
Casino Royale Review: Bond Learns How Much a Win Can Cost
Daniel Craig gives 007 a rough edge, Eva Green makes the poker game personal, and Martin Campbell keeps the action tied to character.
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Daniel Craig gives 007 a rough edge, Eva Green makes the poker game personal, and Martin Campbell keeps the action tied to character.

Die Hard still works because John McClane can be hurt, Hans Gruber can think, and Nakatomi Plaza gives every confrontation a place and a purpose.

Chow Yun-fat and Tony Leung anchor John Woo's escalating gunfights, even when the police melodrama struggles to match the action's precision.

Keanu Reeves and Chad Stahelski make a simple revenge story compelling through readable movement and a criminal world sketched with restraint.

Uma Thurman holds together Tarantino's shifts from martial-arts film to anime and blood-soaked spectacle, though the first volume is deliberately incomplete.

Christopher McQuarrie gives Ethan Hunt's biggest stunts clear objectives, while a dense web of alliances sometimes slows the chase between them.

The 1987 film's shift from commando swagger to jungle horror is its best idea, even if the characters rarely grow beyond their roles in the hunt.

The bus premise keeps Speed focused, while Keanu Reeves and Sandra Bullock turn mechanical suspense into a lively partnership.

James Cameron scales up the chase, gives Sarah Connor a harder edge and makes the T-1000 a threat that changes every encounter.

Greengrass's rapid cutting and mobile camera make surveillance and pursuit feel immediate, though they sometimes ask the viewer to work too hard to read a fight.

Ledger's Joker disrupts the city, but Nolan's best choice is to keep Batman and Harvey Dent inside the moral pressure he creates.

Gareth Evans and Iko Uwais turn a simple police raid into a sequence of distinct, readable fights, even if the people between them remain thinly drawn.

Facing El Chapo (La captura) puts two federal police officers, not El Chapo, at the center of its story. The choice mostly pays off, even when the film around it slows down.