Campbell and Craig had an easy job to do, just not to make the same mistakes, and scoffing off the limitations, it is a clear qualifier.
Campbell has evolved. A lot. And keeping toe to toe with the ever-changing show business, he has quickly managed to grasp the essence of the crisp that this generation craves for. But mind you, it still doesn’t make Martin Campbell, the director, the finest of all. In fact, looking at the 1-0-1 criteria of filmmaking, he may be able to JUST qualify as one. Let’s take the Airport chase sequence, for instance. First of all it’s one smooth ride, with all the elements of the scene mapped out neatly on the screen where its fast and gritty choreography makes the best of the run. Now as far as this was concerned, it is actually Campbell informing us with news, dry news.
What it fails to capture majorly, is the momentum of all the action. It’s not that we don’t get it, we are just asked to reach out for it, it isn’t served us up front on the table. If these are its cons, then pros have to be the performances and the cast. But quickly before we sink into Daniel Craig’s thunderous blue eyes, another thing Campbell places elegantly in the film, is how the time has passed in any circumstances, the selected highlights in both the narration and execution are subtle and exhilarating.
So now, Craig.. should we just gaze at him or appreciate his exceptionally powerful scene with Mads Mikkelsen as he tortures him brutally. The humor that has been questioned many a times is twisted and turned so beautifully in here that even a worthy one-liner doesn’t make us laugh but leaves a jarring dramatic impression on us. Eva Green with her love track doesn’t have that amount of electricity in her romance as that poker table does which ironically is negatively motivated, something that the theme of Casino Royale shares.