Out On Blue Six: Chris Cornell, RIP

Shocked to hear of Chris Cornell's suicide. The singer songwriter performed in the bands Soundgarden and Audioslave and, in 2006, kickstarted the Daniel Craig era of the James Bond franchise with his hit theme to Casino Royale, You Know My Name which was as fast, bombastic and aggressive as the new incarnation of the secret agent proved to be

RIP

End Transmission

Spectre (2015)

Firstly, rest assured this review contains no spoilers.

Well I loved it.

Whisper it, but Spectre is a bit of a Greatest Hits of Bond, harking back to several moments across the franchise's history. Aside from some stuff that would constitute spoilers, there's the opening pre-titles credit sequence which owes a lot to Live and Let Die; there's a brawl on a train with a fearsome heavy (the most fearsome heavy since...well, since I don't know when. The recent Bond movies haven't really dealt in this tradition); there's a moment which directly recalls a setpiece from The Man With The Golden Gun; there's a destructive vehicle chase across the snow that put me in mind of The Living Daylights, whilst the alpine clinic at the commencement of this scene is reminiscent of OHMSS; a gadget filled DB10 echoes Goldfinger; and there's a riff on the line "Our asylums are full of people who think they're Napoleon" that appears in Dr No. Not only that, but its choc-full - and rightly so - of direct references to all of Craig's previous films (though Quantum of Solace understandably gets somewhat ignored/overlooked) and I must admit to getting the shivers when I saw Vesper (amongst others) appear in the stunning title sequence. It's a very reflective, quietly celebratory piece on the Bond film, and what it is to be a Bond film. After the success of Skyfall, which is a great film in as much as it is a great Bond film, the film makers had to go out and make a quintessential Bond film, and with that respect, Spectre certainly delivers. 

But it can also be argued that it is so reflective, that it has taken the story that first commenced with Craig's debut in Casino Royale and has now come full circle, that you can't help but wonder if this is designed to be Craig's farewell. I must admit to being a bit irked by the press and the online community pushing the notion of this being Craig's last Bond film and starting the name game of suggesting who could now step into his shoes for the next adventure. But after seeing it now for myself, I can see why that is a valid query and, yes, a concern. 

If this is Craig's last, then I will go on record and say it's a shame - because Spectre shows us a much lighter Bond, with the ability to be laconic and to have funny incidents within the films once more. I especially love the humour which stems from the bystanders. A trope of the Bond films, it returned with Skyfall and has been ramped up here - though thankfully not to the double-take pigeon of Moonraker status! In short I'd like to see more of this light touch from Craig, especially as he has such brilliant chemistry with M, Q, Tanner and Moneypenny who are fast becoming characters to truly love in the franchise once more thanks to some superb playing from Fiennes, Whishaw, Kinnear and Harris. He's also given some sterling support from both the heroine and the villain this time around; Léa Seydoux is impressive as Madeleine Swann and the romance between her and Bond is touching and rather effective, whilst Christoph Waltz is used carefully and brilliantly and already feels quite iconic. 

Whatever happens, James Bond Will Return...and on the strength of this thoroughly enjoyable outing, I cannot wait.

The Trench (1999)

Novelist and screenwriter William Boyd's directorial debut, The Trench feels like an echo from the past. Not quite the past it is set in however - which is the eve of the Battle of the Somme in 1916 -  but more like the past of a certain kind of celluloid depiction of war from the 40s through to the 70s.

Much of  the success of The Trench is down to the emotional interplay between the platoon as they endure firstly the banal minutiae of trench life and eventually a growing anxiety for the dawn attack as its deadline steadily approaches. It's strong on character and a class identity, the sense of men from all works of life and various regions thrown together to defend the one common bond that is their country. In that regard it really does evoke memories of classic films which focused primarily on the men of war rather than the action of war itself. 

It certainly helps that the cast assembled to depict these characters is quite a strong one; Daniel Craig (a really strong performance as the firm but fair Scouse Sergeant), Paul Nicholls, Julian Rhind-Tutt, James D'Arcy, Danny Dyer (surprisingly restrained) Ben Whishaw and Cillian Murphy, as well as several other 'oh-what's-he-been-in?' faces, all help to make these characters a little more three dimensional than perhaps the script intends or can offer  - or perhaps it's just that we care more when viewing now because these young actors have in the intervening fifteen years achieved some varying degrees of success and acclaim from Hollywood A list to regular TV fixtures. 

