Tag: Daniel Craig

Cary Joji Fukunaga’s No Time To Die

by natewatchescoolmovies, posted in Film Review

Every character’s story must have an end, even a seemingly immortal, totemic hero like James Bond who is, after, still just a human being. In a way Daniel Craig has found the most humanity in the character of any actor so far, and Cary Joji Fukunanga’s No Time To Die is a spectacular sendoff for both his 007 and this spellbinding, pentamerous group of entries in the legacy. The film opens as Bond and the enigmatic Madeline Swann (Léa Seydoux) are hiding out somewhere in Italy, where he broods over the grave of his fallen love, Vesper Lynd (Eva Green), and ponders an uncertain future. That future is made frighteningly immediate for him when he’s attacked, Madeline proves to be just south of trustworthy and he’s propelled into another clandestine netherworld of globetrotting espionage, betrayal and warfare as a new threat looms over MI6 and the entire world. What didn’t work for me in Spectre was how Christoph Waltz’s hammy Blofeld (seen only very briefly here) was sort of the puppeteering ringmaster of every villain that came before him in the previous films, which to me felt cheap, cartoonish, way too neat and self contained to be believable. This film sort of rectifies that by having a new rogue element in the form of Rami Malek’s whispery, vaguely deformed bio-terrorist Safin, who although is admittedly not a very strong or memorable villain when you compare him to the likes of Mads Mikkelsen and Javier Bardem’s characters, is still appreciated as his own independent force outside of the whole silly spectre organization gimmick. This film soars from set piece to action to incident to spectacle with the same fluid, immersive momentum that SkyFall did, the lengthy runtime feels like a breeze because the film is so dynamic and engaging. A romp in Cuba sees Bond make a split second alliance with Ana De Armas as a ruthless agency contact, the two have a balletic, symmetrical action scene together that positively sings. The film’s opening is one of immense power as we see a young version of Madeline (Coline Defaud) have a horrifying encounter with Safin when she’s only a child, setting her dark and turbulent life arc into motion. Ralph Fiennes’s M, Ben Withshaw’s Q and Naomie Harris’s always lovely Moneypenny hum along in the background doing their thing, solid as ever while the usually subdued David Dencik (Tinker Tailor Soldier Spy, Girl With The Dragon Tattoo) has a scene stealing supporting turn providing wicked comic relief as a hapless Russian doctor essential to Safin’s diabolical plans. The film’s strength, soul and effectiveness lies in its third act, which is not only a visually gorgeous example of inspired production design and choreography but truly a courageous, controversial choice that no other Bond film has had the stones to try and pull off. What sets the Craig films apart from the rest and what has made me a huge fan is the heart, the vulnerability and humanity put into this character, who is usually the paradigm of cavalier, womanizing, cliched suaveness and one dimensional grit in other areas of the Bond-verse, most in fact. Craig’s 007 is flesh, blood and fallible human soul, which makes his five-film arc stand out in realistic splendour. The ending they chose is one of power, and not what you may expect, but it hit home hard for me, and is the perfect final note to an epic chapter in this iconic story. Oh, and the theme song by Billie Eilish is a stunner too, up there with Adele’s efforts as my two favourite songs.

