Casino Royale Trailer (2006) - Trailer Addict

Josh Goldstine becomes WB's Worldwide Marketing President; will lead WB's marketing campaigns, including Matrix 4

Josh Golstine was reported to be the front-runner for the position a few weeks ago: but now he's officially hired.
Goldstine will lead all marketing campaigns for global theatrical releases from Warner Bros Pictures, New Line Cinema, DC-Based Films and Warner Animation Group, as well as for HBO Max original features. Goldstine’s oversight includes Warner Bros. Pictures’ worldwide creative advertising, publicity, media, global digital, global promotions, worldwide research and multi-cultural groups.
Goldstine is considered in the industry "a savvy marketer who knows how to cut a trailer" and has successfully led the marketing campaigns of several billion-dollar-earning films.
Some of his credits and achievements:
At Uni, Goldstine oversaw the campaigns for such movies as Jurassic World, the Despicable Me, Pitch Perfect and Fast & Furious franchises as well as Get Out, Split, Sing, Secret Life of Pets, Straight Outta Compton and Fifty Shades of Grey. During his time at Universal, 2011 to 2018, his team had more than 30 films reach No. 1 at the domestic box office, including Snow White and the Huntsman, Ted, The Bourne Legacy, Mama, Oblivion, Fast & Furious 6, The Purge, Ride Along, Neighbors, Dumb and Dumber To and the Academy Award-winning Les Misérables. Goldstine helped propel Universal to an unprecedented run at the box office, resulting in four of the five most profitable years in the company’s history. In 2015, the studio broke numerous records: the then highest-grossing domestic, international and worldwide box office of any single year in any film studio’s history; the first time any studio had three films cross $1 billion at the worldwide box office with Furious 7, Jurassic World and Illumination’s Minions; and six films opened No. 1 at the domestic box office.
Prior to Uni, Goldstine spent over two decades with Sony Pictures, where he held a variety of marketing positions, including President of Creative Advertising. During his years at Sony, Goldstine personally oversaw a number of creative campaigns for films including the Academy Award-winning The Social Network, the original Spider-Man franchise, Casino Royale, Da Vinci Code, Jerry Maguire, Groundhog Day, and eight movies with Will Smith, including Men In Black.
Great hire by WB, let's hope he works his magic with the marketing campaign of Matrix 4!
Additional reporting by the trades:
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Gonna Piss Your Pants

Name: Team: Age: Gender: Species: Aura:
Daltokki Byeon ---- 18 Female Faunus (lop rabbit) Silver-White


Mental # Physical # Social #
Intelligence 2 Strength 1 Presence 4
Wits 3 Dexterity 3 Manipulation 4
Resolve 2 Stamina 2 Composure 2


Mental -3 Physical -1 Social -1
Academics 0 Athletics 3 Empathy 1
Computer 0 Brawl 0 Expression 4
Craft 1 Drive 0 Intimidation 0
Grimm 0 Melee Weapons 2 Persuasion 1
Science 0 Larceny 3 Socialize 2
Medicine 0 Ranged Weapons 0 Streetwise 0
Politics 0 Stealth 0 Subterfuge 3
Dust 3 Investigation 0
Survival 0


Merits # Flaws # Aura/Weapons #
Faunus Senses (Hearing) 1 Frail Frame 4 Aura 3
Dust Infused Weapon (Smoke) 1 Overconfident 1 Semblance 3
Enhanced Aura Pool 2 Sensitive Hearing 1 Weapon (Mad Hat) 1
Focus 1 Compulsion (Cosmetics) 1 Weapon (Waxing Wand) 1
Fighting Finesse 3 Aura Powered 2
Caster 0
Dust Infused Weapon (Focus) (Gravity) 1


Health Aura Pool Armor Passive Defense Speed Initiative Perception
7 13 3 / 2 3 8 5 5 (+1 Auditory)


Name Value Notes
Brawl 0
Ranged 3
Thrown 7
Melee 6 Fighting Finesse
Aura Strike 7 2 AP
All Out Aura Strike 9 No Defense 2 AP


Perilune Panache
Perilune panache is a semblance which allows Daltokki to control, manipulate, and invert the gravitational pull of her body. This ability focuses on manipulation of body and status above all, used to produce a set of abilities with a dramatic flair which marry her mastery of illusions and slight of hand with the accoutrement of the moon and lunar references in her aesthetic.
Name Cost Description Effect Action Attack
Over the Moon 2 AP +1 per turn Tokki uses her mastery of her own gravity to make herself weightless and unrestricted, allowing her greater feats of agility and the ability to float in the air for a short period of time. Tokki manipulates gravity's effect on her body, reducing her weight to near zero. This ability allows Toki to add [semblance] to her speed when moving on land and grants her the ability to float [semblance /2] yards off the ground becoming immune to terrain effects, when floating, she may move at [1/2 Semblance] omini-directionally. Lifting off the ground is a minor action, but actually moving in air still counts as a move action. She may spend 1 point after the initial cast to extend this ability another turn as a minor action. Move N/A
Mascon Manifestation 5 AP Tokki becomes unnaturally heavy as she increases the force with which gravity weighs down upon her and her immediate area. A performer stands their ground in the face of a tough crowd. Tokki uses her gravity manipulation to make herself and her immediate position (within melee range) heavier, making her sturdy in her stance and incredibly difficult to move via outside force. She adds [Semblance] to her resistance against abilities/attacks which would displace her and forces anyone in an adjacent square to make a [stamina] check versus her [semblance] or be knocked prone from the crushing weight. Full Round N/A
Orbital Eccentricity 4 AP The Magician always has a trick up her sleeve. Tokki uses orbital gravity and gravity to manipulate objects on her person for easy access. Tokki creates an orbital field of gravity around her, which she uses to prime extra crescent cards for use in battle. [1/2 semblance] throwing cards are drawn from her possession when this ability is cast and begin orbiting her body in slow moving circles. Each card can be used to either make an extra attack on following turns using the attack calculation [Semblance + Presence] or provide teammates with the gravity dust speed boost effect (major action at range, or they may retrieve the card themselves as a minor action if standing in an adjacent square). This orbital field lasts [1/2 semblance turns], and any unused cards immediately become inert and fall to the ground at the end of these rounds. major NA
Celestial Strength 3 AP + 2 per turn Tokki disperses gravity around her hands, allowing her to pick up objects which would far exceed her normal strength capabilities. Reality is illusion plus belief, focus and you can trick the mind into shaping it. Tokki manipulates the gravitational effects around her hands and arms, allowing her to add [semblance] to any check made to lift, carry, or move objects. This would not enhance any attacks with weapons. Tokki may spend additional 2 AP to maintain her newfound strength over multiple rounds. Minor N/A

