, an affront and a challenge to his impulsive, playboy instincts and a safe refuge from the madness of his job and the people he has to kill.
Eva Green is every bit as gripping and electric on screen as Diana Rigg before her; Vesper goes toe-to-toe with Bond and we get genuine character development, making her betrayal and death all the more shocking and heartbreaking.
Craig's Bond is a changed man by the end of the film - it's just a pity that the resolution to his heartbreak in Quantum of Solace was as underwhelming and mishandled as the similar attempt in Diamonds Are Forever.
The heartbreak surrounding Vesper brings us onto another of Casino Royale's great successes: Desmond Llewellyn's Q may have advised Bond that he should never let his enemies see him bleed, but the best Bond films have never been afraid of putting him through the mill, getting him into dangerous situations which can only be resolved at great cost - a cost often numbed by women and alcohol.
The fight scenes in Casino Royale feel brutal, just as they should do; it isn't interesting to have someone waltz through conflict as though it was nothing.
The torture scene and the defibrillator scene are great in isolation, but they are matched by Bond's emotional torment of losing Vesper. For the first time since Timothy Dalton's era - or Goldeneye at a push - Bond's pain feels real and meaningful.
All of which brings us to Daniel Craig as Bond. While his subsequent films have been hit-and-miss, his performance here is more than enough to silence those who criticised his casting all those 'James Blonde' jokes sound all the more desperate now.
Daniel Craig is a fantastic Bond, and all those whingers and nay-sayers out there in the blogosphere should hang their heads in shame.
Craig was inspired casting. He has effortless presence and lethal danger; he brings a serious actor's ability to a fundamentally unserious part; he brings out the playfulness and the absurdity, yet never sends it up.
He's easily the best Bond since Sean Connery, and perhaps even - well, let's not get carried away. The key to his X-factor is that Craig looks as if he would be equally at home playing a Bond villain.
After a very nasty and violent killing in a men's room, shot in grainy monochrome, Bond earns his official double-0 rating with a second wet job: His spurs earned, Bond must now tackle his first super-villain: Le Chiffre, banker to Smersh in the original, now accountant and financier to international terrorists everywhere, though al-Qaida and anyone else from the Middle East are coyly left unmentioned.
Le Chiffre is played by Mads Mikkelsen, in which role he has the privilege of following Orson Welles from the spoof version. The Treasury official accompanying Bond to the casino and fronting up zillions of pounds of taxpayer's cash is the slinky Miss Vesper Lynd, played by Eva Green, who speaks English in a residual French accent that makes her sound permanently sarky.
Despite the big hair, she is no run-of-the-mill Bond girl; with her Olympic-standard embonpoint and inverted triangle face, she has a sexy head-girl haughtiness, and the many close-ups of her tensely appalled expression by the card table make it look as if she has witnessed Bond dissecting a frog on the green baize.
Casino royal review -Meist sehr ausgewogenes, nur leicht überhöhtes Kontrastverhältnis. Die Parkoursache ist fantastisch. James Bond-Film sehen kann Auch hier bestechen die Dialoge. In der zweiten Hälfte wird der Film dann ruhiger, konzentriert sich mehr auf das psychologische Duell zwischen LeChiffre, Bond und Vesper, verliert aber nichts von seiner Spannung. Ludger Pistor oder Ivana Milecevic um nur zwei zu nennen.
He learns that Dimitrios is involved with Le Chiffre, banker to the world's terrorist organizations. Secret Service intelligence reveals that Le Chiffre is planning to raise money in a high-stakes poker game in Montenegro at Le Casino Royale.
MI6 assigns to play against him, knowing that if Le Chiffre loses, it will destroy his organization. At first skeptical of what value Vesper can provide, Bond's interest in her deepens as they brave danger together--and even torture at the hands of Le Chiffre.
The marathon game proceeds with dirty tricks and violence, raising the stakes beyond blood money and reaching a terrifying climax.
PG for intense sequences of violent action, a scene of torture, sexual content and nudity. Daniel Craig as James Bond.