-Nate Hill

Cary Joji Fukunaga’s No Time To Die

by natewatchescoolmovies, posted in Film Review

Every character’s story must have an end, even a seemingly immortal, totemic hero like James Bond who is, after, still just a human being. In a way Daniel Craig has found the most humanity in the character of any actor so far, and Cary Joji Fukunanga’s No Time To Die is a spectacular sendoff for both his 007 and this spellbinding, pentamerous group of entries in the legacy. The film opens as Bond and the enigmatic Madeline Swann (Léa Seydoux) are hiding out somewhere in Italy, where he broods over the grave of his fallen love, Vesper Lynd (Eva Green), and ponders an uncertain future. That future is made frighteningly immediate for him when he’s attacked, Madeline proves to be just south of trustworthy and he’s propelled into another clandestine netherworld of globetrotting espionage, betrayal and warfare as a new threat looms over MI6 and the entire world. What didn’t work for me in Spectre was how Christoph Waltz’s hammy Blofeld (seen only very briefly here) was sort of the puppeteering ringmaster of every villain that came before him in the previous films, which to me felt cheap, cartoonish, way too neat and self contained to be believable. This film sort of rectifies that by having a new rogue element in the form of Rami Malek’s whispery, vaguely deformed bio-terrorist Safin, who although is admittedly not a very strong or memorable villain when you compare him to the likes of Mads Mikkelsen and Javier Bardem’s characters, is still appreciated as his own independent force outside of the whole silly spectre organization gimmick. This film soars from set piece to action to incident to spectacle with the same fluid, immersive momentum that SkyFall did, the lengthy runtime feels like a breeze because the film is so dynamic and engaging. A romp in Cuba sees Bond make a split second alliance with Ana De Armas as a ruthless agency contact, the two have a balletic, symmetrical action scene together that positively sings. The film’s opening is one of immense power as we see a young version of Madeline (Coline Defaud) have a horrifying encounter with Safin when she’s only a child, setting her dark and turbulent life arc into motion. Ralph Fiennes’s M, Ben Withshaw’s Q and Naomie Harris’s always lovely Moneypenny hum along in the background doing their thing, solid as ever while the usually subdued David Dencik (Tinker Tailor Soldier Spy, Girl With The Dragon Tattoo) has a scene stealing supporting turn providing wicked comic relief as a hapless Russian doctor essential to Safin’s diabolical plans. The film’s strength, soul and effectiveness lies in its third act, which is not only a visually gorgeous example of inspired production design and choreography but truly a courageous, controversial choice that no other Bond film has had the stones to try and pull off. What sets the Craig films apart from the rest and what has made me a huge fan is the heart, the vulnerability and humanity put into this character, who is usually the paradigm of cavalier, womanizing, cliched suaveness and one dimensional grit in other areas of the Bond-verse, most in fact. Craig’s 007 is flesh, blood and fallible human soul, which makes his five-film arc stand out in realistic splendour. The ending they chose is one of power, and not what you may expect, but it hit home hard for me, and is the perfect final note to an epic chapter in this iconic story. Oh, and the theme song by Billie Eilish is a stunner too, up there with Adele’s efforts as my two favourite songs.

-Nate Hill

For Your Ears Only: Quantum of Solace

by Frank Mengarelli, posted in Film Review, For Your Ears Only, Podcast

We’re pleased to bring you our latest discussion in our For You Ears Only series featuring Frank and Tom. This time, we’re joined with special guest playwright and actor Jeremy Kareken to discuss Daniel Craig’s second outing as James Bond in 2008’s Quantum of Solace, which is a direct continuation of the storyline from Craig’s debut, Casino Royale. The film was directed by Marc Foster, and Neal Purvis and Robert Wade collaborated again with Paul Haggis, and the film also features Olga Kurylenko, Mathieu Amalric, Gemma Arterton, David Harbour, Giancarlo Giannini, Jeffrey Wright, Jesper Christensen, and Judi Dench.

For Your Ears Only: Martin Campbell’s CASINO ROYALE

Featured by Frank Mengarelli, posted in Film Review, For Your Ears Only, Podcast

Welcome everyone to a very special episode of Podcasting Them Softly’s For Your Ears Only series. Today we are going to discuss Martin Campbell’s return to the Bond franchise with CASINO ROYALE. Released in 2006 this was Daniel Craig’s debut as James Bond, based on Ian Flemings’s first Bond novel of the same name. Featuring an amazing cast coupled with Chris Cornell’s show-stopping title song, CASINO ROYALE had a worldwide box office total of 600 million and went on to win a bounty of BAFTA awards and Daniel Craig became the first actor to be nominated for a BAFTA for portraying James Bond. 

What makes this episode so very special, is that we are joined with returning guest and one of our favorite filmmakers Wayne Kramer and actress Ivana Milicevic who co-starred in both CASINO ROYALE as Valenka – Mads Mikkelson’s girlfriend, and Wayne’s neo-noir masterpiece, RUNNING SCARED. 

Matthew Vaughn’s Layer Cake

by natewatchescoolmovies, posted in Film Review

Layer Cake is a British gangster flick whose posters say ‘from the producer of Snatch and Lock Stock & Two Smoking Barrels’ and indeed director Matthew Vaughn did work on those sub-genre defining films but it’s a bit of a sneaky ploy to splash that across the poster because this film is galaxies away from those two in terms of tone, style, pacing and overall fibre of content. Guy Ritchie’s Brit crime films (which I adore) are akin to Wonka’s factory all colour, swirl and flash but this one exists in something more like an upscale steakhouse and provides solid, grounded content to digest and work over later on. That’s not to say it isn’t without flair or flourish, there’s a lot of propulsive mayhem, cheerful dark humour, peppy British dialogue and menacing extreme violence but it just somehow feels… more down to earth.

