Genre: Espionage

Spy Kids: All the Time in the World (2011) – Film Review

/ Joe Baker / Leave a comment

“No One Ever Notices Time, Until It’s Gone…” – Tick Tock

One of the rare releases to incorporate scents into the cinema experience, 2011’s Spy Kids: All the Time in the World is the fourth instalment of the Spy Kids franchise, the well-known family-oriented espionage series created, written and directed by Robert Rodriguez (El Mariachi, Planet Terror, Alita: Battle Angel). Once again produced by Double R Productions (then-Troublemaker Studios), Spy Kids: All the Time in the World serves as somewhat of a soft reboot, attempting to appeal to a new generation of aspiring juvenile spies. Unlike the original Spy Kids trilogy, however, Spy Kids: All the Time in the World falls short in nearly every regard as the less-prevalent issues of previous franchise instalments are intensified, plaguing the film with a misbegotten screenplay, awful visual effects and a barrage of scatological humour that suggests the Spy Kids series has truly run its course.

Plot Summary: On the surface, Marissa Wilson is your typical suburban mother, caring for her newborn daughter and step-children, Rebecca and Cecil Wilson, whilst supporting their father, Wilbur Wilson, in his career as a spy-hunting television star. But, in reality, Marissa is a retired spy whose life is turned upside-down when the maniacal Timekeeper threatens to take over the world, thrusting her back into action. Meanwhile, after discovering that their stepmother was once a top agent of the O.S.S., Rebecca and Cecil put their bickering aside to assist her in thwarting the Timekeeper’s sinister scheme…

The conception of Spy Kids: All the Time in the World, unfortunately, did not arise from a place of creativity but, instead, was contractual. As, in truth, Rodriguez didn’t want to make another entry in the Spy Kids franchise, partially because he still blamed producer Harvey Weinstein for the failure of his collaboratively-directed 2007 project; Grindhouse. Nevertheless, Rodriguez contractually owed Weinstein one more film. Unsurprisingly, this lack of ambition for the project can be felt throughout the runtime, as the film largely boils down to an endless string of inferior visuals and potty jokes that sap the charm out of almost every scene. However, that is not to say that the film doesn’t carry any positives, as the film does feature a handful of minor, amusing gags and a few fragments of endearing fan service for those who grew up with the Spy Kids series, including appearances from Carmen and Juni Cortez.

In terms of the cast, Rowan Blanchard, Mason Cook, Jessica Alba, Joel McHale, Jeremy Piven and Ricky Gervais all deliver rather overblown performances, playing up many of their actions/movements to ‘add’ to the humour or aggressively pry for an emotional moment. Regrettably, the characters themselves don’t fare much better, as Marissa and Wilbur Wilson barely make it past their basic traits, while the latest generation of youthful agents, Rebecca and Cecil Wilson, are effectively just duplicates of Carmen and Juni with little individuality. Lastly, there is the mysterious miscreant, the Timekeeper, who, despite his shoddily-designed costume, receives more development than many would expect during the final act. Yet, this growth is somewhat spoilt by his associate, Tick Tock, who is immensely grating as he speaks in a high-pitched voice, uttering time puns to an outrageous extent, like “Time Flies When You’re Having Fun.”

Visually, Spy Kids: All the Time in the World occasionally demonstrates its knack for vibrant, imaginative production design with the facilities and weaponry of the Timekeeper, which seem inspired by the illustrious steampunk aesthetic and the innards of antique clocks. The remainder of the visuals, however, such as the cinematography by Jimmy Lindsey and Robert Rodriguez, are low-grade, with a substantial amount of the CG effects being of matching quality.

Similar to previous instalments in the franchise, the original score by Carl Thiel and Robert Rodriguez is playful and electric guitar-led, integrating the classic Spy Kids theme where it can through tracks like Carmen Cortez and Spy Kids 2.0. As such, the film’s soundscape remains colourful, even if it sometimes becomes too skewed and cartoonish for its own good.