That the film is considered stagebound - shot almost entirely on a sound stage and contained within the claustrophobic trenches - often appears as a criticism in many reviews but, on the whole, I'm someone who is perhaps more amenable towards films that are described as 'stagey' than some and I do think it helps create something intimate and contained about the trench setting in a manner that a more realistic on location depiction may not have done.  Equally it continues that produced-in-aspic like approach that the film seems happy to embrace, making it appear not unlike a 1940s war film or an earnest late 60s TV play. Even the film's funereal score feels familiar and certainly tips even the most historically unaware viewer the wink that this will not be a film for happy endings.

The wait before the dawn, and the growing realisation of doom that these characters come to terms with is conveyed palpably by both Boyd's direction and the accomplished cast. The film takes the very firm 'lions led by donkeys' stance towards WWI, a generally conceived wisdom that has only this year in the conflict's centenary started to be reassessed and challenged (when we've a Tory government in power eh? Like they've nothing to gain from a reevaluation that suggests 'our betters' weren't incompetent have they? ) Personally I remain steadfast in my belief that WWI was a barely organised ruthless catastrophe that saw thousands upon thousands mown down before they could even fire a shot themselves. It did not matter how well trained a man was, or how stiff his upper lip could be, the tactics Haigh and our other generals had belonged in a totally different era. That they held an almost Jesuit like belief of the ends justifying the means saw an almost unimaginable 20,000 killed on the first day of the Somme, and a further 40,000 wounded - the single worst day of casualties and deaths in the history of the British army - is the cold hard fact that no amount of revisionism can alter or deny. 

Where perhaps The Trench ultimately fails is deciding to try and depict that fate for our protagonists in a manner not unlike that seen in Peter Weir's 1981 film Gallipoli. Poignant and poetic it may be, but it is also makes the small scale of the previous 90 minutes lost and a little foolish on the big reality of the arena of war.

In the end what perhaps makes The Trench's glory elusive is the fact that we've seen what it has to offer before, in films both better and worse.

The Ice House (1997)

Since its arrival on our Sky/Cable screens last year, The Drama Channel has specialised in repeating rarities from the BBC and ITV vaults within the last 30 years. Sitcoms like Brush Strokes and 2 Point 4 Children, dramas like the wartime espionage serial Wish Me Luck and vintage Casualty and adaptations of literary classics such as Pride and Prejudice, Tess of the d'Urbervilles and The Forsyte Saga have all provided pleasant alternatives to the usual offerings on terrestrial TV. Currently Drama are showing adaptations of Minette Walters crime thrillers each weekend, commencing with 1997's The Ice House last weekend.

Barbara Broccoli is on record I believe as claiming that it was Daniel Craig's breakthrough performance in Our Friends In The North that placed him so fixed in her mind when it came to casting him as the sixth actor to play James Bond, yet I'd actually argue that there are more similarities with 007 in his role here than their are with poor old Geordie of Our Friends...

As The Ice House's damaged and dogged, alcoholic young detective, Craig gets to perform that rather offensive old Fleming fixation (as seen in Goldfinger) of 'turning' a lesbian - or at least in this case, getting some loving with a man hating bisexual who claims to be a lesbian. He even has a Scottish brogue in common with Connery, albeit one he occasionally struggles with. Iffy accent aside, he's very convincing in the role - one can even feel his hangover! -  and its easy to see from here just how big screen international fame would be in the offing for him. Craig just had that certain something right from the off.

Lizzie Mickery's adaptation of Minette Walters murder mystery thriller is imbued with an oppressive and grim air of prejudice, secrecy and scaremongering that gives the production a distinctively different approach to the usual 'big house murder in a small village' that, as a nation, we're familiar with thanks to more twee genteel course taken by Agatha Christie and Midsomer Murders.

