Bond Wardrobe Review 22: Quantum of Solace (2008)


Well, Tom Ford isn’t for everyone—but it is for Bond.

James Bond: Daniel Craig
Director: Marc Forster
Costume designer: Louise Frogley
Tailoring, shirts and ties: Tom Ford
Footwear: Church’s


The story of Quantum of Solace is a direct continuation of Casino Royale, but the wardrobe is almost another reboot. The remnants of the Brosnan era are gone and a new costume designer and clothier enter. Louise Frogley, who costumed films such as Traffic, Good Night, and Good Luck. and Ocean’s Thirteen as well as Pierce Brosnan’s mini series Noble House, updated Bond’s look again with a strong nod to the past. Frogley looked to the 1960s for inspiration, not only at old Bond looks but also at Steve McQueen’s style, and gave Daniel Craig a look that was both classic and current.

Fashion designer Tom Ford had recently launched his eponymous brand and would provide almost all the clothes for Quantum of Solace, except for the footwear, jeans, a casual jacket and some accessories. Though Tom Ford is an American designer and brand, he has an admiration for British style that made his brand as much an appropriate choice for Bond as Brioni was. The look of the clothes matters more than the brand, and the look gets it right, at least it does in Quantum of Solace. Tom Ford is incredibly detail-oriented, particularly in a way that makes the clothes appropriate for James Bond.

Black Tie

Bond just happens to find a perfectly fitting dinner suit in a locker, and it’s just his taste. While the Casino Royale dinner suit was a fresh look for Bond, the Quantum of Solace dinner suit is a callback to Sean Connery’s first outfit in Dr. No, down to the silk gauntlet cuffs. The Tom Ford dinner jacket in black mohair and cashmere has one button on the front and a shawl collar in a wider, more classic width than the narrower one in Dr. No. The trousers are updated with a flat front instead of double forward pleats, but it appropriately follows the trends.

The dress shirt is also from Tom Ford and has a semi-spread collar with a pleated front and double cuffs, pleasantly recalling the style Bond wore in Dr. No. It has white mother-of-pearl studs down the front, which isn’t a typical when Bond is wearing a pleated-front shirt, but the mother of pearl keeps it subtle.

The black satin bow tie is a diamond-point batwing, another callback to Dr. No, but the wider width looks more current and nicely balances the wider shawl collar as well as Craig’s face. He adds a cummerbund, and it’s the first time that Bond wears one without it doubling as a gadget. The traditional touch is good, even if it isn’t traditional for Bond.

Though the Casino Royale evening wear is wonderful, this look gives Craig the most classically Bondian look he could possibly have while also being updated to suit 2008. All the details have come together to make him look like the black tie master Bond should be.

Lounge Suits

Quantum of Solace is the film that introduced Tom Ford’s suits to James Bond, while at the same time most of the world saw their first impression of Tom Ford’s relatively new brand. The Quantum of Solace suits are in Tom Ford’s ‘Regency’ cut, which is neither as dramatic as his iconic ‘Windsor’ model nor is it as slim as the ‘O’Connor’ model that Daniel Craig would wear in his following three films.

The ‘Regency’ is a combination of English, French and Italian styles. The English style comes from a stiff structure, bellied notched lapels, a ticket pocket and a longer flared skirt with double vents. The five-button cuffs were likely inspired by English tailoring too, though it’s an uncommon look there. The French aspect comes from the light pagoda shoulder. The Italian styling can be found in the button three roll two and the curved barchetta breast pocket. This international look is specific to Tom Ford, but it is quite appropriate for James Bond, even if the brand might be too flashy for the staid character. Though these suits are made in Zegna’s factory, they have a style, construction and quality unique to Tom Ford.

The suit trousers could have easily come from a trendy 1960s English suit. They have a flat front, a mid rise and a trim, straight leg. Though the trouser fit is trim, it’s not overly slim and has a balanced look. The rise is slightly low for suit trousers and would look better if it were an inch higher, but it’s a good look so long as the trousers don’t slip down.

