"My first day working on that film, I did a speech in a room with an actor, and the whole f**king set was in tears when I finished," he explained. "'Really, motherf**kers? You just took that s**t from me?' "The things they took out kept me from getting an Oscar," Jackson said, reflecting on one specific scene that didn't make it into the final cut.
He claimed his performance in one highly emotive scene that ended up on the cutting room floor could have scored him an Academy Award. It may not be true any more that nobody does it better, but Bond still does it pretty damn well.In a new interview with Vulture, Jackson aired his frustration over some of the changes made in the editing room to the screen adaptation of author John Grisham's legal thriller. But a new bar has been set for the series, with Craig going out in incendiary style. Whoever takes on the role after Craig has a very big bow tie to fill. It remains to be seen what comes next after No Time to Die so comprehensively blows up the franchise formula. The relatable off-duty Bond looks more rumpled than ever before, which means a lot of truly awful, awful corduroy. Still, he looks the part, which is more than can be said for some of Bond's costuming choices. Not everything works: The film doesn't bother to give Rami Malek's unsettling villain a discernible motive for his fiendish plans, and even if it did you probably wouldn't hear it amid his whispered dialogue. The Bond brand allows for a mix of genres within the one film, and there's also a spine-tingling touch of horror on show in a nail-bitingly tense opening flashback and a deliciously surreal black tie bacchanal.
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The Bond series has always drawn on action movie trends, from Roger Moore's '70s karate chops to the Bourne-esque stylings of Craig's previous films, and No Time to Die puts the pedal to the metal with savage and battering fights evoking the accelerated action of John Wick and Atomic Blonde.
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It's still a thrill to see him in full black tie casually vaulting a bar and pouring a couple of liveners while a shootout continues around him, downing a drink and going back to mowing down bad guys with a signature swagger. And after 15 years Craig is the heavyweight anchor around which the chaos and carnage revolve. Purists may be unhappy, but there's a frisson that feels almost transgressive to explore the interior worlds of other characters in the 007-verse. With a cast assembled over several films, the expanded 2 hour, 43 minute runtime gives it an almost television-like expansion of focus to other characters. This begins as an intriguingly ambivalent portrayal of establishment authority, although it's quickly forgiven and forgotten in favor of cozy familiarity.Īs Bond gets tangled up in plots and counterplots, there are times when everybody packs such a punch that you might wonder why Bond is even there - on occasion he's left literally running around looking for someone to rescue. He too has changed, the vibrant new broom of Skyfall shrunk into his stuffed shirt, appalling even Bond with his questionable tactics. Ralph Fiennes also gets to do some real acting beyond handing out orders as Bond's boss, M. In No Time for the Die, he brings those qualities to James Bond more than ever. And we know from Knives Out and Logan Lucky that he's funny. We know from previous Bond outings that Craig is utterly assured as the suave secret agent, but we also know from his theater and television work that the man can act.
(Did nobody notice they pinched it from Austin Powers: Goldmember?) Here, No Time to Die shows Bond living a life away from the banging and crashing, allowing Craig to display more than just a stern look cinched into a suit. Spectre made a ham-fisted attempt to make the character human and relatable with a tacked-on familial reveal. What this means is that Bond can truly change. We all know there's a reset coming when the role is recast at some unspecified point in the future, so for now the gloves are well and truly off. You can feel an iconoclastic freedom running through the film, a school's-out delirium, a righteous urge to throw everything at the wall. But at the same time, No Time to Die revels in blasting canon out of a cannon. And it continues the many through-lines from Skyfall and Spectre. No Time to Die includes Bond movie staples like gravity-defying car chases, ridiculous doomsday weapons and vast brutalist hideouts full of henchmen with silly facial tics to mow down.
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