The Last Seduction is a film I have very mixed feelings about. The highly gritty nature of the film, at times, can seem a bit too accessive; the nudity, the language and the general emotional overtones can seem over the top and there to just make the film purposefully shocking. However without it I don't believe the film woul be as effect to create dominance and strength for the character Bridget. Bridget, as vindictive and sour as she may seem, is such a refreshing character to come across. It is rare these days that we see such a strong and masterful female character, anti-heroes like this are a joy to watch and I am a sucker for an anti-hero. 
Double Indemnity is a story about an insurance representative who lets himself be talked into a
murder/insurance fraud scheme that arouses an insurance investigator's
suspicions. I really enjoyed this film. It was, admittedly, the first noir I ever watched and I feel that it won't be the last. What was especially enjoyable to me was the fact that many of the visuals often had second meanings, for example the venetian blinds could mean entrapment or the use of cigarettes to show the friendship between Barton and Walter. Sixty years later, it's as taut and engaging and
beautiful as any contemporary story. It simmers, it sizzles, the tension between Neff and Dietrichson is
positively palpable. But, as the tension between Neff and Dietrichson
fizzles, the tension between Neff and Keyes heats up. It's as pure a sample of classic film noir as there is, and it does it with
unparalleled style. The story of how and why he dunit, of how he was intoxicated and bewitched,
yet came to his senses, not soon enough to save him legally, but at least to
come to terms with his own failure was it's own level of great. Fun, different, refreshing. At least to me, that's Double Indemnity.
The Bond franchise has never particularly been my cup of tea. In some of the older stories I found the plots little bit sexist, it was as though a lot of the time women were temporary accessories to his arm: eye candy, I am aware that there is M who is a strong female character but a few more couldn't hurt. I also have found the villains to be rather two dimensional and repetitive, their frequently foreign and have some form of medical flaw, such as a scar or a dodgy eye, (for example in Skyfall, Silva is Portuguese and has a false jaw), of course this is not always the case but it does happen in a majority of Bond films; therefore these reasons many of the films do come across xenophobic. In addition the plots seem to only end in a climax that consists of a huge fight scene which seems to me like an dues ex machina to me.
The fast pace music throughout the clip adds to the narrative by creating tension and suspense. As the clip progresses the sound of trumpets are added to the shot. The first sound of trumpets sound we hear in the clip is when Eve looks over to her right to see that the train is going to travel into a tunnel, this is effective as we realise that the character Eve has a limited amount of time to take the shot, thus tension and suspense is created. As the climax of the fight scene progresses the sound of the violins increase in a high pitched minor key, this musical gesture is a classic way (especially in a fight scene) of pushing the audience to the edge of their seat, the audience is now craving the outcome. This non-diegetic mood music has a pace that is elevated as it progresses, as it is an action scene this could be to mirror the sound of and elevated heart rate that would also increase as the suspense and tension in the scene rises.
When we see Bond get shot all music is silenced, all the sound that remains is a faint echo of the gun shot, the sound of the wind against Bonds falling body and then the eventual splash of his body hitting the water, this could be adding to the narrative by showing a moment of reflection on the event that just took place. These diegetic sounds within the silence are hyper-realistic, this has been done to create more feeling within the audience; to emotionally invest them in the consequences.