Physical Description

Daltokki is a far shake from your typical looking huntress. Petite, sickly, stunted, and soft skinned, her physical appearance is the polar opposite of one's idea of the 'hardened beast slayer'. She stands at a staggering 5'2" and weighs in at a whopping 103 lbs. With big, vibrant onyx eyes, raven black hair, pale skin, and pudgy cheeks and a rounded chin, well styled wispy brows, plump coral lips, a flat nose, and a vibrant smile, her features present an almost doll like appearance. Her hair is neatly styled, gentle curls which fall just below the shoulders in contrast to the meticulously trimmed straight bangs that fall over her forehead, ending just above the eyes, partly obscuring her expressive brows. Perhaps her most standout feature is the set of massive rabbit's ears coated in soft white fur which sprout out from the crown of her head, swooping up an inch or two before flopping over themselves, drooping down either side of her head, These prominent ears often twitch and flick around, occasionally even rising up to catch a better listen to something interesting, a rare few occasions they have stood sternly rigid. Generally speaking she has pretty good control over these unwieldy appendages if she focuses on their positioning.
Her face is always covered with a carefully applied coat of make up, doing everything she can to enhance and accentuate her features. Sometimes this make up is more of a subtle look, trying to present 'natural' perfection, while other times it is blatantly extravagant and glamorous, meant to draw attention. It depends merely on circumstance. Her most consistent accessory is a pair of large, black, circle lens glasses which rest gently on her nose. She is nearsighted, though not severely so.
Tokki's outfit is expectantly extravagant, an entertainer's costume, something which screams 'magician' above all else. Her outfit from the top down: Her signature weaponized hat, reinforced black silk with a purple band and silver buckle decoration depicting her emblem, a crescent moon with a rabbit resting in it's crest; her prominent circle lens spectacles with thin rims and little silver stars on either side where the arms meet the hinges; A fluffy white cravat with a brooch depicting more clearly her emblem, the crescent moon and rabbit in silver with a deep purple background; a black tailcoat with a single button fastened over top a black vest and white dress shirt with stylish cuffs and crescent moon cufflinks; a pair of sleek white gloves clearly custom tailored to her hands, glyphs stitched in dark purple on the back of either glove demonstrate the infusion of gravity dust into the very material of her outfit most prominently; White equestrian pants with a firm crease down the thigh, fitting, fashionable, functional; and finally, a pair of black boots with a slight heel and fold over cuffed ankle, her pants tightly tucked into the boot to keep mud and dirt from slipping inside. Her entire outfit is equipped with all sorts of secret pockets, little compartments, folds and fastens which are mostly unseen to the casual observer unless ones goes looking for them or knows what to watch for. These are mostly stocked with magician paraphernalia, mundane items that present no real utility. Some are reserved for storing packs of her custom crafted cards used in combat.

