The Spy Command’s final thoughts on ‘Year of the Spy’

Almost a year ago, this blog christened 2015 as the “Year of the Spy.” As the year draws to a close, this post looks back on that year with some final thoughts.

The blog didn’t write about all the movies discussed here. But the blog editor did see them all. The films listed are in order from best to worst. Actually, none of them was a stinker, so “worst” here is relative. Regardless, here we go.

Bridge of Spies: This wasn’t so much a spy movie as a film about the aftermath of espionage.

The Steven Spielberg-directed “biopic” starred Tom Hanks as James B. Donovan (1913-1970), the American lawyer who negotiated the release of U.S. U2 spy plane pilot Francis Gary Powers from the Soviets.

With any “based on true events” film, one should never view it as history. Regardless, it was very engrossing. Here, CGI is used to recreate Powers’ capture when his plane was shot down.

Hanks is an accomplished actor and, as usual, delivers a strong performance. This movie also is a milestone of a different sort. Spielberg had to rely upon a composer other than mostly retired John Williams. For this film, that was Thomas Newman.

Bridge of Spies is mostly a low-key drama. The stakes are large, but it doesn’t have the pyrotechnics of the typical action film. This is exactly what Newman excels at. His score is perfect for the movie — and also points out his weakness at another prominent movie on this list.

U.N.C.L.E. movie poster

The Man From U.N.C.L.E.: The return of Napoleon Solo and Illya Kuryakin after a 32-year absence was a financial failure, despite a modest $75 million production budget.

The Guy Ritchie-movie took liberties with the source material. Henry Cavill’s Solo was, more or less, the same character that Robert Vaughn played in the 1964-68 series but his back story was quite different. Ritchie took more liberties with Armie Hammer’s Kuryakin, who had a far darker side than David McCallum’s original.

Still, it mostly worked, even if it relied on an “origin” story line. It had a strong opening, downshifted to a decent middle section, then went into high gear in its second half. Once main villain Victoria (Elizabeth Debecki) calls Cavill by “Mr. Solo,” the proceedings accelerated until the end.

One of the strengths of the movie is Daniel Pemberton’s score. The composer was instructed by Ritchie NOT to emulate John Barry’s 007 movie style and that advice pays off.

The chances of a sequel are remote. That’s show biz. But the movie wasn’t camp (a fear of long-time U.N.C.L.E. fans). Perhaps, in coming years, this movie might attain the status of a “cult classic.”

SPECTRE poster

SPECTRE:  The 24th James Bond film started out strong as it sought to mix “traditional” 007 movie elements with Daniel Craig’s 21st century grittier take. For the first two-thirds, it succeeded.

Yet, in its desire to top 2012’s Skyfall, some things went awry. The same writers of Skyfall (John Logan, Neal Purvis and Robert Wade) worked on this year’s Bond film. Their roles, however, were reversed.

Until now, Purvis and Wade — who are very familiar with Ian Fleming’s original novels and short stories — would do the early drafts while another writer (Logan in the case of Skyfall) would come in and polish things up.

In this case, Logan did the early drafts. Purvis and Wade weren’t even supposed to participate. However, Logan’s efforts were found lacking — something that likely wouldn’t have been known had it not been for computer hacking at Sony Pictures, which exposed behind-the-scenes details of many movies, including SPECTRE. Also, playwright Jez Butterworth (who did uncredited polishes on Skyfall) apparently did more on SPECTRE because he got a credit with the other scribes.

Thomas Newman, who did such a splendid job on Bridge of Spies, is only serviceable here, even recycling some of his Skyfall score in some scenes. Clearly, doing a Bond film is NOT in the talented composer’s wheelhouse.

Regardless of the soap opera, SPECTRE ran out of gas. Its final third wasn’t a total loss but it didn’t sustain the momentum of the first two-thirds. As a result, this blog puts SPECTRE behind U.N.C.L.E., which finished much stronger.

