Friday, May 31, 2019
We get back to Bond with 1973's "Live and Let Die" - the one with the voodoo. James Bond heads to New York, New Orleans and the Carribbean in a herky-jerky thrillride! We take a look at what was going on when this movie was made, from the state of the States to our third Bond's debut - and, of course, how this looked in 1973 vs. 2019.
Live and Let Die - Paul McCartney, Live and Let Die OST
Bond Watch Playlist:
Thursday, March 7, 2019
SimonUK and Ryan take on that one Bond movie starring George Lazenby as 007. Bond falls in love and fights Telly Savalas on a toboggan run. SimonUK and Ryan puzzle out what sort of lady gets Bond to want to settle down, what led to an Australian men's wear model putting on the tux, and what it all means 50 years after the film's release.
James Bond Theme - Monty Norman & John Barry
We Have All the Time In the World - performed by Louis Armstrong, written by John Barry with lyrics by Hal David
Sunday, July 22, 2018
Viewing: Unknown - maybe 7th?
It's a PODCAST!
(possibly NSFW) It's "Goldfinger", Ryan's favorite Bond movie. SimonUK is back to help Ryan sort out how much he can say Honor Blackman's character's name out loud whilst being recorded. Join us as we say a lot of nice things about this iconic/ seminal film in the Bond franchise, some of its oddities and how it is just super problematic in 2018.
Get your Signal Watch Podcast on the format of your choice!
Sunday, April 8, 2018
Decade: 1980's (oh, so 1980's)
We all have our favorite Bond movie. SimonUK decides to die on the hill of "License to Kill" as Ryan hears him out. It's the 1989 "Bond goes rogue and goes after a Central American drug lord" Bond movie you've probably never seen and the second and final Timothy Dalton as our 00-agent.
Click here to Google Play
Sunday, February 18, 2018
Format: DVD at my house
Viewing: oh, probably the 7th or 8th
(this one is Safe for Work!) SimonUK - a genuine British person - joins Ryan for a View to a Kill (1985), Moore's final Bond. It may not be the best Bond, or even a good Bond, but it's a fun Bond. We'd like to say we stick to the topic at hand, but we end up covering a wide range of all things Bond, and - at one point - diverge into Gremlins.
These things happen.
Monday, March 6, 2017
If all you've heard about The World is Not Enough (1999) is that Denise Richards is hopelessly miscast and bad at the whole acting bit, well, yes. That's a good chunk of what you'll want to know before entering into this particular Bond flick.
I'd never seen this movie before because, by 1999, I was not going to see a Bond movie that was starring Denise Richards as a nuclear physicist. And maybe that was a good instinct. Unfortunately I do think I missed out on a few good Bond scenes. Maybe not the most exciting Bond plot of all time (there's a part in the middle that positively drags), and the post-Michelle Yeoh hangover is sorely felt.
The plot is overly intricate, even for a Bond movie, to the point where I literally didn't know what was going on, who people were, etc... because I checked my phone for a minute. I caught up eventually, but by then Denise Richards was in the movie and that was... man. She is not good.
Once again Bond winds up chasing around renegade nukes (if anything should have taught us what a bad idea it is to have nuclear weapons, it would have been these movies and the propensity for these weapons to wind up in villainous hands) after a bunch of stuff about a billionaire guy's daughter getting kidnapped, Bond going to support her in Azerbaijan (her mother was Azerbaijani, her father British), and get her father's oil pipeline completed. She'd freed herself from some terrorists led by Robert Carlyle playing a superhuman Russian, etc... et al. It's complicated.
It's also all a bit forgettable. What you will remember is the stunning boat chase along the Thames, Denise Richards' boob-tacular scientist wear*, and bizarrely outfitted helicopters (which are apparently entirely real). And, they were introducing John Cleese as the all-new Q as Desmond Lleyelyn was retiring (he actually died a month after this movie was released).
Look, I'm also not the world's biggest fan of Robert Carlyle, and I felt like his character got a shit-ton of set-up, and then the movie did too little with the idea. After Jonathan Pryce's megalomaniacal media overlord, this seems like small potatoes (even though the potential bodycount is also in the millions, should Bond fail). I did like the primary Bond girl in the film (not Denise Richards) played by Sophie Marceau, but her storyline takes, like, forever to unfold.
I dunno. I do know this plot is less ludicrous than what's coming in the next film.
*speaking of boobs - while Ms. Marceau is a beauty to behold, physics suggest to me that she's been dealt some unfortunate Photoshopping in the above poster.
