#1 Skyfall

This is truly the pinnacle of Bond films. Although perhaps not the best opening action sequence overall, it succeeds in introducing the tone of the film-- one that fits perfectly with the narrative. It also introduces Naomie Harris who is a welcome addition to this revamped cast. And maybe the animation sequence doesn't tell the best story, but it's so clever, and when matched with Adele's titular song, it is definitely the best theme.

Early on Daniel Craig briefly sports a scruffy look. He doesn't come close to passing the physical. The psychological examination is clever. All of this and more builds on the approach Sam Mendes beautifully takes this film. And it's all backed behind a stellar cast. Ben Whishaw plays one of my favorite (if not favorite actually) characters in the young and arrogant techno Q, and of course adding Ralph Fiennes into the mix is awesome. This also marks the best narrative given to Judi Dench as the aging M (although give Judi Dench credit because she looks great for however many decades old she is).

If you didn't know it was coming, I had to save Javier Bardem for last. He is a powerhouse actor who became familiar to American audiences with his villainous turn in No Country for Old Men (I'd describe his character as the combination of Joker and Two Face from The Dark Knight). Also shout out to his starring role in Alejandro Inarritu's foreign film Biutiful. And if you need any more evidence of his quality acting, look no further than his malignant and sophisticated role in this film. His introduction and monologue is memorable, his actions are remorseless, and unlike Christoph Waltz's antagonist in the sequel, the execution of his plan is smart and scary. Easily the best villain of this series.

Something I haven't really discussed much from the other films but that is so vital to the success of this film is the cinematography. The film lost out to Life of Pi at the Oscars, but the shots of Shanghai-- in particular the silent action scene in the skyscraper is one of my favorites of any film-- are such a gorgeous combination of colors bursting from the dark surroundings (hmm, even a bit like the tone of the film).

This movie is the perfect blend of old and new Bond. Throw on top a great character-driven story, and not only is this my favorite film of Daniel Craig's series, it's my favorite Bond film (admittedly, I need to re-watch many of the classics, especially with Sean Connery). And not only is it my favorite Bond film, it's just a tremendous film on its own. Multiple scenes always pop out as memorable, and the climax is simply fantastic. Even if you haven't seen Casino Royale, or any Bond film for that matter, I can't stress enough that to anybody and everybody I give a high recommendation to go watch Skyfall.

#2 Casino Royale

I love love love the opening to Casino Royale. It's a perfect blend of infusing classic Bond while showing the world hey, this is the new direction we plan on taking this series. Admittedly, Daniel Craig is an unconventional look, but his charm will win you over. The parkour of the action sequence is really fun to watch (and Johnny English Reborn basically spoofs it and it's hilarious), but it's the opening scene that puts this as the best intro. The theme is a good song, not great, but fits well; the animation is clever and works well, and that's what puts "You Know my Name" as the 2nd best theme.

It doesn't matter who you are, if you prefer blondes over brunettes, or whatever it may be. Eva Green is the best Bond Girl in the Craig franchise. She brings the wit to match the man in the tux at every step. I'm a fan of Mads Mikkelsen, and he would be the best villain if it weren't for the #1 pick. Judi Dench is a solid choice, and she actually is reprising her role as M from the previous series. Jeffrey Wright also brings quality to the film, so I believe we've settled that the cast works well.

As far as story is concerned, there is a lot of good and a little bad. If you have establishing shots of well-known areas, putting title cards to tell you where the characters are currently at is cheap and dubs down the audience; this is something this film avoids even if it's brought into Quantum of Solace solely to make sure that sequel was a disappointment. The point is that you'll almost always see me praise subtlety. That really isn't the case here. I'd probably recommend subtitles actually for this film because details are sometimes given in low voices that's hard to pick up. The plot moves to a new action scene, or the characters suddenly display new motivations; and if you aren't paying attention to everything going on, chances are there will be something confusing. In fact, this was probably around my third viewing of the film and I picked up on new ideas while still being in the dark about others-- there are movies like Inception and The Prestige that work these details and foreshadowing effectively (both obviously Christopher Nolan films), but it's more of an annoyance here. And as we're on the topic of story, the writing and dialogue gets half-credit. The movie is way too choppy, but there are still some great quips:
Bond: Vodka-martini
Bartender: Shaken or stirred?
Bond: Do I look like I give a damn?
And my favorite:
Vesper (Eva Green): Am I going to have a problem with you, Bond?
Bond: No, don't worry. You're not my type.
Vesper: Smart?
Bond: Single.

