The most successful invigoration of a cinematic franchise since Batman Begins, Casino Royale offers a new Bond identity. Based on the Ian Fleming novel that introduced Agent 007... read more

The most successful invigoration of a cinematic franchise since Batman Begins, Casino Royale offers a new Bond identity. Based on the Ian Fleming novel that introduced Agent 007 into a Cold War world, Casino Royale is the most brutal and viscerally exciting James Bond film since Sean Connery left Her Majesty's Secret Service. Meet the new Bond; not the same as the old Bond. Daniel Craig gives a galvanizing performance as the freshly minted double-0 agent. Suave, yes, but also a "blunt instrument," reckless, and possessed with an ego that compromises his judgment during his first mission to root out the mastermind behind an operation that funds international terrorists. In classic Bond film tradition, his global itinerary takes him to far-flung locales, including Uganda, Madagascar, the Bahamas (that's more like it), and Montenegro, where he is pitted against his nemesis in a poker game, with hundreds of millions in the pot. The stakes get even higher when Bond lets down his "armor" and falls in love with Vesper (Eva Green), the ravishing banker's representative fronting him the money.

For longtime fans of the franchise, Casino Royale offers some retro kicks. Bond wins his iconic Astin-Martin at the gaming table, and when a bartender asks if he wants his martini "shaken or stirred," he disdainfully replies, "Do I look like I give a damn?" There's no Moneypenny or "Q," but Dame Judi Dench is back as the exasperated M, who one senses, admires Bond's "bloody cheek." A Bond film is only as good as its villain, and Mads Mikkelsen as Le Chiffre, who weeps blood, is a sinister dandy. From its punishing violence and virtuoso action sequences to its romance, Casino Royale is a Bond film that, in the words of one character, makes you feel it, particularly during an excruciating torture sequence. Double-0s, Bond observes early on, "have a short life expectancy." But with Craig, there is new life in the old franchise yet, as well as genuine anticipation for the next one when, at last, the signature James Bond theme kicks in following the best last line ever in any Bond film. To quote Goldie Hawn in Private Benjamin, now I know what I've been faking all these years. --Donald Liebenson

Stills from Casino Royale (click for larger image)

Beyond Casino Royale on Amazon.com

On Blu-ray	CD Soundtrack	Why We Love Daniel Craig
The Amazon.com James Bond Store	Where Have I Seen Daniel Craig?	Bond on Set: Filming Casino Royale Book

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Martin Scorsese makes a welcome return to the mean streets (of Boston, in this case) with The Departed, hailed by many as Scorsese's best film since Casino. Since... read more

Martin Scorsese makes a welcome return to the mean streets (of Boston, in this case) with The Departed, hailed by many as Scorsese's best film since Casino. Since this crackling crime thriller is essentially a Scorsese-stamped remake of the acclaimed 2002 Hong Kong thriller Infernal Affairs, the film was intensely scrutinized by devoted critics and cinephiles, and while Scorsese's intense filmmaking and all-star cast deserve ample acclaim, The Departed is also worthy of serious re-assessment, especially with regard to what some attentive viewers described as sloppy craftsmanship (!), notably in terms of mismatched shots and jagged continuity. But no matter where you fall on the Scorsese appreciation scale, there's no denying that The Departed is a signature piece of work from one of America's finest directors, designed for maximum impact with a breathtaking series of twists, turns, and violent surprises. It's an intricate cat-and-mouse game, but this time the cat and mouse are both moles: Colin Sullivan (Matt Damon) is an ambitious cop on the rise, planted in the Boston police force by criminal kingpin Frank Costello (Jack Nicholson). Billy Costigan (Leonardo DiCaprio) is a hot-tempered police cadet who's been artificially disgraced and then planted into Costello's crime operation as a seemingly trustworthy soldier. As the multilayered plot unfolds (courtesy of a scorching adaptation by Kingdom of Heaven screenwriter William Monahan), Costigan and Sullivan conduct a volatile search for each other (they're essentially looking for "themselves") while simultaneously wooing the psychiatrist (Vera Farmiga) assigned to treat their crime-driven anxieties.

