Laws of Attraction

Tags

2000's, Frances Fisher, Julianne Moore, Laws of Attraction, Michael Sheen, Parker Posey, Peter Howitt, Pierce Brosnan, Romantic Comedy

Film Title

Laws of Attraction

Director

Peter Howitt

Starring

• Julianne Moore as Audrey Woods
• Pierce Brosnan as Daniel Rafferty
• Michael Sheen as Thorne Jamison
• Parker Posey as Serena Jamison
• Frances Fisher as Sara

This romantic comedy never quite hits the mark that it is going for in trying to emulate classic battle of the sexes movies, but thanks to good chemistry from the leads, Laws of Attraction is at least an entertaining way to pass the time.

Audrey Woods is a successful divorce lawyer in New York who does things by the book and studiously, which pays off as she has never lost a case. That is threatened however by the recent arrival of the irascible Daniel Rafferty, another divorce lawyer who boasts a similar reputation, but different methods. While Audrey is the analytical and slightly prim one, Daniel gets by on luck and charm. They find themselves continually pitted against the other and this is where a sexual tension builds. Audrey, who has all but given up on the dating scene, has no interest in a relationship after seeing so many just wither away. Daniel on the contrary is extremely attracted to her and wants something genuine out of it, much to Audrey’s chagrin. Yet these feelings may go on the back burner when trashy couple of rock star Thorne and designer wife Serena head to the divorce court. Audrey and Daniel continue to clash in and out of the courtroom, especially when they must visit the couple’s castle in Ireland that both of the squabbling parties wants for themselves. Yet after one specific event during an eventful night for Audrey and Daniel, things between them could very well change, even though each is on the opposing side. The gloves are off as battle commences, yet will the undeniable spark that sizzles between them thaw out or ignite into something else?

Peter Howitt and his direction are passable, but not really setting the world ablaze. Regardless, he displays some talent for humour, despite the slim pickings and silliness of some of the content present. Laws of Attraction isn’t what you would call compelling viewing, and yet there are some good points that can be combed from the mess. It amounts to a pleasing diversion if nothing else, but you are left with the feeling that more could have been injected into the film somehow. The script was amiable and had moments of good banter between the feuding lawyers, but it never had that snap of the romantic comedies of old that it was trying to reference. Undeniably, it has a few laughs in there that occasionally hit the mark very well that I simply can’t deny. But judging the overall experience, there is definitely something curiously uneven about Laws of Attraction that drag it down in my estimations. The chemistry of the leads makes up for some of this, raising the film to a watchable level. There is the glossy style of the film that carries a certain kitsch and archaic quality to it, plus the locations of New York and Ireland are quite stunning. The music provided is pleasing to the ear and more than a little playful. And I did enjoy the retro infused title sequence that is one of the better attempts in the film to have an old-fashioned sense of celluloid. But considering there are good elements in Laws of Attraction, one can’t help but feel there is a void there that needed to be filled.

If anything saves Laws of Attraction from being dull and a complete washout, it has to be most of the cast, in particular the romantic leads. Julianne Moore is one of the most versatile actresses out there and here she shows a whole new different side. Vastly sailing above the by the numbers material, she displays some deft skill at comedy by playing career woman Audrey with a neurotic humour and heart. The tough outer steel of the character is a mask that slips to reveal insecurity and a want for love, all of which is embodied with ease by Moore. She really made me laugh in parts of this film with her quick talking antics and smart yet desperate yearning. It’s hats off to the delightful Julianne Moore in another great performance. Pierce Brosnan plays the rakish sparring partner and love interest. Portraying suave and smooth is nothing groundbreaking for him, but as it is his strong suit, he uses it well in the part. The same can’t be said of Michael Sheen and Parker Posey, who are basically thrown into the mix as a plot device and nothing else. I respect and enjoy watching both actors normally, but the sheer lack of any decipherable role is unfortunate for both of them. The film could have at least called for them to do more as the trashy couple going through the acrimonious divorce. Frances Fisher is the best in the supporting cast. As the Botox-loving, cocktail swigging mother of Audrey, she registers the most laughs in her attempts to be young again through any means possible. Whenever she is on screen, Fisher is a comic delight to be enjoyed.

