Casino Royal Film Analysis

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All good things must come to an end…or so they say. Of course, James Bond apparently never got that memo – you know, because he seems to get younger and more ambitious with each passing decade. With that said, it’s impossible not to admire the fan base and longevity that this character has built for itself, stemming back to the 1950s.

At the same time, it’s also terribly difficult not to admire the stylistic swagger that the current Bond, Daniel Craig, has brought to the ever-growing franchise. While Craig was a questionable choice when he was initially cast for the role, he’s surely silenced the vast majority of the naysayers by now – even establishing himself as one of the best Bonds of all-time.

Thus, it’s not out-of-bounds to declare that the previous three Bond films, each of which featured Daniel Craig as Bond, were pretty epic – especially Casino Royal. However, when you set the bar high, it
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So, it doesn’t help that Spectre featuring one of the most unimpressive, lackluster scripts of any Bond film to date. As stated, if Casino Royal set the bar as high as you can imagine, Spectre drops the bar completely to ground level. Instead of attempting to inject a fresh new adventure for Bond to tackle after the extremely personal character experiences in Skyfall, Spectre attempts to make things even more emotionally charged.

Regrettably, Spectre spends its lengthy runtime (roughly two and a half hours) piggy-backing off the events of Casino Royal, Quantum of Solace, and Skyfall. That’s right, apparently one man – Christop Waltz’s character – takes credit for the trauma to Bond’s psyche (and death-filled love life). In other words, Waltz, who barely even appears when you look at the big picture, is stuck portraying a frivolous character that specifically takes credit for the death of Vesper Lynd (Eva Green in Casino Royal) and M (Judi Dench). Oh and he has ties to an orphaned James Bond, to

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