Kafka

Directed and edited by Steven Soderbergh and written by Lem Dobbs, Kafka is the story of an insurance worker who finds himself in the middle of a secret war involving two underground organizations who are wreaking havoc in 1919 Prague. Inspired by the works of Franz Kafka, the film is a mixture of a mystery thriller mixed in with elements of the bio-pic as it explores the life of Franz Kafka as he is played by Jeremy Irons. Also starring Theresa Russell, Ian Holm, Jeroen Krabbe, Joel Grey, Armin Mueller-Stahl, and Alec Guinness. Kafka is a mesmerizing yet very odd film from Steven Soderbergh.

The film is a very weird story where an insurance office drone finds himself in the middle of a conflict between two underground organizations in 1919 Prague. All of which plays into a world that Franz Kafka is in as he struggles to maintain a low profile and live his life only to be sucked in towards a group of anarchists trying to stop a secret organization following the disappearance of a co-worker of Kafka’s. Lem Dobbs’ screenplay uses a lot of references to the works of Kafka that adds a unique narrative that blurs the line between reality and fiction. Much of it plays into ideas of man going against the ideas of conformity as Kafka struggles with not bringing attention to himself despite getting a promotion and endure many expectations of being part of society. Yet, Kafka’s encounters with people being killed and all sorts of strange occurrences lead to questions about what is going and why there is this effort to control things.

Steven Soderbergh’s direction is very stylish as it serves as a homage to German Expressionism in terms of its look and feel. Much of it would feature slanted camera angles as well as some unique compositions to play into the sense of style that would also recall something that is visually-enthralling its look and setting. Shot partially on location in Prague, the film has this feel of something that feels like a world in transition where a new world order is emerging but with elements of the old world where there are still rules. The film opens with a chilling scene of a man being chased by this crazed psychopath as it would set the tone of what is to come. Much of Soderbergh’s compositions include some unique close-ups and medium shots while his approach to wide shots for some of its interior settings are entrancing to watch.

While there’s a few elements in the film that don’t work such as the bumbling assistants who work for Kafka following his promotion. It’s Soderbergh trying to inject bits of humor in a film that is quite serious though some parts of that humor involving a friend of Kafka in Mr. Bizzlebek (Jeroen Krabbe) does work as he is a very effective character. Serving as his own editor, Soderbergh does play into the Expressionist style in a few of the dissolves along with some jump-cuts to play into the drama and suspense. The film’s climax involves a brief sequence where it adds to this element of surrealism where the film is shot in color to showcase the world that Kafka has to penetrate as he sees what they’re about. Overall, Soderbergh creates a very stylish yet evocative film about a man dealing with the constraints of society.

Cinematographer Walt Lloyd does amazing work with the film‘s black-and-white cinematography with its use of lightings and shadows for many of the interior and scenes at night while the brief use of color in its climax is very potent. Production designer Gavin Bocquet, with set decorator Joanne Woollard and art director Leslie Tomkins, does fantastic work with the set pieces from the file rooms as well as the bar that Kafka goes to as well as the strange world inside the mysterious castle. Costume designer Michael Jeffrey does excellent work with the period costumes to play into that look of German Expressionism with its suits and hats for the men as well as the dresses that the women wear

Sound editor Larry Blake and sound designer Mark A. Mangini do superb work with the sound from some of the sound effects that occur in the anarchists‘ secret base to the underground lair that is the secret castle. The film’s music by Cliff Martinez is great as it features bits of electronic music with its low-key synthesizers along with some offbeat pieces with the use of pianos and instruments that play into the sense of the times.

The casting by Susie Figgis is brilliant for the ensemble that is created that includes notable small roles from David Jensen as the psychotic killer, Brian Glover as a henchman in the castle, Maria Miles as a former fiancee of Kafka, Robert Flemyng as keeper of the files, Keith Allen and Simon McBurney as the idiotic assistants of Kafka, and Ian Holm in a terrific small role as the mysterious Dr. Murnau who is seen at the film’s climax. Joel Grey is wonderful as the office supervisor Mr. Burgel who often looms over Kafka to do his work while Alec Guinness is excellent as the insurance director who often asks Kafka about his social life and lack of determination to rise up the corporate ladder.

