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A James Bond film deserves better...

Why? Most James Bond-movies are not terribly good or inspired, either.

And yet, you're wasting your time commenting on them. Do you have nothing better to do?

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It may sound outlandish to someone from Tuscaloosa, Alabama, but yes, people discuss things they don't like with the same vigour as things they love. It's a discussion board. Live with it and move on.

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Well, they licensed "The Name's Bond...James Bond" for use in Skyfall so maybe that's why. Arnold confirmed it on Twitter after someone asked after the press screening on Friday. I forget which review it was I read, but apparently its used multiple times throughout the film. Now, is this a sign that Snoozeman's score was lacking and some got replaced ala GoldenEye or was this always going to be the case?

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Now, is this a sign that Snoozeman's score was lacking and some got replaced ala GoldenEye or was this always going to be the case?

Great question!

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It may sound outlandish to someone from Tuscaloosa, Alabama, but yes, people discuss things they don't like with the same vigour as things they love. It's a discussion board. Live with it and move on.

Fine by me; if you want to waste your time picking at people in an attempt to get them to see how wrong they are to enjoy Bond movies, I suppose that's your right.

There's precedent, the early Connery films (and OHMSS) tracked in the Bond theme at key moments.

The scene in FRWL where Bond shoots down the helicopter also has tracked music; it sounds really weird, too, and doesn't work at all. Even when I was a kid, I noticed how different that bit sounds.

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It is a waste of time saying one doesn't find a lot of Bond movies overly good, but the other way around suits you just fine? I rest my case.

Why bother? I just don't get it. You're obviously a smart guy; you obviously have good thoughts. Why not use them elsewhere? Why spend your time worrying about shit you look down upon?

Seems weird to me.

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Maybe it's a simple impulse to give Newman some backing, because he will get a good spanking in the coming weeks. And mostly from people who have lost any distance to the object of their affection.

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Maybe it's a simple impulse to give Newman some backing, because he will get a good spanking in the coming weeks. And mostly from people who have lost any distance to the object of their affection.

You're probably right about that. Newman's fine in my book; I'm keeping my fingers crossed that he'll have done his customary good job on this movie.

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I used to be a big Bond fan, but that was some time ago, and I definitely don't judge the movies through a pair of 007 x-ray glasses. But I do know a lacking score when I hear one, especially within a franchise, where there is plenty of comparisons.

It's one thing to attack Newman because you're too big a fan and you had other expectations, but it's just as wrong to back him up just because you don't give a shit about the series and think anything with beats and some brass bursts is adequate.

Listening to the clip of the train sequence, and if that is representative of the action scoring of Skyfall, I can certainly understand why they would take Arnold's Bond theme and place it a few times in the film, because that sounds simply uninspired, mundane and anonymous.

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Well, when I heard Newman had been hired, I didn't think it would work out. Not because he's a bad composer -- he isn't, he's a great composer -- but because I'd simply never heard anything of his that indicated he would be a good fit for a Bond score. I'm still reserving judgment until I've seen the movie, but if the samples and early reviews are good indicators (and they probably are), then it seems as if he's turned in a very unmemorable, workmanlike score.

I blame Sam Mendes for this, since it's obvious that he insisted Newman be brought onboard.

And yet, if the movie ends up being good, I can live with it having a bland score. Better a great movie with a bland score than a bland movie with a great score; I'll take that trade every time.

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Well, when I heard Newman had been hired, I didn't think it would work out. Not because he's a bad composer -- he isn't, he's a great composer -- but because I'd simply never heard anything of his that indicated he would be a good fit for a Bond score. I'm still reserving judgment until I've seen the movie, but if the samples and early reviews are good indicators (and they probably are), then it seems as if he's turned in a very unmemorable, workmanlike score.

That's why I was intrigued initially - it's exciting to hear a composer trying something new. And now, it sounds like he hasn't entirely succeeded, which is what can happen with risks like that. I'm still cautiously optimistic that it'll work in the film, and maybe the album will still be a good listen. We've only heard a fraction of it so far.

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Listening to the clip of the train sequence, and if that is representative of the action scoring of Skyfall, I can certainly understand why they would take Arnold's Bond theme and place it a few times in the film, because that sounds simply uninspired, mundane and anonymous.

I'm not enarmored with the clips, either - but it's fair to say that David Arnold wrote a lot of mundane music for this series, too. And the films, at least those i saw recently, do not necessarily deserve any better (especially the Brosnans were formulaic action fodder).