Mission: Impossible Rogue Nation’s teaser poster

Mission: Impossible Rogue Nation: The fifth Tom Cruise Mission: Impossible film had its own behind-the-scenes soap opera.

The movie was originally scheduled to debut Dec. 25. But Paramount abruptly moved up the release date to July 31, presumably to get it out of harm’s way from Star Wars: The Force Awakens.

Presumably, that had to add extra stress to screenwriter-director Christopher McQuarrie. Directors almost always want more time to tinker with a movie in editing, not less.

Regardless, from a box office standpoint, it was an astute move. It definitely hurt the U.N.C.L.E. movie (which came out two weeks later). And the movie was well received, encouraging Paramount to order up another film.

Technically, the movie was very exciting. Star (and producer) Cruise probably scares studio bosses by insisting on doing his own stunts. This blog drops the movie down a step because it’s not as much of a Mission: Impossible movie as its predecessor, the Brad Bird-directed Mission: Impossible Ghost Protocol.

The original M:I series (1966-73) was very much about team work. Ghost Protocol very much followed that path (even reworking some bits from the show, albeit in a bigger and more spectacular fashion). Rogue Nation was a step backward. It was another example of turning M:I into The Tom Cruise Show.

Kingsman: The Secret Service: If this movie had sustained its first half for the rest of the film, it probably would have been the best spy movie of the year.

It didn’t. In the first half of the movie, one of the best scenes in the first half is where Kingsman Harry Hart (Colin Firth) says, “Manners maketh man,” before he clobbers some British thugs. But director Matthew Vaughn conveniently forgets that advice. Once Harry is killed midway throught he film, the movie dies a bit with him.

There’s still a decent amount worth watching (and the movie was a hit, especially with international audiences). Still, whatever class was present disappears into the mist.

Taken 3: The final (we hope) of Liam Neeson’s adventures as a former spy does everything it’s supposed to do — but no more. In this installment, the wife of Neeson’s Bryan Mills has been killed and he’s been framed. Of course, he’ll get out it. The question is how.

A pre-SPECTRE look at The Year of the Spy’s box office

Mission: Impossible Rogue Nation’s teaser poster

At the worldwide box office, The Year of The Spy has had one breakaway hit so far before the movie that’s a virtual lock to be the No. 1 spy film. That, of course, would be SPECTRE, the 24th James Bond film due out this fall.

The breakaway hit to date is Mission: Impossible Rogue Nation, with an estimated worldwide box office of $656 million through Sept. 20, according to the BOX OFFICE MOJO WEBSITE.

Parmount originally scheduled the M:I film for Dec. 25, just a week after the new Star Wars movie. Paramount, the studio that controls the M:I franchise, changed the release date to July 31. The box office results have proven a smart move for executives at Paramount.

The movie fifth M:I film with Tom Cruise has been helped by ticket sales in China that have exceeded $100 million, ACCORDING TO FORBES.COM.

Another winner was Kingsman: The Secret Service, with a worldwide box office EXCEEDING $410 MILLION, including almost $282 million outside the United States. It was based on a comic book by Mark Millar and Dave Gibbons which wasn’t exactly well known among the general public.

Other spy entries include Taken 3, the last of a three-film series, at $325.8 million worldwide  and the Melissa McCarthy comedy Spy at $236.2 million.

Lagging the others was director Guy Ritchie’s version of The Man From U.N.C.L.E., released on Aug. 14 in the U.S., with an estimated worldwide box office of $99.5 million as of Sept. 20.

That’s not enough to recover the estimated $75 million production budget plus additional marketing expenses, which included, among other things, a May press junket in Rome. U.N.C.L.E. was the biggest loser from Paramount’s release date change for Mission: Impossible Rogue Agent.

SPECTRE will be the big finale for The Year of The Spy. The 007 film is coming off 2012’s Skyfall, the first Bond film to cross the $1 billion box office mark on an unadjusted basis. SPECTRE will not only be the most costly 007 film, it will be one of the most expensive movies of all time, with a production budget of $300 million or more.