Tuesday, December 26, 2006
CASINO ROYALE ROCKING !!!!
"Casino Royale" has become the highest earner of any James Bond movie.
Its box office collection exceeded the $300-million mark in overseas ticket sales, becoming the fourth film of the year to surpass that limit.
Starring Daniel Craig, the film earned an additional $14.5 million over the weekend, bringing its total foreign gross to $304.4 million and thereby joining "Pirates Of The Carribean : Dead Man's Chest", "The Da Vinci Code" and "Ice Age: The Meltdown" as members of the $300-million club.
With its North American gross of about $144 million, "Casino Royale" can claim a worldwide total of $448 million, making it the highest earner of any Bond movie.
Its box office collection exceeded the $300-million mark in overseas ticket sales, becoming the fourth film of the year to surpass that limit.
Starring Daniel Craig, the film earned an additional $14.5 million over the weekend, bringing its total foreign gross to $304.4 million and thereby joining "Pirates Of The Carribean : Dead Man's Chest", "The Da Vinci Code" and "Ice Age: The Meltdown" as members of the $300-million club.
With its North American gross of about $144 million, "Casino Royale" can claim a worldwide total of $448 million, making it the highest earner of any Bond movie.
Friday, December 08, 2006
you know my name
ok,
"you know my name" is the title song of casino royale rendered by the audioslave lead guitarist and vocalist , "chris cornell"
the lyrics go like this :-
If you take a life do you know what you'll give?
Odds are, you won't like what it is
When the storm arrives, would you be seen with me?
By the merciless eyes of deceit?
I've seen angels fall from blinding heights
But you yourself are nothing so divine
Just next in line
Arm yourself because
the lyrics go like this :-
If you take a life do you know what you'll give?
Odds are, you won't like what it is
When the storm arrives, would you be seen with me?
By the merciless eyes of deceit?
I've seen angels fall from blinding heights
But you yourself are nothing so divine
Just next in line
Arm yourself because
no-one else here will save you
The odds will betray you
And I will replace you
You can't deny the prize
it may never fulfill you
It longs to kill you
Are you willing to die?
The coldest blood runs through my veins
The coldest blood runs through my veins
You know my name
If you come inside things will not be the same
When you return to the night
And if you think you've won You never saw me change
The game that we all been playing
I've seen diamonds cut through harder men
Than you yourself But if you must pretend
You may meet your end
Arm yourself because no-one else here will save you
The odds will betray you
And I will replace you
You can't deny the prize it may never fulfill you
It longs to kill you
Are you willing to die?
The coldest blood runs through my veins
The coldest blood runs through my veins
Try to hide your hand Forget how to feel
Life is gone with just a spin of the wheel
Arm yourself because no-one else here will save you
The odds will betray you And I will replace you
You can't deny the prize it may never fulfill you
It longs to kill you
Are you willing to die?
The coldest blood runs through my veins
The coldest blood runs through my veins
You know my name
You know my name
You know my name
You know my name
You know my name
You know my name
You know my name
the song last about for 3 and 1/2 minutes , pacy and apt for the movie begining .
hey guitarists , the chords for this beauty are Bm , F , G , with slight distortion as its effect and only slight distortion.
the beats are constant for this song changes only in the chorus and ending and a good song to enjoy playing.
but the plus of the song is nothing but the guitar.......................
the song isnt officially released but available in limewire , or you can ask me for it , i 'ld readily give it.
Monday, December 04, 2006
CASINO ROYALE.............BOND
CAST:-
DANIEL CRAIG, EVA GREEN, MADS MIKKELSON, CATERINA MURNO, JUDI DENCH ..........................ASTON MARTIN DBS, SONY W790, WAIO LAPTOP.
TIME -144 MINS
RATINGS - 4 STAR
Despite all the hype about the "rebooting" of the James Bond franchise, the changes aren't so radical. Rather, they are subtle and smart tweaks meant to prolong American moviedom's most popular series of films. Everyone's favorite British agent is still good for a punch, a shag, and a quip.
He still rides in on an action stinger (this time, Bond's first kill—in grainy black and white) followed by a splashy animated title sequence scored to an orchestral pop hit-in-the-making (Chris Cornell's "You Know My Name"). The villain still grabs our attention through freakish gimmickry (asthma, milky eye, and bloody weeping), the products are still conspicuously placed, and the style can still be plenty corny when the filmmakers put their minds to it. Just ask the buxom, bikini-clad babe, astride a white horse, galloping (and bouncing) down a beach.
But this Bond—who has only just won his license to kill—betrays frayed edges and self-doubt. As agent 007, Daniel Craig (Infamous) is an alert and confident presence, crisp in his movement and wearing a smug smile as his mask. He wages an ego war with his superior M (Judi Dench), though he acknowledges—shall we say playfully?—that "double-ohs have a very short life expectancy."
With that knowledge, Bond is prepared to live fast, die young, and, if need be, leave a good-looking corpse. Working from Ian Fleming's initial Bond novel, screenwriters Neal Purvis & Robert Wade (Die Another Day, The World Is Not Enough) and Paul Haggis (Crash) best earn their keep in the anti-romantic flirtation between Bond and Vesper Lynd (Eva Green). Lynd, a casually sultry accountant, has Bond's number as much as he has hers, sizing up the hurt that left him "maladjusted" and brought on his "reckless" fatalism.
Lynd's fiscal and psychological accountancy is needed to keep an eye on Bond as he plays a high-stakes game of poker against power-player and international criminal Le Chiffre (Mads Mikkelsen); should Bond lose, the government's dollars will go straight into terrorism.