Daniel Craig is a London coke trafficker credited simply as XXXX, a wry gesture that hits the mark because this guy, although far from anonymous, could be any one of us: a strait-laced, level headed dude who thinks he can tread around dangerous waters without getting his feet wet. Well there be dragons in those waters, dragons who have big plans for him in the form of various London underworld figures from brain dead, peacocky underlings to Machiavellian figureheads of immense, baroque and frightening power. His operation is funded and mother goosed by a wealthy thug called Jimmy Price (Kenneth Cranham in a study of pigheaded volatility), who scoffs at Craig’s plans of early retirement and tasks him with two seemingly simple tasks: 1) mediate a sizeable ecstasy transaction that is in danger of flying off the rails and 2) babysit the wayward druggie daughter of his own boss Freddie Temple (Michael Gambon basically playing the devil to the point of self referential glee), a man with whom you never want to fuck. Of course neither of these errands are cakewalks and things begin to viscously spiral spectacularly out of control in ironic, deliciously karmic fashion until it ain’t readily clear who’s betraying who, who wants what and who is simply wandering about in a narrative haze wondering what they did to deserve such a conniption fit of cacophonous roundabout shenanigans.

I don’t want to give the impression that this is an overly confusing or messily told tale because it’s not, it makes perfect and clear sense (like all these mad dash crime flicks) if you’re paying rigid attention or spin it through the DVD player more than once, it’s just refracted through a stylistic prism whose purpose is to befuddle, but that’s half the fun. Craig’s character is a terminally busy guy once things all kick off, so much so that not even getting to third base with a gorgeous lady friend (Sienna Miller) can stop him getting hauled out the door back to work (been there). He’s a smart guy in a sea of other guys who are either way smarter than him or way dumber, both species proving equally as dangerous. There’s his two mates Clarkie (a boyish Tom Hardy) and Morty (George Harris is superb) who race to keep up, Jimmy’s hotheaded righthand man Gene (Colm Meaney, who can’t sit still for two seconds, love his energy), one very angry Serb (Marcel Iures), a dirty cop (Dexter Fletcher) who comes in quite handy and all manner of other cretins and oddballs for our hero(?) to contend with. At the end of it you kind of sit there, in a daze and in the dust, wondering what kind of speeding locomotive just hit you, and kind of wishing it would turn 180 degrees on the tracks and come back for more as it was so much fucking fun. And the end? Well, let me just say that no American studio film would have the balls to pull a stunt like that and I was admittedly stung by it at first but when you think back to what kind of lifestyle Craig’s character leads, who he associates with (on purpose or by circumstance), his profession and exactly the kind of thing all these seasoned criminals warned him of, it makes sense as a sort of brutally poetic final thunderclap to his arc. Brilliant film.

-Nate Hill

Rian Johnson’s Knives Out

by natewatchescoolmovies, posted in Film Review

The coolest thing about Rian Johnson’s Knives Out, besides the lavish production design and the fact that the lovely M. Emmett Walsh is *still working* at his age, is it’s epic takedown of wealth, status and the deep seated delusion that goes hand in hand with being born into a rich family. That is, of course, not readily apparent until the stinging but satisfying final shot of the film and I can’t say much because this is the last thing you’d want spoiled going in, but the message is there, delicately wrapped up in a package of intricate plotting, beautiful set artistry and a whole ton of deadpan humour from a dense, scene stealing cast.

Celebrated mystery novelist Harlan Thrombey (Christopher Plummer) has been found dead, apparently by suicide. His raucous, dysfunctional family gathers to pay respects but it’s clear after a scene or two that this is a shady pack of wolves all out for the fortune he left behind. Southern gentleman investigator Benoit Blanc (Daniel Craig) “suspects foul play “ and so begins a whirligig of a search for truth, secrets and an elusive alleged killer who is naturally closer to home than anyone might suspect, except those who already know a thing or two. Thrombey’s family is played by a well rounded, eclectic bunch including Michael Shannon, Toni Collette, Jamie Lee Curtis, Katherine Langford, Chris Evans and a flat out hilarious Don Johnson. Rising star Ana De Armas is terrific as Harlan’s maid and confidante, a hard worker from some South American country that none of the family seem to be able to recall properly, highlighting their bemused selfishness and aloof nature further.