Eva Green as Vesper Lynd. Mads Mikkelsen as Le Chiffre. Judi Dench as M. Jeffrey Wright as Felix Leiter. Giancarlo Giannini as Mathis.
Caterina Murino as Solange. Simon Abkarian as Alex Dimitrios. Jesper Christensen as Mr. Ivana Milicevic as Valenka.
Claudio Santamaria as Carlos. Tobias Menzies as Villiers. Sebastien Foucan as Mollaka. Malcolm Sinclair as Dryden. Richard Sammel as Gettler.
Ludger Pistor as Mendel. Joseph Millson as Carter. Daud Shah as Fisher. Clemans Schick as Kraft. Emmanuel Avena as Leo. Tom Chadbon as Stockbroker.
Dayo Ade as Infante. Urbano Barberini as Tomelli. Madame Wu as Tsai Chin. Charlie Levi Leroy as Gallardo. Lazar Ristovski as Kaminofsky.
Tom So as Fukutu. Veruschka von Lehndorff as Gräfin von Wallenstein. Daniel Andreas as Dealer. Christina Cole as Ocean Club Receptionist.
Jürgen Tarrach as Schultz. John Gold as Card Player. Jerry Inzerillo as Card Player. Diane Hartford as Card Player. Jessica Renae Miller as Dealer.
Paul Bhattacharjee as Hot Room Doctor. Simon Cox as Hot Room Technician. Rebecca Gethings as Hot Room Technician.
Peter Notley as M16 Technician. John Chancer as Police Commander. Pater Brooke as Airport Policeman. Jason Durran as Airport Policeman.
Robert Jezek as Arresting Officer. Michael Offei as Obanno's Leutenant. Makhoudia Diaw as Obanno's Liaison. Wilson as Chief of Police. Vladimir Kulhavy as Croatian General.
Valentine Nonyela as Nambutu Embassy Official. Dusan Pelech as Bartender. Alessandra Ambrosio as Tennis Girl. Veronika Hladikova as Tennis Girl.
Olutunji Ebun-Cole as Cola Kid. Martin Ucik as Barman. Miroslav Simünek as Disapproving Man. Jaroslav Jankovsky as Hermitage Waiter.
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Reviewed October 2, via mobile Wonderful hotel. Reviewed September 30, Love Casino Royale. Reviewed September 30, a pleasant surprise. Wall Street Journal - Joe Morgenstern.
Daniel Craig isn't merely acceptable, but formidable. His Bond is at least the equal of the best ones before him, and beats all of them in sheer intensity.
Baltimore Sun - Michael Sragow. Casino Royale marks a shrewd relaunching of a franchise. But Campbell and company show too much of their sweat.
If these movies continue to follow Fleming's profane pilgrim's progress, the next Bond movies should be more emotional and funny, with a bit of brass-knuckled charm.
Philadelphia Inquirer - Carrie Rickey. Like Connery - but in different proportions - Craig is earthy and erotic, holding himself like a smoking gun.
The result is a satisfyingly gritty tale, more grounded in reality than many entries in the franchise. This is the best Bond movie I've seen in 15 years, I'd have to say Daniel Craig really surprised me here.
I was very skeptical about him playing the new bond, but boy was I ever mistaken! He flat out dominates every other actor back to Sean Connery.
This film has given me a new This is the best Bond movie I've seen in 15 years, I'd have to say Daniel Craig really surprised me here.
This film has given me a new hope for the future of Bond!! OLuck Jan 12, Really fantastic, one of the best spy movies ever. It is not getting the respect it deserves becasue fo the franchise.
The direction, scripting, acting is superior, really trancends the genre. Easily one of the best, is not the best, Bond films since the days of Connery.
The dark and gritty tones are a welcome change of pace, and the story still manages to infuse humor in the right places, and in my opinion also in the right quantity.
The only thing I would have like to see move is probably a little more gadgets. James Bond wouldn't be James Bond with out the gadgets.
A worthy new Bond.