Casino Royale (2006)

After “Die Another Day” was received with a negative reception due to its over-the-top story and camp aesthetic, the James Bond franchise went on a four year exile to soul search and discover what it wanted to become.

“Casino Royale” was the heart-pounding and ferocious return to form that the forty-four year-old series needed. Dispensing with the cartoon-level gadgets and ridiculous villains, this film would strip Bond back down to his roots. This wasn’t only going to be one of the best Bond outings ever conceived but also one of the most riveting and visceral action blockbusters of the 21st century!

The best place to start this review is with Bond, James Bond, played so excellently by Daniel Craig. Whilst I am a huge fan of Pierce Brosnan and Sean Connery’s portrayals of 007 respectively, Craig is, in my opinion, the best Bond yet. In the spectacular opening sequence alone he proved all of the “No Blond Bond” naysayers wrong, but also brought more humanity, depth and dry wit to the table than Roger Moore ever did in his seven movie running. Every scene in “Casino Royale”, whether it be a blow-out action beat or a simple dialogue exchange, adds an extra layer to 007’s personality.

When I judge a Bond, I gauge them on two factors: One- “Are they suave enough?” and Two-“Do they look capable of killing people?” Unsurprisingly, Daniel Craig leapt over these metaphorical hurdles effortlessly, he is unbelievably charming and sophisticated, and delivers the brilliant one-liners with apparent ease (“I'm sorry. That last hand... nearly killed me.”) Craig’s Bond also acts as human tank, barrelling from one outstanding action set-piece to the next with brutal efficiency.

An aspect of this incarnation of 007 that I thoroughly appreciate is that unlike his predecessors, he doesn’t annihilate henchmen without breaking a sweat. In the same vain as “Indiana Jones”, this Bond is pushed to his limits as he desperately struggles to defeat his enemies. This desperation makes 007 so much more relatable and engrossing as he isn’t a superhero, he is just a man. This vulnerability is best emphasised during a near-silent scene in which Bond washes blood off himself, dulling the pain with alcohol and gazing into a mirror. This scene tells the audience so much about Bond and his psyche without Craig saying a word. Now that is great acting!

This younger, more animalistic and determined Bond is far more compelling to me than the almost superhumanly collected and invincible Bond of the 1970s and early 80s (if you hadn’t guessed yet, I am not a big fan of Moore’s interpretation of 007.)

Another shining example of the sheer prestige of “Casino Royale” is how it handles its Bond Girl, Vesper Lynd, played by Eva Green. Whereas most Bond Girls (with a few exceptions) are treated as 2-dimensional caricatures, Vesper is written as a real person. Her dynamic and banter with Bond is great as, unlike nearly every woman in his life (except M, portrayed by the ever excellent Dame Judi Dench), Vesper sees through Bond’s confident mask and understands who he really is, which makes her his true equal. The movie built their relationship so effectively so that when tragedy eventually strikes (Spoiler Alert) it is genuinely emotional and profound because we love these characters and wanted them to be happy. Unlike some Bond movies that beat the audience over the head with how important a woman is to Bond, but without developing the two characters relationship (*cough* “SPECTRE”), “Casino Royale” crafts superb dialogue that is entertaining whilst also evolving both Bond and Vesper.

A key aspect to every great Bond film is its villain; Mads Mikkelsen portrayal of Le Chiffre easily makes him one of my favourite Bond antagonists. He doesn’t stroke a white cat, reside in a mountain-top lair or kill his henchmen unnecessarily, Le Chiffre feels more like a real person, or as real as a person who weeps blood and tortures people can be.

Speaking of torture, I have never seen a 12 rated film that pushes the rating to the limit as much as “Casino Royale.” Aside from the intense violence, THAT torture sequence makes me question why ratings even exist. As Le Chiffre says, it’s not the “elaborate tortures” that are the most painful (and unpleasant to watch), it’s “the simplest thing.”

Moving onto something far less uncomfortable, the action sequences in “Casino Royale” are absolutely jaw-dropping. For some reason I’ve never thought of Bond films as Action movies, but “Casino Royale” cements this franchise as a true Action series. Martin Campbell, who incidentally directed another of my favourite Bond movies, “Goldeneye” (and “Green Lantern” but we don’t talk about that one), masterfully directed this film. Even though “Casino Royale” is an obvious response to the gritty realism of the “Jason Bourne” series, none of Bourne’s trademark (and sickening) Shaky-Cam is to be found here; every set-piece is filmed in a clear and fluid way so that we can actually see what’s happening. The highlight of the film is the phenomenal construction-site parkour chase features some of my favourite moments in the entire film (Bond throws a gun at his quarry’s head and, instead of leaping through a hole in a plaster wall, smashes straight through it.) All of the other sequences are flawless, from a particularly nerve-wracking “Raiders of the Lost Ark” esque truck battle to the brutal stairwell fight and the thrilling and emotional finale.

Something else that makes “Casino Royale” a masterwork is the powerful pre-title sequence. I love that the film reissues the iconic gun barrel sequence to take place in the bathroom brawl. The monochrome style and suspenseful direction tie-in perfectly with the events of the scene (Bond making his second kill and gaining his 00’ status and his Licence to Kill), and offer a dramatic and visually striking sequence that is totally unique to the Bond franchise.

The film’s title sequence is one of the best in Bond history. The graphics and animation are so awesome; the Cards theme is used so effectively to create the most artsy and print-worthy title sequence in the series. It doesn’t hurt that Chris Cornell’s “You Know My Name” is a stellar entry into the Bond songs canon and brilliantly ties into the more aggressive style of this Bond.

And last but definitely not least, the closing minute or-so of “Casino Royale” is my absolute favourite moment in the Bond franchise and the best use of the line “Bond, James Bond.” This moment is incredibly satisfying because, up until this point, “Casino Royale” has been about Bond becoming the character that we know and love, so finally hearing the magnificent James Bond theme blast through the air is a moment that never fails to give me goose-bumps!

“Casino Royale” is a stellar spy-action thriller. It’s intense, funny, sleek and edgy! It is a fantastic reboot of the series, accessible for both long-time fans and newcomers alike. If you haven’t seen it yet drop whatever you’re doing and watch it now!