DR. NO

1962, Terence Young, 109 mins. 

James Bond investigates nefarious deeds in the Caribbean.

The first Bond movie is a brisk and enjoyable spy thriller with a star-making performance from Sean Connery as our favourite spy and iconic turns from Ursula Andress and Joseph Wiseman as the archetypal Bond Girl and Bond Villain. It’s noticeably more grounded in some kind of reality than later films in the series and it’s lacking several elements which would later become indispensable – notably the theme song and the pre-credits teaser. But it’s already looking like the beginning of a franchise thanks to Ken Adam’s extravagant designs, Ted Moore’s colour cinematography and the insolent wit of the dialogue. It’s really Connery’s show though and he’s irresistibly watchable, whether trading bon mots with Miss Moneypenny, growling seductively at Sylvia Trench or performing unusually believable tradecraft in his Jamaican apartment. Not forgetting the wonderful James Bond theme played by John Barry.  

TRANCE

2013, Danny Boyle, 101 mins.

An auctioneer becomes involved with an art robbery. 

The problem with Trance is that it twists about so much that it eventually coils its way up its own rectum. It’s a clever enough film which uses hypnosis with a lot more intelligence than you might expect, although it does depend on the idea that the central character, played by James McAvoy whose performance which is unfortunately reminiscent of Ewan McGregor at his most unappealing, is the most suggestible hypnotic subject in the history of the discipline. The plot, in which he gets involved with sexy therapist Rosario Dawson at the behest of gangster Vincent Cassel, hangs together  well until the last half hour when a string of daft revelations pile up and characters behave in ways which are wildly contrary to the way they have been developed. Danny Boyle’s stylish direction just about keeps it watchable. 

VILLAIN

1971, Michael Tuchner, 94 mins. 

A mother-fixated gangster is involved in a disastrous robbery. 

Although ostensibly a gangster movie, Villain is actually most interesting as a state of the nation film which portrays Britain in the early seventies as a country going rapidly down the drain. Nothing works properly, the system is corrupt, sex is degrading and you can’t even pull off a decent payroll robbery because the unions are going out on strike. Richard Burton is pretty good as Vic Dakin, the villain of the title - clearly based on a combination of Reggie Kray and Cagney in White Heat – and Nigel Davenport is splendid as his nemesis, the only honest copper in the Met. The location filming is fantastic, especially a botched heist on a Bracknell factory, and the cast is packed with familiar faces, ranging from  Donald Sinden to James Cossins. Not quite on a par with Get Carter but close.

SITTING TARGET

1972, Douglas Hickox, 92 mins.

A convict escapes to get revenge on his unfaithful wife.

Sitting Target is a violent, grim, and compelling thriller which offers a sensational performance from Oliver Reed as an escaped convict obsessed with getting revenge on his cheating wife. Reed was always a powerful actor but here he turns the intensity up to eleven and keeps you compelled even while you’re appalled at his brutality. He’s well supported by Ian McShane as his more cheerful accomplice and there are effective cameo turns from a typically colourful Freddie Jones, Frank Finlay, and Edward Woodward as the copper on the case. The London locations are a delight and there’s one particularly good chase through the sheets and knickers of some tower block washing lines. It’s dated in some respects, particularly a lot of casual misogyny which sees the women uniformally treated like dirt. But it’s constantly riveting with an effective plot twist.