Daniel Craig was no long as muscular as he was in Casino Royale, which now meant that a suit could more easily be tailored to fit his body. The Tom Ford ‘Regency’ has a slim cut but is still traditionally proportioned, meaning it is has a close fit but isn’t fashionably ‘slim’. It snugly follows the shape of Daniel Craig’s body but does not fight against it. While a slightly fuller fit would look a neater and would move better with the body, these suits almost have a decent fit. The jacket sleeves should have been slightly shorter too.

The first suit is a two-piece in navy with a blue pinstripe, which is a new interpretation of the three-piece suit from the final scene of Casino Royale. This suit is more appropriate for action in the Italian setting, and Bond looks like he’d fit in in Milan with this suit, if not the other regions of Italy he travels through. He wears a light blue shirt and a tie with blue and black squares that has a subtly Bondian look, and it’s one of the few outfits in the film that brings out Craig’s blue eyes.

The suit in the London scenes is a luxurious dark charcoal grey mohair-and-cashmere cloth. This cloth is a theme throughout the film in an effort to recall what Bond and others wore in the 1960s. The mohair and cashmere both impart a sheen to this suit, but the soft cashmere balances the stiff mohair for a very luxurious cloth. The contrast of the dark suit with a white shirt looks harsh on Daniel Craig, but it is appropriate for serious business in London while also giving the impression that Bond is in mourning. The best part of this look is the tie, which has white pin-dots on a black and aubergine ground for a subtle but beautiful colour.

He also wears a black knee-length overcoat from Tom Ford over the suit. It’s a nice coat with a beautiful cut and construction, but it’s a boring colour, cloth and style without any of the special details that Bond frequently has in his overcoats. A velvet collar and fly front would have been a nice touch.

When Bond arrives in Bolivia, he wears a dark brown mohair-and-cashmere suit. The brown is a subtle shade and doesn’t draw attention to itself, but it looks perfect with Daniel Craig’s tan and fits in the best that a suit can in Bolivia. He wears a white shirt and a tie with a small brown and tan pattern, which perfectly coordinates with both the suit and Craig’s complexion. He accessorises with the Tom Ford TF108 aviator sunglasses, which are made with a one-piece bridge at the top of the lenses that awkwardly makes his nose look larger than it should. The sunglasses also look too small for his face at certain angles. Without the sunglasses, this is one of the two most successful suits in the film

The other of the two most successful suits is the midnight blue mohair-and-cashmere suit that Bond wears to the Greene Planet party. For an evening event that isn’t formal enough for black tie, the midnight blue or dark navy lounge suit with a white shirt is the perfect choice. The soft sheen of the mohair-and-cashmere cloth adds an extra dimension to the suit at night. The high contrast of this outfit looks better at night than it would during the day. The tie is a blue-and-white basketweave, which has a simple but formal look that pairs perfectly with the suit and shirt. This outfit is quite simple overall, but the fine details are what make it stand out. For the average person’s suit-wearing occasions today, this suit should serve as an inspiration.

Craig wears the final suit of the film for the coda in Kazan, Russia. The suit is hidden under an overcoat, but it may be the same suit that Craig wears in the London scenes. Other clothes are reused throughout the film, so it’s possible a suit would also reappear. The focus of the outfit is the dramatic ten-button double-breasted, knee-length black herringbone wool greatcoat with flapped pockets and a belted back. Unfortunately the scenes are so dim that the coat doesn’t show up well on screen. This coat makes up for the boring coat in the London scenes, though a traditional Ulster collar would have provided the coat with even more drama instead of its stand-up collar. Under the coat he wears a white shirt and a tie with a pattern of ovals in dark brown and silver. Peeking out from inside the coat is a brown and black glen check silk scarf. The brown in this outfit subtly brings out the warmth in Craig’s complexion, balancing the drama of the long black coat. Except for the unidentified black leather gloves, the entire outfit is from Tom Ford.

Tom Ford made all of the shirts for this film, each of which has a stiff semi-spread collar with long points, a front placket and double cuffs. This collar looks perfect on Daniel Craig, with long points that balance the outfit, but the collar stand is not too high for him. The collar could be called a French style. The shirts have a slim fit, but they provide enough ease that they don’t buckle. Though the shirts look good, an English shirt would have been better for Bond.