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Listening to the clip of the train sequence, and if that is representative of the action scoring of Skyfall, I can certainly understand why they would take Arnold's Bond theme and place it a few times in the film, because that sounds simply uninspired, mundane and anonymous.

I'm not enarmored with the clips, either - but it's fair to say that David Arnold wrote a lot of mundane music for this series, too. And the films, at least those i saw recently, do not necessarily deserve any better (especially the Brosnans were formulaic action fodder).

The Brosnans have nothing to do with Craig's. Brosnan's films were a pastiche of everything the general public believed Bond to be.

Craig's films are actually good movies. Comparing the two is almost an insult. I find Quantum Of Solace to be the best Bond film since at least the Living Daylights, if not since The Spy Who Loved Me.

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The World Is Not Enough had some good starting points before it descended into Freudian psychoanalysis and Denise Richards unarming nuclear bombs on a 100 mph rocket sled.

Actually, I find that the Brosnans all had a pretty good start for the first 20, 30 minutes or so, but as soon as Bond gets on his actual mission, they all screw it up badly.

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I find Quantum Of Solace to be the best Bond film since at least the Living Daylights, if not since The Spy Who Loved Me.

I love Quantum of Solace and The Living Daylights, but I might be the world's only big Bond fan who thinks The Spy Who Loved Me is absolute garbage. Because it is.

Actually, I find that the Brosnans all had a pretty good start for the first 20, 30 minutes or so, but as soon as Bond gets on his actual mission, they all screw it up badly.

Yes! They all have great setups, but no idea of how to follow through on them.

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It has Jaws, it can't be. And i love the Hamlisch and Curd Jürgens, to be honest.

See, now I love Jaws in Moonraker, but detest him in The Spy Who Loved Me. Jurgens was an awful villain, but he's a better villain than Barbara Bach was a leading lady. She's as inept an actor as I've ever seen in a big-budget production. Awful. Hot, but awful.

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Yes! They all have great setups, but no idea of how to follow through on them.

Ironically, the same holds true for the scores.

Be it "GoldenEye Overture", "The White Knight", "Come In, 007" or "On The Beach"/"Hovercraft Chase", they are all by far the best pieces of their respective score.

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See, now I love Jaws in Moonraker, but detest him in The Spy Who Loved Me. Jurgens was an awful villain, but he's a better villain than Barbara Bach was a leading lady. She's as inept an actor as I've ever seen in a big-budget production. Awful. Hot, but awful.

I don't see any of the Moore Bonds winning prizes for either (villain or leading lady). And the Brosnans, oy vey...

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Some composers -- John Barry, for example -- can make greatness out of the poorest material. Some can't. David Arnold can't, which is understandable.

I don't see any of the Moore Bonds winning prizes for either (villain or leading lady). And the Brosnans, oy vey...

Agreed. (Although I do like Wai Lin in Tomorrow Never Dies.)

I'd defend most of Moore's movies by saying that they aspired only to be comic-book-style romps, whereas the Brosnan era was trying to combine that with serious character exploration. It didn't work. Give me the shallowness of Moonraker over the pretentiousness of The World Is Not Enough any day of the week; it at least met its own goals, whereas TWINE did not.

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Quantum Of Solace was worse than any of the Bonds, and Die Another Day is pretty goddamn awful.

GoldenEye and Tomorrow Never Dies are great films. The World Is Not Enough has its moments. The problem with the Brosnan films was the lack of great screenplays. He's my favorite Bond after Connery.

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Tomorrow Never Dies is no better than Quantum. Its just action scene after action scene tied together by only the thinest of plots. I wish they followed through with the original plot of a British Industrialist trying to bomb Hong Kong before the take over. Instead we get a crappy war for ratings which ends with Bond running around with a silenced P99 in one hand and a sub-machine gun in the other.

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As far as the films go, Goldfinger remains the best, followed by From Russia With Love, On Her Majesty's Secret Service, You Only Live Twice, Casino Royale, The Living Daylights, Goldeneye and Live And Let Die

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Why do people like GoldenEye so much? It's a bad movie. Brosnan is fine in it, and Dench and Bean (although neither of them actually has much of anything to do), but that's about it. Alan Cumming is Jar Jar bad in it, and so is Joe Don Baker, who inexplicably got invited back to play another character after nearly single-handedly wrecking the otherwise outstanding The Living Daylights. Xenia Onatopp is a stunningly awful character; Famke Janssen gave a good performance, and is quite hot, but the character is pathetic. The other Bond girl in that movie was just a device for the screenwriters to insert meta comments about how James Bond didn't really fit in with the world around him; she's a device, not a character.