Such convenient coincidences might sink a lesser film, but The Departed is so electrifying that you barely notice the plot-holes. And while Nicholson's profane swagger is too much "Jack" and not enough "Costello," he's still a joy to watch, especially in a film that's additionally energized by memorable (and frequently hilarious) supporting roles for Alec Baldwin, Mark Wahlberg, and a host of other big-name performers. The Departed also makes clever and plot-dependent use of cell-phones, to the extent that it couldn't exist without them. Powered by Scorsese's trademark use of well-chosen soundtrack songs (from vintage rock to Puccini's operas), The Departed may not be perfect, but it's one helluva ride for moviegoers, proving popular enough to become the biggest box-office hit of Scorsese's commercially rocky career. --Jeff Shannon

On the DVD
Introduced by director Martin Scorsese, the nine deleted scenes from The Departed are all interesting to watch, though not a significant loss from the picture. The other bonus features are very good as well. "Stranger Than Fiction: The True Story of Whitey Bulger, Southie, and The Departed" is a 21-minute history of the real-life Boston gangster Jack Nicholson's character was based on. Scorsese, screenwriter William Monahan, and a number of journalists are among those interviewed. In "Crossing Criminal Cultures" (24 minutes), Scorsese and the cast discuss gangster pictures and specifically Scorsese's. Consider that a warm-up for Scorsese on Scorsese, an 86-minute documentary from 2004. (It's the only bonus feature not available on the HD DVD or Blu-ray versions.) There's no narrator or interviewer: it's just Scorsese talking about his upbringing and influences. There's a generous use of clips through The Aviator and even his American Express commercial. --David Horiuchi

Beyond The Departed

More gangster movies

Amazon.com's Martin Scorsese Essentials

The original inspiration: Infernal Affairs

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Pile together a blue-ribbon cast, a screenplay high in quirkiness, and the Sundance stamp of approval, and you've got yourself a crossover indie hit. That formula worked for... read more

Pile together a blue-ribbon cast, a screenplay high in quirkiness, and the Sundance stamp of approval, and you've got yourself a crossover indie hit. That formula worked for Little Miss Sunshine, a frequently hilarious study of family dysfunction. Meet the Hoovers, an Albuquerque clan riddled with depression, hostility, and the tattered remnants of the American Dream; despite their flakiness, they manage to pile into a VW van for a weekend trek to L.A. in order to get moppet daughter Olive (Abigail Breslin) into the Little Miss Sunshine beauty pageant. Much of the pleasure of this journey comes from watching some skillful comic actors doing their thing: Greg Kinnear and Toni Collette as the parents (he's hoping to become a self-help authority), Alan Arkin as a grandfather all too willing to give uproariously inappropriate advice to a sullen teenage grandson (Paul Dano), and a subdued Steve Carell as a jilted gay professor on the verge of suicide. The film is a crowd-pleaser, and if anything is a little too eager to bend itself in the direction of quirk-loving Sundance audiences; it can feel forced. But the breezy momentum and the ingenious actors help push the material over any bumps in the road.-- Robert Horton

Beyond Little Miss Sunshine

More Dysfunctional Family Comedies

More films from the stars of Little Miss Sunshine

More Independent Films Turned Sleeper Hits

Stills from Little Miss Sunshine

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"Remember, remember the fifth of November," for on this day, in 2020, the minds of the masses shall be set free. So says code-name V (Hugo Weaving), a... read more

"Remember, remember the fifth of November," for on this day, in 2020, the minds of the masses shall be set free. So says code-name V (Hugo Weaving), a man on a mission to shake society out of its blank complacent stares in the film V for Vendetta. His tactics, however, are a bit revolutionary, to say the least. The world in which V lives is very similar to Orwell's totalitarian dystopia in 1984: after years of various wars, England is now under "big brother" Chancellor Adam Sutler (played by John Hurt, who played Winston Smith in the movie 1984), whose party uses force and fear to run the nation. After they gained power, minorities and political dissenters were rounded up and removed; artistic and unacceptable religious works were confiscated. Cameras and microphones are littered throughout the land, and the people are perpetually sedated through the governmentally controlled media. Taking inspiration from Guy Fawkes, the 17th century co-conspirator of a failed attempt to blow up Parliament on November 5, 1605, V dons a Fawkes mask and costume and sets off to wake the masses by destroying the symbols of their oppressors, literally and figuratively. At the beginning of his vendetta, V rescues Evey (Natalie Portman) from a group of police officers and has her live with him in his underworld lair. It is through their relationship where we learn how V became V, the extremities of the party's corruption, the problems of an oppressive government, V's revenge plot, and his philosophy on how to induce change.