Armin Mueller-Stahl is superb as Inspector Grubach who investigates the mysterious disappearances as he often asks Kafka about the case and what he thinks happened. Jeroen Krabbe is fantastic as Mr. Bizzlebek as this bar patron who always has some very funny theories as he is likely the only real friend that Kafka has. Theresa Russell is amazing as Gabriela as a co-worker who was the lover of the man who was killed as she is a secret member of the anarchist group as she tries to get Kafka to take part because of his non-conforming persona. Finally, there’s Jeremy Irons in a remarkable performance as Franz Kafka where he plays it straight as someone who is very reserved while dealing with this secret conflict he didn’t want to take part in as it’s a role filled with humility as well as someone who is aware of what it means to be human.

Kafka is an excellent film from Steven Soderbergh that features a fantastic performance from Jeremy Irons. While it’s a film that refuses to define itself into any genre, it is quite compelling in its visual style as well as theme of conformity and individuality. In the end, Kafka is an extraordinarily odd yet rapturous film from Steven Soderbergh.

Steven Soderbergh Films: sex, lies, & videotape - King of the Hill - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven - Full Frontal - Solaris (2002 film) - Eros-The Equilibrium - Ocean's Twelve - Bubble - The Good German - Ocean's Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)

The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2

© thevoid99 2014

King of the Hill

Based on the memoir of A.E. Hotchner, King of the Hill is the story of a young boy who is forced to fend for himself during the Great Depression where he lives in a hotel. Written for the screen, edited, and directed by Steven Soderbergh, the film explores a young boy trying to deal with his own situation while his family is away due to circumstances beyond their control. Starring Jesse Bradford, Jeroen Krabbe, Lisa Eichhorn, Karen Allen, Spalding Gray, Elizabeth McGovern, Lauryn Hill, Cameron Boyd, and Adrien Brody. King of the Hill is a remarkably rich film from Steven Soderbergh.

Set in 1933 St. Louis during the Great Depression, the film explores the life of a 14-year old boy who is forced to fend for himself when his father finds a job as a traveling salesman while his tuberculosis-ridden mother is sent to a sanatorium and his little brother is sent to live with his uncle. In turn, Aaron Kurlander (Jesse Bradford) would do whatever it takes to survive as he deals with a nosy bellboy named Ben (Joseph Chrest), a bullying police officer named Burns (John McConnell), and all of the trials and tribulations in his surroundings as he lives in a hotel that is becoming a seedier place to live in. Still, Aaron is able to survive his way while attending school where he’s about to graduate from the eighth grade as he would also lie his way in order to get out of situations though of his lies would catch up with him. Even as he is trying to cover his poor background from his classmates through the lies he would create.

Steven Soderbergh’s screenplay definitely plays into the world of a boy coming of age during the Great Depression as he would scrape whatever he could find to survive as he also collects cigar brand stickers in the hopes that they gain value and he can sell them. At the same time, he tries to help his younger brother Sullivan (Cameron Boyd) get through things in life as well as tell him that some things can’t be taught such as marbles. The character of Aaron is a unique boy who is quite intelligent for his age despite being small yet he possesses a lot of determination and street-smart to get buy. Though there’s things he does that makes him flawed as he would steal food and lie at times, it’s only because he needs to survive as only a few such as his neighbor Lester (Adrien Brody) and his teacher Miss Mathey (Karen Allen) seem to understand. Especially as the latter can see through his lies and know why but would protect him so that he wouldn’t be ashamed.

Lester is among the many unique characters that Aaron would encounter for much of his life as other oddities include his neighbors like the eccentric Mr. Mungo (Spalding Gray) and the shy Ella McShane (Amber Benson). All of which would play into Aaron’s growth as a boy where the hotel he lives in is an important character in the film. There’s also his father (Jeroen Krabbe) who is just as unique but also flawed as a man who means well in what he wants to do but he’s created so many debts as it would play into a lot of mistrust by the some of the adults that Aaron encounters. The film’s third act would intensify the drama as Aaron not only sees the harsh realities of his situation but also in his environment as the people he knows are starting to disappear because of these circumstances. All of which would test Aaron in his struggle to survive as the forces around him are becoming more determined to get rid of him.