On a final note for the story, I'm a sucker for well-constructed scenes like the development of the poker hands, and the torture scene is one of the best in any film. The confusion I've been referring to is mainly in the last 30 minutes. I'll say no more than that, but it's kind of hard to put a finger on what the goal was or what went wrong. These closing scenes aren't bad-- the climax is an awesome set-- but I don't believe it works to the degree the movie hopes for. Overall, the cast is all solid, but it's not the film's fault that the #1 pick has a better ensemble; what really brings the film down to the 2 slot is some choppy scenes and a confused plot. And if those are the critiques I have to give it, that should tell you that this really is a good film. It gets my recommendation, and if you're somebody who hasn't seen a Daniel Craig James Bond film, there's no better place to start than here. Tomorrow, you'll hear my reasoning on why one of the sequels surpasses this film, and you are free to disagree with my reasoning.

#3 Spectre

Sam Mendes returned as director for the fourth installment of the Daniel Craig James Bond series. With everything from questions of how long Craig would be doing this to what a huge budget the film had, there's lots to discuss.

Arguably the best place to start, lets talk about the beginning. Production values are imminent from the opening shots. Although there is hardly a cut or a word for the first five minutes, there isn't really anything special that happens. And this ends up taking a toll when the run-time is just under 2 and 1/2 hours. There's some cool helicopter stunts (with some disbelief of reality put aside), but I still consider this action sequence only the third best. And then you also have to talk about Sam Smith's "Writing's on the Wall." His voice is fantastic and the relevance of the animation in accordance with the story is appreciated, but there's some lacking quality that doesn't seem to fit in with a 007 film. And the animation overall didn't strike me as impressive, so I still rank this theme as third best as well.

Spectre attempts to tie in the previous films into this plot. I guess there's points for effort, but it doesn't really have a huge emotional connection to pull it off. And there were multiple instances where a scene could've been tidied up or even cut entirely. But no. This movie just had to make it to 2 1/2 hours. It's just really long and a little draining.

I think I was still fine with the film up until a snowy mountain sequence where Bond ends up driving like this cargo plane. And as problems arise, the sequence goes into the most Pierce Brosnan-esque style of action-- so over-the-top that it's just like c'mon man.

Lea Seydoux adds a nice touch, and Monica Bellucci certainly adds a bit of a surprising element for Bond Girls. Really have no issue there. And then fans of Sherlock will recognize Andrew Scott in the film. Having gained attention as Moriarty, I was intrigued to see him step into a different role... That didn't happen. Pretty sure the producers told him to act almost exactly as Moriarty had. The result is nothing surprising, which is a disappointment and also a little frustrating.

But lets talk about what had the most potential overall for the film: Christoph Waltz. After having Javier Bardem kill it as the villain in the previous film, I think Waltz is an excellent choice to bring new elements. But this is easily the worst aspect of any Daniel Craig Bond film. Which pains me so much to say because there's a good deal of build-up. His introduction has great camerawork and lighting, and it creates a mystical veil around the organization and his role behind it. And this lasts for lets say 8 minutes. Then the movie basically forgets about it for a good hour. He's brought back, and it could still be very interesting despite a drop in fanfare. But what was supposed to be a tense, high-production action set-piece is set back with a surprisingly boring backstory for the villain filled with ideas that say "This is the bad guy and he's bad and he does bad things because he's bad" and unbelievably predictable action. And I guess they make it appear he's dead, but everyone knows that's not the case--even if the run-time is padded already. The climax reminds me of Mission Impossible Rogue Nation if that climax was also filled with cliches. And what I mean by that comparison is that Rogue Nation kind of has their climax setup like a heist, and you don't really feel any tension because you feel like it all is part of the good guys' plans. Spectre is similar to this, and the ignorance and stupidity that leads to the demise of the villain makes me think that the writers just couldn't think of any other logical possibility for a death.

Spectre isn't all bad, like the returns of Ben Whishaw as Q and Ralph Fiennes as M were very welcome, but it's a very flawed film that certainly had potential. If anything, it makes me want Craig to return one last time for an awesome sendoff. As for the two films I ranked higher, I believe there are some differing opinions on which is better, but after re-watching both, the choice is clear to me.

#4 Quantum of Solace

Today is considered to be James Bond's birthday! So to celebrate we're going to rank all 4 Daniel Craig 007 films.

If you haven't guessed by the title, the sequel to Casino Royale ranks last. And honestly, it's not even close. To understand this film, think of it as a trigger-happy Bourne film. And I mean that in one of the worst ways possible. The editing is atrocious. The film takes a Matrix Reloaded approach and stacks action on action; however, it's not even as successful as that film. The opening action sequence has one decent moment, but anyone able to follow the rapid edits deserves an award. What such rapid editing tends to correlate with is weak content to begin with. Some well thought out long shots could've worked effectively, but the truth is that there just isn't anything special about the action set-pieces besides perhaps locale. And don't even mention the parachute opening 10 feet above the ground. You can't walk away from that without an injury.