*trust me, this is hilarious if you work on a college campus
Sunday, January 22, 2017
I really dug Tomorrow Never Dies (1997). It's got a lot to recommend it. Terrific action sequences, two great Bond women, it’s funny in all the right parts, and a villainous plot that’s forward looking and diabolical while also being not ludicrous. The movie is also steeped in some odd cultural artifacts of the 1990's, so that makes for some interesting viewing if you were around at the time.
Heck, it has a nerve-jangling pre-credits sequence that’s better than near any of the last ten or so films.
By the time I saw this movie, Jamie and I were dating, so we believe we saw this one in the theater together but can’t piece together when or how. But because I never saw the final two Brosnan movies – the reviews were scathing on both, and I was otherwise occupied – I never returned to watch this one again.
You’ll remember Tomorrow Never Dies as "the one with Michelle Yeoh" if you spent 1993-1995 writing "Mr. Michelle Yeoh" inside a heart in all of your school notebooks (which, ha ha, surely no one did. Cough.). Brosnan is back as Bond and seems more comfortable in the role. Dame Judy Dench continues as M, now giving Bond a lot more leash and verbally manhandling the British Navy. Our villain is Jonathan Pryce, who isn't reptilian or overly creepy, and that makes him oddly buyable as a motivated guy people would get behind. And, of course, the movie features one of the Loises of the 1990's, Teri Hatcher.
I was surprised to realize that, at least now, I liked this movie perhaps more than I’d enjoyed GoldenEye. The writing seemed to be on better footing from both a plotting and dialog perspective, and while Martin Campbell was not responsible for this film, he’d paved the way for what Bond could be like in the 1990’s context which director Roger Spottiswoode would continue to good effect.
Friday, January 20, 2017
If the idea of ending the Timothy Dalton experiment was to shore up the Bond franchise again, one can certainly make an argument that it worked. This was the Bond film that brought in Pierce Brosnan as Bond, got Martin Campbell in as a director, and more than anything else that would point toward what a modern Bond could be in tone - casting Dame Judy Dench as M.
I'm a little bit convinced that the rethinking that led to Casino Royale may well have come from what M reveals about Bond to his face in her brief appearance in the film. In a movie of very good moments, for a wide variety of reasons, Dench's scenes are the most grounded and somehow still the most engaging, and it's also the best Brosnan himself is at any point in the movie - and he's rather good throughout.
GoldenEye arrived in 1995 as The Age of the Blockbuster took a leap forward, and Bond was no longer to be an option on the marquee. Now, we all had to go see Brosnan, whom every American had pegged for the heir to the Bond throne from his first appearances on Remington Steele.
Saturday, January 7, 2017
So, this was one of the Bond movies I was absolutely positive I hadn't seen before. I would have been 14 when it came out, and for the life of me, I have no idea how I missed a Bond movie coming and going over the summer when I was that age, except for family vacations and summer camp colliding to make it difficult. I even remember reading about how this wasn't a typical Bond movie, and that sounded kind of interesting.
But, you know, it didn't work out. Never saw it.
Well, we finally arrived at the second and final Timothy Dalton Bond, and while I will go to the mat supporting Dalton, it's hard to know exactly what was going wrong as they put these things together, but it's an oddball of a movie, certainly. And you can see what they had in mind for this movie, and how the 1980's influenced everything about this movie rather than Bond influencing other action movies as it had once upon a time.
But at least Q actor Desmond Llewelyn got a tropical holiday out of it all.
Wednesday, January 4, 2017
This movie doesn't have the best ratings, but there's a lot to like in The Living Daylights (1987). Maybe not everything is grand, and I feel like the back 40 minutes got away from them, but all in all, I enjoyed this the most of any Bond we've watched since For Your Eyes Only.
Look, I may like Roger Moore as much as the next person who grew up with him as Bond, but he made some very, very silly Bond movies (lest we forget Moonraker) and by View to a Kill, I was firmly believed this was a man who should not be running anywhere without a spotter, let alone that Tanya Roberts would be throwing herself at Grandpa Roger. That he did not openly wink at the camera seems somehow unbelievable.
I can't say I need my Bond more grounded. I love The Spy Who Loved Me, and that has a sneaky kidnapping boat and an undersea villain's layer. But I also want it to feel like maybe my Bond is not treating itself like a parody. And with The Living Daylights, we get back to what feels like good old fashioned international intrigue, a plot that holds together very well (if not entirely a mirror to our own world), and makes Bond feel like a secret agent rather than a gentleman who gets into ridiculous scrapes.
Thursday, December 29, 2016
On the social medias, Jake asked me if I thought Never Say Never Again was better than Octopussy, and I told him I'd think about it. I'm gonna go with "Octopussy is the clearly more fun of the two movies, but Never Say Never Again is the better-thought-out and probably smarter movie. Less clowns." But what I will say is that both are much better than Moore's final outing as 007, A View to a Kill (1985).
