Jane Eyre’s story doesn’t take place as chronologically as the novel.  The beginning of the film sees Ms. Eyre running away frantically from Thornfield Hall, through misty and rainy mores, as if she’s frightened for her life.  All the while there’s a ghostly voice on the wind calling her name and wondering where she is.  As she looses the strength to go on, she comes across the home of St. John Rivers (Jamie Bell), a young clergyman, who lives there with his two sisters.  There she begins to recover under the muted kindness of the family.  Most of the rest of the film reveals Jane’s sad past through flashbacks.

Despite the puritanical behavior of everyone in this dark world, which often seems to be brimming with terror and secrets just below the surface, the erotic overtones cannot be ignored.  It’s titillating and exciting to watch, so much so that the first kiss between Rochester and Jane is as much a relief from an uncomfortable amount of pressure as it is romantic.

Fukunaga was lucky to have such actors commanding the script material (a script adapted by Moira Buffini of Tamara Drewe).  You almost believe that Wasikowska could actually be plain.  Almost.  And while Fassbender is far from ugly, he makes up for it with a personality that is far from appealing at first.  But the performance that demands the most attention comes from Judi Dench, as Mrs. Fairfax, Mr. Rochester’s most loyal housekeeper.  Dench’s Fairfax brings a much needed human touch to the personality of Thornfield Hall, she provides a rare friend for Jane, and keeps the young girl’s sense in check, avoiding too much romanticism.  It’s Fairfax that seems to bridge the very human reality Jane lives in to the ethereal presences of Rochester.  And without Dench’s subtle performance, this delicate balance wouldn’t have existed.

It can’t be denied that Fukunaga has a pleasing way of filling up a screen, but he’s aided here by the brilliance of cinematographer Adriano Goldman (Conviction, Sin Nombre).  He keeps the lush hills of England, the smoky groves of trees mysterious and lurking, as impenetrable as Mr. Rochester seems to be.  The thrilling original score of Oscar-winner Dario Marionelli almost steals the show as he did in a similar fashion with 2007′s Atonement.  Jane Eyre is intensely romantic, atmospheric, tense, and brilliant.  I loved it.

4 out of 4 stars

The movie begins right where Casino Royale left off.  Bond is still terribly wounded after the betrayal of his Vesper, and despite a promise to M (Judi Dench, who is near perfect as always), can’t help but make everything intensely personal.  He’s paired up with Ukrainian cry-baby Camille (a lame Olga Kurylenko, who should stick with movies like Max Payne which suit her talents better) who has little, to no character development, or real reason to be in the film.  The two are completely on their own against a huge, international conglomerate posing as an environmentally concerned NGO that the superpowers of the world are helpless against, mostly because of their ignorance.  Revealing any more to the plot would require spoilers.

It seems that since Forster has spent most his time working on tender, character-based pieces, he went balls out, throwing in as many explosions, fight scenes, and rooftop jumps as he could, to compensate for his lack of experience in the genre.  It’s entertaining to watch and will get your attention, but seems a little too familiar, as this Bond has taken pretty much all his cues from the Bourne series.  This is true, even though the same three guys: Neal Purvis, Robert Wade, and Paul Haggis co-wrote the script to both Quantum and Royale (a script which shares nothing except a title in common with Ian Fleming’s short story).  Lowbrow characterizations replaced the intriguing character developments that Royale provided.  And call me prideful, but the ignorant American government official is not a character I’m entertained by, or interested in  watching (Ridley Scott wore me out with Body of Lies).  Every time Vesper’s named is mentioned, I found myself longing for Bond’s last adventure, where I actually cared about the characters.  On the other hand, Daniel Craig once again excels as the ripped, emotionally deep, bad ass guy we met last time.  I think the Broccoli family could have done no better choosing a Bond to reinvigorate the series.  I’d follow Craig to the ends of the earth.  All complaints aside, Quantum of Solace is a thrilling ride that won’t leave you unsatisfied on the action end.  And who could really expect a better Bond movie than Royale?

2.5 out of 4 stars

Rottentomatoes: 67% – Cream of the Crop: 35%