Soderbergh’s direction definitely has a unique visual style in the way he frames his actors in a scene or how would create a scene to play into the situation that Aaron faces. While some of it is quite light-hearted early on in the way Aaron lives his life with his family despite their troubling situation. Soderbergh knows how to capture the sense of joy and enthusiasm that kids go through such as this sequence where Aaron shows his mastery in playing marbles. Some of the compositions definitely have Soderbergh use expressionistic images such as a few slanted camera angles as well as a shot of Aaron in an elevator where its operator (Lauryn Hill) is in the foreground while Aaron is in the background. It is Soderbergh wanting to create something that is a part of Aaron’s world where it feels familiar only for these things to start disappearing in the third act.

Also serving as the film’s editor, Soderbergh would create some compositions in the close-ups and such to play into the world of 1933 St. Louis where it’s set in a very hot summer as he goes into great detail to display that sense of heat. Even in some of the film’s more posh settings, the heat definitely adds to the tone of the film where it comes into play during a graduation party where many of Aaron’s lies starts to catch up with him. Through his own unique approach in the editing with its jump-cuts and some stylish montages, Soderbergh plays into the weight that Aaron had to carry throughout the film as he tries to come to terms with the reality and everything he had to face. Overall, Soderbergh crafts a very engaging and enthralling film about a boy coming of age during the Great Depression.

Cinematographer Elliot Davis does brilliant work with the film‘s rich cinematography with its naturalistic yet colorful look of the locations in St. Louis as well in some of the film‘s interiors to play up its heat as well as the growing sense of despair that would loom on Aaron. Production designer Gary Frutkoff, with set decorator Claire Jenora Brown and art director Bill Rea, does excellent work with the look of the hotel room that Aaron and his family live in as well as some of the locations to play into the sense of decay due to the Depression. Costume designer Susan Lyall does terrific work with the costumes as it plays to the look of the film as well as some of its raggedness to play into that troubling period during the Depression.

Sound editor Larry Blake does superb work with the film‘s sound from the way some of the things sound outside of Aaron‘s hotel room as well as some of the things that goes on during the locations. The film’s music by Cliff Martinez is fantastic as it is this very low-key yet somber electronic-based score that is quite unusual for a period film yet it is also effective as it features additional contributions from Michael Glenn Williams for the graduation scene while music supervisor Jeffrey Kimball brings in a soundtrack full of songs from that era.

The casting by Deborah Aquila is amazing as it features some notable small roles from Lauryn Hill as the elevator operator, Chris Samples as Aaron’s rich classmate Billy Thompson, Peggy Freisen as Billy’s mother, Kristin Griffith as Ella’s mother, Katherine Heigl as Aaron’s crush of sorts in Christina, John Durbin as a painter who was one of Aaron’s neighbors, Ron Vawter as the sympathetic hotel manager, and Elizabeth McGovern as a prostitute named Lydia that Mr. Mungo invited to stay with him. Joseph Chrest is terrific as the slimy bellboy Ben while John McConnell is superb as the bullish patrolman Burns. Amber Benson is wonderful as the shy and socially-awkward neighbor Ella who has a crush of sorts for Aaron while Cameron Boyd is pretty good as Aaron’s younger brother Sullivan. Adrien Brody is excellent as the street-smart neighbor Lester who would help Aaron in some of his situations as well as be the guy that would watch him graduate.

Karen Allen is great as Aaron’s teacher Miss Mathey as a sympathetic teacher who learns about Aaron’s situation as she would hide the truth from everyone so he wouldn’t deal with his shame. Spalding Grey is fantastic as the eccentric Mr. Mungo as a neighbor who is fascinated by Aaron’s cigar brand collections while willing to help him in his plight. Lisa Eichhorn is brilliant as Aaron’s ailing mother who is dealing with her illness as she’s sent to a sanatorium while Jeroen Krabbe is incredible as Aaron’s father who is trying to get a job as he is unaware into the dangerous situations he would put his son in. Finally, there’s Jesse Bradford in a remarkable performance as Aaron Kurlander as Bradford brings a sense of wit and charm to the role as someone who is intelligent in all levels while he tries to come to terms with the severity of his situation once he is forced to fend for himself.