Craig’s ties are made with a Windsor knot throughout this film, which looks good because the ties aren’t too thick and because it helps the ties fit inside the long collar points, but it goes against the classic Ian Fleming wisdom. Bond removes his tie on a few occasions to suit the action scenes where a tie would get in the way, but he always starts off his suits with a tie because these formal suits would look incomplete without one, despite how Tom Ford himself likes to wear suits. By removing his tie, Bond is able to wear the newly trendy look of a business suit, white shirt and no tie while putting it in an appropriate context.

This film revives the folded white pocket square, which Bond hadn’t worn since Goldfinger 44 years earlier. Craig wears the pocket square with all suits but the first and with the dinner suit. It was about time for it to return, but it also returned at an era when pocket squares were becoming trendier. Many would say that a suit is incomplete without a pocket square, but that’s not true. Pocket squares are always welcome, and that goes double for James Bond’s straight-folded white pocket squares.

The shoes with the suits are the Church’s ‘Philip’ black quarter-brouge oxford. It is a lovely shoe, but in the last and style it is more conservative than Bond’s usual choices. Nevertheless, it is a reliable shoe and gives Bond the English touch that is otherwise missing from these clothes.

Casual Attire

Contrasting with the extensive casual wardrobe in Casino Royale, Craig only wears three casual outfits in Quantum of Solace. The casual style is now more mature and always smart without any T-shirts. The three casual looks share the same brown suede Church’s ‘Ryder III’ chukka boots, two of them share the same dark navy polo, and two of them share the same Tom Ford aviator sunglasses that he wears with his brown suit.

The first casual look in the film starts with a dark navy polo from Tom Ford and off-white Levi’s 306 STA-PREST jeans, a line originally from the 1960s. The polo is very similar to the Sunspel Riviera polo from Casino Royale, but it is made of a cotton-and-linen blend instead of cotton, the cut is fuller through the waist and it has a different pocket shape. The fuller cut looks good in motion, but it isn’t as attractive on Daniel Craig as Sunspel’s trimmer cut. The jeans combine the tough make and style of jeans with the refinement of an off-white colour more commonly found in chinos. These jeans were originally designed to be pressed with a crease, but Craig’s lack the crease that would make them look too smart. These are a fantastic choice for a casual Bond look in action.

Bond tears his polo and finds a black Adidas Y-3 jacket to wear over it. The jacket has a zip front and an elegant turn-down collar for a perfect casual style that looks modern while still on the 1960s theme. Bond wears a black belt from Prada, even though it clashes with the brown boots. When he finds the black jacket, the belt looks more appropriate, but Bond didn’t get dressed for the day in the jacket so it’s difficult to excuse the black belt.

Bond’s next casual look for Italy is the most iconic from the film. Craig wears a beautiful black shawl-collar cardigan from Tom Ford over a white Tom Ford shirt with double cuffs and another pair of Levi’s 306 STA-PREST jeans in khaki. This outfit recalls 1960s Steve McQueen more than 1960s James Bond, but it is successful at placing Bond in a casual but sophisticated Italian setting. The only problem with it is that the shirt’s double cuffs don’t fit comfortably under the cardigan. Tom Ford’s exceptional scalloped two-button cuffs would have been a superior choice with this outfit, and of all the Tom Ford clothes Bond could have worn I’m devastated Bond never wore that cuff.

The final casual look of the film reunites Bond with a fresh dark navy Tom Ford polo and pairs it with a navy Harrington jacket from Tom Ford and blue jeans from 7 For All Mankind. The Harrington jacket is another 1960s classic that is associated with Steve McQueen, but it was about time that Bond wear one, even if it’s not an authentic Baracuta. It’s the perfect look for the film’s action-packed finale.

Bond’s first pair of blue denim jeans in the series comes with this outfit. Denim gives Bond the appropriately tough look and feel that he needs in this scene. The dark wash keeps the denim subtle and makes them look almost like the navy trousers Bond wears for action in previous films. In such a dark wash they’re not so far off from the black jeans that Fleming’s Bond wore, but the trendiness of dark blue jeans in 2008 was more likely the reason for Bond to wear them. Bond’s first time wearing blue jeans came at the right time in the right context, though I would have chosen the khaki jeans to return for this look instead. Khaki jeans would have looked appropriate for Bond’s desert surroundings, though they lack the tough look of blue jeans.