Weapon Description

Waxing Wand is Daltokki's focus for her semblance. It appears as a very simplistic, typical magician's wand, a long black rod with a white tip. A small nearly unseen button rests at the end of the wand at the black end. Pressing this button causes a small, fine needle blade, roughly twenty inches long, to erupt from the white tip side, creating a sturdy, though slender rapier like needle with which to fight. The wand is also infused with gravity dust, allowing it to inflict or enhance speed penalties on enemies using her aura shot. This was given to her not long before she ever came to Beacon, a hidden blade, and a reminder of the man who inspired her. The blade lacks an edge, it is purely a piercing weapon. Holding the button down and putting pressure on the tip of the blade allows it to easily telescope back into the wooden wand, unto itself a magic trick, where one can pretend to pass a blade into their body unscathed. A model work of clever craftsmanship.
The Mad Hat is her huntress weapon. A complex tool cleverly disguised as a typical magician's hat, though one of unusual size. The hat is stark black with a bright royal band that threads through a well polished silver buckle of her emblem. The hat contains a cavalcade of different deadly utilities. It's primary use is as a holster for her Crescent Decks,sets of playing cards which through a rigorous treatment and crafting process have edges filed as sharp as razors, in conjunction with dedicated practice into the art of card throwing, this deck of cards becomes a set of lethal projectiles. The bottom of the inside of the hat has a thin slit from which cards are dispensed upon the press of a well concealed button within the hat's inner rim. Pressing it produces one card which she can be retrieved to be thrown. Holding the button activates an automatized motor, which begins firing the cards at rapid speed and great velocity (these count as a ranged weapon, not thrown). A larger slot can be found on the top of he crown's exterior, the exact size of a pack of cards, functionally a 'magazine' feed for the dispenser. She keeps several of these card packs on her at a given time. Next to this mechanism inside the hat is a small spigot and an additional flick switch, this is where the dust infusion of the weapon comes into play. The hat has built into it what is functionally a weapons grade fog machine which will spew smoke from the hat when activated, providing concealment in battle and mystique in her magic act.
The Mad Hat's melee form makes charming use of a classic magician's trick, the endless handkerchief. By tugging a loose hanging piece of fabric within the hat, Tokki can produce a 10 foot length of colorful reinforced fabric ribbons entwined around a long iron chain from within. The natural heft of the internal mechanisms of the hat make it quite the brutal bludgeon in this state. Solid slates of crescent shaped curved metal extend from four hidden slots around the hat's crown, giving it flanges, for devastating effects upon impact. The crown of the hat steeples and the mouth of the hat narrows with the tightening of the band wrapped around where the brim meets the crown, turning it into a warped maul like shape. The weapon is beyond unwieldy, but through natural dexterity and rigorous training, she wields it with grace and flair. The tug of a hidden latch on what was the brim of the hat returns it to it's original form, with the chain and ribbons winding back into the hat's internal storage at frightening speed, the hat quite literally 'popping' back into shape as though it had always been. A touch of gravity dust is the secret to the hat's lack of burden upon the wearer's head in it's 'sheathed' form as fashionable headwear, though at present it does not constitute enough of a presence within the material to serve as a weaponized effect.


