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Comments
Defused. Perfect timing.
The Mujahideen sure got there fast.
Great model work. Took me by surprise that it wasn't real.
"We can just make dinner". I think Dalton got better with humor as the film progressed.
Nice nighttime photography.
That punch could have been better.
I hate the bit where Bond wastes bullets on Whitaker's shield. Not a terrible sequence though.
LOL at Koskov here.
The return of the Lady Rose.
I don't like Kamran and his guys showing up at the concert. Oh well. It's kinda funny.
Final scene. Lovely moment. I love If There Was a Man. Beautiful if somewhat hokey song.
Outstanding viewing of TLD tonight. 9.8 out of 10. It'd be perfect if it had Hedison as Leiter and deleted the couple moments during the finale that I mentioned. This one just gets better with age.
I think the soundtrack to TLD is a good Swan song for JB.
Agreed. One of his best.
The Necros attacks/Where has everybody gone...are tracks I often play, worthy of a title track.
It's not my favorite film overall though TSWLM is faultless in regards to what it set out to achieve.
The guy with the flame thrower is brutal
Those shots at the end... Devastating.
Chalk and cheese is a good way to put it! Do love FYEO though. It's on my list of Bond films to rewatch this year.
Thoughts: GoldenEye is pure Bond through and through. It's no wonder this film turned me into an instant James Bond fan as a kid. Furthermore, I believe Eric Serra gave GoldenEye both the score it needed and the score it deserved (tank chase aside, which was supremely wisely and quite superbly re-scored by John Altman). But apart from that, Serra's industrial electronica serves greatly in giving GoldenEye its distinct identity. And GoldenEye is one finely photographed film (credit to Phil Meheux). It just feels like a real movie.
Brosnan had a couple uncomfortable moments in his debut outing (as did his successor in Casino Royale—and Dalton and Lazenby, for that matter), but by and large he was deadly cool out the gate. That shot where he bursts into the yacht cabin with PPK aimed and coolly strides in...
Minnie Driver makes for a really great James Bond trivia question.
Statue park scene...so, so good. Same with the interrogation scene and the nonstop action that follows through to the end of the armored train sequence.
When Trevelyan and Boris mirror Ouromov and Xenia activating the GoldenEye, every time I can't help but feel a slight disappointment that two of the film's more interesting characters are now no more. But we're minutes from the end credits at this point, and Bond's epic battle with Trevelyan on the cradle remains—as well as that cool bit where the bullets fly near his head and he ducks to the side, barely flinching.
"Oh please, James, spare me the Freud. I might as well ask if all the vodka martinis ever silence the screams of the men you've killed, or if you find forgiveness in the arms of all those willing women for all the dead ones you failed to protect." Burn.
Is GoldenEye the only Bond film with head-on-head headbutts? Multiple ones at that?
Bond's jump to the helicopter always plays on my fear of heights.
"The Experience of Love" doesn't exactly get one in the mood for the rip-roaring spectacle of Die Another Day. Then again, it doesn't exactly get one in the mood for much else either, other than sleep perhaps.
And a final small observation before moving on to DAD: there's an actor who appears as a guard three times—twice in the PTS alone and killed both times. The casting director must have really liked the guy.
Ah, GoldenEye. What a film. We can claw each other's throats out over the wait for Bond 25, but the fact of it is we have more than a handful of damn fine films from across 50+ years and six damn fine Bonds by which to be endlessly entertained.
And on that note, on to Die Another Day!
As I've long held, Madonna's electro-pop works surprisingly well with Kleinman's innovative titles. Kleinman never disappoints. So glad to have him part of the Bond family.
Love Zao's "expensive acne" scars. Oh, for a return to the outlandish Bond henchmen of old...
Some kind of a hero?
There's a lot of good stuff in DAD. Everything between Brosnan and Dench is top-notch. This is definitely a "more worth having than not" entry in the series.
Arnold's "Kiss of Life" music, complete with subtle Dr. No sample, is so amazingly cool. I disliked DAD's soundtrack back in the day, much as I did the film itself, but Arnold did some stellar work here.
"Yeah, well, don't worry about it, I'm not here to take it back." Still one of the funniest lines in the series, for me.
Is it wrong than I'm enjoying DAD more than GoldenEye right now? To be fair, I have a lot of bourbon in me at the moment.
My God, Halle Berry's entrance.