Although I can appreciate some of what Jack White accomplished with "Another Way to Die," Alicia Keys only takes away from the song-- making it and the corresponding animation the worst theme as well. The Bond Girls are the worst as well. Let's see, what other worsts does it have... Oh yeah! The villain is so uninteresting. And it's so obvious during the climax that there's no way he could even put up a fight against Bond.

Despite going for the darker, remorseless tone, I actually felt that Daniel Craig brought some of his greatest charm in this film. Even though there really isn't any cool dialogue to accompany him, I feel that after already having one round as the famous Brit, Craig was tailored in his approach to the character, and it's one of the aspects that pays off for the film.

But enough praise. The film has annoying characters, and even when trying to fit elements from the previous film, the plot is so basic and not memorable in any way. But when you have an action flick, almost all can be forgiven with quality action. And the film just falls flat. Not only is this the worst Craig Bond film, it just isn't a quality picture. It's a misstep, and that probably contributed to the gap between this film and the next one.

Tomorrow, starting with #3, the other Bond films are certainly entertaining to differing degrees. There's a lot to compare and a lot to talk about. And just as a little something to think about, the producers considered George Clooney to be the new Bond, but he smartly declined due to him obviously not being British (a couple years after this he even starred in The American). As always, comments and suggestions are appreciated and encouraged. Feel free to agree or disagree with this list, and tell me how you would rank them. Signing out for tonight, the name's Gill. Jacob Gill.

The Best Movie Ever Made

We're not talking about the first plan. We're not even talking about plans 2-8. No sir, I am referring to Plan 9 from Outer Space. This gem is written, produced, and directed by Ed Wood, Jr. There's numerous stories of actors doing stupid things-- for example, an actor playing a cop would repeatedly point his gun at himself-- just to see if Mr. Wood would notice (Spoiler, he didn't).

Now, there are really only 2 types of moments in this film: moments that are so bad it's funny, and moments that are just plain bad. I'm talking about an awful narrator who, whenever he mentions a character or setting, there must an awkward edit to show what he's talking about-- in case the audience was confused. The writing is so choppy, for better and definitely for worse, the directing is just... just bad. I don't think there's any other way to say it. And the actors would just get their lines over with because they had better things to do with their lives.

So what is this ninth plan? Well, aliens with much laughably better technology come to Earth in their flying saucers on strings. And in order to make sure Earth creatures don't destroy the shared universe, they must be destroyed. Thus, the best way for the aliens to accomplish this goal is to obviously raise the dead using their electron guns. This diabolical plan ends up raising a total of 3 creatures throughout the movie: a big detective, Dracula, and Vampira. Trust me when I tell you how haunting and scary and gory and... Oh I can't do it. The biggest laughs are watching the 3 walk over to the main characters as the characters just stare and watch in "horror".

This movie isn't always good, but it certainly is always bad. Look it up. There's horror and drama and sci-fi babble with quick edits. Not sure how much more you can ask for. There's even a Johnny Depp film called Ed Wood based on this guy (haven't watched it though). Okay, that's all from me. And remember my friend, future events such as these will affect you in the future.

Captain Sully

January 15, 2009. Many remember the date for the "Miracle on the Hudson." Crew and passengers totaled 155 as birds flew into the engine of the plane, forcing the captain to land in the Hudson River. Heralded as a hero, people who haven't read the book (including myself) that Chesley Sullenberger proceeded to write about the incident may not be familiar with everything that happened after the memorable day.

There's different ways of approaching the material, so let's see how they decided to do it before analyzing the contributions of the individual. The beginning sets up how Sully never embraces the role of a hero and how his mind is tormented about how he saved the lives of everyone, yet the flight committee pushes to know if it was the best and safest decision; Sully reported that he lost both engines and thus wouldn't have thrust to return to a runway, but simulations and data engineers put together state otherwise. The beginning also sets up how Sully has always had a passion to fly and is an experienced pilot with over 40 years under his belt.

It isn't until about the 30 minute mark that we get our first glimpses of the day in question. From then on there's a good deal of Sully contemplatively running through New York and reliving the day and the possible outcomes, and then different views of the 208 seconds of fateful flight.

This is not the most thrilling movie. It just simply can't be. And it doesn't infuse the amount of enjoyment that Moneyball did with subject matter that could've bored audiences. Nevertheless, that is not to say the movie is boring. Clint Eastwood directs, and he more than anybody ever can direct with such a cool hand. And his directing when it comes to the rescue scenes on the river may be overlooked, but it's truly strong directing. And in typical Eastwood form, expect a lot of subtle piano playing in the film (Eastwood is credited with the theme for the film). It's also worth mentioning that even though many glimpses of the crash (or as Sully puts it, "forced water landing") are presented throughout the brisk hour and a half, it doesn't get old. There's purpose every time it's shown, and the right amount is shown every time.