Of course The Ice House isn't just Craig's show, at the heart of the film are the three women at the 'big house' who are looked upon as a dangerous lesbian and murderous coven and they're played by the classy trio of Penny Downie, Frances Barber and Kitty Aldridge, the latter of whom is the hardbitten, cynical and intelligent femme fatale who piques Craig's romantic interest. It could be cliche, and it does wander over towards it from time to time - especially with Walters seeming determination to depict most men as sex starved sexist pigs -  but some assured playing from the pair make this a resonant exploration of instant and instictive attraction which helps reawaken Craig as a functioning and sensitive human being. It also helps that there are some killer lines between the pair, such as their first exchange when Craig bluntly claims to have nothing against 'Dykes' as he puts it, "I just wouldn't put my finger in one" and later when Aldridge puts forward several reasons as to why they're not a good match, ending with "And I fart in bed"

Also of note is the late great Corin Redgrave as Craig's DCI. He adopts an Insp. Wexford carrot crunching accent and its quite amusing to see the former Workers Revolutionary Party prime mover mention with disdain how one of their suspects has links with just such a party!

Look out for another actor who, like Craig, would go on to bigger things, James D'Arcy appears here as Downie's son. At the time, he appeared in quite a few BBC1 mystery dramas including the second ever episode of Dalziel and Pascoe, An Advancement of Learning, superbly adapted for the screen by Alan Plater which, ironically, I watched whilst on holiday last week.

The Minette Walters season has continued on Drama with The Scold's Bridle on Saturday night and, on this coming Saturday, The Sculptress.

Looking Up Old Friends

As BBC2 celebrates its 50th, I find myself watching once more one of the finest dramas the channel has ever put out. 

1996's Our Friends In The North was seminal appointment television. I was engrossed first time round and, having it watched it a couple of more times down the years and again now, I'm equally just as engrossed.

Isles Of Wonder : One Year On

Isles Of Wonder was repeated on BBC3 last night to celebrate the one year anniversary of the opening of the 2012 Games. Purporting to be Danny Boyle's director's cut, I'm still in awe of what he achieved - it was a superb celebration of our culture and a truly defining spectacle for our generation.

However, watching again one year on (and you compare this review with my original one HERE) it's time perhaps to look at what didn't work, many issues of which can't really be laid at Boyle's door and which still remain despite this 'cut'

1) The inane wittering from the BBC commentators. The trio can be summed up thus; Trevor Nelson - pointless, Hazel Irvine - embarrassingly unfunny and irritating comments referencing all sorts of bizarre obscure points of absolutely no interest,  Huw Edwards - unable to shake off his austere newsreader schtick, Huw seemed to take a positively perverse interest in the poverty and terror that pervades some of the countries that were competing.

2) The celebration of music. Boyle has long had a special affinity for music and soundtrack in all of his films and has expressed on many occasions a desire to direct a musical. So why did this, by his own admission, not really work? A great shame. That said the confetti of clips was quite remarkable.

3) The Mr Bean/Chariots of Fire bit. One felt that, because of the Atkinson character overseas, this was included far more for the worldwide audience's benefit than for ours. Nothing wrong with that I guess, and it was nice to see comedy be represented, but I'm still at a loss at his Zelig like inclusion in the famous opening from the film and especially at Stephen Campbell Moore's inclusion by his side. Why? Did they think any old (or rather young) posho actor will do? Surely it'd be more apt to have asked original stars Nigel Havers or Ben Cross to put in an appearance?

4) And this one really can't be blamed on Boyle and is perhaps more of a personal irritant to me, but Redgrave with the torch - it should have been Daley Thompson!

5) Paul McCartney and his croaky spent goose farting in the fog voice.

Despite this however, we still have the amazing history of England complete with Branagh's Brunel, the wonderfully proggy celebration of the NHS, children and children's literature with a soundtrack by Mike Oldfield and of course that meeting between James Bond and Her Majesty The Queen after 50 years of him being OHMSS. And its' those moments that are worth the celebration even now right?

Beer and Bond

All that fuss over Daniel Craig supping on a bottle of Dutch lager, specifically Heineken, in Skyfall eh?

Lazenby was there before him with Kronenbourg...

Skyfall

Far far better than Quantum of Solace, but still not as good as Casino Royale, Skyfall is nevertheless a superb movie and demands to be seen on the big screen (if only for the heart stoppingly beautiful Scottish landscape) The key to Skyfall, indeed perhaps the key to all successful Bond movies, is a good story, simply told. 

