Casino Royale Theatre was not a “real” theatre. It was a porn house that had no beginnings as a legitimate movie house. In the 60s 14th St was lined with nightclubs. The Casino Royale was on the second floor on the NW corner of 14th & H St NW (the Speakeasy was on the first floor. FRESH Roger Ebert Chicago Sun-Times Casino Royale has the answers to all my complaints about the 45-year-old James Bond series, and some I hadn't even thought of.

Casino Royale Review Ebert

While little happens in the first reel of many motion pictures, the Bonds are usually up and running in their first frame. There's consistently something to look forward to, even in their worst examples: 'Moonraker' might be altogether ridiculous but it has some fantastic sets and it is never dull. 'Licence To Kill' is rather ordinary looking but it's got some of the best stunts in the series. If the plot in a particular movie stunk ('Quantum of Solace') there were always the Bond girls; if its villain turned out to be a dud ('Diamonds Are Forever') we still saw some intriguing gadgets and cars; if every cinematic aspect of an entry failed ('A View to a Kill'), we still got some great looking titles and a fantastic song. Besides, there was also the familiar and beloved supporting cast to look forward to visiting time and time again.

Casino Royale is the twenty-first film in Eon Productions' James Bond film franchise, the third Live-Action Adaptation of the very first James Bond novel, Ian Fleming's Casino Royale, and the second film to be directed by Martin Campbell in the series, introducing Daniel Craig as James Bond. It came out on November 16, 2006.
This is the original review of For Your Eyes Only by Siskel & Ebert on 'Sneak Previews' in 1981. All of the segments pertaining to the movie have been included.
By Roger Ebert Note: I'm doubling back to review some of the films that I missed while I was sick last year. 'Casino Royale' has the answers to all my complaints about the 45-year-old James Bond series, and some I hadn't even thought of.

There are few things in life as predictable as a James Bond film and in a strange way, I've always found this comforting. This is why I was disappointed to learn Pierce Brosnan was let go at a relatively young age (as these things go, anyway) and Daniel Craig took over the role. It wasn't so much that he would be the first blonde 007 as I think Roger Moore more than qualified in that category in 'A View to a Kill' but I couldn't really picture Craig doing the usual things one has come to expect from the previous Bonds such as dispensing witticism left and right, receiving his gadgets from John Cleese's Q or even surfing gigantic CGI waves. Even though the series' dilemmas had progressively become less B&W, it didn't make much sense for the producers to take the risk of straying so far from a formula that had served them well for so long.

The blueprint of every 007 film since 'Dr. No' is still recognizable in 'Skyfall' (the latest entry and subject of this review) or at least somewhat discernible anyway. This is the first time I've ever watched a Bond picture that at times I didn't know where it was heading. It is also one of the few that takes its time telling a story without the need to throw in unnecessary action scenes to keep things lively. Those included here are indeed terrific but the movie actually lets us to grow an interest in the main characters while explaining where its main protagonist comes from, with a simple statement from Kincade (Albert Finney) telling more about him than the previous 22 entries combined ('when his parents died, he stayed there crying for two days and when he came out, he wasn't a boy anymore'). Unlike some of its predecessors, 'Skyfall' can be defined as a 007 picture made for adults, with three dimensional characters and plenty of sharp but restrained humor. Never before had we seen our hero doubting himself or sporting a gray beard and bags under his eyes; this doesn't mean that eventually he didn't appear impeccably in his tuxedo but this is still a far cry from say, a Roger Moore who always seemed to have a hair dresser assigned between takes (think of his escape from the Space Shuttle flames while completely drenched in 'Moonraker' and in the next scene being shown with his hair perfectly in place).

The movie's innovations begin in its first shots, which abandon the familiar stalking silhouettes in the iris lens, and hit the ground running. Bond and another agent are in Istanbul, chasing a man who has stolen a crucial hard drive, and after a chase through city streets (involving no less than three Fruit Cart Scenes), 007 is running on top of a train. We know from earlier films that Bond can operate almost anything, but 'Skyfall' incredibly has him commandeer of a giant Caterpillar and continue the chase by crushing a flatcar filled with VW Beetles.

It's the kind of absurd stunt we expect in a Bond movie, but this one relies on something unexpected: a dead-serious M (Judi Dench), following the action from MI6 in London and making a fateful decision. After an enemy agent grabs Bond as a human shield, M's other agent, Eve (Naomie Harris), has both men in her gun sights. The stakes are very high. 'Take the shot!' M commands. Bond seems to die, although since this happens around the 20-minute mark, we're not very surprised that he doesn't.

M begins to compose the obituary of Commander James Bond, and she might as well also be writing her own. Time has passed her by, she's older, and her new boss, Mallory (Ralph Fiennes), convenes a public (!) hearing requiring her to defend her tenure. It's time for a generation to be put out to pasture. Even Q and, as it turns out, Miss Moneypenny are practically kids.

Casino Royale Review Ebert

M is not quite ready to retire, and 'Skyfall' at last provides a role worthy of Judi Dench, one of the best actors of her generation. She is all but the co-star of the film, with a lot of screen time, poignant dialogue, and a character who is far more complex and sympathetic than we expect in this series. The film is guided by a considerable director (Sam Mendes), written by the heavyweights Neal Purvis, Robert Wade and John Logan, and delivers not only a terrific Bond but a terrific movie, period. If you haven't seen a 007 for years, this is the time to jump back in.

Casino Royale Ebert