Author: Michael Rawdon

Casino Royale

Review of the film Casino Royale.

Movie night last night was to go see Casino Royale, the new James Bond film with Daniel Craig as the new Bond, the producers having ousted Pierce Brosnan, the Bond of the 90s.

(John Scalzi wrote a nice eulogy for Brosnan’s time as Bond. One thing he doesn’t mention – but which I recall from the late 80s – is that Brosnan wanted to be the Bond to follow Roger Moore, but his contractual commitment to Remington Steele caused the producers to choose Timothy Dalton instead – to no small fan outcry.)

Honestly, the only two Bond films I’ve seen in the theater since the Roger Moore days were The Living Daylights (1987) and The World is Not Enough (1999), but I’ve enjoyed the Bondfests on SpikeTV so much the last couple of years that I was pretty enthusiastic about seeing the new one.

Bond uncovers an ongoing plot by the investor Le Chiffre (Mads Mikkelson), who short-sells stocks whose companies he knows will be the target of terrorist attacks. Bond foils one such plot by one of Le Chiffre’s agents, forcing Le Chiffre to play at a $150M Texas Hold ‘Em poker tournament at the Casino Royale to recoup his losses to pay back his investors (who are themselves not very nice men). Bond is accompanied by Vesper Lynd (Eva Green), a government accountant overseeing the funds used to enter Bond in the tournament.

Casino Royale is sort-of presented as Bond’s first mission: The film’s teaser shows him getting his first two kills to achieve double-0 status. The film is then broken into four parts: First, chasing a lone bomber in Madagascar, which leads him to a plot to destroy a prototype airplane in Miami. Then the casino sequence in Montenegro, and finally a concluding sequence in which Bond falls for Vesper in a big way. The running theme of the story is of Bond’s coldness towards others, and the emotional armor he employs to allow him to do his job.

Daniel Craig as Bond is not bad. Having seen previews of the film for weeks, he kept reminding me of someone. Finally, I realized who:

Daniel_Craig_as_James_Bond.jpgPatrick_McGoohan_as_Number_Six.jpg

On the left, Daniel Craig. On the right, Patrick McGoohan in The Prisoner: Similar heavy brows, similar shapes to their noses and mouths. On screen the resemblance is even more clear, I thought.

My main complaint about Craig’s performance is that he doesn’t have the sense of humor that previous actors have brought to the character. Many of my favorite Connery moments involve his expression of “oh dear, this is going reather badly for you, isn’t it?”, and while Roger Moore could admittedly be over-the-top, he still had a good comic sense when presented with good material. Craig really does come across as ruthless and humorless, and while it’s not true that he never smiles, it seems almost unconvincing when he does.

But maybe it’s the script’s fault: The story is brutal, almost unrelentingly so. Certainly with 40 years of history behind it, including some pretty ludicrous plot premises, there’s a lot to live up to, and Casino Royale almost self-consciously works to break with tradition. There are no gadgets, no Q, and very little witty banter. There’s plenty of action, though, and at times the film feels very much like From Russia With Love (one of my favorites).

But I think the film gets away from some of what makes Bond films fun: The series isn’t really about the glamour or the women; fundamentally, Bond is a consummate professional, but he also cares, because he’s not just a killer, his job is to protect his country and its citizens. He may keep people at arm’s length emotionally, but he’s more than just a “blunt instrument”, as M (Judi Dench) calls him at one point. I think the script tries to recreate Craig as a Bond who is less fun to watch than his predecessors.

All that said, the film is often a lot of fun, with some amazing action sequences: The pursuit of the bomber in Madagascar is fantastic, and the chase at the Miami airport is equally terrific, the latter feeling more like a Bond film than any other scene in the film. The Casino Royale sequence has many interesting elements, but kind of goes on too long, with too many twists and turns and diversions. And then the denouement is almost agonizing, because you know that any woman who Bond genuinely falls for is doomed (c.f. On Her Majesty’s Secret Service). The final shootout is actually not as strong as some earlier fights, although it’s not bad.