"If all the world's a stage then you've got to always be camera ready darling, the show doesn't end until the fat lady sings, and the show must go on...even if you break a leg. Play your cards right...and you might just make it before you break it."
In Vale's coastal city expanse, a young fanus woman of unsavory origins joins a travelling troupe of entertainers. She works as one of several performers in a wholly underwhelming variety act, her role, the burlesque dancer. When the curtains close and the lights dim, she finds the men who linger by the tents, those who called and cried the loudest in the crowd, and she brings them back to her trailer to make some...extra money on the side. It was from this salacious desperation that Tokki was born, a bright eyed baby born with astonishingly large ears and a brilliant smile, born into a circumstance so wholly far from typical, and yet, for her it was simply childhood.
She began her career as a performer as young as her first birthday, paraded out as the 'Big Eared Baby' and the 'World's Largest Ears', far from accurate, though they were certainly impressive in size. It was in this factor that one can so easily see the atmosphere surrounding the circumstances of her upbringing. An exploitative, disparate situation in which, due to their desperation for meddling wealth, and their faunus status precluding them from fair or humane treatment amongst a crowd so wholly unempathetic and uneducated as to be blind to the ideas of acceptance, that even a child became part prop in the travelling act, one's value to the group was measured first by what sort of money they could pull in for the troupe-master first, and any and all other qualities second. In spite of this grim stage, the world in which she grew up was far from as desolate as it seemed.
Through a consistent community, career fused with family, all entwined in a camaraderie of a group of those whose homes whisked away on open roads every few weeks, Tokki and her mother lived in an environment surrounded by sympathetic, caring, and generous individuals, albeit eccentric as they were. From a multitude of different backgrounds, regions, and families, the road show was packed to the brim with all sorts of colorful friends for Tokki to meet. In this sense she was almost lucky in a way, as one of the only children amongst the little troupe, she in some ways became the darling child of a dozen or more performers, all of whom despite their lacking means would step into take care of her and raise her right. Not all of course were so caring, there was always the troupe-master, and his little cabal of grimey show runners who were always like looming titans, ready to lay down their law if anyone fell out of line.
Them aside, her upbringing was vibrant, but rugged. She was expected to be helpful, but in this way, also given the opportunity to flourish into all sorts of unusual arts and activities most children are seldom privy to. for the first 5 years she was backstage help, she learned a bit of tool and craft from this. Next was gymnastics, an art she learned from an older Atlan woman with a face like chiseled ice but a heart as warm as a raging fire. She was taught some of the basics of the art, balance boards, hoola hooping, acrobatics, even a bit of work upon the trapeze. When that act ran dry, she was slated to dance, dance the art of ballet from a quirky faunus who had left his rural homestead to peruse a life his parents never would've approved of. For a 300 pound bull-man, he moved with grace. His partner, a slender, beautiful blonde human, was also a dancer, one who knew quite well tap dance and jazz styles.
These together became her first real solo show, she was given a little stage to perform outside the tents, to draw crowds and collect tips, enticing patrons to enter. It was here she found her love for the art of performance, and while the snide comments from the troupe masters always soured her finales as they insisted she wasn't worth the cost to feed, she still carried on nonetheless. Though this was not without effect, it was here her obsession with her performances being perfection began, because she was not the one who received the scolding, the threats of being fired, the abuse. That all fell solely on the shoulders of her mother, and Tokki could hardly stand to bear seeing her own 'shortcomings' fall to burden her sweet, loving mother. She idolized her mother: a caregiver, a mentor, a teacher (quite literally, her home school teacher). Tokki wanted nothing more than to make her proud, to make her happy, to delight, impress, and ultimately free her from this life...for as much as she reveled in the arts, her mother's resentment of their circumstance shone through those empty eyes and hollow smiles. In spite of this, her mother said nothing, asked little of her but to pursue her own dreams. That somehow hurt more than any demand of perfection.
The burden of expectation put a chip on her shoulder and forced her to mature quick. In some ways robbed of a childhood early, the demands of their bosses, the comments of the crowds, the constant flow in and out of talent as their act became less and less profitable, it disillusioned her early to the harsh realities of life. In her early adolescence this put a damper on her mood, she became temperamental, defeatist. It didn't help that tensions rose, paychecks dropped, meals became scarcer and scarcer, to the point of stunting her growth. Her mother's hair showed more and more grey, and their situation seemed ever more bleak. They resorted to tactics Tokki is still none too proud of, she was often the 'distraction', pulling an act of some kind that left the crowds distracted enough for one of their more lithe members to lift wallets and purses from the onlookers before they noticed. She still harbors guilt for those times, but it was that or starve, and at the time the choice was obvious. That all changed when he arrived.
At first he was looked at with skeptical eyes, confusion, hesitation, and similarly, he kept to himself, an unfamiliar isolated body within their little merry band of strugglers. It was actually her who opened him up to the group. He was a so called 'magician', but as he went through his extensive routine it was clear that he was far more than just some casino magic act. His name was Filigree, the gold to her silver.
On the contrary, he was quite extraordinary. In him, she found new inspiration to once again perfect her act, not because it was the only way to thrive, but also because she desired the artistic mastery he possessed. He could juggle knives and throw them with stunning accuracy, the crack of his whip could snuff candles undisturbed, extradimensional hands, where cards and bright red balls and entire juggling pins would disappear up sleeves, into hats, under chairs, he even pulled a set of handkerchiefs from his mouth once, a trick she could never figure out.
His work was amazing, and despite his incessant insistence he was just a normal guy, it took only a few months of her endless inquiry and demands to be taught his trade that he would reveal he was, in another life, a huntsmen. She had never met one before, not in any direct capacity anyway. She admired his history, but Mr. Filigree condemned her adoration of his past for reasons she could not understand. As he saw more and more how serious her passion for his routine truly ran, he reluctantly agreed to allow her to study as his mentor. Under his guidance she diligently studied all he had to show her, she picked up some through natural aptitude, but much more through practice and diligent study. With such a stunning mainline act and a promising pupil in the form of his rabbit eared new assistant, the travelling show began to see sterling success.
As their prosperity bloomed so too did the extravagance of their routine. They began to incorporate dust, and it soon became clear that this was where her natural talent truly shone. Her semblance began to take form, and with it, alongside the use of dust, she was able to pull off feats that surpassed even her mentor in many cases. But with such high highs, come the lowest of lows. An accident, one that would cost their troupe everything, in the end. On a trip between cities, the caravan carrying most of their equipment and staff was set upon by grimm in the wilds of the rarely used back road. With this, naturally, Filigree fell into his oldest routine, the act of huntsmen, moving to protect the caravan with a bright smile on his face. It was the first, and last time, she would see him smile as such during a performance. He fought to his last bitter breath, but the damage had already been done. Few had escaped the attack, and the damages too their equipment were deemed too extensive to be salvageable.
Now a young woman, Tokki would slump back into her old jaded ways, feeling hopeless, tired, and disgruntled with the world as she was once again robbed of her chance to make a life for herself she could truly be happy with, and more importantly, pay back her mother for all the sacrifices she had made in raising her. It wasn't until a package arrived to their new apartment in Vale proper, their new resting place, that she began to see hope again. It was part of his will. A box addressed to her, to be sent if he ever passed, as though he somehow knew of his fate before it caught up with him, one final trick. Inside contained three things, those which she would continue to cherish for years to come. The first was a note addressed to her, outlining his truest thoughts of her capabilities, that he believed she was destined for great things, things beyond some ratty, glorified circus, and that if she put her mind to it she could certainly one day surpass what he himself had accomplished, and perhaps, in her later years, make choices that would lead her down a better path than the one he walked. It ended with a phrase that would always linger in the back of her mind. "Play your cards right, and you might just make it before you break it." It was corny, but it always brought a smile to her face.
The second gift was a letter sealed with a fancy wax press and addressed to professor Ozpin of Beacon academy. As he had outlined in his note, it was a recommendation letter, one which, if he was to be believed, would ensure her an opportunity to apply to Beacon's preliminary application process in spite of her lack of 'official' prerequisite training, if she desired 'a stage fitting of her capabilities' as he had put it. Finally was a simple but meaningful gift. A sleek magician's wand, black and white, the sort of thing you'd see plucked straight out of a children's magic kit...well..until she found out it contained a secret blade any way. She had seem him use it extensively during the time she spent at his side as his assistant. It was hers now, to do what she wanted with. All that lingering baggage about rising to necessity, about perfection, mastery, it swirled in her heart. She could leave this all in the little wooden box to rot away and collect dust, or she could live up to meet the history of that wand, to continue the legacy of the man who wielded it, to take her life into her own hands, forge a new path on a grand stage, and at the end, give her poor mother the life she finally deserved. Within a week, she had begun her plans to start her first semester at the academy.