The dual-disc Region A Blu-Ray/Region 1 2-disc DVD from the Criterion Collection presents the film in a 2:35:1 theatrical aspect ratio for widescreen with 5.1 Dolby Digital Surround Sound as it is remastered under the supervision of director Steven Soderbergh and his longtime sound editor/mixer Larry Blake. The extras on the Blu-Ray and on the first disc of the DVD features a 19-minute, twenty-five second interview with Steven Soderbergh. Soderbergh talks about making the film and his relationship with Gramercy at that time in his career where he also discussed some of things that he wanted to do at the time when he made the film. While he admits to being relieved for the fact that it was well-received, Soderbergh admits that if he had made the film years later. He would’ve gone for a much more grittier approach visually while he also talked about the film’s poor reception at the 1993 Cannes Film Festival and some of the mistakes he felt he made in the editing as he later believed helped him in becoming a better filmmaker.

The 21-minute interview with author A.E. Hotchner has him reflecting on the book he wrote which was inspired by his own experiences during the Great Depression. Hotchner talks about some of the things that really happened that got changed for the film as well as some tidbits about his own family. Hotchner also reveals about the experiences that went on during the Depression and how chaotic it was where families would have to constantly move which Hotchner believed really effected his younger brother. Hotchner does talk a little bit about the film where the one scene he was really involved in was in how Aaron would shoot marbles as he would teach Jesse Bradford for an hour in how to shoot marbles more realistically which would prove to be effective. The 10-minute, thirty-nine second video essay entitled Against Tyranny explores Soderbergh’s defiance towards the idea of conventional narrative and how he would refine that with not just the hallucination sequence in the film but also in how it would later shape the work he would do later on. It’s an interesting video essay that explores Soderbergh’s own methods as an editor but also what he wanted to do as a filmmaker.

Six deleted scene ranging a total of nine-minutes which features two alternate scenes of Aaron and Sullivan walking home from school as well as a scene where Billy Thompson asks Aaron about the canaries. One major deleted scene involves Lester giving Aaron a shaving razor where Aaron would learn to shave while his parents return from the dentist with a big surprise in a brief moment of happiness. Two other deleted scenes involve Aaron trying to find Lester in a seedy nightclub where he would later see Lydia with a gentleman entering the club on his way out. The first disc of the DVD also includes the film’s original trailer which was presented as this inspiring family film which isn’t really the case at all.

One major extra on the supplements section of the Blu-Ray and in the second disc of the DVD is Soderbergh’s 1995 film The Underneath that is presented in a remastered form. The film also includes the film’s theatrical trailer and a 22-minute and 33-second interview with the director about the film. Soderbergh talks about the making of the film and why he considers the film his weakest as he said the reason he thinks the film is a failure is because of him. Largely because Soderbergh’s personal life was in disarray as well as where he was at creatively. While Soderbergh reveals there’s some scenes in the film that he liked as well as Elliot Davis’ cinematography and the film’s score. There’s things about it that he felt were quite bad and he was relieved that Universal didn’t know how troubled he was because of Waterworld. Soderbegh does feel that if it wasn’t for this film, he would probably be stuck somewhere as it is an interesting interview from the director.

The DVD/Blu-ray set also includes a booklet that features a lot of text relating to the film. The first is an essay entitled Alone Again by film critic Peter Tonguette that explores the film’s themes and how it would relate to Soderbergh’s other films in terms of the protagonists that had been endured the same struggles that Aaron did in this film. Tonguette also talks about the film’s coming-of-age approach and how Aaron would stand out from many of the characters who were in his situation as Tonguette suggests that some of Aaron’s struggles are similar to the situations in Robert Bresson’s 1967 film Mouchette. The second piece of text is a 1993 interview with Steven Soderbergh for the French film magazine Positif where Soderbergh talks about the film and much of its themes. Especially in his approach to telling the story and what he wanted to do as it’s a very engaging interview with the filmmaker. The third and final text in the booklet is an excerpt of A.E. Hotchner’s memoir that he published back in 1972. The excerpt plays into what Hotchner was going through in that time as well as the danger of being evicted as it plays into the dire situations that he would deal with for much of his life in that story.