"But, Signal Watch," you say. "That's the first one I saw in the theater! It was fun! Christopher Walken!" Yes. Those are all *facts*. It's why you're nostalgic for this movie. But, my friends, I am sorry to say - this was not a great movie. In fact - it was a bad movie.
What it does have is a killer theme song, courtesy Duran Duran + John Barry. The video is a bit weird as Rhino didn't seem to have rights to anything but the song itself, so, no the video is not broken. Just wait til the 1:17 mark for audio.
As I mentioned with Octopussy, it feels as if View to a Kill was made for children, which is weird, because Bond is still humping his way across the Northern Hemisphere and killing people. So it's likely meant to be some entertainment Dad can take the kids to see and not feel too bad, and lord knows my mom dropped me and my brother off to see this one in the theater with no parental supervision.
Tuesday, December 27, 2016
Jamie wanted to finally see this rogue James Bond movie - and try as I might, I never quite remember the details of how this movie came to be. I know the ownership of the character - filmwise - was under contention or something, and that problem continued until they settled their differences and we got Casino Royale. So all's well that ends well.
But this film is not by the Brocollis or at MGM. As the film's credits rolled at the end, Talia Shire gets a special credit as a consultant to the producer, her husband, Jack Schwartzman. Always glad to see Talia Shire is keeping busy. And, of course, it starred a 53-year-old Sean Connery (really in terrific shape) coming back to the role that made him.
I was shocked to figure out I had never seen Never Say Never Again (1983), making this one of three I am positive I've never seen all the way through. Or, if I have seen it, I have totally forgotten it, but that seems marginally unlikely as I've realized here and there what I've seen before as we've gone along.
Thursday, December 15, 2016
Of all the Bond movies, this is the one I'd argue is the one most made for 13-year-old boys. It's got James Bond fighting Russians, engaging with a circus, dressing as a clown, gorilla, roustabout and knife-thrower within about 45 minutes of runtime. There's an all-girl island, a castle escape and a submarine that looks like a crocodile.
Not maybe coincidentally, I think I liked this one a lot more when I was 13 than when I was 41.
And, of course, the lead of the movie is the titular Octopussy (1983), a name sure to drive everyone into peels of uncontrollable giggling.
This isn't, by any stretch, one of the best Bond movies, and it may be one of the least memorable Bond films in general. It has a couple of good set-pieces, and a few set-pieces that probably sounded better than they were in execution, but mostly the plot is a bit whispy and blandly convoluted.
Saturday, October 1, 2016
|somewhere, a visual design graduate student is madly scribbling about this poster in their thesis|
If memory serves, For Your Eyes Only (1981) was the first Bond movie I ever watched. I seem to recall my Dad watching it on television a couple years after it came out, probably around 1983, and I felt like I was watching exciting action meant for adults. After all, Star Wars did not feature guys on motorcycles with nails in the wheels or exciting ski chases.
I've seen the movie two or three times since then, and my general impression was "this is one of the better Bond films". I recall my delight at the tiny-yellow car in the car chase during my middle-school viewing of the movie and as scenes came up during this viewing, I was quite pleased to see the scenes pop up, because I'd forgotten them over time, washed away in a haze of Bond-ness.
But I really like this Bond film. For Your Eyes Only feels like a sane reaction to the excesses of Moonraker, maybe even feeling some influence from the Bond of the novels (of which I've only read two and am nowhere near an expert). The task Bond is sent on feels grounded very much in a possible reality - to figure out what happened to a sunken British boat that was carrying their secret encoder/ decoder for nuclear weapons comms. It's not "where's our spaceship?" And the flow between scenes isn't haphazard, there's a logical progression to the unfolding of the mystery.
Monday, September 26, 2016
I hadn't watched Moonraker (1979) since middle-school. My recollection of watching the movie included three things: the opening parachuting sequence (which is the best part of the movie), it had Jaws running around in it, and the ending feeling like it had been imported from a completely different franchise.
Straight up - I'm not sure that this is literally the worst Bond movie - finishing the series will tell me that. But this is my personal least favorite Bond movie as of this writing and has been since I saw it the one time previously.
All this is frustrating coming right on the heels of one of my favorite Bond movies (The Spy Who Loved Me), especially as they abandon the tone of danger and adventure with light comedy that movie employed and turn this movie, essentially, into a Roadrunner cartoon with Jaws in the role of Wile E. Coyote. It's kind of mystifying.
