By Brian Bohl

Despite the subtle (and sometimes overt) references to Bond films of the past, “Quantum of Solace” eschews the basic tenets of the world’s most successful film franchise.

James Bond is back, though he’s too busy trying to stave off death in some brutal fight scenes to do the traditional opening gun-barrel scene or introduce himself with his most famous line. Unfortunately, Bond is also too busy to display his trademark sardonic humor or caustic quips.

Director Marc Forster (“Stranger than Fiction,”) scarifies humor, dialogue and plot clarity in favor of some of the best action scenes in series history, an impressive feat considering Bond films are approaching their 50th anniversary in 2012.

“Quantum of Solace’s” title is taken from author and Bond-creator Ian Fleming’s short story. But while the rest of the plot is an original work by screenwriters Paul Haggis and Neal Purvis, Fleming would likely be proud of the hard-edge Daniel Craig brings to Bond in his second performance.

“Solace” commences moments after “Casino Royale” ends, with Bond escorting mysterious villain Mr. White in the trunk of his Aston Martin through Italy. Bond immediately needs every ounce of power in his 12-cylinder sports car to outrace and outgun the henchmen in an Alpha Romeo. This is no leisurely drive though Portofino, and the pre-title sequence culminates with a breathtaking crash scene that sets the tone for the rest of the movie.

While watching $300,000 cars destroyed can be exhilarating, Forster’s extremely quick-cuts, shaky hand-held camera angles and POV outside shots become distracting by the middle of the film. Disorienting the picture can be a clever visual style when used sparingly but can simply confuse and frustrate viewers during extended fight scenes.

Those negatives are just minor hindrances to an overall entertaining picture, even if it falls short of matching “Casino Royale’s” mix of action and storytelling. At 105 minutes, it’s much shorter than its predecessor’s run time of nearly two and a half hours, though its pacing seemed off at times.

In a role short on words, Judi Dench provides another stellar performance as M, the MI6 section chief and Bond’s boss. Dench and Craig’s scenes in “Casino Royale” immediately set the stage for a dynamic and enthralling on-screen relationship. The interplay between the two sustains interest during a labyrinthine plot with so much globe-trotting the audience will need a GPS just to keep up.

In Craig’s first foray as Bond, he falls in love and discusses marrying Vesper Lynd (Eva Green). No one wants to see a middle-aged 00-agent who is married and has mortgage payments, so naturally Lynd is promptly killed and Bond sets out for revenge in the first true sequel in the franchise’s history.

Unlike director Martin Campbell, who directed “Royale,” Forster doesn’t allow the plot to breathe or allow interesting characters like Renne Mathis (Giancarlo Gianni) and Felix Leiter (Jeffrey Wright) to serve as anything more than time-killers before the next CGI-created enhanced fight scene.

Gianni and Rush both reprise their roles and do the best they can with limited screen time. They fulfill the main role of a supporting character, which is to allow the audience to see a deeper side of the protagonist.

Like Christopher Nolan’s last two Batman films, Craig’s two Bond movies are providing a beloved series with a much needed retooling that isn’t propelled by campy humor or gadgets. Craig’s at his best wearing the physical and emotional scars of a now-battled tested secret agent.

Craig’s best moment comes at a time when he doesn’t kill or even raise a punch, though his physicality and emotional inflection of his words in the final scene reveal more about the character’s soul than a long drawn-out speech could ever provide.

Good thing Craig is signed on for at least two more Bond films. He doesn’t disappoint, even as Ukrainian model Olga Kurylenko underwhelms as Camille thanks mostly to a tired storyline. As a Bond girl, Camille doesn’t go to bed with Bond but instead, helps him get to the villain and eco-terrorist Dominic Greene (Mathieu Amalric), who, while not physically imposing, does a splendid job tweaking Bond with a wit that makes him a match for 007.

For hardcore fans of the series, look for the multiple homages to the past. There are two distinct references to “The Spy Who Loved Me” and a surprising twist on “Goldfinger’s” enduring images.

Producers Michael Wilson and Barbara Broccoli took a chance in rebooting the series in 2006 and have been rewarded with critical praise for “Casino Royale” and record-setting box office performances for ‘Solace.’ Both have said the next movie will complete the trilogy, where Bond goes from regular agent not far removed from his time in the Royal Navy to the battle-tested 007 first made famous on the big screen by Sean Connery.

For all the highly enjoyable fight scenes, Bond 23 should sustain ‘Solace’s’ non-stop energy while also incorporating a pacing and structure that gives a talented cast the chance to be more than just filler between highly choreographed action shots.

Craig has shown his ability to handle the balancing act necessary for the role. But please, make sure he introduces himself as “Bond, James Bond” next time.

Grade: B