(Mean Gene writes about the film from a poker standpoint. I was pretty impressed with the level of detail of the mechanics of playing poker they worked into the film.)

The plot didn’t make a whole lot of sense. Why Bond was in Madagascar to start with was unclear, and the trail leading up the chain of the conspirators was pretty thin, I thought. I didn’t see the point of going through with the whole poker tournament, either, from MI6’s standpoint. There never seemed to be much of a plan, and intent to follow up after the tournament was over. But strong motivation has not always been a big concern in the Bond films.

Overall I enjoyed the film, but I agree with Debbi who said afterwards that it didn’t feel like a Bond film. It may take another film or two for me to decide what I really think of Daniel Craig. Casino Royale was fun, but it had its flaws. I’ll be curious to see if they correct them in the next film, or if they continue to take the series in a new direction.

Cold Front

Brrr… damn it’s cold! Apparently the Bay Area has had an Alaskan cold front sitting over it for the last week, which has meant overnight lows around freezing, conditions we usually don’t see except for a few days in late January. It’s totally killed my enthusiasm for going on morning bike rides, after five consecutive days of exercise in relatively balmy weather during my time off last week.

Despite this, Subrata and I decided to go play ultimate frisbee last night, even though it’s our team’s bye week. Turnout was better than I’d expected given the conditions – usually we field 4 teams a night, but I wouldn’t have been surprised if we had fewer than the 28 people necessary for that. But we 35-40 people showed up during the night.

We joined another team scheduled to play that night, but more people from our regular team kept trickling in, either to play pickup, or because they didn’t realize it was our bye week and figure since we didn’t play Tuesday we must play Thursday! Eventually we had 6 of our regular team show up, and I think we outnumbered the team we joined!

One good thing about the cold weather is that my endurance – always pretty crappy – is much better when the temperature goes below about 55. I can run longer, and I recover faster. So that made the evening more enjoyable. I managed to score a couple of points, and get involved in a few other good points. We ended up staying for the whole session – we’d thought beforehand that we’d probably only stay for half of it – and had a lot of fun.

I wouldn’t mind it being a little warmer for the next few weeks, though.

Modern Prog on iTunes

Huh. The iTunes Music Store has some introductory playlists for modern progressive rock that you can buy and download.

It’s a little strange that the lists contain no Spock’s Beard (which the iTMS does have) or Flower Kings (which it doesn’t). It seems like it focuses mainly on progressive metal. They may just be at the mercy of what’s available on the store, but it might also be the result of biases of whoever composed the list. Although to be fair there are a number of band listed with whom I’m unfamiliar, so maybe I shouldn’t talk.

Jack McDevitt: Seeker

Review of the novel Seeker by Jack McDevitt.

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Seeker

I’m a big fan of McDevitt’s second novel, A Talent For War (which was recently reissued), but I was disappointed in its first sequel, Polaris, and I’m equally disappointed in Seeker.

I think the fundamental problem is that the adventures of antiquarian Alex Benedict and his aide Chase Kolpath have quickly become fomulaic: Discover that at some point in the past something went mysteriously missing, slowly draw back the slender thread of evidence which has survived the years (or millennia) to the present day, and then unravel the mystery, usually with some present-day danger thrown in. In Seeker, the quarry is the nine-thousand-year-old colony ship Seeker, which was apparently stumbled on by some government surveyors, who died before they told anyone their secret. The Seeker was one of the first big colony ships from Earth, which left in the 27th century, and its value could be incalculable. Meanwhile, Alex and Chase have to contend with the surly owner of the relic which put them on the trail, as well as a secret foe who seems to want to kill them for mysterious reasons.

