The romantic side of Bond is not incongrous with his character, but coming in this film post-climatic as it were, has the same effect as a post-orgasmic first date. Fortunately, later analysis reveals the love to have been a true one, if typically short-lived, and thus we can take a quantum of solace in the memory of young love. The satisfaction is diminished, however, by the stereotypical Bond girl portrayal of Vesper Lynd by Eva Green, the 'face of Armani'. The hint of 'damaged goods' from the Fleming novel is given up, and the inevitable betrayal, followed by redemption through sacrifice is given a cinematic flourish.

Significant changes are made to the political themes of the film, as compared to the novel, or the earlier film/television versions. Le Chiffre gives up his original low-paying job as paymaster of a trade union for master terrorist financier. This elevation works negatively to demean Bond, as Le Chiffre gloats that he is more valuable to Bond's paymasters than Bond himself. SMERSH is given the heave-ho, for a nameless syndicate, with Tarantino-style characters such as Mr. White.

The film-makers display an admirable knowledge of Bond lore, such as his antecedents, his preferences, a subtle reference to an absent Miss MoneyPenny, and in a sly nod to the 1954 television adaptation starring Barry Nelson, naming the local British agent Mathis, the name of the Vesper Lynd character in the television adaptation.

The gadgets are stock items from Best Buy shelves, barring a few novelties, and Q does not put in an appearance, as in the novel, sending a minion instead to inject a cryptic implant into Bond. Q seems to have decided to trade his scientist's hat for a marketing one, and the product placements festoon the film beyond tolerance.

The cars are another story. Some of the most slick cars and driving sequences one has experienced in a Bond film are presented, including the Ford Mondeo MkIV, the Aston Martin DBS, and the venerable DB5. Bond makes short order of a couple of the better ones. The opening sequence past the credits is a heart-stopping rondo on an oil rig in Uganda, reminiscent briefly of the Eiffel Tower sequence from a View To A Kill. The African terrorism references are an indicator of the political savviness of the film's producers, as is expected of Bond films, given that recent threat assessments rate African terror outfits quite high.

The quintessential opening credits and song (by Chris Connell) are memorable, and the evolution in Bond credit sequences is a topic for another essay.

The film was a reckless series of hi-jinks that had it's finger in the global terror pie, and one must say one enjoyed it, despite the quibbles expressed about the character.