Gatchaman 2013

There have been a few live action Gatchaman projects over the years-- I recall one commercial for a cell phone company that was pretty slick for its time, with extra SMAP.

Below is the trailer for the latest and greatest, it's not quite The Avengers, but it sure tries. Maybe it's trying too hard? But hey, dig those costumes.


(My favorite moment? 1:10... Bump of Chicken)

Tai Chi 0

Whoa, did you have me at Tai Chi or did you have me at steampunk? The film's creators have an impressive pedigree in and of themselves, and as part of a planned trilogy we can only hope its ambitions won't outpace the potential of a cool hook on a seasoned genre.

The Hunger Games

When I first saw The Hunger Games trailer, I thought to myself, "I should probably read those books." So I did.

On second viewing, the trailer comes off as incredibly faithful. The source material is pretty good to start with, and the premise is simple but compelling. As with many adaptations, it's in the execution. The Hunger Games aims to execute well.

While I feel the first book will make for a good movie, the trilogy as a whole would likely make a better episodic series. The books are laced with cliffhanger chapters that rival some of TV's best, ala Lost, Alias, and True Blood. The second and third books especially will be hard-pressed to be condensed into the inevitable feature-film follow-ups. The second book, Catching Fire, is more of an extended conclusion to the first, and takes its sweet time setting up the next equally exciting "event," albeit one wholly worth the wait.

The third book, Mockingjay, poses the bigger issues for an adaptation. It's the contender to continue the recent trend of splitting the last part of a series into two separate movies. In this case it's entirely warranted, as Mockingjay is a huge story that plays out the series' somewhat-epic conclusion. I say 'somewhat' because while the events leading to it are indeed epic, the actual conclusion is not something one gives credit to the typical movie-going audience for accepting. Spoiler alert: It's depressing as fuck.

What strikes me even more is that the source material would make a great videogame. The concept alone lends itself to many gamer-centric features, and gruesome though some may be I can definitely see players clamoring for the chance to prove themselves. In an mash-up of Survivor and The Most Dangerous Game, players can move though generations of Games and their accompanying arenas, each fraught with deadly traps and the ability to form strenuous alliances. The social MMO aspect seems untapped-- actual, virtual Hunger Games could be held on a national and international level. Games can be sponsored, players could be "drawn," prizes could be awarded. And all you have to do is be the last man or woman standing by outlasting, out-witting, or straight-up killing every other opponent. Just sayin'.

The Hunger Games also seems to have spawned a multitude of fan films, many found easily by hopping around YouTube. If you've read the books, this one is particularly good. 

The Warrior's Way Redux

Well, looky here. A casual check of what's new at Apple Trailers reveals that Rogue Pictures picked up The Warrior's Way and released a new trailer. Actually, this is the first true trailer for the film as the footage from the previous post about this film was actually a promo reel used at film markets. What's important to note here is the apparent change of tone of the film, at least from the marketing standpoint. Let's leave aside the awful rock soundtrack of the trailer and concentrate on the fact that the relationships Jang Dong Gun's character has with the townspeople appears to have changed. The previous promo reel had this viewer believing that Geoffrey Rush's character was the main foil in that plotline, but the trailer sells a more "partner-in-crime" type relationship and it is he who might be narrating the the story throughout. Gone, also, is the slightly romantic connection between Kate Bosworth's character and there seems to be little remaining of the "freak show" of interesting characters that make up the wayward town.

As trailers go, this is trying to sell a rather straightforward action picture, removing much of the Eastern philosophy that was prevalent in the promo reel and turning the main character in to a "hero" where the original promo reel sold a slightly more ambiguous, repentant "anti-hero." It will be fascinating to see if there will be a different edit for the film internationally as well as how the marketing is handled. For now, however, it is good to finally get a clear glimpse of the visuals which remain gorgeous and engaging. With the troubled history of this production, however, what truly needs to be seen is whether or not the story actually works.

The official site can be found here.

Dark World

Another fine example at some of the impressive genre filmmaking coming out of Russia. There is a unique skill at mixing fantasy elements with contemporary settings on display here that it would not be so much exaggeration to say that at this moment, Russia are the masters of this type of genre film...perhaps carving out a new sub-genre as they progress.

Dark World is centered around a group of college students on an anthropological expedition in Karelia who awaken dark, ancient magic; a few become agents for these mystical powers while others set out to fight against their now possessed colleagues.