Based on the popular graphic novel by Alan Moore, V for Vendetta's screenplay was written by the Wachowski brothers (of The Matrix fame) and directed by their protégé, James McTeigue. Controversy and criticism followed the film since its inception, from the hyper-stylized use of anarchistic terrorism to overthrow a corrupt government and the blatant jabs at the current U.S. political arena, to graphic novel fans complaining about the reconstruction of Alan Moore's original vision (Moore himself has dismissed the film). Many are valid critiques and opinions, but there's no hiding the message the film is trying to express: Radical and drastic events often need to occur in order to shake people out of their state of indifference in order to bring about real change. Unfortunately, the movie only offers a means with no ends, and those looking for answers may find the film stylish, but a bit empty. --Rob Bracco

Beyond Vendetta

The graphic novel by Alan Moore and David Lloyd	More by Alan Moore	From Graphic Novel to Big Screen
More by Natalie Portman	More by Hugo Weaving	More by the Wachowski Brothers

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Spike Lee scored his biggest hit to date with Inside Man, an unconventional thriller with fascinating details in the margins of its convoluted plot. The screenplay (by first-timer... read more

Spike Lee scored his biggest hit to date with Inside Man, an unconventional thriller with fascinating details in the margins of its convoluted plot. The screenplay (by first-timer Russell Gerwitz) could've used a few more rewrites; it moves at a brisk pace but in hindsight a lot of it doesn't make sense. That makes Inside Man more fun to watch than to think about afterwards (when you discover plot holes big enough to drive a truck through), but it's curiously involving, especially as NYPD Detective Keith Frazier (Denzel Washington) struggles to outsmart a high-stakes bank robber (Clive Owen) who, along with a well-trained crew of accomplices, has seized control of a Wall Street bank, turning what initially looks like a hostage crisis into a personal crusade to expose some mysterious evil secrets. As you might expect from the director of Do the Right Thing, Lee seizes several satisfying opportunities to examine post-9/11 issues of racial prejudice and domestic terrorism, and the mysterious "problem solver" Madeline White (Jodie Foster), as eerily sinister as she is vaguely defined, is worthy of her own movie. With the benefit of his most stellar cast to date (including Christopher Plummer, Willem Dafoe and Chiwetel Ejiofor), Lee seems more interested in character details than well-crafted suspense, but that doesn't stop Inside Man from being engrossing, subtly amusing, and quirky enough to qualify as a welcomed break from the formulaic thrillers that are Hollywood's bread and butter.--Jeff Shannon (hide)

It takes a certain kind of comic genius to create a character who is, to quote the classic Sondheim lyric, appealing and appalling. But be forewarned: Borat is... read more

It takes a certain kind of comic genius to create a character who is, to quote the classic Sondheim lyric, appealing and appalling. But be forewarned: Borat is not "something for everyone." It arrives as advertised as one of the most outrageous, most offensive, and funniest films in years. Kazakhstan journalist Borat Sagdiyev (Sacha Baron Cohen reprising the popular character from his Da Ali G Show), leaves his humble village to come to "U.S. and A" to film a documentary. After catching an episode of Baywatch in his New York hotel room, he impulsively scuttles his plans and, accompanied by his fat, hirsute producer (Hardy to his Laurel), proceeds to California to pursue the object of his obsession, Pamela Anderson. Borat is not about how he finds America; it's about how America finds him in a series of increasingly cringe-worthy scenes. Borat, with his '70s mustache, well-worn grey suit, and outrageously backwards attitudes (especially where Jews are concerned) interacts with a cross-section of the populace, catching them, a la Alan Funt on Candid Camera, in the act of being themselves. Early on, an unwitting humor coach advises Borat about various types of jokes. Borat asks if his brother's retardation is a ripe subject for comedy. The coach patiently replies, "That would not be funny in America." NOT! Borat is subversively, bracingly funny. When it comes to exploring uncharted territory of what is and is not appropriate or politically correct, Borat knows no boundaries, as when he brings a fancy dinner with the southern gentry to a halt after returning from the bathroom with a bag of his feces ("The cultural differences are vast," his hostess graciously/patronizingly offers), or turns cheers to boos at a rodeo when he calls for bloodlust against the Iraqis and mangles "The Star Spangled Banner."