Tom Hanks stars as the captain who misses his family and truly believes he was just doing his job-- nothing overly heroic. There's some internal demons to battle over the course of the movie, and it may not be Hanks' finest performance, but the everyday-charm and subtleness is still quite a performance. Aaron Eckhart is the clear supporting role, second fiddle character. He's really meant to be the comic relief, and, not all the jokes are the most well-written, but again there's charm for the guy that has his captain's back every step of the way. Laura Linney is never on the screen with Hanks at the same time, but as the distressed wife, they share plenty of phone calls together.

Again, this really isn't the most thrilling movie, and there shouldn't be hopes of it being one either. But it is a film shot almost entirely in IMAX cameras and the shots of New York are great; the acting is basically between good and great, and the final act shows the most humanity. Perhaps the film could be likened to Lincoln-- well acted without the most compelling of stories, but instead of Lincoln's ensemble cast, Sully places its bets on the focus of a few individual and that helps it retain the identity of an enjoyable film. It probably doesn't raise to the level needed for any Oscar nod, but it is an enjoyable film. And when you can enjoy a film or the film succeeds in the purpose it set out on, that's a win in my books.

Never Say Never to a Review on a Saturday Night

Although I can highly recommend documentaries like Food, Inc., I honestly haven't watched too much in the genre. With that being said, I have prepared a double-header for tonight.

First up, we look to pop music and the Bieber Fever craze. Honestly, if you're going to take up time to watch something on the Canadian, I'd probably say just watch the roast of this guy. As that is not the case for tonight, I'll try addressing this documentary with as little bias as possible.

The film starts off with a terrible edit-infused montage that shows how contemporary and how in-the-moment the singing phenomenon is and how he's changing the world. I will say, some of the biggest joy of watching this is seeing all the braces-wearing tween girls scream and jump and drool over the guy. And then watching fathers wearing Justin Bieber shirts as they take their daughters to the concerts for the experience is humorous as well. I'm really not sure if these were the moments where I was supposed to find joy in this documentary, but I had to have something keep me going through the run-time.

The film switches between the buildup to the sold-out crowd at Madison Square Garden-- an actually impressive feat-- and the humble beginnings of the kid and his rise to stardom. As I really never (sorry for the use of that word) cared about the guy, I only knew bits and pieces to his story, like how he finished second at a singing competition in Canada. As the film shows a bunch of old videos of Justin playing around with his first instruments, there is some vocal talent for his age. But what you have to give the guy credit for is his innate ability with the drums. As much as any guy would hate to admit, Justin Bieber has shown that there is some musical ability under the dreamy hair and brows and eyes and whatever else.

How his eventual manager found his videos randomly on YouTube and introduced him to Usher and all the other events unfolded is all good story material, but it really isn't all that gripping.

Before I can't take it anymore, we'll discuss his performances on the stage that are shown pretty frequently. I'd describe his dancing as a buffered Michael Jackson-- he always seems one move behind. Granted, he does have good footwork and he's able to work the crowd, but his songs just really aren't that pleasing to listen to. I haven't read the series and don't plan to, but it's probably like going back to read Twilight only to realize that the writing style really isn't all that that it was cut out to be the first time reading. Look, I think we've all had enough of this documentary, so let's move on to something a little more interesting.

James Franco goes behind the scenes for one of the most recognizable TV shows ever, Saturday Night Live. Saturday Night chronicles the week's preparation for the live show at the titular time.

The week they filmed is with John Malkovich as the guest host. Although he is seen somewhat during the rehearsals and overviews of skits, the focus isn't on him, and that is truly a good thing. There's a huge team of writers, and everyone gathers around as they throw out ideas for skits-- these include Malkovich wondering about his first cycle as a 13-year-old girl and how the other girls pressure him (her), and another where Malkovich comes in to sing the jingle for that empire carpeting commercial. The writers get to work and try honing their scripts.

As the Live team of actors is very different from what comprised the '75 season, a lot of screen time is given to the likes of Bill Hader. Truly a funny and talented man, he walks around with advice for what should happen during the skits. As the documentary proceeds through the days, one standout moment was a quick interaction with one worker. With a coffee mug in hand, it is told that it is 10 in the morning, and the guy mumbles how he went to bed around 6 and woke up around 8. You really may not think about it, but there's a whole bunch of work and time put in to trying to make a strong week for the show.

Anybody interested in the industry or curious about behind-the-scenes looks should check this documentary out. I learned more than I thought I would, laughed and was entertained, and simply enjoyed the entire film. It's not ground-breaking by any means, but getting a peek behind how the Weekend Update segment is written is really neat. I may not watch the show all that much and haven't been the most impressed in recent years, but it does certainly leave you with more of an appreciation of the dedication behind it all.

This review was written live from New York. Goodnight, everyone!