It never ever reaches full potential and more than often feels rushed, though the acting is fine from Brosnan and Moore. I just wanted something more out of Laws of Attraction, which winds up with me seeing it as a mixed movie.

 

The Mirror Has Two Faces

Tags

1990's, Barbra Streisand, Comedy, Drama, George Segal, Jeff Bridges, Lauren Bacall, Mimi Rogers, Pierce Brosnan, Romantic Comedy, The Mirror Has Two Faces

Film Title

The Mirror Has Two Faces

Director

Barbra Streisand

Starring

• Barbra Streisand as Rose Morgan
• Jeff Bridges as Gregory Larkin
• Lauren Bacall as Hannah Morgan
• Mimi Rogers as Claire Morgan
• George Segal as Henry Fine
• Pierce Brosnan as Alex

A romantic comedy-drama that has a feeling for old-fashioned films of the genre yet infused with something modern, The Mirror Has Two Faces has humour and heart to be taken from it. The middle part is slow and overindulged in a couple of missteps, but the overall package of the film, under the clear command of both director and star Barbra Streisand crafts an often touching and funny tale of relationships.

Rose Morgan is a dowdy, middle-aged professor of English Literature at Columbia University who often talks about grand romance and passion. The irony is that Rose has neither of them but really would like them, she just hasn’t had any luck in relationships. Living at home with her overbearing and vain mother Hannah is no help either as her mother is a woman who always feels the need to do her daughter down. And to top it off, Rose’s pretty sister Claire has just got married to the hunky Alex, who Rose has carried a torch for since the moment they met. Gregory Larkin also teaches at Columbia University though he is in the maths department and doesn’t quite have the ability to connect with his class that Rose does. He has come to the conclusion that he can’t function if in any sort of romantic or sexual relationship as he appears to lose his head. He puts and ad in the paper for a relationship that is intellectual rather than lustful. Through the intervention of Claire, Rose and Gregory meet and somehow hit it off. She impresses him with her self-deprecating wit and intellect, while she likes that he has taken an interest in her as no one in the past really has this much and no one quite as dashing either. After a few mix ups, the two pursue a platonic union that seems to work for both of them as it provides stimulating company and both of them can be themselves around the other. A few months into this, Gregory proposes much to the surprise of Rose, who knows that the marriage would be one without physical intimacy. Perhaps out of fear that she’ll be left on the shelf forever, Rose accepts his offer and the two marry. As time goes on, Rose begins to develop deep romantic affections for Gregory and this puts a strain on what is supposed to be a chaste meeting of minds rather than bodies. When she attempts to seduce him, Gregory rejects her as he doesn’t want sex to complicate what has become a pleasing companionship and goes on a teaching tour around Europe. Rose is then left to choose whether she should still pursue a potential reunion with Gregory or make some sort of change.

Taking the director’s seat, Barbra Streisand shows of yet more of her talent by giving perceptive and inviting direction to The Mirror Has Two Faces. She covers themes of self-worth and beauty in it, and while during the middle section where Rose has a makeover she jeopardizes some of what she’s been getting across, she brings it all back together for a lovely home stretch as Rose and Gregory have to acknowledge their feelings. Having starred herself in many romantic comedies in the past, the genre has obviously rubbed off on her and the result is a film constructed with attention and care for the genre it is in. Some will dismiss the film as a vanity project and simply just The Streisand Show, but dig deeper and there’s genuine emotion to be found there as well as a crackling script of funny characters. Streisand shows her confidence behind the camera as well as in front and makes the procedure both humorous and delightful. The Mirror Has Two Faces succeeds due to its throwback nature and moments that bring to mind 50’s romantic comedies. Scenes like the awkward meeting of the two are her attempt at a seduction have a feeling of yesteryear to them, but also benefit from modern values too. The film loses steam in the middle section and gets a bit bogged down in an abundance of gloss, at least it regains footing near the end and doesn’t do too much damage to a well-crafted flick. A lush sweeping score harks from Marvin Hamlisch harks back to the glory days of the romance picture with strings and woodwind as the perfect backdrop for this throwback picture.