Some real fine cinematography in DAD, too. Come to think of it, we've been blessed with excellent cinematography, the odd color tinting aside, for a good long while.
Apart from Halle Berry's green-screened swan dive, I love everything about the Isla de los Organos sequence: Arnold's music, Brosnan walking by those revolving mirrors, the fight with Zao, blowing out the wall with the oxygen tank.
Cameo by Roger Moore's daughter, the Clash, and a turbulently shaken vodka martini—what's not to love?
Blades at Blades. A far better sequence than this film deserves.
Love the VR interlude. Dead Moneypenny fake out, Bond teaming with Robinson like I'd like to see him do with Leiter one day. All very nicely filmed and edited, too.
Lots of memories in that underground workshop. Cleese would have made for a good Q, despite his rocky start in TWINE. Still have no problem with the invisible car—either its concept or its execution.
That Iceland intro. That Arnold music.
I dig Bond spying about outside the "diamond mine," too, and faking out the guards with Frost. Things are still mostly on track, though Toby Stephens has always grated me a bit as Graves.
Yo mama. Mr. Kil. Laser fight. Half the girl I used to be. Okay, yes, it's wrong I've been enjoying this more than GoldenEye. Bourbon not helping.
Death for breakfast, Bond's escape through the floor, and fleeing through the foliage and down the side of the dome is a bit of back on track though.
DAD, you get me every time. Just when I really start to fall for you. Let's be honest though: who didn't feel a momentary thrill in theaters at seeing Bond dangling from that Dover-esque ice cliff? Momentary being the key word. Still...
Embarrassing as it is, it's brief and at least Arnold's music was on point. Bond steals a jetski and we're back on track.
Aston Martin vs. Jaguar. This is is more like it. Clever ejector seat joke. They sure don't storyboard action sequences like this anymore. What better to do with an incredible ice palace set than to destroy it? Outta the way, jetskis, Aston Martin coming through. Death by drive-by chandelier shooting. Can Bond be fun again one day? He can? kthnx!
Michael Madsen also would probably be a good James Bond trivia question. Does anyone remember he was in this? And why was he in this?
Switchblades scene is pretty cool though, and attempting to snipe Graves before having to book it onto the plane wheels.
Okay, the latter half/third is pretty rough. But when you break it down, DAD's problems could have been pretty easily fixed. Most of them have to do with wonky CGI and some misguided speed-ramping, and I just don't like Toby Stephens as Gustav Graves.
Catfight. It helps. I guess.
It does. The film is just so far gone at this point. I feel like the film's potential suddenly and unexpectedly veered into the all-destroying wash of Icarus's death ray, like the Antonov itself. With a decent climax and without the tidal wave surfing, DAD might have been much, much better received. That climax though. Rough.
No revelatory connections from watching GoldenEye and Die Another Day back-to-back. Other than the bullet. Night and day, these two. Could Die Another Day have the most extremely polarized halves of any Bond film though? I really think it might. Two hours ago I was digging Madonna even, and now...I set this double feature up backwards, didn't I?
I totally agree with this. "New Bond freshness" performance in GE, and a settled, confident performance in DAD.
Pierce's neighbour in Malibu for years. And a huge Bond fan ;)
I really love the gunbarrel this time. I was so thrilled that Arnold returned to a traditional score for the GB I didn't even mind the CGI bullet. I can attest opening night the audience cheered as the white dots rolled across the screen to Arnold's triumphant rendition of the Bond theme.
Pierce is great in DAD, IMO. He looks tough with a bit of extra added weight. When he knocks out Ian Pirie, it packs wallop. More so than his initial knocking out the toileted guard in the GE PTS.
I also love the PTS. I feel all four of Pierce's PTS openings were very solid.
Damn I may be due to pop this one in again soon and see if it doesn't go up a few notches in my rankings. Maybe tomorrow I'll get time to watch it?
I think I'll do the same. Perhaps this is controversial. I have DAD and SF right next to each other in my ranking. In a lot of ways, SF rips off TWINE and DAD.
Madsen looked bored to death in DAD. As if he wished he was somewhere else. Bit like me when I watched DAD for the first time (and since!)
Still think it’s odd that all four of Pierce’s final fights were on something moving - the radar telescope, the boat, the sub, and the plane.
This sums up my opinion of DAD pretty much.
It's a strange one, indeed. A better second half, and it might had been a great one. I think Toby Stephens was good as Gustav Graves as well.