Peculiarly, one of the aspects that Spy Kids: All the Time in the World marketed itself upon was being in “Aroma-Scope,” a gimmick that allowed the film to contain a “4D” in some iterations of its title. In 2011, when audiences watched the film in cinemas, they were provided scratch-and-sniff cards and prompted to scratch them throughout their screening. These cards featured circles numbered one to eight, and at various points, a number would appear in the corner of the screen, indicating it was time to scratch off the corresponding circle. When scratched, the intention was that the card would release a smell related to what was on-screen, like vomit or confectionaries, etc. Yet, whilst this was a fascinating idea, these cards rarely worked as they were made from a similar material to lottery tickets, ensuring little grit and thus no smell.

In summary, while Spy Kids: All the Time in the World falters as a family flick, the film falters even more as a Spy Kids soft reboot/stand-alone sequel. Retaining hardly any of the allure or creativity of earlier entries in the franchise, Spy Kids: All the Time in the World may, at the very least, entertain toddlers through its numerous scenes of vomiting, farting and nose-picking. But, any other audience member will likely sit in frustration, wishing for a well-crafted animated flick instead. Rating: low 3/10.

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Casino Royale (2006) – Film Review

/ Joe Baker / Leave a comment

“I’m Sorry, That Last Hand… Nearly Killed Me.” – James Bond

Much like the sci-fi television series; Doctor Who, or any franchise that reboots itself after a certain amount of time. The biggest hurdle the 007 franchise has to overcome with every incarnation is getting die-hard fans of the long-established espionage franchise on board. Luckily, the 2006 reboot of the series; Casino Royale, succeeded in this regard, with Daniel Craig taking on the iconic role of James Bond in a slick and thrilling mission. Doing away with much of the absurdity present in previous instalments, in exchange for pulse-pounding action sequences and an unexpectedly engaging romantic subplot.

Plot Summary: After receiving his license to kill, British Secret Service agent, James Bond, sets out on his first mission as 007, travelling to Madagascar, where he uncovers a link to Le Chiffre, a private banker financing terrorist organisations. Learning that Le Chiffre plans to raise funds through a high-stakes poker game at Casino Royale, Montenegro, Bond is instructed to play against him and thwart his plans…

Holding familiarity with the franchise after directing the Pierce Brosnan-era instalment; GoldenEye, in 1995. Director Martin Campbell (The Mask of Zorro, Vertical Limit, The Foreigner), along with the series’ producers, decided to take the franchise in a more grounded direction following the bombastic action sequences of the later Brosnan entries. So, there are no high-tech gadgets or tumultuous helicopter chases in Casino Royale. Instead, the poker game at the centre of the story is what holds most of the film’s suspense, occupying the majority of the second act and harbouring some of Bond’s best lines. Moreover, Casino Royale is one of the most faithful adaptations of the 007 source material, adapted from the novel of the same name by Ian Fleming, the first piece of media to feature the character of James Bond.

Despite the casting of Daniel Craig initially sparking outrage amongst the 007 fanbase due to Craig’s blue eyes and blonde hair, the online annoyance didn’t last long as once Casino Royale was released, critics and fans alike instantly fell for Craig’s rendition of the character. This was partially because, unlike the other cinematic portrayals of James Bond, whose kills held no more weight than the cheeky one-liners that accompanied them, Craig’s tussles tend to be intimate, bloody and devoid of glamour. Craig’s brooding persona, dry humour and excellent line delivery also find a close match in Eva Green’s take on the “Bond Girl,” Vesper Lynd, whose intelligence and assertive attitude puts aside any negative traits associated with the supporting role. And while Mads Mikkelsen is merely serviceable as the antagonist, Le Chiffre, with his menacing performance leaving little impact, Judi Dench makes the most of her brief screen-time as M, the head of MI6, exuding both confidence and power.

In terms of visuals, Casino Royale makes one subtle change that results in the instalment looking quite different from the ones that precede it. For most of the 007 entries before Casino Royale, the visuals almost seem to have been an afterthought as the lighting is flat, the composition is dull, and the cinematography never does anything to advance the characters or the story. Yet, with Casino Royale, it’s evident that the main principle that guides the camerawork is to always keep the camera moving. Thus, the cinematography by Phil Meheux repeatedly makes effective use of hand-held close-ups and mid-shots. Furthermore, when it comes to filmmaking, the first ten minutes of screen-time are crucial in establishing the tone, mood and style of a project. Casino Royale clearly understands this, as the opening scene employs canted camera angles and intercuts between past and present, all dosed in a fierce, greyscale colour palette for a striking introduction.

Surprisingly, the classic 007 theme, composed by Monty Norman, appears very rarely in the film’s original score. Supposedly, this is because the filmmakers wanted to emphasise Bond’s inexperience, essentially having 007 earn the theme by the time the end credits roll. However, that’s not to say that the rest of the score is terrible, as composer David Arnold steers the soundtrack away from over-the-top action cues and towards more nuanced tracks like Vesper and Blunt Instrument. And, of course, no 007 entry would be complete without a memorable song to pair with the stylish opening title sequence. In this case, it’s You Know My Name, by Chris Cornell, an alternative rock piece that fits the tone of Casino Royale flawlessly.

The action sequences are where Casino Royale delivers some of its most jaw-dropping moments. Almost every set piece could easily be the climactic action sequence of any typical action flick, which truly demonstrates the impressive stunt work and remarkable fight choreography on display throughout Casino Royale. The action-heavy first act, in particular, boasts one of the finest parkour sequences seen in this franchise to date as Bond chases a terrorist through the streets of a Madagascan village, culminating in an exhilarating hand-to-hand scuffle atop a towering construction crane.

In summary, Casino Royale disposes of the goofiness and gadgetry that plagued older James Bond outings as Daniel Craig delivers what critics and fans have been waiting for; a brutal, haunted and intense reinvention of 007. With rousing action sequences, a compelling narrative and a conclusion filled with plenty of potential. Casino Royale functions as a terrific example of how to reboot a well-known franchise, even if it isn’t particularly distinct when placed alongside other espionage flicks. Rating: high 7/10.

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The Man From U.N.C.L.E. (2015) – Film Review

/ Joe Baker / Leave a comment

Both a stylish Guy Ritchie comedy as well as a reimagining of the classic 1960s espionage show of the same name, ‘The Man From U.N.C.L.E.’ is a mostly successful modern take on the classic spy-caper. Capturing a familiar tone in spite of its unremarkable story, which the film tries to distract from through its charismatic cast and many exciting set pieces, equalling to a decently entertaining ’60s action/comedy even if it may be on the lower side of Ritchie’s filmography, with ‘Snatch’ and ‘The Gentlemen’ still being far superior films, in my opinion.

Plot Summary: In the early 1960s, CIA agent; ‘Napoleon Solo,’ successfully helps ‘Gaby Teller’ escape East Berlin despite the intimidating opposition of KGB agent, ‘Illya Kuryakin.’ Later, all three unexpectedly find themselves working together on a globe-trotting mission to stop a private criminal organisation that is working to proliferate nuclear weapons…

Being co-written and directed by Guy Ritchie (Snatch, Sherlock Holmes, The Gentlemen), ‘The Man From U.N.C.L.E.’ takes in much of the director’s usual style/humour, having an abundance of witty and amusing dialogue (much of which is brimming with innuendos), in addition to plenty of editing flair. But, ‘The Man From U.N.C.L.E.’ also serves as the first film interpretation of the ’60s espionage show, which Warner Bros. Pictures had actually been trying to adapt for over a decade, director Steven Soderbergh was once even attached to the project with George Clooney, Channing Tatum and Emily Blunt all set to play the three leading characters. The film’s story isn’t just a recreation of a specific episode from the show, however, as Ritchie and his story team actually decided to create an original narrative based around the origin of ‘U.N.C.L.E.’ A backstory that was only hinted at in the show.