Monday, September 12, 2016
The Spy Who Loved Me (1977) is one of my favorite Bond films. If I had a top 5 pre-Craig Bond films, this would be hovering right next to Goldfinger. It's peak Moore, when he's not just seemingly having a laugh in a tux, but he's funny as hell but still buyable in action sequences - of which this movie has some good ones. It has one of my favorite title sequences/ theme songs after Goldfinger with Carly Simon's "Nobody Does It Better", and the pre-title's opening is directly tied to character motivations later in the film (and it's a bad-ass ski-chase with the best ending to a ski chase on film!).
Sunday, July 3, 2016
The last time I remember watching The Man With the Golden Gun (1974) was during a summer sleep-over in middle school. At the time, my folks had a tent, and Peabo and I had the bright idea that we'd set up the tent in the backyard and sleep out there. Of course, this was summer in Texas, and about 9:00 someone figured out it was really hot in that tent, so we went inside to watch TV until it cooled off outside. The Man With the Golden Gun was just starting, we watched it, and then just slept inside, because camping in your yard makes no sense.
Flash forward to 2016: As the movie wrapped up this time, Jamie and I had differing opinions. This is more or less one of the better Moore movies, says I, and Jamie found it "very silly". I guess it boils down to how you feel about Sheriff JW Pepper, slide whistles and elaborate, carnival-like death traps. These things, of course, I take deadly seriously.
Bond is told a master-assassin, Scaramanga (Christoper F'in' Lee!) is gunning for him and is taken off his current case about a missing solar energy scientist. He goes after Scaramanga, tracking him around the planet, and it seems the two cases could be dovetailing.
The cast is an interesting ensemble. The aforementioned Christoper Lee, model/ actress Britt Ekland, Maud Adams, Hervé Villechaize (Tattoo from Fantasy Island) and some Bond stalwarts like Lois Maxwell. And, of course, Roger Moore.
The locations include Hong Kong and Thailand, and more than one person I've met has been to "James Bond Island" in Phuket.
I kind of dig the change of pace in this movie - that it's an equal to Bond picking a fight with him to see who's the better man. Of course, that gets an echo of sorts in Skyfall, but Javier Bardem didn't have a shooting gallery with a Roger Moore life-sized doll, did he? No. He did not.
This one features karate schools, a half-assed boat chase, an amazing car trick (completely undercut with highly questionable sound effects), lasers, and lots of good stuff. Including a flying car. Like, a legit flying car.
I dunno. I enjoyed it.
Monday, June 20, 2016
At the risk of sounding super creepy, what I really remembered from this movie was Jane Seymour. I knew I hadn't seen this one during my Bond-sprint post 7th Grade because I was totally shocked to find out, in high school, that Paul McCartney and Wings had offered up a song for a Bond movie when Guns N' Roses covered the song on Use Your Illusion I. While I'm certain I'd heard the Wings version, I don't think I'd ever quite put 2 and 2 together (because I could not have cared less about Wings until about that point).
When I was in college I lived in a dump of an apartment that happened to be (a) close to campus, (b) furnished and (c) featured cable. And, in that year ('94-'95), TBS started showing Bond movies on an infinite loop, and it was then that I finally saw Live and Let Die (1973). And, as a 19 year-old, it was kinda hard to ignore Jane Seymour, who I was mostly familiar with from Dr. Quinn, Medicine Woman and Somewhere in Time.
|"It shall be I and Yaphet Kotto that you will remember from this movie, for very different reasons!"|
But, as they say, I showed up for the Jane Seymour, I stayed for the bat-shit plotting and boat chases.
Sunday, May 29, 2016
This may be the true start of "silly Bond". Or, at least, a more lighthearted Bond franchise.
Diamonds Are Forever (1971) saw the return of Sean Connery to the role after the George Lazenby experiment (and, yes, we skipped On Her Majesty's Secret Service because we'd watched it just prior to starting on the chronological viewing of Bond films, but we'll get back around to it). He looks comfortable in the role, picking up the thread of revenge for the death of Diana Rigg at the conclusion of the prior movie. Oddly, it's not stated directly, but Bond tracks Blofeld to a secret lair where he manages to dispatch him before the credits even roll.
Saturday, February 20, 2016
We give You Only Live Twice (1967) the most prized of all Signal Watch awards: The Stefon (the award for the movie that has EVERYTHING).
After the frantic shenanigans of Goldfinger, producers Albert R. Broccoli and Harry Saltzman clearly believed they were in some sort of race against The Devil who would consume their souls if they did not keep making bigger and crazier James Bond films. Thunderball went all over the place, winding up in a massive underwater battle and then out of control hydrofoil battle.
You Only Live Twice has: