When was casino royale released

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This wacky send-up of James Bond films stars David Niven as the iconic debonair spy, now retired and living a peaceful existence.

Jerry Bresler , Charles K. Oct 15, James Bond Ursula Andress Vesper Lynd, David Niven Sir James Bond. Orson Welles Le Chiffre. Joanna Pettet Mata Bond. Woody Allen Dr. On November 17th, discover how James Rated PG for intense sequences of violent action, a scene of torture, sexual content and nudity.

Did you know Edit. Trivia The way Bond orders his first vodka martini is lifted directly from the Ian Fleming novels. Later in the movie he reveals that "Vesper" is the password no JKL. Quotes James Bond : [to Vesper] Why is it that people who can't take advice always insist on giving it? Crazy credits The opening credits are set in a stylish montage of fights with gambling symbols: playing cards, playing card symbols diamonds, hearts, spades and clubs , kings and queens, and roulette wheels.

Alternate versions US version is cut in the toilet fight and the stairwell fight scene to secure a PG rating. In the later, Obanno's henchmen hitting the ground and Obanno crashing into the glass window are the most obvious cuts. However, additional punches, elbows, and shoving are removed and the struggle at the bottom of the stairwell was heavily shortened.

The music score has also been remixed to accommodate the edits, and alternate footage used to smooth over some of the edits. User reviews 2. Top review. Daniel Craig you are here to stay! This is among the best bond movies! You have to see it. After all the controversy and comments on Daniel Craig's potential as an actor and doubts over him playing Bond He's here to stay. He has that natural feeling about him when you see him on the screen as Bond, that attitude, style, confidence matched only by Sean COnnery.

The movie as a whole is extremely entertaining and exciting. The acting is awesome Eva Green actually does a great job and has really improved her acting from the last time i saw her in kingdom of heaven , but then this is a totally different movie. Often Bond has been at his best when he acknowledges his mortality and the world changing around him, while retaining the character elements which made him so popular in the first place.

Goldeneye made a big deal about the Cold War ending, but it still felt like a story in which Bond had a rightful place. The spectre hanging over Casino Royale, and indeed all of the Daniel Craig era, is the Bourne series.

The first three films shifted the goalposts of what constituted a modern action-thriller, innovating with its gripping storylines, sharp camerawork and relatable yet remarkable protagonist.

Even Brosnan admitted that the series would have had to raise its game in the face of what The Bourne Identity did; watching that and Die Another Day now, it's hard to believe that they came from the same decade, let alone the same year. Casino Royale manages to match The Bourne Supremacy for quality, borrowing some of its aesthetic touches particularly in the chase sequences while also capturing the intrigue of Ian Fleming's original novel.

Like Paul Greengrass, Martin Campbell understands the need to knit action and character scenes together to create a holistic, gripping package; the action feels like an integral and natural part of the drama, rather than interrupting it in order to show off the budget.

Campbell brings the same calm, steady and methodical touch that he brought to Goldeneye; having saved Bond from irrelevance once, he does it again in some style. Skyfall so often gets praised for acknowledging Bond's past while still being modern and relevant, but Casino Royale manages to pull off this same trick, and arguably does it slightly better.

Where Skyfall consciously tips its hat to the older films through costumes, characters or props such as the iconic Aston Martin DB5 , Casino Royale is more subtle; all the classic elements are there, but they've been modernised and refined so that they make more sense in the real world.

It's still fitting for Bond to drive an Aston Martin, and it's a nice touch to see its distant predecessor roll by. But it wouldn't make sense for Bond's car to have many gadgets that he doesn't need, and having the car be wrecked to save Vesper makes complete sense. Where Roger Moore or Brosnan's films glorified the gadgets, this restores some welcome credibility and keeps the hardware under wraps unless absolutely necessary. Along these same lines, the screenplay takes all the best elements of Fleming's novel and transposes them into a contemporary setting.

It still has all the glamour of the classic casino scenes from the Sean Connery era, but the playful banter and flirting has been replaced with high stakes, tense glances and much more serious consequences. Le Chiffre's relationships with arms dealers and dodgy speculation on the stock market felt current for its day and still feels very fresh; great effort is expended to ground the character's motivations while maintaining an air of intrigue, mystery and threat.

The film takes itself seriously, but not too seriously; it wants to have fun, but it puts credibility above out-and-out entertainment, unlike many of Moore's entries in the canon. Le Chiffre's characterisation is also an interesting departure from what the Bond villain archetype has become.

Where the likes of Drax, Stromberg and Blofeld wanted to single-handedly destroy or take over the world, Le Chiffre is essentially a middle-man; he is to the Craig era what Kristatos was in For Your Eyes Only, but better written and with a more interesting, more murky motivation.

Like Bond, he is ultimately a pawn of bigger forces who struggles at times not to buckle under the pressure as the torture scene demonstrates ; by making him so small, he becomes more believable and more intimidating, even without the bleeding eye.

He may look like the lead singer of Franz Ferdinand in his haircut and dress sense, but Mads Mikkelson plays him brilliantly, bringing a cold, dead-eyed feel to the character which both intrigues and repulses an audience. Creating convincing poker scenes in films is pretty difficult.

The vast majority of efforts go for a highly stylised or choreographed approach, where audience expectations are pandered to through needless editing trickery; think of the final hand in The Cincinnati Kid, or the royal flush sequence in Maverick.

Casino Royale's poker scenes may be more stylised than those in, say, The Sting or Rounders, but they are still very well-executed with good pacing and a frisson of unpredictability. What really makes them work, however, is the build-up in the script; there are little poker motifs dotted throughout, with comments about tells and misdirection. Because the film makes such a big theme out of bluffing and people not being what they seem, the card games don't feel like isolated set-pieces, and the later developments with Mathis and Vesper feel credible and yet still surprising.

It isn't just that both characters ultimately don't make it past the final reel; the characters are both instrumental in the making of Bond, an affront and a challenge to his impulsive, playboy instincts and a safe refuge from the madness of his job and the people he has to kill.

Eva Green is every bit as gripping and electric on screen as Diana Rigg before her; Vesper goes toe-to-toe with Bond and we get genuine character development, making her betrayal and death all the more shocking and heartbreaking. Craig's Bond is a changed man by the end of the film - it's just a pity that the resolution to his heartbreak in Quantum of Solace was as underwhelming and mishandled as the similar attempt in Diamonds Are Forever. The heartbreak surrounding Vesper brings us onto another of Casino Royale's great successes: it hurts.

Desmond Llewellyn's Q may have advised Bond that he should never let his enemies see him bleed, but the best Bond films have never been afraid of putting him through the mill, getting him into dangerous situations which can only be resolved at great cost - a cost often numbed by women and alcohol. The fight scenes in Casino Royale feel brutal, just as they should do; it isn't interesting to have someone waltz through conflict as though it was nothing.

The torture scene and the defibrillator scene are great in isolation, but they are matched by Bond's emotional torment of losing Vesper. For the first time since Timothy Dalton's era - or Goldeneye at a push - Bond's pain feels real and meaningful. All of which brings us to Daniel Craig as Bond.

While his subsequent films have been hit-and-miss, his performance here is more than enough to silence those who criticised his casting all those 'James Blonde' jokes sound all the more desperate now. He takes the suffering and burnt-out approach that Dalton brought and fuses it with some of Connery's unabashed cool to create a truly modern and contemporary Bond.

He also has the confidence to eschew convention as much as he chooses to reflect or inhabit it; we get a build-up to a cliched sex scene, but then he's quickly on his toes and back to the plot.

Casino Royale is a great, gripping spy thriller and arguably the finest of all the James Bond films. While it is slightly too long and a little too candid with some of its product placement, it remains an extraordinary reinvention of a franchise which had long been in need of a boost. Craig impresses in his first and finest performance as Bond, and Martin Campbell directs with great common sense and precision to create a majestic and immensely enjoyable film.

Whether looking at the newer films or the franchise as a whole, this has set a very high bar which has yet to be beaten. Daniel M Super Reviewer. Jun 20, Daniel Craig's first turn in the tux. Just as many franchises have gone "The Dark Knight route" meaning they have turned stories darker and grittier, the James Bond franchise is now following suit. Daniel Craig is the most fit and tough Bond we've had.

He's not the best James Bond, but he's good. Script was remarkable and despite the point of the film being just a poker game, it was still filled with suspense and excitement. Patrick W Super Reviewer.

John Glen Peter R. Hunt Norman Wanstall. Albert R. Hunt Tom Mankiewicz Michael Kitchen. Connery Dr. On Her Majesty's Secret Service. The Living Daylights Licence to Kill. James Bond Jr. Project video game. Explore Wikis Community Central. Register Don't have an account? Casino Royale film.

View source. History Talk 5. Do you like this video? Play Sound. Vesper Lynd : " It doesn't bother you? Killing all those people? James Bond Daniel Craig.

Vesper Lynd Eva Green. Le Chiffre Mads Mikkelsen. M Judi Dench. Felix Leiter Jeffrey Wright. White Jesper Christensen. Alex Dimitrios Simon Abkarian. Solange Dimitrios Caterina Murino. Carlos Nikolic Claudio Santamaria. Villiers Tobias Menzies. Dryden Malcolm Sinclair. Bliss Con O'Neill. Adolph Gettler Richard Sammel. Kratt Clemens Schick. Fisher Darwin Shaw. Leo Emmanuel Avena. Carter Joseph Millson.

Tall Man Leo Stransky. Madam Wu Tsai Chin. Mendel Ludger Pistor. Williams Ben Cooke. Infante Ade. Tomelli Urbano Barberini. Gallardo Charlie Levy Leroy. Kaminofsky Lazar Ristovski. Fukutu Tom So. Ocean Club receptionist Christina Cole. Vanya Bor. Heni Marville-Beau. Izzie Sawakowa.