First Daniel pics of the year !!!!!!

Daniel Craig and Barbara Broccoli hosting a screening of Jeffery Wright’s film ‘American Fiction’ at the Crosby St. Hotel in New York on 16 January 2024.

[Barbara] Broccoli insists it was his [Daniel Craig’s] performance as Jesuit priest John Ballard in Shekhar Kapur’s 1998 period drama “Elizabeth” that convinced her Craig was the one. “I remember thinking, ‘Oh my God, he’s the guy,’ when he was in Elizabeth, walking down that corridor. I know that sounds crazy, but that was the moment I felt it in my gut. When your whole life is James Bond, some part of you is always looking for, ‘Who could play the role? Daniel just eats up the screen. He’s truly a remarkable actor.”

Barbara Broccoli on what first made her think Daniel Craig could play James Bond in “Being Bond” (p. 28-30) 

SPECTRE 2015

Daniel Craig, Barbara Broccoli, Sam Mendes

12 February 2017 | Prince William, Duke of Cambridge meets US film producer Barbara Broccoli as he arrives for the 70th EE British Academy Film Awards (BAFTA) at the Royal Albert Hall in London, England. (c) Daniel Leal-Olivas- WPA Pool/Getty Images

New!!

Christoph Waltz walks onstage at a ceremony for Producers Michael G. Wilson and Barbara Broccoli to place their handprints in cement at TCL Chinese Theatre on September 21, 2022  

Se o próximo agente não estiver pronto para assumir a licença 007, temos quem treiná-lo.

M e Moneypenny estão preparados para dar todo o suporte que o novo agente precisar. Os produtores e cineastas envolvidos no próximo projeto estão mantendo tudo em sigilo e envolto de suspeitas. Será uma pista falsa, o ator Aaron ter se reunido com Barbara? Imaginem se depois de toda a comoção causado por conta desses últimos vestígios, o ator, porventura, ser o vilão do próximo filme. De qualquer forma, após analisar o currículo e o seu perfil dele, Aaron pode claramente assumir a vaga que Daniel deixou.

Esperamos com expectativa o desfecho dessa missão e as próximas que surgirão logo em seguida.

Não sabemos quem será escolhido, mas, não desconhecemos o nome dele.

"Bond, James Bond."

‘Till’ Review: He Was Someone’s Son, Too

Chinonye Chukwu’s new film reminds us that before his gruesome murder galvanized a civil rights movement, Emmett Till was a 14-year-old boy with a doting mother.

Jalyn Hall as Emmett Till and Danielle Deadwyler as his mother, Mamie, in “Till.”Credit...Lynsey Weatherspoon/Orion Pictures

By Manohla Dargis Published Oct. 13, 2022 Updated Oct. 16, 2022

Some stories can seem too difficult to tell, though that doesn’t seem to have crossed the mind of the director Chinonye Chukwu. In “Till,” her haunted and haunting movie about Emmett Till, the 14-year-old whose barbaric murder in Mississippi in 1955 by white supremacists helped galvanize the civil rights movement, Chukwu revisits the past while doing something extremely difficult. She makes this grim American history insistently of the moment — and she does so by stripping the story down to its raw, harrowing emotional core.

In brisk strokes both sweeping and detailed, Chukwu — who shares the script credit with Michael Reilly and Keith Beauchamp — revisits Till’s life, winding back the clock to Chicago in 1955. There, the cherubic-faced Emmett (a tender Jalyn Hall) lives with his widowed mother, Mamie (a superb Danielle Deadwyler), in a cozy house and is eagerly preparing to visit relatives in Mississippi, a trip that hangs over his mother like a worrying cloud. Yet Mamie dotes on Emmett (she calls him Bo) and, as a gift, buys him a wallet at a department store, where she tartly rebuffs a white salesclerk who tries to steer her toward the basement.

By the time that Emmett is riding a train to the South — midway through the trip, the Black passengers stand and move en masse to the rear — a divided world of post-World War II optimism and jarring racial segregation has opened up. These divisions widen once Emmett arrives in Mississippi, where he stays with the family of Mamie’s uncle, a sharecropper, Moses (John Douglas Thompson). Soon, Emmett is helping Moses and his children pick cotton under the relentless sun — the palette suggestively lightened — and the camera sweeps over Black bodies toiling in the field as Antebellum America comes to unsettling life.

The horrors of that world soon emerge with devastating consequences. Emmett, along with some relations, visits a small grocery store that caters to Black customers but is run by white people. Things rapidly spiral downward when Emmett walks into the store and meets the contemptuous gaze of the woman behind the counter. The Northern salesclerk who insulted Mamie earlier was just a better-mannered racist; he was also an ugly foreshadowing. Now, away from Mamie and the life he knows, Emmett amiably tries to engage the woman, Carolyn Bryant (Haley Bennett), whose hostility ends in catastrophic violence. That evening, several white men kidnap, torture and murder Emmett, throwing his mangled body in a river.

Chukwu doesn’t show Till’s torture and death, a decision that is a clear, emphatically ethical artistic choice. “Till” is the third feature-length movie that she has directed, the latest following her 2019 drama “Clemency,” about a Black prison warden in crisis, and her work here is impressive. She handles the larger-scale period backdrop of “Till” and sprawling cast with confidence, using her expanded tool kit prudently and without sacrificing the intimacy that helped distinguished “Clemency.” And, just as she did in that drama, which was at once anchored and elevated by Alfre Woodard’s powerful lead turn, Chukwu distills a story — its gravitational force and emotional depths — into the movie’s central performance.