King of the Hill is a spectacular film from Steven Soderbergh. Featuring a tremendous performance from Jesse Bradford as well as a great supporting cast, the film is definitely one of Soderbergh’s finest films. Especially as it’s an engaging coming-of-age story set during the Great Depression that isn’t overly sentimental yet has this element that allows the audience to be captivated by the story of a young boy in that period. In the end, King of the Hill is a sensational film from Steven Soderbergh.

Steven Soderbergh Films: sex, lies, & videotape - Kafka - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven - Full Frontal - Solaris - Eros-The Equilibrium - Ocean's Twelve - Bubble - The Good German - Ocean's Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)

The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2

© thevoid99 2014

007 James Bond Marathon: The Living Daylights

Based on Ian Fleming’s short story, The Living Daylights is the story of James Bond traveling all over the world to retrieve a defected Soviet general where Bond finds himself being conned in the process. Directed by John Glen and screenplay by Richard Maimbaum and Michael G. Wilson, the film marks a new shift in the Bond story as it returns to more grittier territory as it is also the first film to star Timothy Dalton as James Bond. Also starring Maryam d’Abo, Joe Don Baker, Art Malik, John Rhys-Davies, Jeroen Krabbe, Geoffrey Keen, Desmond Llewelyn, Caroline Bliss, and Robert Brown as M. The Living Daylights is a fantastic action-adventure film from John Glen.

In Bratislava, Bond aids fellow agent Saunders (Thomas Wheatley) to handle the defection of Soviet general Georgi Koskov (Jeroen Krabbe) by helping him escape to Austria. After Bond targets the assassin who is revealed the cellist Kara Miloy (Maryam d’Abo), Bond only shoots the gun as he successfully gets Koskov to Austria. Returning to London, Bond and his superiors hear Koskov’s claims about new KGB leader General Pushkin (John Rhys-Davies) reviving an old policy that targets spies including Bond. Yet, a break-in into Koskov’s secret hideout has Koskov captured as Bond is assigned to track down Pushkin and retrieve Koskov though Bond remains suspicious as he and M know Pushkin.

Bond returns to Bratislava to track down Miloy as he notices that she’s being followed by the KGB where he finds her gun in her cello trunk where he makes a discovery. After helping Miloy escape to Austria to avoid the KGB, Bond asks Saunders to figure out where Koskov bought Miloy’s cello as Bond learns that it was paid for by an arms dealer named Whitaker (Joe Don Baker). This adds more suspicions as Bond finally confronts General Pushkin in Tangiers as he would make moves to figure out what is really going on. After confessing to Miloy about what he’s really doing, Bond and Miloy are captured where they learn the truth about really happened to Koskov. With the help of a local Mujahideen leader in Kamran Shah (Art Malik), Bond would stop an illegal transaction from happening and uncover the truth about Koskov.

The film is essentially the story of James Bond trying to uncover a mysterious plot in the re-capturing of a defected Soviet general as he learns that the defection plan was really a ruse for something far more troubling. This would have Bond track down a Czech cello player, who is the girlfriend of the defected general, as she’s revealed to be a pawn in this defection plan where she would aid Bond in uncovering the truth. This plot would also involve illegal arms deals, extortion, and drug trades where Bond would eventually help the Mujahideen in defeating a group of Russians.

The screenplay succeeds in balancing both action and suspense as the screenwriters definitely wanted to do something that is a bit different as James Bond is a bit more ruthless in his pursuits. Even as he maintains an air of professionalism in his role while he’s also willing to take some risks in uncovering the truth. Helping his is Kara Miloy who is essentially this woman that’s been kept in the dark about what is happening as she would eventually become a more resourceful woman who can fight back and get things done. Then there’s General Koskov who is this ambiguous figure that makes all of these claims but there’s something about him that has Bond wondering if he’s really telling the truth. Even as Bond learns what he’s really up to as it would involve this arms dealer profiting from the Soviet-Afghan conflict.