It is difficult to truly describe Tokki's personality. The most obvious descriptor would be...eccentric. She's a character, quite literally, at some point picking up this extravagant showman's facade and sticking with it. Speaking in a gaudy transatlantic accent, she a flair for dramatics and exudes an ever present sense that she takes every situation as carefree and simple stage play. One with a keen eye for others would see this front put up in equal parts as identity and habit from her days as an entertainer, but also likely a key defense mechanism in guarding herself from the outside world. Tokki grew up in an environment where complaints, moments of weakness, and breaking the ever chipper, composed, actor's visage came with harsh punishments and were quickly preyed upon by competitors and the audience alike. Jovial, exceptionally friendly, confident to the point of it being a flaw, and dramatic enough to grow on the nerves of those disinterested in theatrics, her atypical persona comes with both positives and negatives. Her life among a variety of people usually struggling at difficult points in their lives had made her quite open and understanding when it comes to others.
One of her other major defining features her perfectionism. She is fiercely particular about many things in her life, unwilling to settle for less than the best, with habits and routines that must be done just so before she can rest easy. She is a harsh critic of herself chiefly above all, though far more understanding of others. She is more than willing to give others the benefit of the doubt, skilled in quickly diverting her initial reactions to obscure any upset or dislike. If she has a problem with you but considers you a friend she's often skilled at subtly highlighting her issues without assigning guilt or shame. If her conflict becomes more pronounced, direct, then she's going to address it in a theatrical melodramatic diatribe, passive aggressively picking the person apart until they concede her her point or escalate the discussion, in which case she's always quite ready with a sharp tongue to list off every little issue she's been keeping quiet about in a fiercely eloquent elitist deconstruction. A rare few times she can be seen being brutally, scathingly honest, but this kind of reaction is saved only for those she considers bitter enemies, a rarity for the generally welcoming girl.
Beneath the mask, a good deal of paranoia, self doubt, and exhaustion become apparent. It's rare for others to see this side of Tokki, she is quite skilled at making herself seem like a close friend to others while subtly diverting divulging many details about herself and her true opinions. She harbors a hidden toxic mentality, an ever present fear that if she isn't somehow flawless, if she isn't 'good enough', that those around her will cut her out of their lives without a second thought, and she be left nothing but a failure. She pushes herself to the extreme, not just for the approval of others, but because of her intense desire to find something about herself to truly like. She isn't one to complain or ask for help, she fears showing that type of 'weakness' contribute to an impression of being burdensome or worthless. In summary, Tokki's personality is best described as a cracking wall with a fresh coat of paint consistently slathered over it to cover up the faults. She presents herself as perfect, happy, and likeable in an almost overbearing manner in an attempt to mask the deep seated issues she harbors about her own self worth and her compulsion for perfection at the cost of her own well-being. A 'fake it 'til you make it' mentality.


-Dalktokki's Aura shot: [Weapon/2] + [Semblance] + [Presence], [1] + [3] + [4] = 8 + Gravity Dust Effect
submitted by DigitalZehn to DigitalZehn [link] [comments]