Other Characters

Jeffrey Wright’s Felix Leiter returns in Quantum of Solace and wears a beautiful tan suit that would also have looked good on Daniel Craig. It looks superb on Wright and gives him the gravitas the character deserves.

Giancarlo Giannini’s Mathis dresses with the perfect casual Italian vibes as he wears a light blue-grey cashmere jumper like a scarf around his neck. It’s a simple look but highly effective for a mature man in Italy.

Well Done, James

Numerous classic Bond styles return in Quantum of Solace: mohair suits, folded white pocket squares, shawl collars and gauntlet cuffs on the dinner jacket. The whole 1960s theme of the wardrobe without looking as if Bond has come straight out of the 1960s like Austin Powers is how Bond should dress. The approach in Quantum of Solace contrasts with Bond turning 1960s styles into 2010s styles in Craig’s later films, which does not look as good. Here the 1960s styles are more authentic but were chosen for their own merits and still don’t look outdated.

The film’s wardrobe has a cohesive look with numerous shared items throughout the film. Recurring clothes and accessories give the film’s wardrobe a strong identity and offer a realistic element. Though the character has hardly grown since the events of Casino Royale, Bond’s style has matured.

Not Perfected Yet

While Tom Ford suits try to be Savile Row, they are not. Tom Ford and Ralph Lauren offer the most British-styled suits of all non-British brands, but it’s always a shame when Bond is not dressed by British brands. Dunhill was supposedly in the running to replace Brioni for this film, and it’s a shame they didn’t pan out. Church’s is the only British brand that Bond wears in this film. While Tom Ford did an admirable job producing so many different types of clothes for this film, the wardrobe may have been better with more diversity. This problem was corrected in the next Bond film.

Though Quantum of Solace begins moments after Casino Royale ends, a new costume designer and a new suit maker means that Quantum of Solace has a new interpretation of the previous film’s suit. Though two-piece version is better for the Italian setting and for the action, continuity should come first. It is the first sign that Quantum of Solace has retconned the fully matured Bond from the end of Casino Royale back to someone who is still finding his footing. The change itself isn’t without good reason, but it is unfortunately representative of some of the film’s larger problems.

While the dark clothes were likely chosen to reflect the film’s dark tone and Bond’s mourning of Vesper Lynd’s death, the high-contrast looks don’t flatter Craig’s complexion. At the very least, some of the white shirts should have been replaced with light blue shirts to draw attention to Craig’s eyes. Lighter shades of navy blue instead of the very dark midnight blues could have done the same, while also bringing life to Craig’s light complexion. There were two suits cut from the film: one in cream and one in mid grey. Both would have looked better on Craig, but the former suit was likely completely unused and the latter suit’s scene was cut from the film. Neither suit follows the Bond’s wardrobe’s high-contrast colour palette, so they don’t exactly look like they belong in this film.


More than Casino Royale, Quantum of Solace makes Daniel Craig look more like a classic James Bond and its wardrobe would define Craig’s look as James Bond going forward. Quantum of Solace has a fairly compact wardrobe with a consistent high-contrast colour palette, giving it a focused look. Each outfit is strong and no outfit looks out of place on James Bond or in its scene, though the palette isn’t always flattering on Craig. There is a welcome return of styles from the 1960s, and yet the clothes never look old fashioned. The film had the good fortune to come at a time when men’s trends were between extremes; baggy clothes where out while shrunken fits had yet to come into fashion, and though slim fits were unfortunately starting they’re not offensive in this film. While the wardrobe is not perfect, it still holds up well today and likely will for years to come.

Rating: 8/10

Do you agree or disagree with my assessment? Leave your comments below.


  1. In a vacuum this is, by a good margin, my favourite wardrobe of the series. I love the various colours of jeans he wears, I adore the cardigan, and the cuts of the suits is almost perfect to me. I try to emulate it in all the suits I’ve had made for the last fifteen years, and if I suddenly found myself exceptionally wealthy one of my first trips would be to a Tom Ford vendor to ask how much money I’d have to throw at them to fill my wardrobe with bespoke Regency suits.
    There are things I’d change, like some blue dress shirts, and those sunglasses would have to go. And I think I mentioned in the previous review that if Craig wore a three-piece in the opening sequence then it would be my single favourite outfit of the series, but it wasn’t to be.
    Maybe it’s more Steve McQueen than Bond, which makes it imperfect in context, but I’ll take any outfit from this film over any that appear in subsequent films, and a good deal of the ones before it.