Success, John F. Kennedy once said, has a thousand fathers. A paternity test on Borat might reveal traces of Bill Dana's Jose Jimenez, Andy Kaufman, Michael Moore, The Jamie Kennedy Xperiment, and Jackass. Some scenes seem to have been staged (a game Anderson, whom Borat confronts at a book signing, was reportedly in on the setup), but others, as the growing litany of lawsuits attests, were not. All too real is Borat's encounter with loutish Southern frat boys who reveal their sexism and racism, and the disturbing moment when he asks a gun store owner what gun he would recommend to "kill a Jew" (a Glock automatic is the matter-of-fact reply). Comedy is not pretty, and in Borat it can get downright ugly, as when Borat and his producer get jiggly with it during a nude fight that spills out from their hotel room into the hallway, elevator, lobby and finally, a mortgage brokers association banquet. High-five! --Donald Liebenson

On the DVD
"Global Visitings" captures Borat-mania in all its hype and glory, as Sacha Baron Cohen, never breaking character, promotes his film around the world. On the itinerary is Late Night with Conan O'Brien and the Toronto Film Festival, a now-legendary screening aborted after a projector malfunction. A mixed bag of deleted scenes finds Borat trying to bait more unsuspecting citizens, including an animal-control worker who refuses Borat a dog after he asks, "How do you recommend I cook this?" and a doctor who is nonplussed by Borat's obscene medical history. A supermarket visit offers the most maddening fromage-inspired looniness since Monty Python's "Cheese Shop" sketch. Also good for a few chuckles are a faux soundtrack commercial and a Baywatch parody ("Sexydangerwatch"). --Donald Liebenson

Beyond Borat

All things Sacha Baron Cohen

Borat Apparel

Borat Soundtrack

Stills from Borat (click for larger image)

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The DVD bonus material is fairly standard, including two commentary tracks (one with director Reitman and another with Reitman and cast members Eckhart and Koechner), about a dozen... read more

The DVD bonus material is fairly standard, including two commentary tracks (one with director Reitman and another with Reitman and cast members Eckhart and Koechner), about a dozen deleted scenes (with optional commentary) and a couple of featurettes. Among the latter, the "making of" piece is little more than a Valentine from the cast and crew to themselves, in which they explain what the movie's about but not how it was made; an excerpt from TV's The Charlie Rose Show, with Reitman, Eckhart, author Christopher Buckley, and producer David Sachs does much better job of that. Meanwhile, the five-minute "Living in Spin" featurette is fairly pointless, insofar as it does the very thing it's criticizing (Reitman's comment that "This is not a movie about cigarettes, it's a movie about talking" is nothing if not spin). Separate galleries featuring posters, other artwork, and storyboards for the film are interesting, though. --Sam Graham (hide)

High school collides with hard-boiled film noir in the twisty, cunning Brick. When he gets a mysterious message from his ex-girlfriend, a high school loner named Brendan (Joseph... read more

High school collides with hard-boiled film noir in the twisty, cunning Brick. When he gets a mysterious message from his ex-girlfriend, a high school loner named Brendan (Joseph Gordon-Levitt, Mysterious Skin) starts to dig into a crisscrossed web of drugs and duplicity, eventually getting entwined in the criminal doings of a teenage crime lord known as the Pin (Lukas Haas), his thuggish henchman Tugger (Noah Fleiss, Joe the King), and a mysterious girl named Laura (Nora Zehetner, Fifty Pills). Brick has not only the seductive, labyrinthine plot of a crime thriller by Dashiell Hammett (The Maltese Falcon) or Raymond Chandler (Farewell, My Lovely) but also a dense high-school version of hard-boiled lingo that's both comic and poetic. The movie unfolds with headlong momentum as Brendan manipulates, fights, and staggers his way through layers of high-school society. Gordon-Levitt is excellent; between this and the equally compelling Mysterious Skin, he's left his 3rd Rock from the Sun days behind. Also featuring Meagan Good (Waist Deep) and Richard Roundtree (Shaft). --Bret Fetzer

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The Prestige attempts a hat trick by combining a ridiculously good-looking cast, a highly regarded new director, and more than one sleight of hand. Does it pull it... read more