As well as sitting in the director’s chair(and doing a fine job in that department), Barbra Streisand also contributes an amusing yet sympathetic performance as the lovelorn Rose, entering into a platonic marriage yet secretly desiring grand passion. Streisand breathes life into a woman who has a low self-esteem yet a good sense of humour that hides insecurity. Exuding kooky mannerisms and an articulate mind, Barbra Streisand marvellously makes Rose a character to root for and be charmed by along the way. Jeff Bridges provides superb humour as the somewhat bumbling and talkative Gregory, who believes that his theory of a union without the complication of sexual feelings or romance will work, but is challenged when Rose wants more than just companionship. Bridges has a real knack for laughs that is apparent here and by giving the part fastidious tendencies as well as awkwardness, he is a joy to watch. It must be said that the way that Streisand and Bridges bounce off each other is quite something and has that snap that old romantic comedies of the 40’s and 50’s had. Lauren Bacall flat-out steals The Mirror Has Two Faces however, with a sharp turn as Rose’s disagreeable and looks obsessed mother Hannah. With acerbic drawl, Bacall marvellously plays this matriarchal diva as something of a vain Medusa with all the best lines and withering put downs. Yet I have to give credit to Bacall for also injecting touches of vulnerability to the part that show that Hannah is not as bitchy or as harsh as her exterior would suggest. It’s a true supporting turn that is great to behold whenever Bacall takes the screen. Mimi Rogers is fine as the foxy glamour puss sister, while although only seen briefly, George Segal is a hoot as a friend of Gregory’s with a roving eye. The only person to not really make an impact is Pierce Brosnan as Rose’s brother-in-law, though the blame can’t be put at the door of Brosnan because the character is lazily written.

Its main message can get jumbled amid the gloss and the latter stages could have had some trimming to make them slightly tighter, yet The Mirror Has Two Faces brims with such beaming love, awkward romance and surprisingly moving moments that it’s flaws can be passed over because of how well it all turns out. And the well assembled cast and illustrious director/star of Barbra Streisand are even more reason to seek this film out.

Die Another Day

Tags

007, 2000's, Colin Salmon, Die Another Day, Halle Berry, James Bond, John Cleese, Judi Dench, Lee Tamahori, Pierce Brosnan, Rick Yune, Rosamund Pike, Samantha Bond, Spy, Toby Stephens

Film Title

Die Another Day

Director

Lee Tamahori

Starring

• Pierce Brosnan as James Bond
• Halle Berry as Jinx
• Toby Stephens as Gustav Graves
• Rosamund Pike as Miranda Frost
• Rick Yune as Zao
• Judi Dench as M
• John Cleese as Q
• Samantha Bond as Moneypenny
• Colin Salmon as Robinson

Just like Roger Moore did in A View to a Kill, Pierce Brosnan signed off as 007 in a film that wasn’t his best. That film is Die Another Day, which ranks as my least favourite Bond film. It is a shame that Brosnan should sign off in such a bad way, especially after the brilliance of GoldenEye and his other ventures as Bond. People may say that Tomorrow Never Dies and The World Is Not Enough are nothing special, but in comparison to the barely tolerable Die Another Day, they’re masterpieces. Anyway, back to my eventful review.

We start out with Bond in North Korea, infiltrating a military base run by the renegade Colonel Moon and his loyal friend Zao, who has been trading mass arms for conflict diamonds. Unfortunately for Bond, his cover is blown by someone in the West and he has to engage in an explosive battle with Colonel Moon, which presumably leads to his death. Bond is then captured and tortured for fourteen months. After his time in captivity, Bond is eventually swapped in a prison exchange for Zao. Bond knows that someone within his government betrayed him and is determined to find out. M, on the other hand, revokes his licence to kill for fear of political ramifications and that Bond has cracked and given away potentially dangerous information. 007 has different ideas and escapes from MI6 custody on a mission to track down the enemy and Zao, who has also escaped his imprisonment. Travelling to Cuba, he meets the seductive Jinx, an American agent who can ably handle herself and is also after the escaped Zao. Their trail leads to a nefarious gene therapy clinic, that can alter a person’s entire DNA. Bond surmises that Colonel Moon is in fact not dead and has taken on a new identity. That identity is one Gustav Graves, a playboy, entrepreneur and philanthropist. Supposedly a respectable businessman, his real plans are far from good as Bond soon discovers. Always with Graves is his aloof publicist Miranda Frost, who is an undercover British agent. From sunny Cuba to the cold of Iceland, Bond uncovers the full extent of Graves and his plan. With a specially designed satellite, he will cut through the border between North and South Korea, so that the North can invade. Yet Graves isn’t alone in his plan as the mysterious Miranda is in fact on his side and double-crossing Bond at every turn. With the sultry Jinx in toe, Bond must derail this plan before full on war erupts.

Now the main problem with Die Another Day is that it is far too focused on the action and not enough on the story. The opening is promising, but the rest of the film descends into mindless chaos and shoot them up action that is really out-of-place within the Bond formula. Yes, some of the action is good, with a fencing duel that soon turns nasty quite thrilling, but non-stop becomes too much and just not that enjoyable in the end. Lee Tamahori in the directing seat doesn’t help as he can’t bring anything new to the film and give the story anything of worth. He relies on too much slow motion and rapid cuts that start out as alright, but become monotonous in the long run. There is not sense of balance to the story and no amount of endless action can make up for that. Also, I don’t mind it when Bond films have references to the older films of the series, but Die Another Day goes overboard with this tactic and the end result is needless. There are some positives, albeit only some that give Die Another Day some value. The locations are pretty spectacular, with the Ice Palace owned by Graves a particular highlight of production design. David Arnold once again provides a classy score that gives Die Another Day some sophistication, interspersed with the non-stop action and some dodgy CGI( need I mention that wretched invisible car)? The less said about Madonna’s title song the better. Anyone who follows this blog will know I’m a fan of Madonna, but her contribution the series is one of the worst. It detracts from the brutal title sequence of fire and ice girls inter cut with Bond’s torture in North Korea and for that alone it is unforgivable.

It is such a shame that Pierce Brosnan signed off from the franchise with Die Another Day as his swan song. He really brought something good to the role and managed to balance the physical challenge and the wit. His performance here may not be his best, but we still buy him as Bond and still watch as he attempts to save the world again during his mission. Halle Berry is sexy and feisty as fellow agent Jinx, who is nifty in a fight and more than a match for Bond in terms of the innuendo stakes. She has great chemistry with Brosnan and their passionate as well as thrillingly dangerous encounters are well-executed to say the least. Toby Stephens may nail the smarmy and power-crazed personality of Gustav Graves, but as a villain he just isn’t that interesting to watch and he doesn’t join the gallery of iconic foes for 007. Thankfully the talented and stunning Rosamund Pike is on hand to give the role of the icy Miranda some dimension, as we watch her play Bond effortlessly because of her glacial beauty, icy demeanor and taciturn deception. Rick Yune is not used well enough as henchman Zao, who has diamonds embedded in his face after the opening encounter with Bond. He may have an interesting look as Zao, but he just doesn’t cut it because of the poor development of his character. At least we have Judi Dench who magnificently portrays M with authority, grave knowledge and a hint of pride for her top agent. John Cleese on the other hand is not that convincing as gadget master Q. No one was ever going to replicate the success of the late Desmond Llewelyn, but I just can’t take Cleese seriously in the role of Q. Samantha Bond and Colin Salmon are seen too infrequently to really register this time around as Moneypenny and Robinson.

Too much action and not enough plot scupper Die Another Day and this makes it one of the worst movies in the Bond series, my least favourite as well as a poor final outing for Pierce Brosnan after the potential of his previous movies.

 

 

The World Is Not Enough

Tags

007, 1990's, Colin Salmon, Denise Richards, Desmond Llewelyn, James Bond, Judi Dench, Michael Apted, Pierce Brosnan, Robbie Coltrane, Robert Carlyle, Samantha Bond, Sophie Marceau, Spy, The World Is Not Enough

Film Title

The World Is Not Enough

Director

Michael Apted

Starring

• Pierce Brosnan as James Bond
• Sophie Marceau as Elektra King
• Robert Carlyle as Renard
• Denise Richards as Christmas Jones
• Robbie Coltrane as Valentin Zukovsky
• Judi Dench as M
• Desmond Llewelyn as Q
• Samantha Bond as Moneypenny
• Colin Salmon as Robinson

Pierce Brosnan’s third outing as 007 after previously playing the spy in GoldenEye and Tomorrow Never Dies comes in the form of The World Is Not Enough. Occasionally muddled and a little uneven, it does boast some great sequences, serious drama and interesting characters to keep the interest of the audience for its run time and have some fun with. I mean it’s definitely better than the movie that followed.