This is for sure a murder mystery and there is a serpentine narrative that does eventually arrive at a satisfactory conclusion but the whodunit aspect wasn’t as elaborate or lengthy as I was expecting. For me the enjoyment here came from these movie stars mugging for genuine laughs in a spoof of bickering families that is so dead on I felt like I was at Christmas dinner with my clan. These folks just can’t get it together or coexist and it provides come priceless exchanges of dialogue. There’s also a compassionate undercurrent between Armas and Plummer too, who between them give the two finest performances of the film, full of adorable camaraderie and flippant gallows humour. I can’t say much but the film serves to iterate and literally illustrate through circumstances that it doesn’t matter how many silver spoons you’re born with shoved up your ass or what kind of background you come from, you really only have claim to what you earn through hard work, be it laborious, interpersonal or other. I like that compassion and understanding woven into a film like this, it gives the Clue board a soul. Oh and I’ll also add that Daniel Craig has an absolute fucking one man party as Blanc who is an endlessly watchable, quaintly verbose delight and I love seeing him in eccentric roles that breach the surface of his cold, detached 007 persona. Good times.

-Nate Hill

Into the DEEP end with JONATHAN LAWRENCE by Kent Hill

by Kent Hill, posted in Interviews

71086628_2464422413776980_4105490286841430016_n

74432637_2495583557327532_1804025898001760256_n

You should, dear listener, go away and read this article (SUNK) . . . before listening to this interview – simply for ‘those who came in late’ kinda reasons….

70426243_2464422493776972_855655109969838080_n

Films like Lost in La Mancha, Jodorowsky’s Dune, Lost Soul, and The Death of Superman Lives have ostensibly created a new documentary genre that I simply have been devouring … the ‘unmaking of’ movies … great movies that were stillborn, or that died slow miserable deaths on the path to cinematic folklore. And we’ve all heard the film fiasco war stories . . . but not like this. This is the most intriguing because it is still, for the most part…shrouded in a heavy belt of foggy mystery….

The, or one of the embattled figures at the center of this mesmerizing cyclone is a man I’ve longed to chat with since reading the aforementioned article, Mr. Jonathan Lawrence. Now, to get the winter of our discontent outta the way up front, I was certain – beyond a shadow of a doubt – that talking about the ‘FISH’ movie, (as Jonathan enlightened me, or as fate would have it as the movie’s surrogate title) was the last thing he would want to do . . . . AGAIN!

So, while I was certainly keen to devote only a small portion of the conversation to my simmering curiosity (namely EMPIRES OF THE DEEP) – I was more interested to hear the story of the man who was a part of its ill-fated inception….

MV5BMjYyMjc3MjkzMV5BMl5BanBnXkFtZTcwNTgxNzEzMQ@@._V1_

In singularly one my most engrossing conversations I’ve ever had with a filmmaker – I have really wanted talk to ever since I read about a Chinese billionaire who woke up one day and decided he wanted to make a movie – with the whole story so feverishly well documented in the article back there at the beginning. . . and, Jonathan tells me he has been interviewed extensively for a possible documentary on the subject ……. fingers crossed!!! But, this conversation is not about that ‘FISH’ movie – instead it’s about the man behind it, also a candidate for one of the best lines I’ve heard …. “I know how to be dangerous, and get by.”

Enjoy…

Martin Campbell’s Casino Royale

by natewatchescoolmovies, posted in Film Review

So what did Martin Campbell’s Casino Royale do for the Bond franchise? Well, I’m not a huge aficionado or scholar of these films like some so I tend to look at each one on its own as an action adventure piece rather than observe how it fits into the jigsaw legacy of this mammoth series, but there’s no denying that this one kind of broke several moulds before it. After the garish 90’s heyday of Pierce Brosnan (I *love* all four of those films to bits) I feel like they just wanted to bring Bond down to earth a bit, distill the aesthetic into something that cleanses too many gadgets and what have you, cast someone darker and more dangerous and blast out a new trajectory for the character. Good plan.