The music is lame (although I like the title song); there is only one decent stunt, and it's ruined by being capped with a wretched effects shot; there's just not much of anything to recommend in that movie, and yet time and time again I see it cited as one of the best Bond movies. I don't get it. Maybe someone can shed some light on it for me.

And don't even get me started on You Only Live Twice, which is appallingly awful.

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As far as the films go, Goldfinger remains the best, followed by From Russia With Love, On Her Majesty's Secret Service, You Only Live Twice, Casino Royale, The Living Daylights, Goldeneye and Live And Let Die

Other than switching the ranks for From Russia With Love higher with Goldfinger, I fully agree.

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A damn fine film? Really? It was another Bourne knock-off; hardly anything Bond about it.

It wasn't perfect, but it's perfectly fine. It showed a more human side to Bond, and I loved it.

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A damn fine film? Really? It was another Bourne knock-off; hardly anything Bond about it.

It wasn't perfect, but it's perfectly fine. It showed a more human side to Bond, and I loved it.

I'm with you. It's got problems, but I think there is WAY more good than bad. It's in my top ten Bond flicks, probably, which would look something like this:

(1) Thunderball

(2) On Her Majesty's Secret Service

(3) From Russia With Love

(4) Casino Royale

(5) Goldfinger

(6) The Living Daylights

(7) Quantum of Solace

(8) Dr. No

(9) Moonraker

(10) For Your Eyes Only

By the way, just in case anyone is interested -- which is probably a negative ( ;) ), I've been working on a blog about the Bond movies, which can be found here. It's a bit daffy; I'm scoring and ranking the movies based on a (extremely flawed and already-in-need-of-revision) scoring system designed to figure out what makes a Bond movie a Bond movie. It's been fun, though. Have a look, if you're so inclined.

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A damn fine film? Really? It was another Bourne knock-off; hardly anything Bond about it.

I started watching it yesternight and didn't saw any Bourne in it. The chase prologue was over-the-top-cartoony in a Bond way, which isn't a bad thing - but they just can't edit anymore. It looked as if they did let the intern have his way with the footage while still seriously intoxicated from last night's binge.

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I started watching it yesternight and didn't saw any Bourne in it. The chase prologue was over-the-top-cartoony in a Bond way, which isn't a bad thing - but they just can't edit anymore. It looked as if they did let the intern have his way with the footage while still seriously intoxicated from last night's binge.

I actually like the editing of the opening car-chase. There are other places in the film, though, where the editing is WAY too frenetic; it seemed to sort of serve a purpose there at the beginning, but in the boat-chase (for one example), not so much.

I'd love to think that that style of editing will eventually go away, but I might be in for some disappointment in that regard.

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For all the bad press QOS got, the first 40 minutes i saw (before drifting off to slumberland) where actually entertaining. Craig's performance isn't more or less credible than those by Connery, Moore or Dalton.

My big complaint about this series since Jonathan Price's villain is actually how they have reduced the villains to russian oil magnates and such - there's no fantasy, no guts in the villains' scheme.

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My big complaint about this series since Jonathan Price's villain is actually how they have reduced the villains to russian oil magnates and such - there's no fantasy, no guts in the villains' scheme.

I agree. I was hoping that they would build up the character of Mr. White (played by Jesper Christensen) to be a real main villain for future movies.

I think Javier Bardem is going to be an old-school Bond villain in Skyfall.

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David Arnold and Thomas Newman on Classic FM

David Arnold and Thomas Newman spoke to Classic FM in an exclusive interview with film music expert Tommy Pearson - to be broadcast on Friday 19th October. Link

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David Arnold and Thomas Newman on Classic FM

David Arnold and Thomas Newman spoke to Classic FM in an exclusive interview with film music expert Tommy Pearson - to be broadcast on Friday 19th October. Link

You see that photo of Snoozeman Alice?

He is so boring, he is actually wearing 90s daddy jeans.

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dark hair + clear blue eyes = th_drool.gif... but no, I would never think of precious snoozeman that way.

You see that photo of Snoozeman Alice?

He is so boring, he is actually wearing 90s daddy jeans.

get with the times, old man. they're back in fashion.

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