SPOILER WARNING!
Do not proceed unless you want to hear details about Quantum Of Solace!

As far as James Bond films go, I generally look upon them fairly favorably, compared to other films. If they were not Bond films, I would probably not look upon Moonraker and Octopussy with the same rose-colored glasses. But, being that they are Bond films, even though I find them not as spectacular of Bond films compared to the likes of From Russia with Love, The Spy Who Loved Me, or Goldeneye, I still will find ways to enjoy them as Bond films. I think a lot of that stems from the fact that they feel like Bond films. Being now 22 films in, Bond movies have really been set up with some very distinctive elements and a general feel that they give which makes them instantly recognizable as James Bond films. As much as I have grown attached to certain performances in the Bond films, I am quite certain that you could replace any given Bond actor with just about any capable English actor, and it would still feel like a Bond film.

That being said, I feel that, after seeing Quantum of Solace twice now, I cannot quite make the same statement regarding that film. You could replace Daniel Craig with any capable English actor, and it would feel more like a Jason Bourne film than a James Bond film. Now, that is not to say that I did not enjoy the film. However, the way this film was shot and the way Bond carried himself was quite different from what could be expected with the prior 21 films in the back of your mind.

Anyone who knows me personally knows my reverence for the James Bond films. If someone asked me if I wanted to go see the aforementioned Octopussy or Moonraker on the big screen, I would certainly go just to experience it, despite my opinions of those films. It is this reverence that makes me look upon Quantum of Solace with a slightly less objective viewpoint than a typical film critic.

This film truly starts off at a breakneck pace. Once a handful of establishing shots are gotten out of the way in the span of about 30 seconds, we are off to the races, literally, with one of the few legitimate car chases the series has seen. Not a shred of dialog is spoken, but you are truly on the edge of your seat. At the end of this pre-title sequence, Bond utters the line "Time to get up," and that line truly sets the mood and the pace for the upcoming 100+ minutes--the viewer truly does need to get up, and be on their toes. Not only does it get this message across, but it subtly makes the point that this is a minimalist Bond film.

When I claim this film is minimalist, it is due to the fact that this movie, at multiple times, goes for spans of what feels like 5+ minutes without dialog. The dialog is almost secondary in this film, as it moves you from action sequence to action sequence. This is much in the same vein as Tomorrow Never Dies, which was a series of action sequences strung together to a fault--the characterizations in that film suffered quite a bit. Quantum of Solace, on the other hand, still is able to make the viewer care for the characters, even with the minimized attempt to do so. What dialog does exist in the film is very carefully placed. From M's repeated outrage to Bond killing off leads, to Camille's heartbreaking telling of her past, you really get an insight to the characters, and understand why you are drawn to them. This is truly solidified late in the film, while, during a conversation Bond asks Felix Leiter how much time he has before the bar they are in is stormed, and Felix responds with "about 30 seconds." In what felt like only about 20 seconds, gunfire erupts, and we are back into the action.

The one truly memorable scene from this movie has flashes of true spying, as opposed to typical action fare, and the one moment where this film truly stands out as a Bond film. Tailing Dominic Greene, the film's villain, Bond ends up at an opera, stealing a tuxedo from the performer's dressing room. Eyeing the scene, Bond notices a man receiving a special package instead of the standard gift bag all other attendants were receiving. Bond tails this man, disposes of him off-screen, and takes the bag and examines the contents. In the bag was an ear piece, which he later uses to listen in on the conversation that the organization he is trying to find out about, and finds out more about their plans. However, being at an opera, he is unable to recognize who is talking, so he interjects himself in the conversation, giving up that someone is listening in. At this point, nearly all the people involved get up to leave, and Bond finds his opening to identify the targets. This was truly a splendid moment which I felt was the most brilliantly executed scene in a film that truly had few completely standout scenes.

My strongest impression from this film still stems from my initial impressions of Casino Royale. Again, people who know me personally know my displeasure with Timothy Dalton's take on the character. It is many times stated that Dalton tried to hearken back to the literary version of James Bond, but seemed to play it with almost a distaste for everything that was James Bond, and made him come across almost as a bitter old man. After watching Casino Royale, I came out of the film stating that Daniel Craig had achieved what Timothy Dalton was trying to do. In that same vein, Quantum of Solace truly achieved what Licence to Kill was trying to do. Where Licence to Kill was sold as a revenge film, it never truly felt like that, since it was carried in the same manner of a typical Bond film. In that story, Bond is suspended, and he quickly escapes, and all M can really do is just sigh and move on. In this one, you can really feel like Bond is working against those who are above him. These two films can draw quite a few parallels. From the pain Bond feels to what has transpired to someone close to him to the abnormally normal villain who is essentially only participating in extortion schemes to the role of dictators, these films are at worst, very close cousins.

Now, while I made the statement that this feels more like a Jason Bourne film than a James Bond film, this film really does need to be seen in a different perspective than a typical Bond film. Just like in Casino Royale, Bond is still rough around the edges, and young in his career with MI6. Also, it must be considered that he has, as M put it, "inconsolable rage" resulting from what had happened immediately preceding the events of this film. I feel like we are starting to see some real growth from Daniel Craig and from the character of James Bond in this film, and I think we will see more coming in the next film, and possibly further.

One thing that can be taken from this film that shows quite a bit of promise, though, is the true establishment of a new villainous organization in the vein of SMERSH and SPECTRE previously seen in the Bond films and novels. The establishment of this organization is also taking quite a few parallels from the establishment of SPECTRE earlier in the film series, which took 3 films before you saw the real breadth of the organization, and took 4 before you actually saw the face of the man leading them. I am hoping that this will be executed correctly, but I worry that, with the culture of instant gratification we live in, that people will become impatient if more is not learned about this organization soon. All that we learn about them in this film is their name and that they have people 'everywhere.' As was seen with the TV series Lost, people can only hold out so long for answers before they get frustrated. Let's just hope we do not have to wait much longer before we really get to sink our teeth into this organization.

Overall, I would give this film about a 7.5 out of 10, and the Bond fan in me gave at least a half point drop for the placement of the gun barrel. It was almost 2 full points, but it did at least show up. Still, the gun barrel even gave a strong indication of the film's pacing, as Daniel Craig was almost running across the screen before he took the shot.