Casino Royale is not only a splendidly exciting film on its own but the best, most impactful and unique 007 film since 1989’s ruthless and underrated License To Kill. Daniel Craig’s James Bond is an angry warrior who fucks up just like the rest of us and is fallible, not some invincible deity in a tux that can’t get hurt, deceived, betrayed or killed without tangible consequences. An early mission sees him tasked by Judi Dench’s then immortal M to infiltrate a high stakes poker game in some swanky French locale and gain information on dangerous arms dealer and terrorist Le Chiffre, played by vicious, predatory Mads Mikkelsen in one of my favourite Bond baddie portrayals. As if he isn’t in enough over his head, he meets the beautiful but equally dangerous Vesper Lynd (Eva Green), the most unique Bond girl since… who knows when. I love that she’s a self aware human being who has her reasons for falling into bed with him instead of just being a pair of tits with a voice as seen in countless entries before. Green has sex appeal for days but what makes her special is that way her eyes smoulder with a fierce independence and unpredictability, making her one of the most fascinating characters the whole franchise has to offer. Also supporting them is the great Giancarlo Giannini as a mentor of sorts for Bond, Jeffrey Wright as CIA operative Felix, Catarina Murino, Isaach De Bankolé, Jesper Christensen, Sebastian Foucan, Tobias Menzies, Richard Sammel, Tyrone the silly fat bastard from Snatch, Russian character actress Ivana Milicevic and Virgin Atlantic CEO Richard Branson of all people, if you look real close.

In terms of scope and staging, this is a kind of unique 007 film because it shirks the standards and ducks expectations. It opens with a spectacular chase like any other in the franchise, which is a monumental sequence in terms of stunt work. But much of the film is spent in the ornate casinos of France and a lot of the action is the casual intimidation and cerebral mind games that go alongside the poker match. There’s nothing quite like Craig and Mikkelsen sat opposite one another in tuxes, Mads bleeding out of his sinister looking dead eye and Daniel smirking at him like he wants to rip his head off, while Green looks on and let’s her ulterior motives simmer on the back burner for later. Cinematographer Phil Meheux takes full advantage of these rich, lushly production designed interior shots as well as the gorgeous outdoor rim of the Mediterranean that we get to see quite a bit of. My only real complaint is a third act that feels like it barrels in from another film; that’s not to say it’s bad or doesn’t work, it’s just a tad unwieldy with the landing and threw me off in terms of tone or climax but I suppose that could have been the intention. I’ll just say that this thing ends in the last possible way you’d expect from a 007, feeling fresh, raw and off the rails in a beautiful fashion that doesn’t tread the beaten path of so many before, but blazes out its own tragic, violent conclusion that will claim a piece of Bond’s soul but add much needed spirit to this series as a whole. Great film, and my second favourite Bond of all time after Skyfall.

-Nate Hill

David Fincher’s The Girl With The Dragon Tattoo

by natewatchescoolmovies, posted in Film Review

If you think about it, the source material for a story like The Girl With The Dragon Tattoo is the perfect kind of thing for director David Fincher to have a whack at. It’s dark, kinky, and riddled with detailed clues, any of which could spell survival or a scary end for the two protagonists, and there’s an overall misanthropic edge as well. Not to say that Fincher deliberately picks dark, fucked up projects in his work, but there’s a definite gravitation towards the macabre, he has an eye for it. I love this film a lot, it’s among my favourites in his stable and I think he improved on not only the book by Stieg Larsson, but also made a better film version than the first adaptation. The original was serviceable but in a mystery like this I feel like atmosphere is key, and Fincher provides enough to get lost in. This is a story spanning decades, outlining years of dark deeds and unearthing secrets buried within secrets and as such it should feel eerie, ambient, be lit in ways that evoke the passage of time and have a soundscape that not only freaks you out but guides your focus and has you searching for clues right alongside the heroes. I feel like he definitely has those boxes solidly checked off.