A continuation and to an effect conclusion of 'the origin story' Craig's Bond here is remarkably more mellow, despite the onslaught he suffers throughout the course of the film, and seemingly comes to terms with a lot of his psychological baggage in the duration. He's also older, a point which is pressed on several occasions by virtually every other speaking character. One presumes that the real time since Craig's debut in 2006 has been the timeline for Bond's narrative too, and 00's are not known for their longevity as M pointed out in that movie. What we're watching in Skyfall is an actor who now totally gets the role he's asked to play. Craig IS Bond, and it's the best Bond of the last 20 years.

Sam Mendes may have, on paper, been an unusual choice for the director's chair, but he delivers brilliantly. Each scene is so well shot and so well layered that they'll automatically join the ranks of some of the legendary Bond set pieces, from the opening pre credit sequence (amazing and yet so simple) to the silhouette fist fight, from the kimono dragon lair to the terror on the London Underground, and not forgetting the most dazzling climax in a long while (and again, so simple) Bond really is back. 

Mendes is also a brilliant actors director which means he draws some stunning performances from the cast. Craig and Dench in particular shine and add new dimensions to roles you may think have become familiar, and the newcomers; Ben Whishaw  - who as the new head of Q branch brings about a joyously funny relationship with Bond that will silence some who say Craig is too moody - along with Ralph Fiennes and Naomie Harris all sparkle and shine, as does Albert Finney in little more than a cameo, and an immensely enjoyable one at that. 

Javier Bardem, perhaps has the most difficult role, as the extremely camp yet extremely dangerous villain, Silva. It's a fine line between performing a sinister Bruno Tonioli act (which it does veer to) and actually being deeply unsettling, and Bardem just about manages it. His is a satisfying villain as palpably dangerous as Robert Davi in Licence To Kill.

But if you're looking for Bond girls, the only one to really concern yourself with is Judi Dench. This is very much a film about M as it is a Bond film, and Dench never wastes the opportunity for one moment.

Kudos to the cinematographer Roger Deakins. Each shot looks truly special, and it's refreshing to see the UK, London and the Scottish Highlands, play such a big part in this one instead of just being the launch pad to the globe trotting adventures.

I was told to prepare myself for some surprises, especially as I've managed to be relatively spoiler and review free, but to be honest, I second guessed the film at each turn. That's not a disappointment I don't think, rather it's proof of an assured seamless narrative from the team that delivers beautifully and piques our interest in seeing where the series will go next. I for one, cannot wait.

More Than Enough

Ok, here's the thing; I haven't watched all of the film today. I did however see the film at the cinema when it originally came out (a staggering 13 years ago - where has that gone?) and a few times since. What I have done today is watched the opening sequence again. Because frankly, that's the best part of this bloated entry in the Bond series. Isn't it?

Watching it at the cinema (Warrington, 1999, with my sister - a massive Brosnan fan; I despair) I was bowled over by the sheer scope and spectacle of the opening sequence. For a long time the pre credit opener had been a mini movie in itself but TWINE went one further in making it the longest pre credit opening sequence in Bond (so far) and by staging enough bangs, explosions, double crossing, globe trotting, sex, comedy and chases (from foot to motorboats on the Thames, to London road and ultimately to a hot air balloon above the then infant Millennium Dome) to make a Bond movie right there off the opening bat.

At the time I was stunned. As the sequence began to close with Bond gripping a hold of the Dome structure, clearly beaten and broken whilst Garbage's excellent and suitably retro sounding theme tune brassily pumped out in pleasing cinema stereo, I took a breath. Assaulted by such a visual and audio onslaught of riches. I was, to quote the awful pun, in 00 Heaven. From then on, I long believed this was the finest opener to any Bond movie.

Though the film itself was pants. 

Of course it was pants. What could possibly come along in the 1 hour and 40 minutes that followed to top that sequence? Robert Caryle was good, but his Begbie in Trainspotting was scarier! And fellow Scot also pretending to be a Russian, Robbie Coltrane was wasted. Oh and Brosnan was still a weak and too smug Bond. Let is not even speak of Denise Richards in her Lara Croft kit with an implausible name even for Fleming.