All three Benedict books have basically the same formula, so why does Talent work so well for me when the other two don’t? First of all, it’s narrated by Alex, who is a much more engaging character than Chase, who narrates the other two. Indeed, Alex seems like something of a heel when Chase talks about him, while he’s more sympathetic – and fallable for more likeable reasons – in his own voice. Second, the moral ambiguities that Alex uncovers in Talent‘s historical figure are more powerful and better drawn than we see in the later books. Lastly, Talent is a novel which changes the status quo of its hero and his world – a tough trick to plausibly pull off in three consecutive novels.

McDevitt’s strength is to present his settings with the proper sense of scale, the vast timeframes, the stature of the historic figures, the loneliness of abandoned or lost ships, stations and planets, the feeling of opportunities passed. He doesn’t get it all perfect (human civilization feels too contemporary to feel like it’s nine thousand years in the future, for instance), but it works well enough. He’s also good at writing a page-turner, with enough suspense and anticipation to make Seeker enjoyable.

But it feels like something’s missing, an essential weight to the story, or depth to the characterization. So, like Polaris, Seeker is merely light reading. A good change of pace from some of the heavy stuff I tend to read, but whether I’ll continue following Alex and Chase in the future, I don’t know.

R.I.P. Jerry Bails

More bad news: Jerry Bails passed away last week. (How I didn’t hear about this until today, I don’t know.)

Dr. Jerry Bails was perhaps the single individual most responsible for there being a comic book fandom. In the early 1960s, he seemed to be the glue which held together the nascent fandom, in the days when DC was still re-launching many of its golden age characters, and Marvel was so much the new kid on the block that it seemed to be viewed with an innate skepticism by long-time fans. He founded the first comic book fanzine, Alter Ego in 1961, and founded the first comics APA, CAPA-Alpha, in 1964. (I was a member of K-a – as it’s abbreviated – for a year or two in the early 1990s.)

The debt both fans and pros of comic books owe to Bails is probably incalculable, due (if nothing else) to the sheer number of comics fans who became comics pros in the 60s and 70s due to being active in fandom, fanzines, and APAs. While fandom might have formed later without Bails’ efforts, the fact is that he did what he did when he did it, and he gets to claim the credit for those things.

Damn.

Related links:

Analysis of Poor UI Design

Joel Spolsky analyzes the “Off” button and menu in Windows Vista. He claims that the UI is cumbersome (and I agree with him), and considers how it could have been better designed.

Using Spolsky’s article as a springboard, former Microsoft developer Moishe Lettvin provides insight into how Microsoft’s departmental organization contributes to this sort of poor design.

Spolsky briefly follows up.

All of this via Ceej.

R.I.P. Dave Cockrum

Sad news: Comic book artist Dave Cockrum has passed away at age 63.

Cockrum was one of the key artists of the “modern age” of comics. First he helped modernize the look of the Legion of Super-Heroes in the early 70s, just before their second peak of popularity when Mike Grell arrived. Many of the Legion’s costumes of the era were designed by Cockrum, and then simplified by later artists since Cockrum tended to festoon his characters’ outfits with myriad dongles and patterns. More significantly, Cockrum co-created the “new” X-Men with writer Len Wein, and illustrated their early adventures for writer Chris Claremont. Again, the X-Men became even more popular when Cockrum left the title to be replaced by John Byrne, but he was instrumental in crafting the look and feel of the series.

Cockrum drew his characters with more, uh, robust physiques than most of the artists who preceded him – although his style bears some similarity to late-60s Jack Kirby – and a dynamism which surely influenced later artists such as George Perez. I always loved his costume designs, and the energy of his layouts and figures. I’m especially fond of his Legion work.

He’d been struggling with diabetes in recent years, and has been one of the old guard of artists who hasn’t gotten much work in the industry lately, which is too bad since I think he still had a lot to contribute, and he was a much better artist than a lot of the Image-influenced artists around today.

Sad news to wrap up the weekend.

