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Likewise, after Casino Royale started this new cycle, we were promised that Quantum of Solace would cap a diptych, allowing for the series to continue unabated thereafter with certain foundations in place. With this three-part “real world” retelling of the Dark Knight's origin and peaceful retirement, they can finally get back to just making another string of straight-up Batman movies.

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With the revelation in the Dark Knight Rises of Joseph Gordon-Levitt's character we see the opportunity that affords Warner Brothers in continuing the story they've already started writing back in '05 (and with rumours abound about his inclusion in a Justice League movie or in another standalone Batman series, with the release date for a relaunch already being bandied about, it seems like the Batman myth will be back in theaters before your kids grow out if their Christian Bale underoos). Similarly, both of these trilogies (so I'm not confusing non-nerds: Batman Begins, The Dark Knight, The Dark Knight Rises for Bats and Casino Royale, Quantum of Solace and Skyfall for Bond) while ostensibly closing the book on one chapter of a character's career, notably open up the possibility for new directions, or, more likely, old directions dressed up as new. While Nolan had Bond in mind on his Batfilms, Sam Mendes admitted to being influenced by The Dark Knight in his approach to big-budget action with Skyfall, but they somehow both wound up in the same place, as if Mendes anticipated where Batman's trajectory would take him after TDK. Getting Connery back after publicly stating he'd never Seems to know it's at a disadvantage, despite scoring the coup of This wouldn'tīe a huge hurdle, but not being an official Eon Production, the movie

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Kill, chock full of glow-in-the-dark, PPK-armed women, skiing toĭuran Duran's John Barry-enhanced titular rock song). Openings are a pleasure, like getting a text-laden music video at theīeginning of a two-hour snoozefest (this is the case with A View to A Of Maurice Binder's silhouetted naked women doing acrobatics in the To an actionless cold-open makes you pine for the blissful popcandy Octopussy (the lamest of the official Bond themes, in my opinion) set The opening theme,Ī step or four below that of the same year's “All Time High” from Start the fiasco off with two strikes against it. Right from theīeginning of the film I'm against it. Right elements were in place, except they weren't. The then-20-and-30-somethings who had grown up with 60s Bond. SPECTRE – all familiar territory for Bondaphiles, especially for Llewelyn) and aided by Felix Leiter against the nefarious Blofeld-led (until Skyfall recently dethroned it), bringing back everyone'sįavorite 007, Sean Connery, who is outfitted by Q (not Desmond It was a remake of the highest-grossing Bond film Thunderball

(Nolan has even said explicitly for years that he'd love to do a Bond film, but he'd have to contend with the same studio that turned down Spielberg and Tarantino in the past, probably because they would have put too personal a mark on the films.)įor Bond, there is a case study in the aforementioned Never Say NeverĪgain. The most obvious example of Bondly influence, however, occurs in a different Nolan film, Inception, with its snowy ski climax, openly borrowed from OHMSS.

Christopher Nolan, Batman's motion picture equivalent of Frank Miller, is an avowed Bond fan who has acknowledged the character's influence on his Batseries, what with real-life, CIA-influenced gadgets (including a shoeblade) and exotic globe-trotting (In this recent trilogy Batman/Bruce Wayne found himself in Hong Kong, the Himalayas, the ill-defined Middle East and/or subcontinental Asia, whereas the earlier four films barely saw him venture outside of Gotham). Here they continue to feed off each other. Perhaps coincidentally, both series came back within a year of each other, completely rebooted, with new casts, new backstories, and a grittier sense of realism.