Dirty Movie (2011)

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Dirty Movie: Directed by Jerry Daigle, Christopher Meloni. With Emily Donahoe, Christopher Meloni, Diane Neal, Stylist B.. An outrageous cut-rate producer, Charlie LaRue is about to fulfill his lifelong dream to make a movie about the most offensive, dirtiest jokes ever told.

“u0026quot;Spectreu0026quot; (2015), the twenty-fourth James Bond film, and directed by the Oscar-winner Sam Mendes, is a remarkably lithe affair. Mendes opens the film with an incredible, five-minute opening shot following Bond as he makes his way through the Day of the Dead celebrations in Mexico City. Itu0026#39;s a stunning visual coup, unprecedented for the series or in any other similar action film of recent years, and announces that Mendes, after making u0026quot;Skyfallu0026quot; (2012), is still interested in innovating within what has become a venerable British institution.u003cbr/u003eu003cbr/u003eCraig, reprising his role for the fourth (and it has been hinted, final) time, looks more relaxed and at ease as Bond than ever before. While still cutting a gaunt, serious figure, he can also handle the scriptu0026#39;s wry sense of humour: this is truly the funniest Bond in decades. Heu0026#39;s ably supported by an impressive cast: Ralph Fiennes (as M), Ben Whishaw (playing Q) and Naomie Harris (Ms Moneypenny), making for an excellent recurring cast, while Léa Seydoux, Monica Bellucci and Christoph Waltz are very fine. Waltz in particular, relishes his villainous role, bringing a gleeful wickedness to his character. He lacks the visceral impact of Javier Bardem in u0026quot;Skyfallu0026quot;, but his performance deserves to propel him into the upper echelons of Bond villains.u003cbr/u003eu003cbr/u003eHoyte van Hoytemau0026#39;s cinematography is superb, matching Roger Deakinsu0026#39; work on u0026quot;Skyfallu0026quot; by taking a very different approach: shooting on film, van Hoytema brings a sophisticated, classical elegance, capturing the blazing light of Morocco and the shadowy, diffused look of Rome. One of Mendesu0026#39; key legacies during his tenure as director of the series will be how elegant photography defines both of his films.u003cbr/u003eu003cbr/u003eThatu0026#39;s not to say, however, itu0026#39;s a perfect film. It lacks the delicious surprise u0026quot;Skyfallu0026quot; provided, uprooting so many of our assumptions of what a Bond film was; u0026quot;Spectreu0026quot; is far more deliberately traditional. Worse, the screenplay, by John Logan, Neal Purvis, Robert Wade and Jez Butterworth, introduces a subplot about the potential closure of MI6. While it helps make the film feel very contemporary, the chief component, Max Denbigh (played by Andrew Scott), is disastrously underwritten and frankly, uninteresting, lengthening an already long film. The script also, mystifyingly, constructs a two-part climax which feels unnecessary. It under-utilises a fascinating location in favour of an overly-familiar one and try as Mendes might, he canu0026#39;t pull the broken-backed finale off.u003cbr/u003eu003cbr/u003eStill, Thomas Newmanu0026#39;s score is an improvement over his music for u0026quot;Skyfallu0026quot;, introducing John Barry-esque strings and horns, while Mendes displays his panache as an action director with a number of thrilling sequences. Itu0026#39;s a ferociously entertaining, unrelenting film, and questions of plausibility aside, itu0026#39;s a high watermark for the James Bond series.”

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