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Linking Young Minds Together
     Volume 2 Issue 95 | November 23 2008|


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Movie Review

Quantum of Solace 007

Tawsif Saleheen

THE new Bond movie is fast-paced, gritty and given how I only managed to get hold of the hall print, rather blurry. The movie picks up where it left at the end of Casino Royale. Mr. Bond is seen dodging bullets, cargo-trucks and pretty much everything else that is thrown on his way, as he drives through a rickety cliff that discreetly reminds you of NFS Carbon. He eventually loses his pursuers and a hefty portion of his car without breaking the crease of his suit. As James Bond parks his car in a lonely alley, he gets down to bring out his luggage, Mr. White, his captive from Casino Royale. And Quantum of Solace is on its way!

Quantum of Solace wraps up loose ends from Casino Royale while preparing you for the next step in 007's evolution into an agent who can use his brain as well as his brawn.

In Quantum of Solace Daniel Craig's Bond is still a thug, using his guns or his fists to extract the information he needs, killing without hesitation or regret.

This is a Bond who still lacks the smooth sophistication that we have grown accustomed to from more than 45 years of adventures. Quantum of Solace is a flawed, but exciting, pulse-pounding adventure from its opening car chase to its explosive finale.

The movie however features a weak villain in Mathieu Amalric's Dominic Greene. He is rather fragile looking and slight and is no match for Bond. He can outthink him, but not outfight him. Nor does Greene have a memorial henchman, a Red Grant or Oddjob to pit against Bond, so you never really fear for 007.

The movie's main problem is the quick-cut editing that has become so popular during action and fight sequences. It makes it difficult to discern who is pounding the life out of whom.

The film also confirms the choice of Daniel Craig, who raised eyebrows four years ago when named the new 007. In Craig's hands, Bond has become a fascinatingly scarred creature, an automaton whose programming has veered wildly off course, commanding even when reckless, brutal in a way Ian Fleming never imagined.

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