IJW: Spectre (2015)
Alright, it’s been two weeks. I’ve had the same “spoiler-free” discussion with about 15 people now, and I’m ready to put out my thoughts after finally seeing it. I’m already sick of talking about this movie, so this thesis will be filled with SPOILERS.
I guess I should start at the beginning. The long take at the opening is probably the most impressive I’ve ever seen. It tops every shot in Birdman, Rope or Star Trek. The rest of the sequence, however, fell flat. It doesn’t appear to me that in Spectre, Daniel Craig doesn’t want to do Bond anymore (though he doesn’t, and I accept that), more than he’s very comfortable in the role of 007, but his stiff walking through crowds doesn’t convey a real sense of urgency no matter how many quick cuts, nervous camera shakes, or intense music Sam Mendes throws in.
Classic Bond films typically opened towards the end of a mission completely irrelevant to the plot that gets you in the mood to see Bond, and sets the tone for the rest of the film. Spectre fulfills almost all of that, especially the last part, because the tone they were going for was “long, drawn out, and a little goofy.” The chase through the Day of the Dead festival in Mexico City wasn’t interesting. I’m not talking about Bond’s little rogue mission, but the chase itself. I can leave the building blowing up randomly alone, and I thought the couch landing was a nice nod to the Roger Moore films (I would later find more and more), but how many times do we have to watch Bond take down a helicopter in these movies? I know there’s a finite amount of ideas one can do, but there’s no suspense in this opening sequence because this thing is 150 minutes long, and Bond has to live through it, and this guy hasn’t been in a hospital since he was born, so shorten the action sequence to where the helicopter only does ONE barrel roll, and let us move on to the title sequence.
Now, I find the opening sequence absolutely gorgeous, but most people have complained about the song by Sam Smith, which I’m okay with, it’s not the worst Bond theme, and you’re not going to top Skyfall, so I can let that go. I’m going to skip over the obvious tentacle porn joke, because I really like how they integrated the S.P.E.C.T.R.E. logo. Unlike most Bond title sequences, this didn’t bore the shit out of me, so I’ll give them props for that. But there’s still no constant theme running through (besides the tentacles), which is part of what made Casino Royale‘s title sequence so great. Still, this is probably the last thing I would complain about.
Now, what I like about how they open the first act is how they handle the other characters of MI6 in addition to Bond. We see Bond’s barely decorated London apartment, which we’ve never seen before, an interesting, if unsurprising look into the private life of 007. M (Ralph Fiennes) used to just be a guy who gave Bond his missions from behind a desk, but we now actually see what he has to put up with, especially since now the 00 program is getting ready to be replaced by a mass surveillance system called “Nine Eyes.” Ben Whishaw’s skittish Q is still fitting nicely into Desmond Llewelyn’s shoes, and the “will they, won’t they” set up for Bond and Moneypenny (Naomie Harris) feels natural. Bond reveals to Moneypenny that Judi Dench’s M posthumously sent him on a mission to kill his target in Mexico and “don’t miss the funeral.” So after M grounds Bond, he enlists Q and Moneypenny to help him carry out this personal mission that doesn’t really make any sense looking at it from M’s perspective. Shouldn’t this guy have already been a priority if Judi Dench was telling Bond about him from the dead right as he was planning to blow up a stadium?
Anyway, Q puts microbot tracking things in Bond’s bloodstream, which proves useless for the rest of the movie, because it’s supposed to add tension to the Bond disobeying M plot, but Q just lies to M over the phone anyway. It’s just one more thing we have to think about that doesn’t affect the overall story at all. Q could have contacted Bond in one way or another without approaching him in person at a ski resort psychiatrist’s office (seriously, what even is that place?). I’ll get more into Lea Seydoux’s Dr. Madeleine Swann later.
Bond goes to Rome for the funeral against M’s orders to attend the funeral of the guy he kicked out of a helicopter. The attendees are mostly made up of S.P.E.C.T.R.E. employees and the woman Bond made a widow. We get our first look at Christoph Waltz, who I thought was in the right amount of the movie (more on that later) but we don’t see his face, and he leaves as soon as Bond is in his peripheral vision. After saving the widow in a very Roger Moore-esque exchange, he begins seducing the widow with some of the most awkward kissing I’ve ever seen on film, before giving him the location of a S.P.E.C.T.R.E. meeting. We never see this woman again, checking the box for “The Bond girl nobody cares about.”
This is where it gets interesting. Bond attending the S.P.E.C.T.R.E. meeting was in all of the teasers, so the impact was most certainly lost. Christoph Waltz controls the room without saying a word or showing his face, which is all thanks to the cinematography and Mendes’ direction. I guess I’ll refer to him as Blofeld because it’s easier to type (and we all knew he was going to be Blofeld anyway). Blofeld addresses the events in Mexico, and Mr. Hinx (Dave Bautista) takes the place of the man at the other end of the table by gouging his eyes out with what appear to be metal fingernails. We don’t exactly get a good look at Hinx, for most of the time he’s on screen. It’s clear that he’s a near-indestructible monster, but… he’s Jaws. He’s just a bigger version of Jaws. I understand it’s difficult to create new villains in a time where everybody nitpicks the logic, but you moved the steel from one part of the body to another, and you made sure he didn’t talk until his last appearance. They even killed him the way Brody, Quint and Hooper tried to kill Jaws! After Blofeld addresses Bond directly, he runs and we get a boring car chase (though humorous in that half the car’s gadgets hadn’t been installed yet) capped off by Bond ejecting from the car. Meanwhile, we’re getting exposition from Moneypenny, and so we don’t groan at the idea of returning to Quantum of Solace, we’re given something almost as boring to look at.
Anyway, Bond goes to Austria to find Mr. White (Jesper Christensen) dying of thallium poisoning and eventually convinces him to lead him to S.P.E.C.T.R.E. through his daughter, Madeleine, who as all Bond girls do, rebuffs James at first before eventually succumbing to his charm after he saves her life. This is where I might go on a bit of a rant, because her addition to this cast and the plot drags out this movie and extra thirty minutes at least. Instead of White telling Bond about the hotel in Morocco, we have to wait until Bond gets it out of Swann, all because Bond had to be a man of his word. I guess they just wanted a chase sequence in the snow instead of Morocco because they already had Mexico as their “hot and arid climate” chase setting. I don’t hate Seydoux. She’s serviceable in her role, but she’s added in to up the stakes for Bond as a love-interest, which he shouldn’t have, because Eva Green’s Vesper was supposed to be the last woman Bond would ever love (or trust for that matter). This was just some bullshit added in so that Bond (by which I mean Daniel Craig) could have a reason to “leave” at the end. We now have to endure a long train conversation about guns and self-defense before Hinx interrupts and other shoehorned character development. Not to mention just waiting for stuff to happen like when they’re picked up in an old-fashioned Rolls Royce.
But back to Austria, it is revealed that all of the villains we’ve seen Craig’s Bond defeat (yes even in Quantum) is connected through S.P.E.C.T.R.E. and I’m fine with it. Is it forced? Sure, but what did we expect? This is one of several things in the movie meant to give it a finale vibe for both Craig and Mendes, a privilege no other Bond actor was ever given. Q is utilized well here, but like I said before, he doesn’t need to be there for anything other than the screen-time his agent probably fought for. Swann reveals the name White gave Bond is the hotel in Morocco, in which Bond drunkenly points a gun at a rat which leads him to S.P.E.C.T.R.E. That sounds ridiculous, and it is, but at this point, I don’t care, because we’re already deep into Roger Moore territory, so this already can’t be taken that seriously anymore. I don’t know how White accessed that room without tearing up the dry wall, but I’m letting that go, because we’ve got coordinates to a crater in the desert! I almost forgot about the car chase with the plane and the car after Madeleine is taken by Hinx, because nothing happens in it. Craig follows the car with the plane, they exchange bullets, and then Bond crashes the plane into the cars so he can get Madeleine. It’s a boring sequence that lasts way too long, but it’s okay, because we got the girl who refuses to talk to Bond that he will eventually have sex with.