Once again, the level of visual style on display is certainly one to rival the biggest of Hollywood's tentpole films. However, there is also that intrinsic "Russian" quality to the art direction that sets this and others previously mentioned apart from their tinsel town rivals. For some reason, the setting, the language, the faces all seem to fit this type of fantasy so perfectly that no matter how "improbable" the situation, it just works. Looking forward to seeing more of Dark World as the release draws closer.

Gallants

Wow, the first entry of June and it's almost the end of the month! Apologies for the lack of updates, but time has been a commodity in short supply recently. However, I had to post this very cool opening title sequence for the recent film Gallants which is a throwback to classic Shaw Brothers film, starring some of the studio's most well-known stars, and giving us fans of old school Hong Kong films a knowing nod that could only bring out smiles. Enjoy!



Find out more about Gallants by clicking here

Machete

Happy Cinco de Mayo from Robert Rodriguez, Danny Trejo, and all the fine purveyors and supporters of B-movies! The cast list is quite eye opening if not jaw-dropping, but it is good to see such caliber talent coming along for the fun. Without further ado!

Reign Of Assassins Footage

The sales trailer for the John Woo (Co-)directed feature starring Michelle Yeoh as well as a promo poster. The official title has also been set as Reign of Assassins.



courtesy of MichelleYeoh.info

Tron (1982) Trailer Reboot

Apologies for making March an unintended "Tron" month, but the final entry for the month just had to go to this expertly recut trailer for the original Tron using today's marketing sensibilities ala my previous post. When you watch this and compare it to the trailer for the Tron Legacy, you start getting a very real sense of what the sequel is lacking...at least in terms about what it is about, or what they want us to know about it.

Tron Legacy

There is a new trailer for the film which calls itself Tron Legacy. I say "the film which calls itself Tron Legacy" because if the word "Tron" were not part of the title, one may certainly not think it had anything to do with the classic film from the 80s set in the world within circuitry and microchips. Though the trailer is rather vague about the story, intentionally so as this is just a teaser trailer, the obvious point of the footage shown is to sell the world of Tron. In this regard, all visuals seem to say that the creators have missed the mark. The attempt to deliver a more realistic interpretation of the Tron-verse only betrays the nature of the film itself. Can the audience be transported to a unique world when so much of it is so similar to the one they occupy? The production design is certainly exquisite...for an extrapolated vision of the future, but does not necessarily lend itself to what Tron is (or should) be. Sadly, the trailer gives a glimpse of characters in obviously rubber suits with lighted trimmings; of light cycles kicking up rain rooster tails in the night; of Recognizers that appear to be futuristic construction equipment; of a "Tron car" creating billows of smoke as it performs burn outs; of characters riding up fiberglass-like elevators to the game platform; of a Tron apartment decorated with very familiar looking furniture; of a girl lounging on a sofa with a trendy off-the-shoulder outfit. This is not Tron. They may want you to think it is, but it is not. The film may have Bruce Boxleitner and Jeff Bridges, playing both an old & young (the film's best special effect) Flynn, but it is not Tron.

Tron is a world of light, data, apps, programs, electricity, bytes, bit streams, etc. The audience need not, and should not, connect to the real world. Our physics do not apply there. Our mechanics don't work there. Our textiles and materials do not belong there. Unfortunately, the filmmakers have decided to bring Tron closer to the film-goer's imagination, instead of taking them to a place beyond it, which is what a film like this should be doing. Right?

Bay Rong (Clash)

Bay Rong is the second film by Vietnamese-American director Johnny Nguyen in which he takes the concept similar to Mr. and Mrs. Smith and exploits it as it should have been in the Hollywood version. This is a high energy martial arts crime thriller pitting two ex-cons and would-be lovers against the gangs that had put them in prison. Nguyen's previous film, The Rebel, has also been highly praised and very well received in Vietnam and Bay Rong has built up on that momentum exponentially. Reports suggest that at least domestically, Bay Rong, has been the hands down box-office hit of 2009. Below is a new 2010 trailer, which seems to hint that Nguyen and his film are ready to tackle the international markets after dominating it at home.



Impeccably well shot, the intense and kinetic fight scenes seem to balance nicely with the character work as well as the overall plot line. That final line also suggests a good bit of humor can be found as resting points between the fist-a-cuffs and fireworks. Let's hope this gets picked up internationally soon.