Watching the opening again today, I felt like I'd been transported back, Christmas Carol style, to a childhood Christmas, only to find it wasn't as great as I'd remembered. It couldn't be. These things live in your head after all. Not that the spectacle wasn't still brilliant it was. But crucially, it was too much. What I thought was the only redeeming feature of this film actually proved to be its downfall, and very nearly the whole Bond series downfall too. It's too pumped, too overblown, too self satisfied, too too too much. Hell, it even has a cameo from a traffic warden reality TV celebrity of the time! The World Is Not Enough may have been the film's title, but it was more than enough. Way more than enough. You can have too much of a good thing. It was only right that after one more spin of the wheel, Brosnan's Bond, and the over inflated spectacle of this era was put to rest. Bond had started to resemble it's own spoof, namely Casino Royale, the 1967 film. And that was wrong. When Bond came back, in the real, long awaited adaptation of Fleming's Casino Royale it was leaner, meaner and crucially more believable. It was Daniel Craig in black and white, killing a slippery MI6 traitor and thereby gaining his 00. It was simple, and all the more enjoyable for it. When the stunts came - the magnificent Parkour chase - the audience felt they had earned it and they were seeing it more in context with the story. It wasn't just tacked on because that was what was expected.

Ultimately TWINE's opener is a ode to the turn of the century, a triumphant self congratulatory cheer for the Blair generation and its icon; The Dome. Great at the time, but best left in the past, and to our memories. Things can only get better and thankfully, they did.

And the film is still pants.

The Best Bond Poll Results.

Yes the results are in.

And it appears nobody does it better than.....

Sean Connery

The original proved to be the best coming in at 001 by a country mile with 41% of the vote. Was it ever truly in doubt? Shurely not, as the big man might say. He helped create not only an icon but also a template, for each of his successors to be caste from and hopefully even beat. Not yet though clearly.

Timothy Dalton

The brooding Welshman hit 002 in the poll and was a clear favourite from the off; at one brief point he was even ahead of Connery! Dalton's short tenure saw a return to Fleming's original intentions in terms of the character, but was regrettably still saddled with the naff gadgets and worse, political correctness. This was safe sex Bond, and for the audience at the time it was something of a turn off. Time has been kinder to Timothy, clearly, with 17% of the vote.

George Lazenby

Old Big Fry himself was perhaps a surprising entry at 003. Whilst OHMSS has long been my favourite Bond movie, Lazenby - whilst utterly looking the part and screaming the definition of late 60s Swinging London action man - didn't really have the acting chops of his predecessor, Connery. Some bad behaviour and even badder advice saw George leave the role after just one film but 12% of you rate him, imagine how much more votes he could have garnered had he had all the time in the world?

Daniel Craig

Two films in and one about to be released on Oct 26th makes Craig our 004. His debut was nothing short of brilliant; a rollicking adventure, mature and heady, it was what every Bond movie should be and underneath all the crashes and bangs, our stone faced Bourne-esque Bond proved he had a heart, with more than a nod to the style of OHMSS. A slightly faltering, but no less stylish step with A Quantum Of Solace hasn't dampened your expectations or faith, and he walks away with 14% of the vote.

Roger Moore

For a certain generation of mid thirty somethings and forty somethings, Roger Moore is James Bond, gracing our TV screens in the Bank Holidays of our 1970s and 80s collective youth. But clearly that time is fading and fashion changing and it is with a little eyebrow raising surprise and disappointment that the Bond with the lightest of comedic touches could only secure 005 in our poll. Moore played the part in a staggering seven films, all with his tongue firmly in cheek and a wink tipped knowingly to the audience as he seamlessly stepped into the place of his hard working stuntman following any number of extravaganzas. 9% of you still think the Moore the merrier.

Pierce Brosnan

Languishing at the bottom (rightly, in my opinion) in 006th place is the once 'great white hope' of Bond; Pierce Brosnan. When the series was resurrected in the 90s with Goldeneye Brosnan was hailed the best since Connery. Three films later, the realisation that the spymaster's role is a marathon and not a sprint sunk in as moviegoers deemed Brosnan's world was too much rather than not enough. A smugness that stuck in the craw, invisible cars, Python cameos, and a Madonna song that was only marginally more preferable than listening to Paul Shane fart into a wet football sock for three minutes meant inevitably 90s man Brosnan's day had come. He manages just 4% of the vote.

A big thank you to all 41 who voted in this poll. Feel free to share your reasons why you voted as you did, or if you feel the results are right in the comments below. I'll get round to looking on Sunday I guess - no blog tomorrow as I'm off to that there London for the day.

The Girl With The Dragon Tattoo (Mark 2)

So I've finally got round to watching this.

But that suggests I haven't seen it before doesn't it? 