Rooney Mara makes a more detached, colder Lisbeth Salander than Noomi Rapace’s hot blooded take and you could argue all night who was better in the role, but I don’t think that’s really the point. What matters is Mara is a fantastic Lisbeth, emotionally complex, seemingly shut off yet injecting pockets of warmth in where you least expect it and losing none of the caged animal or ruthless survival instinct that is so important to the character. Daniel Craig has the perfect jaded half smirk to play a guy that enters the story disgraced and surrounded by scandal, I think he rocks his role too and the chemistry between both is as tangible as the spooky Swedish ambience that Fincher turns them loose in. There’s a killer out there, one who has been operating with relative impunity for many years and right under the nose of the spectacularly dysfunctional Vanger family, whose industrialist patriarch (Christopher Plummer, excellent) enlists Craig’s help in finding the truth. His daughter went missing from their secluded island home some thirty years before as we see in dreamy flashbacks where Julian Sands steps in for Plummer. Craig’s Mikael and Mara’s Lisbeth are a pair of introverted workaholics who both come from rocky pasts and understand the kind of risk involved with this type of work, but neither are prepared for the brand of sick horrors that revolve around this mystery. Fincher carefully casts the film with impressive talent including Joely Richardson, Steven Berkoff, Robin Wright, Yorick van Wageningen, Goran Visnjic, Donald Sumpter, Embeth Davidzt, Alan Dale, Geraldine James and scene stealer Stellan Skarsgard as another key member of the Vanger family.

One of the most effective aspects of the film is the original score by Trent Reznor and Atticus Ross, a subtle atmospheric composition that brings on feelings of dread, unseen danger and anticipatory anxiety wonderfully. As Craig’s car snakes along the long driveway of Plummer’s extravagant yet isolated mansion, a strange warble of tubular bell style music fills the snowy air, giving off incredibly creepy vibes and in turn giving me chills every time. Fincher cranks up the dial on violence and sex about as far as one could in a Hollywood film and as such you get some deeply disturbing scenes to sit through, especially involving Lisbeth’s deranged legal guardian, who really made me question the foster system in Sweden. None of it is glorified though and all serves to tell this dark story in the most affecting way. There’s a shadowy blanket over the film, everything seems frosty and frigid thanks to the cinematography from Jeff Cronenworth, as if there’s some spell of dark magic laying over the land and protecting those hiding within it as Lisbeth and Mikael race to find them. This is a perfect tale to get transported away by, a nightmarish yet strangely picturesque mystery to get lost in like a snowy night, until you arrive at the wrong doorstep alongside our heroes and then the real thrills begin. Great film.

-Nate Hill

Steven Soderbergh’s Logan Lucky

by natewatchescoolmovies, posted in Film Review

After a sort of slow opening act, Steven Soderbergh’s Logan Lucky becomes a sweet, funny, raucous, touching and unexpected film, the most enjoyable thing he’s made after a series of dead serious dramas. Kind of like Ocean’s Eleven for the Monster Truck crowd, this is popcorn fare with brains, but it’s not afraid to get loopy and mess around in the sandbox either in terms of comedy and characterization, especially that of Daniel Craig’s Joe Bang, the world’s most aloof safecracker. Joe’s help is needed when brothers Jimmy (Channing Tatum) and Clyde (Adam Driver) Logan take it upon themselves to stage a heist during NASCAR mania when times of financial woe befall them. Jimmy is laid back and affable, Clyde is old school idiosyncratic to the point of hysterics and their dynamic is something hilarious. Throw in Joe with a Bang and the thing takes off, once the gears of the plot start grinding, mind you. Like I said, the opening dilly dallys a tad. Despite being a screwball comedy of sorts, this never goes too far off the rails into, say, Cannonball Run territory and never feels *too* light or inconsequential. Soderbergh is an alchemist in complete control of every element and this thing unfolds deliberately, intricately and always playfully. Surrounding them is a delightfully eclectic supporting cast including Seth McFarlane, Riley Keogh, Katie Holmes, Jack Quaid, Brian Gleeson, Katherine Waterson, Macon Blair, Sebastian Stan and Dwight Yoakam as a breezy Prison Warden. The heist is a blast, full of screw ups, diversions and delirious suspense as these ill prepared, lovably hapless goofs try to do right by their families and each other. Craig must be broken out of jail where he’s “in-car-cer-ated” for the duration of the job and then stealthily returned once the mission is accomplished, and Jimmy has to be done with it all in time for a beauty pageant that his daughter (Farrah Mackenzie, wonderful) is appearing in. It’s fairly random but it just somehow works, from left field character choices to specifically nutty set pieces to third act twists that come out of nowhere. Just when you think you can relax, a federal agent (Hilary Swank in full shark mode) shows up to stir the pot again. The film ends on a narrative cliffhanger and with perhaps one of the best and most enticing zoom-out shots I’ve ever seen that had me both wishing for a sequel and wanting the magic to remain bottled just there at that perfect penultimate moment. Great film.

-Nate Hill