The Karate Kid (remake)

I'll be upfront, despite misgivings, the above trailer sells a solid-looking film. Certainly another film in the long line of remakes that are being manufactured by the Hollywood machine, but one that at least does not repeat the original version's cues verbatim. The transfer of the setting makes sense with regard to making this about Chinese martial arts rather than Japanese, thus necessitating the casting of a familiar face in the mentor's role. I think without Jackie's involvement, this film might turn out less impressive, at least at the sales stage.

That being said, I won't participate in the net controversy over the title. Some points are valid, others not so. They can call it whatever they like, justify the reasons for it, but if the film does not deliver, then what does it matter. However, what I have been struck by is the surprising level of negative comments the original film is taking. Charges of "corniness," "lameness," "eye-rolling," etc. to describe memories of watching the film and justifying anticipation for this remake had me scratching my head after watching the trailer. The charges leveled on the original seem superfluous considering this remake is hitting all the thematic beats of the original. The bullied lead seeks a way to strike back at his tormentors, seeks the advice of a humble man who turns out to be more than he seems, learns from him that martial arts is not about fighting, but is begrudgingly allowed to display what he's learned to his tormentors in a proper venue that will satisfy both characters' curves. Many familiar scenes seemed to have been creatively transposed to China & Chinese philosophy, and all that remains to be seen is how far they will let Jaden Smith's character "fail" or "lose" before the ultimate "feel good" ending.

So, I don't really understand how folks could be excited about this while disparaging the original. At least to my eyes, this remake seems to be successfully adapting the original's themes to a new era and a new location. If you thought it was "corny" then, then you will probably be rolling your eyes to this one as well....

The Warrior's Way

Here's one of those interesting projects that seems to be flying under the radar, despite what appears to be solid potential behind the scenes. Once called Laundry Warrior, the film now known as The Warrior's Way is an ambitious melding of East and West, literally. The film revolves around "a swordsman from the Far East who flees from his past to the American badlands where he meets the town drunkard, and a circus knife thrower both of whom harbor powerful secrets" that may throw the town into chaos...
It's a simple enough premise, one that lends itself to high concept genre imaginings. However, a premise alone is just the first step. Information has been scarce, but the staff list goes something like this: it is written and directed by NYC Film school teacher Sngmoo Lee, who has partnered with Barrie Osborne of Lord of the Rings to produce the film. "Fight choreography is by SHIMOMURA Yuji, a protoge of Donnie Yen, whose credits include VERSUS and ARAGAMI, while stunts will be overseen by Hollywood veteran Augie Davis (The Water Horse)"*. In front of the camera are the likes of Geoffrey Rush as the Drunkard, Kate Bosworth as the Circus Knife Performer, Tony Cox, and JANG Dong-gun (Taegukgi: The Brotherhood of War, The Coast Guard) as the Warrior. With Osborne's involvement, Weta Digital is sure to provide some effects for some of the ambitious set pieces.
And that's where the information stops. A single promotional image (above) floated around the net for a while, but the August 2009 release date set by the film's press release has come and gone sans film. However, back in June of 2009, a promo reel did emerge, most likely out of Cannes, for the film and gives the only glimpse into the film's stylish visuals, setting, and atmosphere.



As one can see, there is some incredible potential in this reel; certainly not something to judge the final film by, but a enticing glimpse into how the estimated $50 million budget is being (or has been) spent. So, what could be the cause of the delay? With a cast and staff that should by all accounts "sell itself" why has the picture not been picked up for distribution? Have there been cost overruns? Production problems? Or is the film just not working as hoped? The lack of information through official channels certainly undermines confidence in the film. Yet, just seeing the footage presented so far is more than enough to strongly hope that this Wuxia-Western will ultimately see the light of day.

(*source: Kung Fu Cinema)

Merantau

Martial arts films have in the last couple of decades been largely dominated by Chinese style martial arts, namely some form of Kung Fu, either in theme, content, or just action choreography. As I have written before, Kung Fu photographs well, especially the very dramatic kicks and aerials that can be performed. It captures the audiences imagination, and delivers easy to comprehend impacts. This is due primarily to the popularity of Hong Kong films, with Bruce Lee at that popularity's vanguard. The problem is that there are as many types of martial arts as cultures. Does anyone remember what the karate film looks like? Can modern audiences even tell the difference any more? Muy Thai style boxing and mixed martial arts have started to become popular and films featuring these fighting styles, Ong Bak for example, are opening up the door for films utilizing something other than Kung Fu for their action.