With fixed intensity and supple quicksilver emotional changes, Deadwyler rises to the occasion as Mamie, delivering a quiet, centralizing performance that works contrapuntally with the story’s heaviness, its profundity and violence. The weight of Emmett Till’s murder, the horror of it — as well as both the history that preceded his death and that which followed it — is monumental, impossible, really, for one movie. Rather than attempt to convey that significance in its full sweep, Chukwu condenses it into meaningful details, fugitive moments, tranquil ellipses, explosive gestures and, especially, the face of one woman in joy and in agony.

Chukwu keeps focused on Mamie even as the world presses in, including after Emmett’s death when she’s swept up in a larger national drama and arranges an open-casket funeral — a bold, far-reaching decision — and then later travels from Chicago to Mississippi to attend the trial of his murderers. During the trial, a grotesque sham, reporters swarm, flashbulbs pop and highlighted figures enter and exit, including Medgar and Myrlie Evers (Tosin Cole and Jayme Lawson). The movie doesn’t go deep into the era’s policies and politics, but while the trial unfolds it sometimes slips into explanatory, near-pedagogical mode, including in some scenes that seem more for the viewer’s (perhaps white viewer’s) benefit than for the actual story.

In the decades since he died, Till’s murder and the still-shocking photographs of his body have been the subject of innumerable news stories, scholarly articles, nonfiction books, novels, poems, documentaries, podcasts, websites and exhibitions. At the 2017 Whitney Biennial, a painting of his corpse by the white artist Dana Schutz drew protests and criticism from Black artists. Historical markers installed in Mississippi that designate significant locations in his murder have been repeatedly vandalized. And, in March, Congress finally approved a bill — known as “the Emmett Till Antilynching Act’’ — making lynching a federal hate crime. Nearly 70 years after his death, his legacy and body remain contested ground.

Perhaps that’s why I keep returning to the image of Mamie with her mother, Alma (Whoopi Goldberg), who’s sitting near-immobilized with grief after his death. Alma’s limbs hang heavily, as if they had turned to lead, an image that mirrors Jesus as the Man of Sorrows and summons up visions of other grieving Black families. Here, as elsewhere, including the scene of Mamie with Emmett’s corpse that evokes innumerable pietàs, the sanctity of these bodies is as undeniable as their humanity. In the end, what makes “Till” cut deeply is Chukwu’s insistence that before Emmett was a victim of pathological racism and an emblem for change, he was a boy, a friend, a cousin, a grandson and Mamie’s son — a beautiful, loving and loved child.

Till Rated PG-13 for racist violence and language. Running time: 2 hours 10 minutes. In theaters.

The Sound of 007 (12): A fascinating dance through 60 Years of Bond music, but a missed opportunity.

#onemannsmovies review of "The Sound of 007" (2022). #TheSoundOf007. An Amazon documentary walking through 60 years of Bond music. 4/5.

A One Mann’s Movies review of “The Sound of 007” (2022). “The Sound of 007”, available on Amazon Prime Video, is a documentary exploring the musical history of Bond, James Bond. It has some glorious nuggets and (even to this Bond officianado) had a few snippets of information I hadn’t heard before. But, sadly, it was directed in a rather disjointed way and missed out some key historical musical…

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Még nincs meg Daniel Craig utódja, de a James Bond producerei legalább 10 évig számolnak az utódjával

Nagyok az elvárások, nem kapkodják el a kiválasztást #JamesBond #DanielCraig

A James Bond-producerek, Barbara Broccoli és Michael G. Wilson elmondták, hogy keresik az új 007-es színészt, aki legalább egy 10 éves szerződést kap majd. Miután Daniel Craig a tavaly bemutatott 007 Nincs idő meghalni című filmben végleg szögre akasztotta a szmokingot, az MGM most új főszereplőt keres a franchise főszerepére. A 007-es film producerei egy korábbi interjúban már kifejtették, hogy…

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Daniel Craig by Juergen Teller for Belvedere Vodka (2022-2023)

Daniel Craig in Elizabeth, 1998, directed by Shekhar Kapur Part 1 | 2

Babs

“That was the challenge, to create this final chapter [”No Time to Die”]. The key to it really was in bringing Léa Seydoux [Dr. Madeleine Swann] back. This woman is such an incredible actress. She is so truthful, and so real. That’s what made the relationship between them [Swann and Bond] really work, that you really believe this woman. And it’s so moving, her whole portrayal of this character. From the moment she’s in the car and she says ‘I have something to tell you’. And Daniel [Craig] is in his mindset and he shuts her up, ‘I bet you do’. To the last few moments, which are just heartbreaking, when she says ‘But everything’s good now.’ I really think that Léa was so key to making the emotional stakes of this movie so high...was brilliant in creating the opening of this movie when you realize that you’re seeing the backstory of the woman who is the most important woman in the Bond series.”

- James Bond series producer Barbara Broccoli on Léa Seydoux in No Time to Die

and I know just the man who will hire him (constant collaborator, christopher nolan).

New!!

Christoph Waltz walks onstage at a ceremony for Producers Michael G. Wilson and Barbara Broccoli to place their handprints in cement at TCL Chinese Theatre on September 21, 2022