  2. 8 out of 10 seems fair.

    I wasn’t a fan of the low rise trousers.

    I also like when the costume designer chooses brands in a way that reflects where Bond might get his clothes. Here it seems like Bond would only shop at Tom Ford for his suits, shirts, ties, sunglasses, polos, etc.

  3. I usually like to disagree with the “rules” but wearing a tie before taking it off really does make sense with a suit. (Like when pop stars wear an undone bow tie, yes it looks cool but it should be done up first).
    QoS is rapidly becoming a favourite and reading your breakdown has reminded me how it cements the Craig/McQueen image.

  4. I like the dinner suit very much, and agree on the beauty of the Sixties styling. I particularly like the cummerbund, although I know you are not a fan, Matt. The other suits seem a bit generic to me and I think 8 is a bit generous.
    Could you please just clarify, are the suits Mr Craig is wearing all off the peg? Is that why, for example, the sleeves are a bit too long? If I understand correctly, Sean, Roger and George Lazenby all wore bespoke, whereas Brozz and Mr Craig both wore off-the-peg, is that right? Is the difference obvious for us to see, and if so, can you tell us why? (apart perhaps from the fact that the Tom Ford suits all looks a bit generic (to my untrained eye, at least!)

    • No, the suits were made for Brosnan and Craig using a semi-bespoke process. The sleeve length shouldn’t be a problem even if the suits were ready-to-wear since the unfinished sleeves can easily be shortened. The silhouette of Tom Ford suits (when not worn a size too small) is fairly unique, particularly the suits seen in Quantum of Solace. It has similarities to trendier Savile Row suits from the same era but is fused with French and Italian influences in a way that sets them apart from any other suit. I find that Tom Ford suits are amongst the most easily recognisable in the world, meaning they are the furthest from generic.

  5. I’m going to be quite honest here: I have never been able to tell apart suits from British tailors, and suits from American or Italian tailors emulating British style.

    The details are easy – 3-roll-2, ticket pocket, four buttons or five like Ford seems to prefer, short or long vents, roping or not – but what I’ve gathered from following this blog for a while now is that apparently an Italian or American suit is still recognisable as such even when it omits the Italian fashions and emulates the British classics.

    You could put a Brioni suit, a Tom Ford suit, and an Anthony Sinclair suit in front of me; if they were all style similarly – say, roped shoulders, button two, ticket pocket, four cuff buttons, double vents – I would not be able to tell you which was from which country.

    Maybe it’s easier in person than from pictures; I’ve never had the opportunity to look at any of those brands up close, but either way, I haven’t figured out how to tell them apart beyond ‘superficial’ fashionable details from each country that anyone from abroad can easily cut as well.

    • I think it’s comparable to someone being able to differentiate a Golden Retriever from a Yellow Lab, but not being able to tell apart one Yellow Lab from another. It takes knowledge and familiarity to see the difference, even if you can’t exactly pinpoint the differences.

      • I may state the very obvious here, but it’s also much easier to spot the subtle differences on a person wearing the jacket rather than on a mannequin !

  6. I like the outfits and agree with everything you said. The Tom Ford stuff looks great, however, the collar gapping is quite distracting and in my book lowers the mark!

    • I think the collar fits well for a suit that isn’t proper bespoke. The problem is with the armhole because the collar only lifts away the neck when Craig moves a certain way. It’s not like in No Time To Die when the collar never touches the neck.

      • I agree with Nils, you seem to be maybe a bit more forgiving with TF here. The lower rise trousers with the too long ties showing a bit from under the jacket sometimes distracted me as well. As you mentioned it, Brioni used a semi bespoke process as well as Tom Ford, yet there were never such problems or a collar gap problem on Brosnan’s or Craig’s suits, even with Craig having a rather difficult body to fit properly in CR.

