Not to mention Batman and Robin
The earlier Bond films had a sort of period charm about them and suitably over the top plots. Somewhere along the line they started to take themselves seriously and lost the charm. All you get is a somewhat meh action film like any other.
But one of the early films is seldom if ever shown. And with very good reason. The first version of Casino Royale from the sixties is just so unbelievably bad … that you just have to see it. Once, anyway. It was something like one of the worst and least inspired* Carry On* films, with some incredibly infantile bits.
Not sure if there’s any correlation between their marked creative downturn and some of their final hits being written by David Foster.
Like, from The Who Sell Out?
I thought it sounded like something from the 80s. Especially the slow break-down parts.
:pI’m getting serious head explosions trying to imagine a Chinese-muumuu’ed Seagal imparting his zen-like directing wisdom to Mr. Caine, sorta like Gronk putting Ben Kingsley through the blocking paces.
Please elaborate.
OooOooo! Here’s one:
The Beatles. They gave us John Lennon and Ringo Starr.
I almost want to ask which one you consider “best” and which “worst.”
Which one is the best and which is the worst?
ETA: ninja’ed
The rest of the band’s comments on it are funny.
Was that the one where the story was basically something like Paul McCartney had some weird obsession with getting this song exactly right in studio, making the band go through many takes, while the rest of them were like “let’s just move the fuck on and do something else”? Or something to that effect? Or am I thinking of another Paul McCartney song?
Marcel Duchamp. In the Philadelphia Museum of Art is one of my favorite paintings, Nude Descending a Staircase (No. 2). In the same gallery is his “found art” piece Fountain.
Ouch. 
Thank-you for a laugh-out loud moment.
They said the same thing about “Ob La Di, Ob La Da” too.
Those people are fools with assholes for ears then. MSH is perfect for what it is, and Abbey Road is perfect for including it. The eclecticism is part of what makes the album great.
Especially with the White Album, which is probably why it might be my favourite.
Aerosmith went from Toys in the Attic lp / “Back In the Saddle” / “Last Child” to…
:o"I Don’t Wanna Miss A Thing":o
Cheap Trick went from “Surrender” / “He’s A Whore” to “The Flame”.
Those last two examples I think are rock solid ones for the OP.
Welles went from Kane/Ambersons/Shanghai/Touch of Evil to a part-documentary-or-what-the-heckever-ya-call-it called F is For Fake, a tedious, rambling, disjointed sorta “pastiche”(?) of film styles that, for the life of me, seems to be praised in too many quarters these days. Not back then, so much. I’m with the back-then’ers.
Even the only highlight of the film - The Hottest Woman of All Time: Oja Kodar - became just another gratuitous and monotonous element in the film.
from wiki:
Sorry, OW - never became any particular kind of genre as far as I know. :smack:
oooooooo sneaky Orson pulling the wool over our eyes at every turn - What’s he gonna do with “truth” NOW?
Cobra was worse than Rambo II and III combined. Just awful.
That’s because the 1967 Casino Royale is not part of the “mainstream” Bond film series. The film rights to the novel wound up with a producer who had no connection to any of the other Bond films, who decided to make a satire of the James Bond movies in particular and spy movies in general. It was supposed to be an all-star farce, had a troubled production, and wound up being an incoherent mess. It was never supposed to be the kind of action/adventure/thriller that all of the other Bond movies were supposed to be.
Brayne Ded and gdave,
It’s worse than that. There’s a 1954 version of Casino Royale that appeared only one year after the book was published. Rights to the story were bought by somebody who had it rewritten to be one fifty-minute episode of the American television show Climax!. In it, James Bond was an American who worked for an American intelligence agency called the Combined Intelligence Agency. I haven’t seen it, but you can watch it online by using the link at the bottom of the Wikipedia article below. Ian Fleming probably sold the rights shortly after it was published, before any other books in the series were published. He got $1,000 for it. Maybe he was uncertain if any further books in the series would ever get published and figured he needed something to live on while he finished the second book. The American edition of Casino Royale wasn’t published for almost a year after the British edition, so maybe when he sold the rights for the television show, he figured that the books would never sell well in the U.S., so it didn’t matter if Americans saw a messed-up television version of the story:
John Lennon.
If you disagree, please state which tracks you’ve willingly listened to more than once on
“Unfinished Music No. 1: Two Virgins” (1968) or “Unfinished Music No. 2: Life with the Lions” (1969)
Ryan Reynolds has been the best Deadpool and the worst Deadpool.