Henry Cavill and Armie Hammer portray the film’s protagonist duo, and while neither of their characters are exactly memorable, they do both give great performances, sharing many comedic moments together and bouncing off each other very well, the film even gives its characters a sufficient amount of development early on in the story, though it is delivered through mission briefings and expositional dialogue. Yet, it’s the third member of the cast where some issues begin to arise, as Alicia Vikander as ‘Gaby’ is supposed to be the emotional centre of the story, as her father is being forced to make nuclear weapons, but the film makes it quite hard to resonate with her due to her lack of characterisation and inconsistent German accent, which seemingly disappears at random. Elizabeth Debicki also appears in the film as antagonist, ‘Victoria,’ but similar to Hugh Grant’s character, ‘Waverly,’ she has little impact on the viewer as a result of her very limited screen-time.

Aside from the occasional CGI-enhanced shot, the cinematography by John Mathieson is pretty creative throughout the film, having many unique shots alongside plenty of shots which feel like throwbacks to classic espionage flicks. The film also makes excellent use of Ritchie’s signature editing style, cutting between scenes in a variety of visually interesting ways as well as colourfully implementing the film’s Russian/German subtitles, all of which are displayed in a bright yellow text almost as if they are taken from a 1960s spy poster, not too dissimilar to the film’s opening and ending credits, which are reminiscent of the original show’s intro whilst also feeling fresh.

Daniel Pemberton’s original score is in keeping with the film’s tonal integrity, as Pemberton sought to capture a sound that combined the crispness and sophistication of today with a distinctly 1960s flavour. The first step of which was the venue, as ‘The Man From U.N.C.L.E.’s score was actually recorded in Studio 2 at Abbey Road, where even the most casual music fan likely knows that this is where ‘The Beatles’ recorded many of their iconic albums. Yet, apart from the tracks; ‘His Name is Napoleon Solo’ and ‘Escape from East Berlin,’ the soundtrack feels well-crafted but still falls short, being fairly forgettable in the long run.

However, the world of ‘The Man From U.N.C.L.E.’ isn’t as forgettable, as the film’s 1960s time period mixes together the elegant class of the era with more futuristic spy technology/gadgets. One of the reasons the film stayed in the ’60s time period was to allow the film to have its own reality, setting it apart from films like ‘The Bourne’ franchise and other recent spy thrillers, according to director Guy Ritchie. Obviously, this means that the film constantly revels in its period-accurate vehicles, set design and costumes, a few pieces of which were actually vintage.

In summary, ‘The Man From U.N.C.L.E.’ isn’t a film that will surpass expectations as the film delivers on what it sets out to, for the most part, displaying some fantastic action scenes and enjoyable gags. It’s hard to ignore the film’s uninteresting story, which simultaneously feels drawn out and dull, even branching into convoluted at points with the sheer amount of characters and locations mentioned. But, for myself, and any other classic espionage enthusiasts, ‘The Man From U.N.C.L.E.’ will suffice, even though it could’ve done with some refinement in certain areas. Final Rating: 6/10.

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Kingsman: The Secret Service (2015) – Film Review

/ Joe Baker / Leave a comment

Matthew Vaughn, critically acclaimed director of ‘Layer Cake,’ ‘Kick-Ass’ and ‘X-Men: First Class,’ tries his hand at another comic book adaptation with ‘Kingsman: The Secret Service.’ Based on the comic book series of the same name by Mark Millar, and serving as a throwback to (and often parody of) classic spy/espionage films, such as the ‘James Bond’ series and ‘The Bourne Saga,’ ‘Kingsman’ very quickly became a beloved franchise after just its first instalment, mostly as a result of its hilarious self-aware moments of humour and exhilarating action set pieces.