      • The collar gap here is only when Craig is positioned in specific ways. 99% of the time there’s no collar gap. I’m sure you could find a shot of Brosnan with the same.

  7. I love this analysis. I think it is one of his best dressed films overall, and believe the suit cut and fit is just right. I thought the sunglasses were perfect, but, after reading this, agree, they should just be a bit bigger. Mathis looks awesome in the blue shirt and sweater over his shoulder. He looked fantastic in Casino Royale.

    Thank you for this site, I love it! I do think it is ok for Bond to wear a t-shirt on occasion!

  8. Bond’s Tom Ford suits seem to have traditionally divided fandom and I’m not sure why. Maybe the fact that after this film, Craig wore a size too small? But that’s not the fault of the suit or designer. Having seen Ford suits up close and even tried some on, I don’t think I’ve ever seen the level of detail or the faithfulness to British bespoke traditions on a commercially available (I wouldn’t call a $3k+ suit “mass market”) production line suit. Would I prefer Bond wore all English bespoke like in the 60s and 70s? Sure. But I’m not sure how realistic that is from either the film or garment production side any more.

    And yes, one of the most unintentionally funny scenes in the entire series is Bond finding a $4k pristine Tom Ford dinner suit in some random musicians locker that also fits him perfectly. I guess EON never thought to see how little staff orchestral musicians get paid. Nonetheless, it would have been great to see the buff, jacked musician that Bond robbed too. Imagine if he was a piccolo or triangle player?

    • My head says he’d be the timpani player, but my heart wants that pocket Adonis to dominate the line of piccolos. Haha!

  9. I’d have given it 9.5 out of 10. There’s always scope for some improvement, but I can’t think of much wrong with the wardrobe and, for me, it’s the best of the whole series.

  10. A shame that the the Harrington couldn’t have been a bonafide Baracuta . . . Could have been a quintessentially ‘Craig’ look for Bond, or an idiosyncratically Bondian look for Craig.

  11. Intereting review Matt, thanks for the article. Definitely the last time Bond was properly dressed to me. I agree with the note, however I think the CR note seems a bit low in comparison. But, the reason is probably the fewer outfits there are, the safer it is for the costume designer, and she was right. The 3 casual outfits are simple and efficient (although I prefer the way Craig wore the cardigan in CR : the famous look in QOS looks too much the playboy version of a casual chic look, and although it’s well executed, it doesn’t strike me as very Bondian. I think I prefer the McQueen way, who wore either a tshirt or a jumper/sweater under it.
    As I mentioned before, the TF suits, although giving a great flattering and dynamic silhouette to Craig, suffer from (subtle) collar gaps that weren’t here with Brioni. But the shoulders look great and seem perfect for Craig. A shame the Skyfall and Spectre looks completely threw the balance of the suit out of the window !
    A few questions as well :

    -I have seen 3 roll 2 suits and jackets in 1930s American movies. Isn’t the look originally from the US ? Or did it came from Italy ? Carmelo, Dan, at the rescue !

    -About the pagoda shoulder, being French, and having spoken with many bespoke tailors, and owning several second hand French bespoke garments, I am puzzled you say its a characteristic of French tailoring. The classic French school of bespoke tailoring (Camps, Smalto, Rousseau, more recently Camps de Luca, di Fiore…) usually leans towards a straight, structured shoulder with some work on the roping, like Roman/ North of Italy tailors. I have only seen pagoda shoulders when they were fashionable at the time (late 60s to early 80s, RTW and some bespoke, especially Belmondo’s 70s bespoke suits by Francesco Smalto, and occasionally in the 1930s). However, I would be curious to know why you think so.

    A nice weekend to you and to every member of this fine blog’s community !

    • The three-roll-two look is originally from England, but it was popularised in America and has been long adopted by the Italians. Though the English started it, like the button-down collar, the Americans and Italian like it more. The way it’s used here is most like the North By Northwest suit (which may be English or American), which is unusual because three-roll-two most typically used with softer structure, whether it’s in England, Italy or America.

      I think of Cifonelli most when I think of the pagoda shoulder, hence calling it French. Nutters used it in England too, which may be where Tom Ford got it from.

