The direction is solid but not overbearing, the score subtle and light, the entire affair very nicely cushioned around Coogan and Dench's performances, and the film is all the more effective because of it.
Parade’s End (1964) juxtaposes conservative aristocrat Christopher Tietjens’ domestic warfare with the sociopolitical turmoil of the First World War. It also introduces us to young Judi Dench as a beguiling Valentine in the story’s love triangle.
Sam Mendes’ tough, relationship-focused Bond film is really about leadership in extremis, with towering and isolated icons fighting tooth-and-nail to keep society together amidst the growing chaos of modernity.
Bond (Daniel Craig) seems done in by the notion that M is indeed his maternal superior, and so he must please her, or at least pretend that he's playing by rules that he and she and all the rest of us know he disrespects from jump.
For those who never tire of the great playwright, there can never be enough attempts to interpret Shakespeare: every new endeavor is simply another gem in the Bard's jewel-laden crown. The Thames collection is such a gem.