Plot Summary: When the British spy organisation; ‘Kingsman,’ recruits an unrefined, but promising London street teen into the agency’s ultra-competitive training program. ‘Eggsy’ begins to follow in his father’s footsteps as he takes part in the organisation’s many dangerous training exercises. All the while, the twisted tech genius; ‘Valentine,’ begins to execute a master plan, which will potentially put the entire world at risk…

Violent, thrilling and fun, the first ‘Kingsman’ film was actually made partly in conjunction with the comic book itself, as director Matthew Vaughn and comic book writer Mark Millar have been good friends for many years since they collaborated previously on ‘Kick-Ass’ in 2010 to great success, prompting them to reunite for ‘Kingsman: The Secret Service.’ Which, aside from a few minor changes, is actually a mostly faithful adaptation of the first entry in the comic book series, alongside also being a superb gateway into the world for any non-fans of the comic series as the film establishes who the ‘Kingsman’ are and what they do, in little time.

Protagonist; ‘Gary Unwin,’ usually going by his nickname; ‘Eggsy,’ is portrayed by Taron Egerton in one of his earliest film roles, who portrays a reckless British teenager very well, becoming an instantly likeable character within only a short amount of screen-time. Its Colin Firth and Samuel L. Jackson, who, both steal the film with their fantastic characters, however, as both actors play completely against their usual type here, with Firth taking on the deadly spy; ‘Harry Hart,’ who rarely even smiles (creating quite a contrast from his usual romantic-comedies), and according to second unit director Bradley James Allan, even did 80% of his own stunts during filming. Whilst Jackson also gives one of his most memorable performances to date as the film’s antagonist; ‘Valentine,’ who, throughout the runtime, retains an aggressive lisp and occasionally childish demeanour, a big leap from much of his previous work.

Although not as outrageously creative as it could’ve been, in my opinion, the film’s cinematography by George Richmond does serve the story very effectively, as many of the film’s over-the-top and exciting action sequences are displayed proudly and clearly without too much use of hand-held camera or excessive editing. During a few scenes, the camera even begins to spin around the characters as they fight, providing the film with a real sense of movement.

The original score by both Henry Jackman and Matthew Margeson has quickly become very beloved, similar to the film itself, and it’s easy to see why, as the film utilises its trumpet-heavy orchestral score to create a soundtrack, which would fit perfectly within a classic espionage series, like ‘The Avengers,’ ‘The Ipcress File’ or ‘The Man From U.N.C.L.E.’ From ‘Manners Maketh Man’ and ‘To Become a Kingsman,’ to especially, ‘Valentine’s theme, which is noticeably more electronic to fit with the tech-savvy character. Nearly every track featured in the original score is both memorable, and usually, also cut in sync with the film’s stylish editing to great effect. 

Needless to say, the aspect that ‘Kingsman’ is most known for is certainly its variety of impressive action sequences, which as already mentioned, do away with the usual overly shaky and chaotic execution of most modern action flicks in favour of more fast-paced and exaggerated fight choreography with plenty of graphic violence to boot. Resulting in many entertaining action sequences, even if they aren’t completely flawless, as the majority of these scenes do, unfortunately, still suffer from their overly heavy usage of CG effects (usually for blood and severed limbs), which I feel does somewhat take away from many of these thrilling moments, even if they are still sure to impress most on their initial viewing.

In summary, while many spy films may be far more focused on delivering more grounded and gritty missions for their audiences these days, ‘Kingsman: The Secret Service’ truly revels in its absurdity. As, in spite of the problems this stirring espionage film faces, it still manages to remain an amusing and exciting experience throughout its runtime, combing its array of phenomenal action set pieces with some outstanding stunts and a now-iconic original score, the first instalment in ‘The Kingsman’ series may have now launched a blockbuster franchise, but for many, I feel it will always remain their favourite part of this continuing story. Final Rating: low 8/10.

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