And that's not strictly true.

Because you see I've watched the original Swedish version, and its two sequels, already. I adored them and frankly, when I heard that Hollydud had decided to remake them my initial feeling was 'why?' 
It felt like a pointless exercise, much like BBC1 installing Kenneth Branagh as Wallander for a series of so so adaptations after BBC4 have screened all the brilliant Swedish original ones. 
I'm reminded of an old adage which I'll paraphrase to suit the locale here - why go out for hamburger when you can have prime Swedish meatballs at home?
Seriously, is the reason for remakes just so a wider audience - and audience too lazy to read subtitles - could watch? 
Is that enough of a reason to spunk millions upon millions of dollars at feet upon feet of celluloid?? 
The tragic thing is, the more anglo-remakes that get made the lesser opportunities there are for foreign language movies to ever break out of 'the art house' and take their place in the mainstream multiplexes where they deserve to be. They're being squeezed out, and all for carbon copies to pander to the masses, dulling expectations and palettes.

Phew, rant over.

Anyway, I have watched this tonight and what do I think? Well, if it came first, if there was no Swedish language version, I'd really love it. It's well directed by David Fincher, it looks beautiful, it has a great vibe faithful to the novel and the cast is uniformly brilliant (taking the usual Hollywood staple of chucking a load of English actors at the screen because the characters they are playing are foreign ie 'not American' and having them adopt a slightly stilted accent...except for Daniel Craig however who basically just speaks as he always does) And so to our leading man, I do feel Craig is a little distracting; he's never going to suffer typecasting like Connery, Moore, Dalton or Brosnan etc, because his acting chops are far more considerable, but it's hard to shake Bond away from his role here, especially with the Maurice Binder on MDMA and Acid style opening titles which just scream what Bond should be now. Craig's just too neat, too handsome and looks too capable and canny to play the slightly at sea, weary Blomkvist with the typically Nordic slings and arrows befalling him at every turn.  

Rooney Mara is good but  she simplycannot touch the brilliance of Noomi Rapace who simply is Lisbeth. Her interpretation seems like a brilliant impression rather than a proper performance. The shadow of Rapace looms all too large.

In conclusion, this is a film that succeeds exactly where it is supposed to. It is made for people who wouldn't think of sitting down watching the original, therefore for such people this will be a brilliant film. For me, it's a good film and to be honest, that's more than I was expecting.

Good Evening, Again, Mr Bond

Sky Movies have changed their Showcase channel to a Bond channel to celebrate the forthcoming release of Skyfall which means several Bond films per day, a veritable Alan Patridge-esque Bond marathon!

Last night I rewatched Daniel Craig's debut, Casino Royale

And on yet another watch this is still the best serious grown up Bond film since On Her Majesty's Secret Service and Licence To Kill.

Craig's Bond is brilliant. He impressed me immediately at the cinema six years ago (was it really that long?!) and he still does now, giving me high hopes for the forthcoming Skyfall. 

As a Fleming fan I don't buy into the 'faithful to the books' yarn the studios spin regarding his interpretation, because he simply isn't in so many respects. Yes he's tough, cold and relies on his wits, but that's where the similarities end (and besides it's Timothy Dalton who perhaps is the closest to Fleming's character in the novels) What Craig gives us is a Bond for now, a Duracell bunny of violence who no matter how many knocks he takes will simply shake his head and get back up again...and of course, win. You just know this Bond was a wow at the rough and ready Eton Wall Game and could probably drink a bucket of mixed spirits in the dining hall and not chuck up. A bloody good bloke as Time Nice But Dim would say. Speaking of which, he reminds me of Harry Enfield's Pik! 

Stunning cinematography, a great reinvention (though try not to think too much about this reboot and what that implies for the series as a whole) excellent direction, brilliant title sequence and, with Chris Cornell and David Arnold, a bombastic score that's about as subtle as Brian Blessed giving you a wedgie, Casino Royale is a huge win for the house. 

Oh and Eva Green is the most stunning Bond girl ever.

And to celebrate all things Bond, I've set up a poll on the right hand side of the blog, asking readers to vote for their favourite actor who has played the super spy. Vote vote vote! You have until Friday.

Out On Blue Six : Adele - Skyfall

The wait is over. Here is the official anthem to the forthcoming James Bond film, Skyfall, sung by Adele...

End Transmission