  12. Sir Roger spoke at the Cambridge Union, explaining why Quantum of Solace didn’t quite work for him. The former 007 said: “I didn’t like the last Bond film, it was like a long, disjointed commercial.”

      • Yes, I recall when Die Another Day came out. It was quickly known as “Buy Another Day” by Bond aficionados. I thought it looked very tired and sort of resting on its laurels, not very inspiring, although I still liked Brosnan’s interpretation, and Maggie Smith’s son as villain Gustav was a very good casting. I really liked the fencing scene in “Blades” [Reform Club] and also the Hong Kong hotel sequence, some of the action in Cuba, etc. As much as I like John Cleese in many of his other projects (Monty Python, Fawlty Towers, Life of Brian, Clockwise, A Fish Called Wanda, etc.), for me, he just didn’t work in the “Q” role, replacing Desmond Llewelyn. Major problems were the weak narrative and the ridiculous invisible car. After watching the film, I thought it was about time to change the discourse. Almost any direction would do! When I learned that Barbara and Michael had obtained the rights to film Casino Royale, I was very excited about the reboot and really enjoyed seeing the film when it was released. I thought it was a much needed revitalization of the franchise. As I like Aston Martin, Turnbull & Asser, and Sunspel, I didn’t really mind the product placements (except I prefer Rolex watches rather than Omega). So when QoS came out, my exceptions were quite high. I was hugely disappointed and couldn’t believe how crappy this film really proved to be! The lack of continuation in relation to the non-three piece suit really set the tone. The main problem, obviously, was the almost total lack of a story (due to a scriptwriter’s strike), although Craig actually looked rather nice in this film, in retrospect his best interpretation as Bond from a sartorial perspective. Many years later, I thought I would give the film a second chance, and watched it once more. I found it even crappier than I remembered! To this day, it is the only Bond film that I have never purchased on DVD (Casino Royale 1967, and Never Say Never Again included) and probably never will. It made it very clear to me that Michael G. Wilson’s idea (against Cubby’s will) to do the Bond thing retrograde, although it initially seemed like a fresh idea, in fact proved to be a cul-de-sac.

    • Sir Roger’s comment about “Die Another Day” was even better: “I thought it was over the top, and that’s coming from me, the first Bond in space!”

      • Sinclair, I completely agree with you here. It’s frustrating because the first half of DAD is actually pretty cool, fun and enjoyable. It started getting terrible when Bond arrives in Iceland. I didn’t found QOS that awful, but the biggest problem is the overwhelming jumpcuts/editing. The plot is another problem. Fortunately the already good dynamic with the CR characters (Leiter, Mathis, M) saved the movie for me.

  13. The ratings so far, along with some other stats:

    Dr No – 9/10
    FRWL – 9/10
    GF – 10/10
    TB – 10/10
    YOLT – 6/10
    OHMSS – 8/10
    DAF – 6/10
    LALD – 7/10
    TMWTGG – 8/10
    TSWLM – 5/10
    MR – 6/10
    FYOE – 9/10
    Octopussy – 7/10
    AVTAK – 8/10
    TLD – 6/10
    LTK – 4/10
    GE – 7/10
    TND – 7/10
    TWINE – 9/10
    DAD – 7/10
    CR – 6/10
    QOS – 8/10

    Bond actor averages
    Connery: 8.3
    Lazenby: 8
    Moore: 7.1
    Dalton: 5
    Brosnan: 7.5
    Craig: 7 (thus far)

      • Diamonds Are Forever torpedoed Connery’s average. If Never Say Never Again was included, and I understand why it isn’t, he might recover slightly.

      • You Only Live Twice has the same rating as Diamonds Are Forever. I’m don’t Never Say Never Again would raise the average either. I think I’d also give it a 6.

    • Interesting stats : although I don’t agree with several movie reviews, the actor’s averages seem pretty fair (yet). Technically I don’t think it’s possible for Craig to sink below Dalton though !

      • Indeed you’re right, I believe it would be almost mathematically impossible at this point, barring some incredibly low scores.

        Even if the remaining movies received a 3, 4, and a 5, Craig would still finish with an average above Dalton.

        Despite many of Craig Bond’s crimes against tailoring, I suspect he’ll have enough to pull through in the end.


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