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Alastair Reynolds: Galactic North

Review of the short story collection Galactic North by Alastair Reynolds

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Galactic North

Alastair Reynolds’ other collection published this fall, Zima Blue and Other Stories, is a good collection, but Galactic North is the shit, man!

It collects Reynolds’ short stories set in the universe of his cycle of novels starting with Revelation Space. It’s almost a primer of how his future history developed, featuring several pivotal events mentioned in the novels, as well as a few characters who either appear or are alluded to there. The collection actually almost works as its own standalone story cycle, which is pretty neat since it wasn’t written that way.

Reynolds’ basic strengths are his ability to create and describe places that feel truly alien, or at least deeply disturbing, and his flair for suspense and horror. For instance, “Nightingale” features the hunt for a war criminal onto a dormant automated hospital ship, which is about as frightening an environment as one can imagine: What exactly do you think a hospital ship needs to be like in order to care for the injured during a war? And on top of that it’s dark and potentially airless, and was run by an artificial intelligence whose mental state is anyone’s guess. You keep waiting for the other shoe to drop, knowing that eventually it will. And then when it does, Reynolds twists the knife in an unexpected and hideous way. While essentially a haunted house story, it’s gripping stuff.

Reynolds also explores the nature of humans who have been modified into something unusual. The first story in the sequence, “The Great Wall of Mars”, concerns the Conjoiners – humans who have formed a technological group mind – and the opposition they face from the rest of humanity, who are afraid the Conjoiners will absorb everyone else into their fold. In contrast to the common thinking about posthuman experience – which is often portrayed as unknowable or at least weirdly alien and antithetical to the human experience – Reynolds explores the thoughts and motivations of these nascent posthumans, drawing them as all-too-human, a sort of enlightened cult. The story’s protagonist, Nevil Clavain, arrives among the Conjoiners as a negotiator and learns that they are playing a deeper game than anyone had suspected.

Similarly, “Weather” takes place in a damaged lighthugging starship, and provides some insight into the mysterious Conjoiner Engines of the novels, and another oblique glimpse into the lives of the Conjoiners themselves. It’s basically a short character drama, but it illuminates the backdrop considerably.

There are two other stories which provide a glimpse of the early days of Reynolds’ future history: “Glacial” is a mystery about a dead – and unexpected – human colony, and lets us visit with some friends from “Great Wall” again. “A Spy in Europa” is a rather brutal spoy story which descends into horror. It’s not as polished as “Nightingale”, but it sheds some light on another faction in the setting, the Demarchists, who walk a fine line between heaven and hell, but of course are as fallible as all the rest of us.

“Grafenwalder’s Bestiary” concerns the legacy of those early Demarchist days, and the dangers of obsession, as its titular figure is obsessed with collecting creatures from around the galaxy and showing them off to his peers, and is interested in acquiring one special creature in particular. It contains echoes of Reynolds’ novel Chasm City (my favorite of his novels), but has its own unique sense of foreboding and terror. It’s a “be careful what you wish for” sort of story.

The volume wraps up with the title story, which follows its characters on a chase far into the future, while humanity is otherwise threatened by an implacable foe. I can see what Reynolds was aiming for here, with characters living for millennia through time dilation, focused (more or less) on their specific goals, but I had trouble connecting with the characters or believing in their motivations over such a long time frame. I found the nature of the foe to be a little hard to swallow, too. The story is okay, its grand scope making it an interesting curiosity, but it feels more like a writing exercise for dealing with lengthy timeframes, which comes into play in the novels. Still, I liked it more than the other story in the collection, “Dilation Sleep”, which is a pretty straightforward “things are not what they seem” yarn. To be fair, Reynolds’ afterward suggests that it was written earlier than the other stories in the book.

But very few short story collections hit home runs every time, and Galactic North does much better than most in that regard. There are stories here to delight, provoke, horrify, and wonder at. It’s outstanding, and it reminds me (once again) that Reynolds really is one of the very best writers of science fiction working today.