Enter Merantau, a film produced and shot in Indonesia. In it, the main character, Yuda, is a practitioner of Silat Harimau, the regional martial art. Playing Yuda is Iko Uwais, a true Silat disciple and instructor. He was noticed by director Gareth Evans when making a documentary about Silat. Both agreed to produce a film that would elevate Silat to the world stage. The premise of the story is effectively basic. Yuda leaves his quiet village in the countryside as part of his "Merantau," a century's old rite-of-passage carried out by young men that aims to mature boys into men by setting them out to face challenges away from home. Yuda goes to the capital city of Jakarta where his idyllic sense of righteousness collides head on with the underbelly of the bustling metropolis. During the production, Evans, Uwais, and the stunt crew intentionally conceived of screen friendly fighting techniques and a shooting style that would enhance the onscreen dynamics of Silat apart from its real world application. If the trailer below is anything to go by, they have certainly succeeded:



Merantau has been making the festival rounds to very good reviews; it has been picked up in several territories. Be sure to keep your eyes on your local listings for the debut of a new martial art style to the cinematic vocabulary. You can find a link to the official site at the footer of this website.

Sasori

This is one of those films that stayed under the radar for almost its entire production and release. News of a Hong Kong remake of the classic Female Prisoner #701 Scorpion starring the incomparable Kaji Meiko (the original Princess Snowblade on which Lucy Liu's Oren Oshii is modeled) leaked onto the internet quite a few years ago. One picture from the production managed to be released (the one above) and then silence. No one was sure whether the film got made or not. Then there was word that distributor Eastern Light, a division of Arclight Films, picked the film up, where it then languished unseen for sometime. The film finally was released in Japan last year to very little if any fanfare despite its pedigree and the talent behind it. The key role is played by Mizuno Miki to whom some will be familiar through the Bayside Takedown series. With a rather popular and reasonably accomplished leading woman, it makes the underwhelming way the film was supported even that more perplexing. Joining Mizuno are the likes of Simon Yam, Sam Lee, Lam Suet and other familiar faces across Asia—certainly not a "marketing nightmare."
Joe Ma's take adheres fairly closely to the original's basic foundation. The original series was one of the quintessential works in the "women in prison" films being made in Japan in the 60s & 70s, paralleling similar exploitation genres found in the U.S. and Europe. The central appeal to the Female Prisoner films is the sight of women in engaged in violence toward one another as well as seeking vengeance on the men who wronged them. Being a Hong Kong film, Sasori certainly does not shy away from the action. It helps that Mizuno is a trained martial artist and stunt woman who belongs to KURATA Yasuaki's (Fist of Legend) Kurata Action Club as she is able to convincingly give and take the punishment required by the genre, probably one of a very tiny few who could and still look alluring in the interim.
The trailer below is for the DVD release. As one can see, it promises nothing more than what it is selling: action and the darkest of man's (and woman's) instincts. One would think that the success of Kill Bill should have lent some momentum to Sasori in theatrical release, but be as it may, Tarantino's film is only being used in an associative--"the series that inspired..."--manner.



It can be said that timing is everything. Whatever delays or inside politics led to Sasori missing the Kill Bill boat not only hurt it, but perhaps similar projects as well. Let us hope that someone will have the courage and force of will to revisit this type of film, anything to ease the deluge of forlorn love films that have outworn their welcome.

Battleships, Monkeys, & CG--oh my.

The first post of 2010 brings some potentially exciting news.

For anyone who grew up on animations of the late 70s and 80s, one should have memories of a series called Star Blazers, the Americanized version of a Japanese anime series "Uchuu Senkan Yamato (Space Battleship Yamato)." It was one of my first exposures to Japanese anime and I still have clear memories of the impact it had on me because of the grown-up nature of the story. It was far far different from "Tom & Jerry" or "Looney Toons." The series has a strong following to this day, especially among men in the late 30s and early 40s—an important demographic for the film industry.