The Prestige attempts a hat trick by combining a ridiculously good-looking cast, a highly regarded new director, and more than one sleight of hand. Does it pull it off? Sort of. Christian Bale and Hugh Jackman play rival magicians who were once friends before an on-stage tragedy drove a wedge between them. While Bale's Alfred Borden is a more skilled illusionist, Jackman's Rufus Angier is the better showman; much of the film's interesting first half is their attempts to sabotage--and simultaneously, top--each other's tricks. Even with the help of a prop inventor (Michael Caine) and a comely assistant (Scarlett Johansson), Angier can't match Borden's ultimate illusion: The Transporting Man. Angier's obsession with learning Borden's trick leads him to an encounter with an eccentric inventor (David Bowie) in a second half that gets bogged down in plot loops and theatrics. Director Christopher Nolan, reuniting with his Batman Begins star Bale, demonstrates the same dark touch that hued that film, but some plot elements--without giving anything away--seem out of place with the rest of the movie. It's better to sit back and let the sometimes-clunky turns steer themselves than try to draw back the black curtain. That said, The Prestige still manages to entertain long after the magician has left the stage--a feat in itself. --Ellen A. Kim (hide)

How boring it is to label a movie Tarantino-esque anymore. The thing is, when it comes to an offering like Lucky Number Slevin, the shoe fits, and the... read more

How boring it is to label a movie Tarantino-esque anymore. The thing is, when it comes to an offering like Lucky Number Slevin, the shoe fits, and the result is anything but boring. Gruesome killings, arid wit, self-reflexive pop culture references, an A-list cast, and style-heavy production values abound, which gives the proceedings an epoxy bond that seals the Q.T. homage factor. Josh Hartnett--who spends a lot of buffed-up time with his shirt off--is Slevin Kelevra, a hapless fellow visiting his New York friend Nick. But Nick has disappeared, which sets off a mistaken-identity thrill ride when two goons grab Slevin (he's in Nick's apartment so he must be Nick) and take him to their crime lord boss, the Boss (Morgan Freeman). The Boss doesn't care about Slevin's wrong-man protests; he just wants the $96,000 Nick owes him. In one of many offers he can't refuse, Slevin has to agree to murder the son of the Boss's felonious arch rival, the Rabbi (Ben Kingsley) or take the bullet himself. But Slevin turns out to be no ordinary patsy. Thrown into the ingeniously designed production, clever plot twists, and academic nods to Bond, Hitchcock, and obscure old cartoons are Lucy Liu as a sexy coroner, Stanley Tucci as an obsessed cop, and Bruce Willis as a wily hit man with his finger in many pots. With so much visual and narrative trickery, there's almost too much to absorb in one viewing of this convoluted jigsaw puzzle of revenge and entertaining mayhem. Lucky Number Slevin isn't quite up to par with similarly brainy thrillers like Memento and The Usual Suspects, but the prospect of seeing it again in order to get your bearings is just as appealing.--Ted Fry (hide)

At the time of its release, Mission: Impossible III's box office was plagued by the publicity backlash against couch-jumping star Tom Cruise. It's too bad, because this third... read more

At the time of its release, Mission: Impossible III's box office was plagued by the publicity backlash against couch-jumping star Tom Cruise. It's too bad, because this third installment of the spy thriller franchise deserved a better reception than it got. First-time feature director J.J. Abrams (bigwig TV director/producer of Lost, Alias, & Felicity) proves more than able-bodied in creating a Mission: Impossible that's leaner and less over-stylized than John Woo's sequel and less confusing than Brian De Palma's original. Plot is still a throwaway here (Cruise's Ethan Hunt rescues his kidnapped former trainee and works to steal a device that... well, we don't really know what it does, but it's something about mass destruction that costs $850 million), but the action sequences, particularly one where Ethan faces down a helicopter on a bridge and gets flung hard against the side of a car, are particularly impressive since Cruise, at 44, is still doing most of his own stunts and shows no hint of the weathered look that's struck his action-star peers. (Though no Mission: Impossible stunt will ever be quite as simultaneously nail-biting and funny as the first film's wire-dangling break-in of CIA headquarters.)

Mission: Impossible III boasts a pedigreed cast, particularly Oscar® winner Philip Seymour Hoffman (Capote) as baddie arms dealer Owen Davian. Hoffman plays Owen all teeth-clenched and cool, especially when threatening to kill Ethan in front of his lovely new wife (Michelle Monaghan) who has no idea of his spy life. But in his first action-film lead role, Hoffman's almost too calm and collected to really make a memorable villain, especially when the rest of the cast--Ving Rhames (the only other cast member to return for all three films), Asian film star Maggie Q, and an underused Jonathan Rhys-Meyers--are a highlight as Ethan's IMF team. Mission: Impossible is still fun popcorn spy fare, and if Cruise chooses to end the franchise here, at least he goes out on a high note. --Ellen A. Kim (hide)