In the beginning of the film, Bond manages to retrieve money stolen from Sir Robert King, an oil tycoon and old friend of his superior M. Upon returning the money to MI6 headquarters, disaster strikes as King is killed by money that has been dipped in an explosive. Bond then gives chase along the Thames after a sexy assassin who tries to kill him and then proceeds to commit suicide rather than inform Bond of who her boss is. The attack is traced to Renard, a prominent terrorist and former KGB agent who had previously kidnapped King’s daughter Elektra. Renard has a bullet lodged in his skull, that will eventually kill him but has now rendered him unable to feel physical pain and will allow him to grow stronger until his life expires. Bond believes that with the death of King that Elektra will be the next target for the terrorist. Worried about this and for Elektra, M reveals that she advised King not to pay his daughter’s ransom for fear of negotiating with a terrorist. Feeling a sense of guilt, she sends her best man to watch over the oil heiress who is overseeing the building of an oil pipeline in Azerbaijan. Bond feels immediately protective over Elektra, who appears to be traumatized and vulnerable by her kidnapping ordeal. Yet while investigating Renard and his activities, Bond’s suspicions are aroused by Elektra, as he senses she is concealing something sinister behind her vulnerable appearance. His suspicions are proved right as Elektra is indeed in league with Renard and plans on creating a nuclear disaster in the waters of Istanbul by exploding a stolen nuclear bomb which will benefit her oil supplies and business personally and powerfully. Crisscrossing from Baku to Kazakhstan and eventually Turkey, and with the help of buxom nuclear scientist Christmas Jones and former mob boss turned valuable ally Valentin Zukovsky must battle his way through danger to stop Elektra and Renard’s revenge.

The first thing to notice about The World Is Not Enough is an emphasis on drama that hasn’t really been seen in the Bond movies before. There is something developed about many of the characters and it is interesting to see them as two-dimensional people in a dangerous world. Admittedly, some of the drama does come off as more than a little muddled and underdeveloped. But director Michael Apted manages to bring a fresh dynamic to the series and stamps his own style on the movies with assurance. Apted also brings in his typical fashion the powerful and layered women to the forefront of the story, especially in the form of Elektra and an expanded role for M. Even though the mix of drama and action in The World Is Not Enough can be a little jarring, when both camps score, they score very highly to create some excellent Bond worthy moments. The boat chase on the Thames blasts the film into exciting motion and really stands as a definite action highlight, alongside a thrilling ski chase and a dangerous encounter with a bomb speeding along a pipeline. Having the bullet in Renard’s head slowly kill of his pain receptors but increase his strength is an intriguing idea but to be honest it doesn’t really add as much to the plot as it thinks it does and comes off as a rather wasted opportunity. The locations used are sublime with the heat of Kazakhstan and the nighttime glamour of Istanbul exceptionally realized. David Arnold returns for his second Bond score and delivers a stunning piece of work that accentuates the themes of distrust and betrayal. Alternative rock band Garbage provide the eerie yet sensual title track that is an exemplary sonic accompaniment to the languid title sequence of lovelies formed from slithering oil and fields of pumping oil derricks.

Pierce Brosnan brings his charm and smarts to this outing as 007, and he is allowed to show a lot more seriousness than before which proves highly effective given the drama in the story. We manage to see the more ruthless side to Bond in this adventure which is always interesting to watch. Sophie Marceau is on fine form as the duplicitous Elektra and fully embodies the capricious nature of the character. Elektra can be vulnerable and weak one minute and then ruthless and crazed the next, all of this is down to the successful performance of the intriguing Marceau. Because the character of Elektra is so well written, the part of the other villain Renard suffers. Robert Carlyle does bring an intensity to the part that is most befitting, but the underwritten nature of the character sadly short changes him. Denise Richards may be one gorgeous woman but her acting in The World Is Not Enough as a Bond girl is poor. She plays Christmas Jones, a nuclear scientist who helps Bond after Renard steals a nuclear bomb. But to be perfectly honest about her, the character is just so ridiculous and superfluous. I mean she looks curvaceous, athletic and sexy as hell in her Tomb Raider style get up of revealing tank top and hot pants, but when she starts talking about the dangers of nuclear weapons and scientific properties, it is really hard to take her seriously at all. Returning after his role in GoldenEye, Robbie Coltrane brings humour and assurance to the role of Valentin Zukovsky, who has supposedly become a legit businessman but still occasionally dabbles with crime. Judi Dench gets a more expanded role as M this time around and gives the extended part deep emotion and heart as she wrestles with a sense of personal guilt over her handling of Elektra’s kidnapping ordeal. Desmond Llewelyn appears for the final time as beloved gadget master Q. In a sad footnote, Llewelyn died after the premiere of this film and although his last scene with Bond wasn’t planned, when he says goodbye to Bond it is filled with a very deep poignancy that is hard to shake off. Llewelyn was truly part of the Bond fabric and his contribution to the series is a testament to his excellent talent. Samantha Bond and Colin Salmon are once again on hand for the parts of Moneypenny and fellow agent Robinson.

Muddled and sometimes jarring, The World Is Not Enough may not be perfect. But with cool action, beautiful locations and many of the actors performing excellently, it is a pulse-pounding spy yarn to say the very least.

 

Tomorrow Never Dies

Tags

007, 1990's, Colin Salmon, Desmond Llewelyn, Gotz Otto, James Bond, Joe Don Baker, Jonathan Pryce, Judi Dench, Michelle Yeoh, Pierce Brosnan, Ricky Jay, Roger Spottiswoode, Samantha Bond, Spy, Teri Hatcher, Tomorrow Never Dies, Vincent Schiavelli

Film Title

Tomorrow Never Dies

Director

Roger Spottiswoode

Starring

• Pierce Brosnan as James Bond
• Jonathan Pryce as Elliot Carver
• Michelle Yeoh as Wai Lin
• Teri Hatcher as Paris Carver
• Gotz Otto as Stamper
• Ricky Jay as Henry Gupta
• Joe Don Baker as Jack Wade
• Vincent Schiavelli as Dr Kaufman
• Judi Dench as M
• Desmond Llewelyn as Q
• Samantha Bond as Moneypenny
• Colin Salmon as Robinson

After the huge success of GoldenEye, Pierce Brosnan had his second outing as James Bond in Tomorrow Never Dies. It may not be as strong as its predecessor, but it does the job efficiently and has some interesting flourishes to add to the iconic series of 007 movies.

In the thrilling opening, Bond stealthily makes his way through an arms bazaar in order to recover missiles. After an explosive battle, Bond just manages to escape with the missiles in tact. After this, the main focus of the film appears. Elliot Carver is a prominent media baron, with his finger in every form of the media pie that his eyes can see. Because he has been refused broadcasting rights in China, he decides to cause chaos. He has his team of specialists on a stealth boat destroy a British Navy ship in Chinese Waters, giving him the story he needs and helping set in motion a potential conflict between the nations as he believes the British will blame the Chinese for the attack on them. Carver plans to cause a war between England and China so that he can have the monopoly on the media and satisfy his desire for ultimate power. Worried about the possibility of a full-scale war, M sends Bond to investigate the barbaric and potentially devastating plan of Carver. His mission takes him to Hamburg, where Bond is reunited with a former flame, Paris Carver, now the wife of the corrupt Elliot. Bond and Paris had an eventful relationship, but his loyalty to the job got in the way. Bond’s previous relationship with her comes with tragic consequences and Bond soon realizes the extent of Elliot’s plan for media supremacy. With the help of skilled Chinese agent Wai Lin, Bond tails Carver from Saigon to the South China Sea in an attempt to avert an impending war.

Incorporating themes of media manipulation, digital technology and the fact that what lies beneath the surface is very sinister, Tomorrow Never Dies does have an interesting story. But at times it does veer into unpredictability and to be honest Carver’s plan is a little over exaggerated to say the least. Yet director Roger Spottiswoode manages to keep Tomorrow Never Dies on track and gives this Bond offering action, wit and excitement a plenty. There is a feeling that the movie brings nothing new to the table in terms of originality but this can be forgiven as Tomorrow remains exciting and well-paced throughout. With the theme of digital technology in place, it should be noted the effectiveness of the gadgets supplied by Q. A car that you can drive by using a mock keypad, a bomb triggering watch and a finger print manipulator are all examples of the modernism apparent in this film. Action is adrenaline packed and a standout has to be a chase on motorbike through the crowded streets of Saigon with Bond and Wai Lin handcuffed and forced to rely on one another for direction. David Arnold is on hand to provide an electrifying score of orchestral movements and hints of electronic, to highlight the meeting of the modern and old. Sheryl Crow sings the title song which is a little dull but has a certain slow-burning effect that aids the bizarrely enthralling title sequence of curvaceous girls formed from media circuits and seas of communication data.

