Download Quantum of solace
Millions of people do download free movies everyday but still there are newbies who wanna learn where and how to download free online movies.
Whether you’re a freshman or a regular downloader, we do have options for you in both cases. If you wannadownload freeQuantum of solace, then go ahead to download it now. Revenge is a dish best served cold. Which, along with mean and lean, is how Daniel Craig plays 007 in Marc Forster’s slightly disappointing, furiously-paced, hi-tech, slash-and-burn sequel to the more leisurely, luxurious first ‘reboot’, ‘Casino Royale’.
James Bond – you’ll have to remember his Christian name as the arrogant cad neglects to announce it – is grieving the loss of lover and betrayer Vesper Lynd (Eva Green). You’d best remember the plot – and Lynd’s necklace – of the earlier film, too, as director Forster throws us immediately, eye-smackingly into the frenetic activity and globe-traversing travel that is the angry, increasingly unorthodox, ‘soul-destroyed’ world-saving agent’s way of dealing with betrayal, grief and loss.
Eight minutes of highly impressive, parallel-edited, SFX-assisted, stunt-laden action are up before the ears, eyeballs and brain get their first momentary repose. Before then, our hero chases down Mr White in the Aston dodgem-car through Alpine tunnels. Cough or blink and you’ll miss how our bold spooks link the last film’s Le Chiffre to bug-eyed faux environmentalist Dominic Greene (Mathieu Amalric), a destabiliser of US backyard governments with a laughable, pudding-basin haircut-ed sidekick. Almost immediately, he hops, skips and jumps across Siena’s roofs and the horse-loving, harlequin-ed Palio crowds – and we soon follow Bond ‘running wild’ from the palatial villas of Italy to the slums of Haiti, the neo-Reifenstahl opera houses of Vienna, and the menacingly beautiful, otherworldly moonscapes and deserts of Bolivia.
So much dash, flash and thrill – so many boat chases, tight rope-dangling fight scenes, bi-plane dogfights, architectural flourishes and flat-table computer displays – there’s scant time left for character, let alone, story, fun, seduction, humour or wit. You can sense the older, traditionalist viewers wanting to go home early to take their nostalgia pills. True, there are some cute one-liners – presumably the product of Paul Haggis’s polish of Neal Purvis and Robert Wade’s screenplay taken from producer Michael G Wilson’s first inspirational treatment and itself repeatedly pencil-marked by Forster and Craig.
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