John Glen’s direction is definitely superb for the way the film opens as it involves this training exercise that goes wrong where it would introduce Bond to do what is necessary. With the film largely shot in Vienna and Morocco, Glen does maintain a lot of straightforward shots of the locations while creating some spectacular action sequences in the Alps where it is about the stakes as Glen takes his time to capture its intensity. While there isn’t much humor in this film as it’s mostly restrained, the film’s suspense makes up for it in the way Glen builds it up and create some silent moments where Bond would play investigator to make his discoveries. Overall, Glen creates a marvelous and engaging action-suspense film that does more than what is expected in a Bond film.

Cinematographer Alec Mills does excellent work with the photography from the wonderful look of many of the film‘s locations including the nighttime scenes in Vienna to the array of lights in Bond‘s climatic confrontation with Whitaker. Editors John Grover and Peter Davies do nice work with the editing by creating lots of rhythmic cuts for the film‘s action scenes as well as more methodical ones for the film‘s suspenseful scenes. Production designer Peter Lamont, along with set decorator Michael Ford and art director Terry Ackland-Snow, does superb work with the set pieces from the home base of Whitaker to Q’s gadget room in the secret MI6 base.

Costume designer Emma Porteus does terrific work with the costumes from the dresses that Kara wears to the uniforms that Whitaker wears. Special effects supervisor John Richardson does splendid work with the visual effects in some of the film‘s action scenes. Sound recorder Derek Ball does wonderful work with the sound to capture the intensity of the action scenes as well as the atmosphere of the orchestra concert scenes. The film’s score by John Barry is brilliant for its mixture of orchestral flourishes and electronic rhythms to give the Bond themes a new sense of flair as they add to the film’s action and suspenseful moments. The soundtrack includes some classical pieces by Mozart, Tchaikovsky, Dvorak, and Alexander Borodin as well as a couple of songs by the Pretenders’ Chrissie Hynde as well as the wonderful mid-tempo title song by A-ha.

The casting by Debbie McWilliams is phenomenal for the ensemble that is created as it features some notable small roles from Virginia Hey as General Pushkin’s mistress, Julie T. Wallace as Bond’s Bratislava contact, John Terry as Bond’s CIA friend Felix Leiter, Thomas Wheatley as Bond’s aide Saunders, and Andreas Wisniewski as the henchman Necros. There’s also some terrific performances from such Bond regulars like Desmond Llewelyn as Q, Robert Brown as M, Caroline Bliss in her first appearance as Miss Moneypenny, and in their final appearances, Geoffrey Keen as defense minister Frederick Gray and Walter Gotell as former KGB head-turned diplomat General Gogol. Art Malik is excellent as local Mujahideen leader Kamran Shah who helps Bond in Afghanistan while John Rhys-Davies is superb as new KGB head Leonid Pushkin.

Joe Don Baker is wonderful as the scheming arms dealer Whitaker who loves guns and war as he tries to engineer a plot to profit from conflict. Jeroen Krabbe is great as General Georgy Koskov who tries to create things where he makes Bond suspicious and also leave Kara in the dark over his ideas. Maryam d’Abo is very good as Kara Miloy as a woman who has been kept in the dark by her boyfriend as she aspires to play cello all over the world as she would aid Bond in his plans to stop these schemes. Finally, there’s Timothy Dalton in a marvelous performance as James Bond. Dalton brings a real sense of cool to his character as well as restrained aggression in the way he handles his situations as there’s a bit of a dark edge to Bond as Dalton really brings a fresh take on Bond.

The Living Daylights is an incredible film from John Glen that features Timothy Dalton in a top-notch performance as James Bond. The film is definitely a return of sorts to simpler, suspenseful Bond as it strays away from the silly humor of the Roger Moore period. The film is also different for giving Bond more grit as he is more fearless in his pursuits as well as giving some of the sexual interplay a bit of break in the wake of AIDS. In the end, The Living Daylights is an extraordinary film from John Glen.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service - Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - Licence to Kill - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale (2006 film) - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls Are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012