Pierce Brosnan gives a great performance as Bond, capturing the suave essence of the spy, the intellect of the man and the physical capabilities in a fight. He also has fun with some very snappy one-liners provided by the witty script. Jonathan Pryce provides an unusual quality to the power mad Elliot Carver, the character may not be the best villain but Pryce certainly makes him watchable. Michelle Yeoh is excellent as Wai Lin, the Chinese agent who reluctantly teams with Bond to take down Carver. Yeoh showcases her intelligent independence, calm and collected demeanor and athletic prowess in a role that shows she is very much an equal for Bond. It’s great to get a female character who isn’t easily won over by the smooth charm of Bond almost immediately after meeting him and Yeoh gives the part a fiercely independent streak that won’t be easily tamed. Teri Hatcher handles the brief role of Paris well, showing us an unhappy woman still yearning for James who will ultimately pay the price for her desire. Gotz Otto brings physical menace to the role of psychopathic henchman Stamper and Ricky Jay embodies the slimy personality of techno wizard Gupta. Joe Don Baker returns as the fun-loving Jack Wade but isn’t used well enough to be memorable. Vincent Schiavelli makes a brief but highly menacing and unusual cameo as a doctor of death, whose efficiency in his line of work can’t be questioned. Judi Dench is back as M, and this time she definitely means business as we watch her attempt to avert world crisis with her sense of judgement and action. Samantha Bond gets some amusing lines as Moneypenny, while there is an amusing performance from Desmond Llewelyn as loyal Q, who is still asking for his gadgets back in one piece but never seeing this happen. Colin Salmon is good as a fellow agent who helps Bond in the beginning of the film.

It may not be the best of the Bond movies, but Tomorrow Never Dies more than does the job and remains an entertaining spy yarn to enjoy.

GoldenEye

Tags

007, 1990's, Alan Cumming, Desmond Llewelyn, Famke Janssen, GoldenEye, Gottfried John, Izabella Scorupco, James Bond, Joe Don Baker, Judi Dench, Martin Campbell, Pierce Brosnan, Robbie Coltrane, Samantha Bond, Sean Bean, Spy

Film Title

GoldenEye

Director

Martin Campbell

Starring

• Pierce Brosnan as James Bond
• Sean Bean as Alec Trevelyan
• Izabella Scorupco as Natalya Simonova
• Famke Janssen as Xenia Onatopp
• Joe Don Baker as Jack Wade
• Gottfried John as General Ourumov
• Alan Cumming as Boris Grishenko
• Robbie Coltrane as Valentin Zukovsky
• Judi Dench as M
• Desmond Llewelyn as Q
• Samantha Bond as Moneypenny

After Licence to Kill, the Bond series and producers had many legalities to sort out and these protracted battles extended for years. In 1995, the Bond franchise finally returned after years in the cinematic wilderness with a new man as 007, Pierce Brosnan. The film was GoldenEye and what a return for Bond it was to be. With pulse-pounding action, an interesting plot, eclectic characters and just about everything coming together amazingly, GoldenEye announced that the Bond series was here to stay.