When word broke that a film adaptation of the anime was in the works, I naturally had my misgivings. The story of the series is long and complex, yet its timely message of Earth at a environmental crisis with a group of people heading out to space in a last ditch effort to save it would make a natural draw to contemporary theater-goers. However, there are reasons why anime adaptations have always been difficult; how do you boil down a 24 episode or more storyline down to 2 to 2.5 hours? It is no easy task. What will the filmmakers keep? What will they cut out? What will they add? Peter Jackson proved that an adaptation can incorporate edited, added, and reorganized elements and still hold true to the original source, but he, Fran Walsh and Philipa Boyens spent countless hours writing and rewriting the script, and refining it during the production. This is a practice not found in Japan where the first draft is what usually goes in to production. If they were planning a trilogy of films, I could feel some sense of comfort, but as of this writing, Space Battleship Yamato is a standalone with sequel possibilities depending on box office. I believe this will ultimately affect the quality of the story.
However, some doubts were alleviated with the choice of director: YAMAZAKI Takashi, the man behind SF cult hits Juvenile & Returner as well as the Always: Sunset on Third Street period family drama series. Yamazaki is an expert at subtle uses of CG as a tool to bring the world of his films to life; he is the antithesis of KAZUAKI Kiriya. At least visually, the focus wouldn't be on the FX, but on how the characters live in a world brought to life by SFX. Over the weekend, the first preview CM (commercial) for the film aired:



The production design seems well done, possibly borrowing from the design philosophy of the "Battlestar Galactica" series in the practical realization of the technology. Then there is the CG. On Youtube, it might look fine, but on a 15 foot screen, there is the potential for this space adventure to look immensely artificial. Japan, despite all its technology, is not adept at CGI effects, mainly due to the lack of investment by production companies in the proper equipment and software or to set a portion of the budget to outsource CGI effects to internationally recognized effects houses. In order to save money, producers usually gather a staff using largely off the shelf equipment and software for the duration of the production. In the case of Yamazaki, his production company is also a CGI effects company so he has a slight advantage, but comparisons to even second-tier Hollywood effects houses are not even possible.

Recently, news on the Chinese film news site MonkeyPeaches.com, brought word of a project entitled Da Nao Tiao Gong (Uproar in Heaven), which will be a new live-action film based on the "Journey to the West" fantasy novels. The most important point in the press release is the decision by production company, Filmko Pictures, to contract Weta Digital to animate the Monkey King and deliver other CGI effects. Unlike their Japanese counterparts, Filmko Pictures recognizes Weta Digital's leadership in the type of CG that would be required to bring their film to reality and have decided to earmark a budget to add Weta's expertise to the team.

I have always been of the opinion that Japan could be a leader in CG effects and visualizations. Their long tradition of visualizing fantastic characters, situations, action and effects from manga would be greatly sought after by filmmakers around the world. Sadly, there is no one in Japan's film industry who has vision and courage to invest in creating the infrastructure, training, and environment for CGI effects services. To this day, there are no specialized effects houses in Japan's film industry. There are companies like Yamazaki's, a film production company with a CG department, but a Weta or ILM type company does not exist. This remains one of the Japanese film industry's wasted opportunities...

Little Big Soldier

Jackie Chan, to most of us, needs no introduction. He has been a fixture in martial arts films for so long, he can arguably called one of Hong Kong & China's living legends. It is unfortunate, however, that like many of his brethren from HK, his excursions into the American market has been hit and miss, some would claim more the latter than the former. In recent years, it seems that Chan has been satisfied to accept a "paint by numbers" project for Hollywood to cash a paycheck which he funnels into a project in China or Hong Kong.
Take for example two projects which should be coming out for 2010. There is the Wil Smith produced, China relocated remake of The Karate Kid in which he plays the "Mr. Miyagi" to a young boy played by Smith's son (i.e. "paint by numbers"). Then there is Little Big Soldier a film which, from the following synopsis and trailer, has far more thematic potential:

It was the darkest of times in China, when ruthless warlords waged battles to satiate their endless aggression.  Millions of lives perished, and those who survived had only two choices - kill or be killed.
The battalions of warring states Liang and Wei collided in a bloodbath that lasted from dawn until dusk.  Only two men were left standing - a FOOT SOLDIER from Liang (Jackie Chan) and the rival GENERAL from Wei (Wang Leehom). The Soldier survived because he is an expert in playing dead, with a device strapped on his body which protruded like an arrowhead for added realism.
The Soldier captured the wounded General, hoping to use the enemy as his ticket to freedom - by handing the General to the Liang warlord, the Soldier could be honorably discharged and return home to his peaceful life.  The young General, though taken captive, was condescending towards the Soldier.  The two men were often at loggerheads during the long and winding journey.