So now we’re finally meeting Blofeld for real this time. The introductory sequence with the meteorite is beautifully shot, as is most of this movie. Aside from maybe Skyfall, this has the best cinematography of any Bond movie. Anyway, Blofeld reveals that he created Nine Eyes which will give S.P.E.C.T.R.E. unlimited access to the entire intelligence community (though it looks as if they already have it?) and monologues about his evil plan as Blofeld is prone to do. What follows is one of the best torture scenes in 007 canon, second only to Casino Royale‘s medieval vasectomy. Blofeld reveals his personal connection to James, as well as his full name “Ernst Stavros Blofeld” which he adopted from his mother’s side of the family. And this is something that I had mixed feelings about. I do think Blofeld should have some kind of personal beef with Bond. Bond messes with his operations, he killed Bond’s wife. That’s as simple as it should be. I think it’s too much of a stretch to say that Blofeld is essentially his step-brother with daddy issues. We’re supposed to think of Blofeld as a scoiopathic criminal mastermind, but here he’s just a child jealous of his father’s attention. And we get to think “Oh, well he’s crazy, so it all makes sense.” But Bond would probably remember Franz Oberhauser, and he doesn’t reveal that to anyone, not even the audience. I get that he’s not supposed to trust anyone, but he trusts everyone in this movie to do their jobs. I guess it wouldn’t do anyone any good if they knew Bond’s connection to him. This whole backstory just feels to convenient for me, and it feels dumb that these just happen to be the paths that both characters took. The whole “author of all your pain” thing feels like a desperate attempt at making Blofeld appear even more villainous, when all we need is him in the chair. Granted, this scene with the watch giving Blofeld his eye wound was a nice addition.
Bond handily escapes the facility killing S.P.E.C.T.R.E. soldiers one shot at a time while accidentally blowing up the entire station with one fire. He and Madeleine rendezvous in London with the now defunct 00 section of MI6 which only consists of M, Q, and Moneypenny (wouldn’t it be great to meet other 00 agents again?). I almost forgot Tanner (Rory Kinnear) but that’s just because he doesn’t do anything in this movie. On their way to arrest Max Denbigh, aka “C” (Andrew Scott [aka Moriarty from Sherlock]), Bond, M, and Q t-boned by a pick-up truck, which I didn’t think existed in England, and kidnap Bond. M has his final confrontation with C, and ends up killing him as Q disables Nine Eyes. I don’t really have any problems with the scene except I couldn’t discern the punchline to M’s “What does C stand for?” joke. I now know he said “careless” which feels like a wasted opportunity at a better punchline. During the entire movie, M has basically only monologued about the importance of the 00-section and being able to pull the trigger, something that has probably been said in at least once during every actor’s stint as 007. I understand this subplot needed to be fleshed out more for the final act of the movie, and it works, but the whole surveillance and drone approach is clearly more effective in some ways than 9 agents who can seemingly do whatever they want without real consequence. But the rest of the English government is even more idiotic for thinking surveillance and drones can fully replace humans in terms of crime-prevention. There’s nothing more I can really say about that, but I didn’t really find it necessary that C die, especially the way he did.
Moving on to the final showdown between Bond and Blofeld in the ruins of the old MI6 headquarters. Bond’s name painted in red on the memorial wall would have been a nice touch had they not shown it in the trailer, and the whole firing range walk-through is a little too reminiscent of The Man with the Golden Gun for me to praise anyone for it. Bond finds Blofeld standing in a bulletproof cage that only exits one direction. As cool as so much of this was, it was a little over theatrical for my taste. Blofeld wasn’t ever one for painting directions on the walls and putting up pictures of deceased friends and enemies, he was just a bad guy who wanted Bond out of his hair. Anyway, Blofeld gives Bond three minutes before he blows up what’s left of the building so that he can either escape or die trying to save Madeleine. This is where Bond should have just escaped and stopped Blofeld on his own, but he has to save the girl he has very little chemistry with so that the audience likes him. Connery used to pull women in front of bullets after having sex with them. I’m just saying it’s uncharacteristic of Bond, especially at this point in Craig’s run, to give up a chance at saving the world to save a girl with whom he spent a few days.
Of all the deus ex machinas this movie throws at us, this one has to be the worst. Bond eventually finds Madeleine with less than a minute to get out of the building. We get the cliche “Do you trust me?” which has been said at least a hundred different times in similar scenarios, including Bond movies. They jump off the building, in full view of Blofeld and henchmen, and they land safely in a giant net. What was a net even doing there? Why would that have been at MI6 headquarters? How was it still set up? I don’t know, but we needed them to escape, so we got it. Then what follows is yet another fucking helicopter chase, this time with a boat, because we can’t seem to have a Bond movie without helicopters and boats. Bond takes down the chopper just by shooting at it with his pistol. At first, I was okay with him being desperate enough as to not let Blofeld escape. I would have preferred Blofeld escape and Bond deal with the fact that he failed despite saving an innocent life. But no, this is once again a finale for Mendes and for Craig, so that chopper has to go down with a shot to the engine in the dark from hundreds of feet away. Bond chooses not to kill Blofeld with the excuse of not having any bullets and M arrests him. It’s just stupid. It’s Pierce Brosnan-era stupid. We can’t leave any glaring loose ends before switching actors, which has only happened in Diamonds are Forever which had Connery continuing Lazenby’s story from On Her Majesty’s Secret Service.
The film ends with Bond driving off in the original Aston Martin with Madeleine, and thus concludes the story of the blonde blue-eyed Bond. Again, I have problems with this. The Aston Martin was a great reveal in Skyfall you can’t just do it again because you showed Q working to repair it early in the movie. That nostalgic hole was already filled. Also, as I’ve said earlier, Madeleine and Craig have terrible chemistry, and if anyone should be in the passenger seat of that car, it’s Moneypenny, but we needed a longer plot with more boring action sequences and a new Bond girl people care about, so Moneypenny is old news I guess.
I’m sure there’s more I could discuss, but that more or less concludes my review of Spectre. Craig’s Bond career has become a metaphor for the franchise as a whole, and instead of watching all 24 films now, you can just watch these four, and you’ll get the gist of it. The performances are all great, though I think the expectations for Christoph Waltz are unreasonably high, because everyone expects Hans Landa out of him. Craig’s Bond career has become a metaphor for the franchise as a whole, and instead of watching all 24 films now, you can just watch these four, and you’ll get the gist of it. Overall, Spectre is a solid entry in the Bond franchise. Yes, I said solid. Because what Bond fans have failed to realize, especially in recent years, is that very few of them are considered great films. The campy nature of most of these movies is a part of the Bond iconography, and Spectre exhibits some of the best and worst qualities of every era of the franchise. To reiterate some of the main points. It’s too long, the romance is contrived, pointless and unbelievable, the cinematography is off the charts, a lot of the action is lazily done, and while it does a good job of tying the rest of the Craig era together, it botched the relationship between the primary antagonist and the protagonist. Most of the people I know have already seen this, but in case you’ve read this detailed rant, I might still recommend it, because in spite of everything I’ve said, you can probably still enjoy it, and your opinion matters just as much as mine.
007: B
Average: C+
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Casino Royale - Chris Cornell - You Know My Name - YouTube Casino Royale (2006) - Official Trailer HD - YouTube Casino Royale (1967) Theatrical Trailer - YouTube Casino Royale - Movie Review - YouTube 21 Casino Royale Theatrical Trailer 2006 Casino Royale Official Trailer (2006) James Bond Movie HD ... Casino Royale (2006) - trailer - YouTube