The film begins in 1986 with 007 and Alec Trevelyan (006) infiltrating an illegal Soviet nuclear weapons facility. As they plant explosives, Alec is captured and killed by the corrupt General Ourumov, Bond in typically exciting fashion manages to escape before the place is blown up. Nine years later, Bond is in Monte Carlo investigating a link to the Janus group, a major underground crime syndicate. His first contact with the nefarious group is the sultry but sadistic Xenia Onatopp, a former Soviet fighter pilot and femme fatale who derives sexual pleasure from murdering people with her strong thighs. Onatopp manages to hijack a prominent helicopter and flies it to a Russian bunker called Severnaya, which doubles as a computer station and weapons division. With Bond’s old nemesis General Ourumov, she massacres the staff and arms a device known as the GoldenEye, a satellite with the power of EMP which destroys the bunker. Unbeknownst to them, someone did survive the blast, Natalya Simonova, a talented computer programmer who manages to flee as her name is marked and her life is in danger. There was another survivor in the form of the arrogant computer geek Boris Grishenko, but he is in league with the Janus group and left before the devastation took place. Meanwhile, having been informed of the destruction of Severnaya, the new M sends Bond on the trail of the Janus syndicate and instructs him to discover what they plan to do with the GoldenEye. Travelling to Russia, Bond teams with Natalya, who comes in very handy in matters of computers and technology. After being put in touch with an old adversary Valentin Zukovsky, he is lead to the head of the Janus syndicate. To Bond’s dismay, the head is revealed to be his old friend Alec Trevelyan, who faked his death all those years ago and now wants revenge against the United Kingdom for an incident involving his parents years ago. Pitted against a former friend and globe-trotting from the snows of Russia to the heat of Cuba, Bond must do battle with him and his other associates in order to avert financial and economic destruction to the United Kingdom of the highest order.

Bringing the series back to life is the talented Martin Campbell. He balances the espionage thrills with superb action and allows the script to incorporate some interesting themes. The main one is the subject of change, since Bond last had an outing the world around him has changed. The film highlights this by the using the fall of the Soviet Union as a backdrop( one scene takes place in a graveyard of broken down monuments of Soviet times) and casting the role of M as a woman. The question of whether or not Bond is relevant in a modern era is also brought up in a very interesting fashion ( although of course we know the answer is a resounding yes). Pitting Bond against an old friend who has turned is another successful attribute of GoldenEye’s arsenal of goods, as we watch the friendship disintegrate into hate and hurt as Bond and Alec come to violent blows. Explosive action abounds with the highlights being a chase through the streets of St. Petersburg in which Bond uses an army tank, a flame engulfed train ride and a brutal fight between Bond and his treacherous old friend. Eric Serra provides the often discussed score to GoldenEye, which has divided opinion on its merit since the release of it. I stand in the middle ground, I believe that there are some excellent pieces of music here and that some are wholly out-of-place in the world of 007. The theme sung by Tina Turner is a highlight of the music, with her soulful and sultry vocals belting out the song with gusto. It provides the perfect complement to the title sequence which features women clad in revealing lingerie dancing and destroying Soviet statues.

Stepping into the role of James Bond, Pierce Brosnan is fantastic in his first outing. Combing urbane charm with a streak of menace and ruthlessness, he really brings the character alive and ensures that Bond is a character that will stay in the minds of millions. Sean Bean makes for an interesting nemesis due to Alec’s history with Bond and he successfully plays him with understated skill. The dynamic between the two gives GoldenEye that extra feeling of danger as we watch the inner conflict Bond must face in knowing that he has to kill a former friend. Izabella Scorupco brings cynicism and determination to the role of resourceful Natalya Simonova, while letting the audience glimpse a touching vulnerability beneath the steely surface. Famke Janssen clearly has a blast playing the sadistic Xenia Onatopp, who is looking to put the literal squeeze on Bond for her own twisted and perverse satisfaction. Combing outrageous zeal, extreme sexual aggression and unnerving glee, she makes for a highly charged and unforgettable Bond girl gone bad. Joe Don Baker, returning to the world of Bond after his portrayal of Whitaker in The Living Daylights, is far more successful here as the amusing CIA contact Jack Wade, while Gottfried John gives physical presence and unusual menace to the role of the increasingly corrupt General Ourumov. Alan Cumming embodies the rat like tendencies of the geek Boris and Robbie Coltrane makes for a reluctant but very helpful ally for Bond in the guise of Valentin Zukovsky. In her first performance as M, Judi Dench is a marvel. Not only can she handle herself with great authority but she can put Bond in his place to( Case in point when she refers to him as a “Sexist, misogynist dinosaur”). Series stalwart Desmond Llewelyn is once again on hand for the usual banter in his gadgets lab, while Samantha Bond is great as the witty new Moneypenny, who can match Bond in terms of innuendos.

With a talented cast and excellent direction, GoldenEye proudly takes its place as one of my favourite Bond movies.