It is a shame that the Hollywood seems satisfied with relegating Chan or other experienced martial arts actors like Jet Li to two-dimensional action roles because it is obvious that Chan (and Li for that matter) are as interested in flexing their thespian skills as displaying their already well known martial skills. Recently, Chan took on a role in which he absolutely did no fighting whatsoever (The Shinjuku Incident) and Li will be doing the same in Ocean Heaven. And while the trailer above sells some of the action scenes in Little Big Soldier, something tells me that the majority of its runtime will be spent developing the Midnight Run-esque relationship between the Foot Soldier and the General, and that can only be a good thing....

14 Blades

Daniel Lee's latest film is based on accounts of the "Jinyiwei (brocade-clad army), the Ming emperors' own version of the CIA. The organization was set up in the late 14th century by Ming dynasty founder Zhu Yuanzhang (Emperor Hongwu), first as his own personal guards numbering in the hundreds, and later gaining many more other responsibilities (including intelligence, of course), reaching their apex in the 16th century with a total force around the low six figures." [Twitch Film]. Donnie Yen will be playing one of the Jinyiwei, who were masters of the 14 Blades—eight for torture, five for killing, and the last blade reserved for suicide when a mission failed. The story centers on the Imperial Court being taken over by evil eunuch JIA. The best of the Jinyiwei, QUINGLONG (Yen) and XUANWU, are assigned to steal a list identifying those still loyal to the Emperor. However unbeknownst to Quinglong, the Jinyiwei have fallen under the control of Jia, and during the mission Quinglong is betrayed by Xuanwu and barely escapes with his life. Now as the most wanted man in the land Quinglong must seek out and rally the loyalists to rise against Jia and restore the Emperor to power. In his way are the deadliest assassins in the land, his former brethren, the Jinyiwei.



The above preview gives a glimpse at the stunning cinematography, set pieces, production design (the 14 Blades and the case they come alone is noteworthy!) and action that promises to be more along the lines of classic Hong Kong martial arts films like Dragon Inn (which also dealt with this sect of assassins), rather than the more recent, lush imagery and philosophical wuxia of say, Hero. That's not a complaint. In fact, it is great to see a revival of both styles utilizing contemporary cinematic techniques and technology. With a veteran like Yen taking on a role of a type of "James Bond" complete with "gadgets", we can at least expect the film to deliver on entertainment. Let's hope the fascinating, historically based concept will hold up as well.

Clash of the Titans (remake)

Yahoo Movies released the first teaser for the remake of Clash of the Titans starring Sam Worthington who may be turning into the flavor of the month--time will tell. We have said our peace here about remakes, but this teaser only serves the point. What are they marketing in this minute and a half? Is it a classic fable of heroism? Is it the struggle of man against divine forces? Or is it monsters, swords, and gods...oh my!

The only dialogue in the piece doesn't feel mythic. In fact, it's almost downright contemporary, despite being delivered by Pete Postelthwaite. When you slap on rock music to a stream of jumping, grimacing, running imagery, and with the Monday Night Football inspired "Titans"-"Will"-"Clash" tagline, the intention of the filmmakers, so far it seems, is to pull in the crowd whose "literature" involves comic books and whose "epics" are found on videogame consoles.

But this is just the teaser. There is certainly more to be offered, right???

Edge of Darkness

This one debuted yesterday. It's good seeing Mel Gibson doing the "tough guy" thing again. His performance in Payback--and the film itself for that matter--are highly underrated. Naturally, comparisons are already being made to the surprise hit Taken but they are inaccurate. As stated before, Taken is more of a "search & destroy" film while Edge of Darkness is more the classic revenge film. Remember, one of the daughters in these films is still alive! Some uninformed commenters on various sites have also accused this film of ripping the concept of Taken. Again, this is inaccurate as Edge of Darkness is actually a film adaptation of a BBC television series from 1985.
The director of that series is also at the helm of the film version: Martin Campbell. Given his outstanding work in Casino Royale, the onscreen fireworks tantalized in the trailer below should be quite thrilling. Sizzling with subtly menacing lines, kudos must also be given to the script as well with Ray Winstone looking to have most of the meatier dialogue. Looking forward to this one very much.