Trailer for Casino Royale. Oscars Best Picture Winners Best Picture Winners Golden Globes Emmys San Diego Comic-Con New York Comic-Con Sundance Film Festival Toronto Int'l Film Festival Awards Central Festival Central All Events Tv Trailer Teaser trailer Theatrical trailer En los trailers de Casino Royale que hemos realizado hemos querido centrarnos en la figura del protagonista. Todos los trailers contienen escenas de la película acompañados de los diálogos, pudiendo apreciar en los mismos la banda sonora original. Siguiendo para ello la estructura planteamiento - nudo - desenlace. TRAILER ORIGINAL: Publicado por ... Soul Theatrical Trailer; Jungle Cruise Theatrical Trailer; Black Widow Theatrical Trailer; Greyhound Trailer; Connected Trailer; Artemis Fowl Trailer; Casino Royale Teaser Trailer (2006) First preview introduces the black and white scene from the film, where we get to see Bond's second kill. The final third finishes with a compilation of clips. Duration 1 min 18 sec Views 22,581 Posted On ... Trailer: 3 Disc DVD. Oscars Best Picture Winners Best Picture Winners Golden Globes Emmys San Diego Comic-Con New York Comic Con Sundance Film Festival Toronto Int'l Film Festival Awards Central Festival Central All Events How time flies. Ten years ago this week, the world got to see the first theatrical trailer of the Daniel Craig era. There had been a short teaser earlier, but the first real look at 'Casino Royale' was unleashed on September 7th, 2006.. As with most modern trailers, it packs in most of the story and shots from all the major scenes in two-and-a-half minutes. Jungle Cruise Theatrical Trailer; Black Widow Theatrical Trailer; Greyhound Trailer; Connected Trailer; Artemis Fowl Trailer; Casino Royale Trailer (2006) Daniel Craig stars as "007" James Bond, the smoothest, sexiest, most lethal agent on Her Majesty's Secret Service in Casino Royale. Based on the first Bond book written by Ian Fleming, the story, which has never been told on film until now ... Casino Royale Theatrical Trailer. Casino Royale - ScreenPlay, Inc. 01/04/2007 NOT-RATED Trailer for Casino Royale Share this Video . Social Sharing Options. Share on Facebook Tweet on Twitter Pin on Pinterest × Confirm Live TV Listings ... 'Casino Royale' Theatrical Trailer. Yahoo! Movies Videos • May 1, 2007. Reblog. Share. Tweet. Share. What to Read Next. Jon Cryer defends 'Two and a Half Men' work after Rep. Matt Gaetz says ... 007 - Casino Royale (Blu-ray) (1967) Casino Royale is too much for one James Bond! Director: Val Guest, Ken Hughes, John Huston, Joseph McGrath and Robert Parrish OVERALL: Draw. Click a link to jump to that release. Alternatively, use the tick boxes to select only the releases you wish to view and then click 'Apply Filter'. Check/Show All Uncheck/Hide All. Blu-ray ALL America - Twentieth ... We had to do it. While we here at JoBlo would like to forget the Columbia Pictures' misbegotten James Bond satire, CASINO ROYALE, it's nonetheless an important part of the 007 franchise. It kept ...

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Casino Royale - Chris Cornell - You Know My Name - YouTube

Casino Royale (2006) - Official Trailer HDCasino Royale is the twenty-first film in the Eon Productions James Bond film series and the first to star Daniel C... SUBSCRIBE for new videos: out more MovieSounds: Cornell - You Know My NameMovie © Columbia Pictures Informace o filmu na Akční / dobrodružný / thriller, USA, Velká Británie, Česká republika, 2006, 120 min. Režie: Martin ... FACEBOOK: SITE: http://www.chrisstuckmann.comChris Stuckmann revi... Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. Subscribe to TRAILERS: to COMING SOON: to MOVIE NEWS: Like us on FACEBOOK: ... This video is unavailable. Watch Queue Queue. Watch Queue Queue