Love Me Movie 2012
Love Me (2012). A teen (Lindsey Shaw) begins a romance with a new student (Jamie Johnston) who becomes a suspect in the disappearance of a girl (Kristina.
- Dec 21, 2012 The 'Most Anticipated Indian Movies and Shows' widget tracks the real-time popularity of relevant pages on IMDb, and displays those that are currently generating the highest number of pageviews on IMDb.
- Rent Love Me (2012) starring Lindsey Shaw and Jean-Luc Bilodeau on DVD and Blu-ray. Get unlimited. 2012 PG-13 1h 37m Blu-ray / DVD. Rent this movie.
The affection that Bond films inspire seems in no way connected to considerations of their actual quality: who, honestly, would voluntarily re-watch any of them other than slumped wearily in front of the TV on Christmas Day? That, presumably, is why they seem so linked to time and place: like Peter Bradshaw, I remember gawping saucer-eyed at this, my first big-screen Bond, as an 11-year-old: it seemed, as for Peter, to have issued from a world of impossibly grown-up glamour and excitement. Zeetv youtube.
Rather weirdly, I realise I may have sat in exactly the same seat as Peter, a few years later. I too saw my first Bond at the Classic cinema in Hendon Central; while Peter, it turns out, was a tourist (visiting his auntie), I grew up there, at the end of the M1. In retrospect, the cavernous, sticky-carpeted suburban picture house – emphatically not one of those lovable art deco palaces, but a gloomy place filled with ratty kids and popcorn-hurling teenagers – was arguably emblematic Bond territory, where England's roiling petit-bourgeoisie nursed their aspirations and worked on their dreams. (Even more symbolically, the place is now a gym.)
At the time, the film certainly made an impression. Everything about Bond movies – from Barbara Bach's cheekbones to the underwater harpoon battles – seems calibrated to appeal to the adolescent. Now older and wiser, I like the self-parody that Roger Moore brought to the role; I always found the 'serious' Bonds – Connery, Lazenby, Dalton – out of kilter with the hyper-absurd environments they were anchored in. Even more astonishing, perhaps, was the social context: 1977 was the year of the silver jubilee and punk, Britain fractured and filled with self-hate. This smirking Bond was fully at ease with its own lameness: he couldn't be serious because no one would take him seriously. In this, Moore was the perfect Bond at the perfect time; and almost entirely antithetical to the spirit of Fleming's original. Instead, The Spy Who Loved Me exemplifies Britain's conflicted internal battles: a nagging patriotism (that, ironically, pointed forward to the Thatcher years) alongside a smuttiness that might have been lifted from the sex comedies that, other than Bond itself, were pretty much keeping British cinema afloat.
No doubt this was helped by the fact that The Spy Who Loved Me was forced to entirely ditch the written source after Fleming simply sold rights to the title; this tenuous relationship with the novels became the norm as the film-makers ran through the Fleming-originated supply. The original was a sliver of a novella, barely featuring Bond at all, and told from the point of view of a Canadian motel employee with whom he has a brusque one-night stand. The movie Spy Who Loved Me is Thunderball-plus: a Blofeld-esque villain (played by Curt Jürgens) with a world-destroying scheme to turn US and Soviet nuclear subs on their respective countries, and a detente-influenced love match between Bond and his Russian opposite number, Anya Amasova.
Perhaps 007 movies should stay locked in the minds of impressionable adolescents. (I mean, Steve Coogan has pretty much eviscerated any actual adult appreciation of them.) Having just dug The Spy Who Loved Me out on DVD, I am forced to report that it's as unwatchable as every other Bond film. They're always far, far too long, hamstrung by idiotically convoluted plots, defeated by wooden acting and elephantine dialogue, suffused by nauseating levels of sexism, and never as pummellingly exhilarating as they persuade themselves they are. Simcity 5 license key. I don't think there's any other film series, that I've felt compelled to watch every instalment of, but come away so dispirited.
And yet, and yet: Bond has definitely got something. How else could it be a franchise that can materially affect the stock price of its producing studios. It's best, I suspect, to concentrate on the things Bond does well, and The Spy Who Loved Me has a full share. The union flag parachute stunt at the start – even if it's so beloved of the Loaded generation – is still a knockout gag, audacious and funny. The Carly Simon theme song is great; channelling the lounge-bar spirit of early Bond that would be extinguished by the mid-80s when the producers tried to get hip with Duran Duran and A-ha. The car – yes, that car – is a thing of beauty, both aesthetically and technically; you don't have to be James May to appreciate it. Moore's tight little smiles and independently-cocking eyebrows are deployed to amusing effect, when he is called on to do a bit of acting (as opposed to glumly filling out a naval uniform and/or safari suit, or joylessly locking lips with the nearest bit of skirt). Richard Kiel's metal-gummed villain Jaws is an inspired creation, up there in the hench-league with Oddjob and Nick Nack. Production designer Ken Adam really let rip on Stromberg's submersible lair.
In the end, The Spy Who Loved Me's real strength is that it's pure cheese – full fat, 100% proof – and knows it, but never makes the mistake of trying to outsmart itself. Unlike later editions, it doesn't try too hard to undermine proceedings. (That Moonraker ending .. wha??). Current Bonds are desperately trying to play catch-up with the incarnation of the 100bpm action thriller, but Spy led the way in its own time, at its own pace. In Bond terms, it's kind of a miracle.
Best line: Stromberg, after blowing up the helicopter containing two scientists to whom he's just promised $10m each: 'Cancel transfer of 20 million dollars.'
Love 2012
Best gadget: The Lotus wins at a walk. The evil lift poised over the shark tank a distant second.