Bond, yes, Soho horror, no

I want to write this review without describing in any way shape or form the plot of the new James Bond movie, No Time to Die (director, Cary Joji Fukunaga). So, let’s see. The film achieves all the glamour, elan and sophistication of past Bond films - no argument there. Exotic locations – check. Sexy glamorous women – of course. And at least one “shaken not stirred” martini in the mix. Thrills and spills – yes. Bond the Houdini of the spy world? There are numerous scenes. Bond’s trusty Aston Martin is also firing – literally – on all cylinders. Is the plot fantastical and coherent? Yes, and yes, unlike some other 007 flicks. Standout performances? Daniel Craig as Bond is again exemplary embodying the iconic character; too bad this is his last film. Ben Whishaw as nerdy computer genius Q was a bit of a hoot. That subtle humor which undermines any of the characters’ seriousness? Jolly good. Is the movie’s theme song perfect in the 007 genre mode? Yes, and sung by Billie Eilish, a virtual tie with Adele’s in Skyfall (Sam Mendes, 2012). Clocking in at almost three hours, does No Time to Die keep your interest? Well, yes. So, yes, I would give this a three and a half out of five stars, possibly closer to four. Any downsides? The villains could have been more brutally evil; Rami Malek as the dastardly in chief had a blunted edge. There could have been just a little more smooching in said exotic locales. I would have loved to have seen Judi Dench as M. (Ralph Fiennes, who’s good, has the demeanor of the classic aged male spy chief of numerous British films). Léa Seydoux as MI6 psychiatrist Madeleine Swann and Bond’s main squeeze struck me as just a little young and inexperienced for such an operative. I can’t say this is the best Bond film I’ve seen (and I think I’ve seen them all). But it scores among the best for suspense, elegance, coherence and thrills and spills. So, what are you waiting for? Go see it.

Wish I could have half the praise for the other film I caught at a double bill at the Devonshire Cineplex Odeon, Last Night in Soho (Edgar Wright). Alas, it was disappointing and didn’t work. The best thing about the film was its premise, set in London at the height of Carnaby Street and the Swinging Sixties. But credit where due – the period re-creations were very realistic. The soundtrack of course was great and is the best thing about the film. But I can hear those songs anytime. The problem is the film’s theme itself, psychological horror. Eloise ‘Ellie’ (Thomasin McKenzie) moves to London to study fashion design. She becomes obsessed with the city harking back to all the 1960s music she listened to growing up, exemplified by her grand mum’s (Rita Tushingham) era. There are some great special effects creating the ghosts and vampire-like creatures looking startling like the paintings of British artist Francis Bacon. And there is a feminist sub-theme about men as predators. But the horror falls flat. This would have been a better film, sorry, without the horror. It could have been a whimsical travel back in time to Sixties London – an amazing era - such as Woody Allen created in Midnight in Paris (2011). Nevertheless, it was great to see 1960's film grand dame Rita Tushingham after all these years. As it was the last film of the late great Diana Rigg, forever one of my all-time favorites and a youth heart throb as Emma Peel in the original TV series The Avengers. But, seriously, don’t go waste your money and time.