The story revolves around this poker match, held at the Casino Royale in Montenegro, but makes room for action sequences of various shapes and sizes. Director Martin Campbell (Goldeneye) peaks early with a rough-and-tumble, parkour-styled chase/fight (waged against parkour co-creator Sebastien Foucan) that includes grappling seven stories above a construction site; subsequent sequences include a race against time on a Miami-Dade runway, and the trailing of a suspect through a BODY WORLDS exhibit. The mortally exposed sinews of these specimens make an appropriate counterpoint to Craig's body-conscious but still-raw spy.
The hundreds of millions of dollars at stake ironically reflect what's riding on Craig, and requisite allusions to the franchise's storied history (a 1964 Aston-Martin is on hand) help to hedge the bet of a more restrained Bond. Wisely, the producers stage a kind of global disarmament, backing down a bit from the outsized stunt extravaganzas that have led the series to compete with itself; Casino Royale gives the reborn franchise a second chance to grow up.
The strong cast—also including Giancarlo Giannini, Simon Abkarian, and Jeffrey Wright as a key character in the Bond canon—establish that, like the world, a pretty face is not enough. The 21st-century Bond films won't just "play"—they'll play for keeps, meaning a torture scene won't have quite the safety of distance that Bond has often had, as his smirk became his soul. When this Bond gets battered, he feels it.
Surprisingly, Purvis, Wade, and Haggis stick quite close to the original plans in reconstructing the skeleton of Fleming's architecture, and indeed the erection and crumbling of facades provide a visual equivalent of Bond's own self-creation and psychic devastation. The latter ruins him as a man, but actualizes the spy. A hungry audience cheers on this tragedy; when the emotionally deadened spy takes ownership of his new self, introducing himself as "Bond, James Bond," we know before the final credits roll that "James Bond will return," and not fast enough.
DANIEL CRAIG, EVA GREEN, MADS MIKKELSON, CATERINA MURNO, JUDI DENCH ..........................ASTON MARTIN DBS, SONY W790, WAIO LAPTOP.
TIME -144 MINS
RATINGS - 4 STAR
Despite all the hype about the "rebooting" of the James Bond franchise, the changes aren't so radical. Rather, they are subtle and smart tweaks meant to prolong American moviedom's most popular series of films. Everyone's favorite British agent is still good for a punch, a shag, and a quip.
He still rides in on an action stinger (this time, Bond's first kill—in grainy black and white) followed by a splashy animated title sequence scored to an orchestral pop hit-in-the-making (Chris Cornell's "You Know My Name"). The villain still grabs our attention through freakish gimmickry (asthma, milky eye, and bloody weeping), the products are still conspicuously placed, and the style can still be plenty corny when the filmmakers put their minds to it. Just ask the buxom, bikini-clad babe, astride a white horse, galloping (and bouncing) down a beach.
But this Bond—who has only just won his license to kill—betrays frayed edges and self-doubt. As agent 007, Daniel Craig (Infamous) is an alert and confident presence, crisp in his movement and wearing a smug smile as his mask. He wages an ego war with his superior M (Judi Dench), though he acknowledges—shall we say playfully?—that "double-ohs have a very short life expectancy."
With that knowledge, Bond is prepared to live fast, die young, and, if need be, leave a good-looking corpse. Working from Ian Fleming's initial Bond novel, screenwriters Neal Purvis & Robert Wade (Die Another Day, The World Is Not Enough) and Paul Haggis (Crash) best earn their keep in the anti-romantic flirtation between Bond and Vesper Lynd (Eva Green). Lynd, a casually sultry accountant, has Bond's number as much as he has hers, sizing up the hurt that left him "maladjusted" and brought on his "reckless" fatalism.
Lynd's fiscal and psychological accountancy is needed to keep an eye on Bond as he plays a high-stakes game of poker against power-player and international criminal Le Chiffre (Mads Mikkelsen); should Bond lose, the government's dollars will go straight into terrorism.
The story revolves around this poker match, held at the Casino Royale in Montenegro, but makes room for action sequences of various shapes and sizes. Director Martin Campbell (Goldeneye) peaks early with a rough-and-tumble, parkour-styled chase/fight (waged against parkour co-creator Sebastien Foucan) that includes grappling seven stories above a construction site; subsequent sequences include a race against time on a Miami-Dade runway, and the trailing of a suspect through a BODY WORLDS exhibit. The mortally exposed sinews of these specimens make an appropriate counterpoint to Craig's body-conscious but still-raw spy.
The hundreds of millions of dollars at stake ironically reflect what's riding on Craig, and requisite allusions to the franchise's storied history (a 1964 Aston-Martin is on hand) help to hedge the bet of a more restrained Bond. Wisely, the producers stage a kind of global disarmament, backing down a bit from the outsized stunt extravaganzas that have led the series to compete with itself; Casino Royale gives the reborn franchise a second chance to grow up.
The strong cast—also including Giancarlo Giannini, Simon Abkarian, and Jeffrey Wright as a key character in the Bond canon—establish that, like the world, a pretty face is not enough. The 21st-century Bond films won't just "play"—they'll play for keeps, meaning a torture scene won't have quite the safety of distance that Bond has often had, as his smirk became his soul. When this Bond gets battered, he feels it.
Surprisingly, Purvis, Wade, and Haggis stick quite close to the original plans in reconstructing the skeleton of Fleming's architecture, and indeed the erection and crumbling of facades provide a visual equivalent of Bond's own self-creation and psychic devastation. The latter ruins him as a man, but actualizes the spy. A hungry audience cheers on this tragedy; when the emotionally deadened spy takes ownership of his new self, introducing himself as "Bond, James Bond," we know before the final credits roll that "James Bond will return," and not fast enough.
