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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: 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.
With Daniel Craig reinventing the role like never before, Casino Royale reboots the Bond franchise with gusto and intelligence not seen before in the long running franchise.
Thanks to the best story of the series to date, Casino Royale features the right blend of exhilarating action and heart pounding drama. Daniel Craig is the best Bond since Connery and for my money the best actor to play the character.
The fact that the series hasn't reach the heights of this film before or since only makes it an easier decision as my all-time favorite film in the franchise.
Even casual fans can get their money's worth out of this. If you only watch one Bond film, make it this one. Daniel Craig revitalizes the Bond franchise the same way Bale saved Batman.
This was a throwback to the good ol days of Connery Bond. Almost all the the good stuff i heard about Casino is true. It is indeed one of the best Bonds ever and I'm really looking forward to the next installment.
Now - I hate when people say this but here goes - this movie was just too darn long. Don't even TRY to introduce a romance two hours into a film.
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View All Photos James Bond's first mission takes him to Madagascar, where he is to spy on a terrorist Mollaka.
Not everything goes as planned and Bond decides to investigate, independently of the MI6 agency, in order to track down the rest of the terrorist cell.
Following a lead to the Bahamas, he encounters Dimitrios and his girlfriend, Solange. He learns that Dimitrios is involved with Le Chiffre, banker to the world's terrorist organizations.
Secret Service intelligence reveals that Le Chiffre is planning to raise money in a high-stakes poker game in Montenegro at Le Casino Royale.
MI6 assigns to play against him, knowing that if Le Chiffre loses, it will destroy his organization. At first skeptical of what value Vesper can provide, Bond's interest in her deepens as they brave danger together--and even torture at the hands of Le Chiffre.
The marathon game proceeds with dirty tricks and violence, raising the stakes beyond blood money and reaching a terrifying climax.
PG for intense sequences of violent action, a scene of torture, sexual content and nudity. Daniel Craig as James Bond.
Eva Green as Vesper Lynd. Mads Mikkelsen as Le Chiffre. Judi Dench as M. Jeffrey Wright as Felix Leiter. Giancarlo Giannini as Mathis. Caterina Murino as Solange.
Simon Abkarian as Alex Dimitrios. Jesper Christensen as Mr. Ivana Milicevic as Valenka. Claudio Santamaria as Carlos.
Tobias Menzies as Villiers. Sebastien Foucan as Mollaka. Malcolm Sinclair as Dryden. Richard Sammel as Gettler.
Ludger Pistor as Mendel. Joseph Millson as Carter. Daud Shah as Fisher. Clemans Schick as Kraft. Emmanuel Avena as Leo.
Tom Chadbon as Stockbroker. Dayo Ade as Infante. Urbano Barberini as Tomelli. Madame Wu as Tsai Chin. Charlie Levi Leroy as Gallardo.
Lazar Ristovski as Kaminofsky. Tom So as Fukutu. Veruschka von Lehndorff as Gräfin von Wallenstein. Daniel Andreas as Dealer.
Christina Cole as Ocean Club Receptionist. Jürgen Tarrach as Schultz. John Gold as Card Player. Jerry Inzerillo as Card Player.
Diane Hartford as Card Player. Jessica Renae Miller as Dealer. Paul Bhattacharjee as Hot Room Doctor. I recently spent about three weeks of evenings and weekends watching the entire canon back to back, and the notable thing about the films was how terrible most of them are.
Bond acolytes, whose number I count myself among, tend to remember the highlights — the Goldfingers and Live and Let Dies , or perhaps the GoldenEyes and Dr Nos — but we forget that Sean Connery's later films were almost as awful as Roger Moore's, and that even the better s entrants, such as From Russia with Love , are hokey in the extreme.
These are films usually watched with the thickest of rose-tinted glasses. Because has become such a virulent symbol of 60s cool that the early movies are now virtually critic-proof.
That's why the best Bond movie has to be one that is abstracted from the series' heyday and all its attendant cultural gravy; one that was required to succeed not just as a great Bond film, but as a great film in its own right.
One that many might argue was rather better for eschewing many of the tropes that people connect with the series, and one that on a critical level revived a franchise that most reviewers regarded as long past its sell-by date.
Casino Royale also had a new , Daniel Craig, a muscular and rather stern-looking chap who brought a damaged determination to the role but had less of the suave flamboyance of earlier incarnations proving that both he and Bond didn't really need it.
Prior to his arrival on the scene, Brosnan was often mentioned as the best since Connery. Yet so incendiary was Craig's first turn in the role that he instantly cast his predecessor as one of the weaker, lazier Bonds.
To my mind, only George Lazenby provided worse value. Frankly, Eon's casting agent should long ago have been fed to the sharks for some of the recruitment decisions made over the years: Eva Green as Vesper Lynd was so good that even Craig struggled to keep up with her at times: On the contrary, it is he that winds up falling for her, and it is nice to imagine Green as the kind of independent-minded girl who would not have taken the role had it been any other way.
Reading this on mobile? Click here to watch a clip. Casino Royale also has a seriously classy storyline based — crucially — on an original Ian Fleming novel.
It was the first Bond film to borrow anything at all from the writer since 's The Living Daylights , and the combination of modern-style hyper-kinetic fight scenes and parkour-influenced rooftop chases with old skool glitz and glamour among Europe's high flyers and criminal kingpins delivered by far the coolest Bond movie since the early s.
Had the producers gone for a pumped-up clown of a bad guy such as Donald Pleasence's silly and irritating version of the latter, it would have completely undercut any sense of genuine threat to and consequently ruined the movie.
Of course, Casino Royale is not perfect: