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Comments
Certainly better than watching it after OHMSS.
.... no Three's Company???
Count me in as being a big fan as well.
THE WORLD IS NOT ENOUGH
Been in the mood for this one today, and it's been awhile since I've watched it. Probably since last summer..................
Gunbarrel! The Arnold rearrangement . The circle opens on Brosnan's face. Clark Kent.
He looks good here.
I love Maria Grazia Cucinotta. She is my favorite Brosnan Bond girl.
This guy playing the banker is my favorite Brosnan Bond villain.
Pierce looks intense as he counts to three.
I like his haircut in this one. This was my favorite Pierce film when it came out actually. Let's see if I can recapture that long lost love here.
Maria Grazia Cucinotta is helping the cause already.
This Moneypenny scene is alright as well. Pierce and Samanthat had great chemistry, IMO.
Ah, Judi's M.
007 and M are now best buddies after their GE encounter.
Little would we know nearly 10 years later her interpretation of this character would be reduced to practically changing Bond's diapers and monitoring his every move.
Pierce shouts a lot.
Maria......................say it loud and there's music playing...............say it soft and it's almost like praying..............Maria.......MARIA!!!!!!!!!!!!!!!!!!!!!!!!
Great chase here, I must say. Arnold to the rescue. Imagine "Ladies First" over this scene.
The Millennium Dome scene.............Bond falls a mile just like in SF .
Pierce pain face.............I always liked this title song.
Looking at these titles, though it reminds me of SP"s. Only with oil instead of octopus tentacles. I think Kleinman really hit his stride with CR. Those titles are reminiscent of the early novel cover art works, IMO. I kind of feel there isn't much variety with Kleinman these days. Some complain Binder's 80's sequences were a bit run of the mill, but he maintained some iconic imagery. I also liked the black smoky background look he used as opposed to this orange/yellow computer graphic style.
Pierce's face looks quite a bit different in this one. The clean shaven face and shorter hair steers him further away from his Remington Steele image. In GoldenEye he had a 5:00 shadow throughout.
I think those sunglasses are kind of dorky looking now. Too much like Gary Oldman's Dracula sunglasses.
I miss Desmond.
Down he goes........................
Bond is surfing the 1999 net looking up info on Elektra's kidnapping. Here he starts to tear up. Here come the waterworks..........
This time it's personal.
After commenting how lighthearted the film was now it seems to try and take itself too seriously.
Watched it the other day. A true Bondian masterpiece, IMO.
Funny how there are a few Bonds that are either inspired by MAJESTY'S, or try and evoke that film's look or feel. TWINE and SPECTRE are two examples that fall flat, IMO.
The helicopter ride to the mountains with Elektra evokes the ride to Piz Gloria, but nowhere near as breathtaking. My impression is that Elektra was intended to be Pierce's equivalent to Tracy, then ends up being the villain. Not sure if it works, though he does seem emotionally connected to her.
I remember some of my friends criticizing that this film tries too hard to be a Bond film. The set pieces are very structured, but don't feel as natural as say, MOONRAKER or OCTOPUSSY.
I'm not a skier, but to me it looks like Pierce had never put on skis a day in his life prior to suiting up for these scenes. The long shots obviously a double and the close ups are Pierce pretending. Roger looked at home in skis.
The para-hawk bit is kind of fun. I remember some criticizing that the action in this one was too pedestrian for Bond. Nothing special.
See you back at the lodge.
I think R's antics are only mildly amusing. Bond's comments and behavior throughout the scene are better. They probably wanted to make R quite clumsy to differentiate him from Q, but it feels forced and too silly. In DAD they handled Cleese's character much better, by giving him a slightly more serious and commanding feel, while still allowing for a more humorous (and slightly different) relationship than with Desmond Llewelyn (Bond turning on the jetpack or destroying the instruction manual wouldn't have happened with Desmond).
And then sadly, after hitting his stride, Cleese never returned.
One of the things we missed out on with Brosnan not getting the opportunity to return for a final film.
Pierce's scar seems to have a little itch.
She invites him to stay. Pierce is getting drawn in but resists.
I think Connery, Moore and Tim all would have suspected she was full of sh*t earlier on. Connery still would have taken her up on her offer.
This film seems to try and make Pierce to be too much of a sensitive '90's man.
Pierce subdues the guard and guzzles a martini in one gulp. Now THAT'S the cool bad a$$ Bond I know and love.
I agree. I really like the scene in DAD. I think perhaps because it plays out like a traditional Q scene not trying to be anything more. Cleese is able to bring his own natural charm to the role. I'd say the same with Algy in NSNA, who I really liked. No point in trying to emulate Desmond.
I wish we had seen more of Cleese post DAD. I actually associated him with Bond earlier when he promoting Schwepps in a Bondian commercial on the LTK CBS/Fox VHS release.
This section of TWINE I love actually. Bond puts on the work attire and is disguised. Very cool. Pierce is great here looking cool as ever.
Bond in the desert. He really does look cool here.
Christmas Jones. Although many fans and critics complained about her...............she does seem to be quite popular on the BOND GIRL FRIDAYS thread.
Some said she was dressed like Lara Croft. Controversial opinion: Christmas Jones is cooler than Lara Croft.
I love this underground tunnel section. Bond confronts Renaaaaaaaaaaaaaaaaaaaard.
He is a weasel of a Bond villain. He makes Koskov look as threatening as Red Grant.
Still, I like him. Robert Carlyle is great here.
I must say the Blu-ray is quite sharp. Looks good here.
Here it comes....
THE NAME'S BOND ........................... cue theme
JAAAAAAAAAAAAMES BOOOOOOOND
Brosnan was a safer actor in the "lighter mold", but his deficiencies as an actor were exposed as soon as they wanted the "stretch"?
Fire away.
Good points. Pierce does have a very natural sensitivity which they were exploring here. I do feel someone like Timothy was much stronger in emotional dialogue scenes.
I'm now looking at the bit where he confronts Elektra and it's always been unintentionally funny. He snaps his fingers in her face and so forth.
Well, it's just building on that initial scene with Bond looking up Elektra on the computer and getting emotional. Admittedly, the film requires one to accept that in this particular story, Bond is a bit more romantic and emotionally open than before. Even if no narrative context is provided for such a change in the character, I can go along with it because it's still a plausible take on the role. And for a while Bond doesn't really have a reason to suspect Elektra, so it's not like he's blinded by love or something like that. It's fine that he falls for her. For me, anyway.
Awesome part.
This is kind of a classic film noir protagonist type situation where the hero falls for the femme fatale and ends up in one bad situation after another. He often ends up dead.
In comparing Bond to classic golden age of Hollywood noir, I'd say Brosnan is more of a light hearted romantic leading man rather than a dark noir character. Yet Bond falls for Elektra as easily as Robert Mitchum fell for Jane Greer in OUT OF THE PAST
I'd like to see more alpha male Bond in this. That said, by the next film, I think Brosnan DAD had that quality.
I might say it's the fault of the director rather than Pierce. I think it's Michael Apted's style here that is making Bond look a bit weak rather than Pierce himself.
Now he's getting his cool back with some nice rapport with Christmas.
Renard and Elektra toegther here a pretty solid villains. She's getting turned on.
Meanwhile M is planning her escape.
The caviar factory sequence. It's kind of fun. I love Robbie Coltrane. Why the goatee, though?
I miss the PPK.
Glad it makes a comeback in QOS.
I'm really enjoying this viewing. I saw it multiple times in the cinema and was baffled why I seemed to be it's only fan.
Great score, great locations, and I love the title.
Bond is about to be tortured.
This is a great Bond torture scene. Elektra is pretty intense here. Bond looks grossed out by her severed ear. All I see is 1999 era CGI work.
I'm appreciating Elektra more on this viewing. I used to feel indifferent to her character, though I always thought Sophie was excellent.
For a moment Bond looks like he thinks she's probably right.
She knows she's right as well.
This is akin to Fatima's arrogance in NSNA.
However Fatima gets worked up when Bond suggests she wasn't his best lover. When he tells her he'd put her in his memoirs as his #1 it's said in a condescending tone.
Connery would have handed Elektra the way he handled Fatima Blush as he clearly has the upper hand and status in that scene. Even with the gun pointed at his groin.
Elektra has the upper hand and status here with Bond until he shoots her.
The tradition of the mediocre climax.
Let's hope this is a tradition B25 breaks and reverts to a big bang up finale on a HUGE set designed by Ken Adam. Well, Ken Adam in spirit anyway.
Dialogue during the main villain fight in the Brosnan era was another thing that rubbed me the wrong way. It's okay for Bruce Willis to exchange a few words with Alexander Godunov in DIE HARD while tossing punches, but not Bond.
Yes, I agree with this. I've often tried to analyse what doesn't sit quite right for me with the Brosnan era and although I really enjoy his films - particularly GE - I think it's when he goes 'emotional'. I feel in those moments the delivery is telegraphed - TWINE and DAD are good examples.
However I think Brosnan is capable of good dramatic work - his work in The Matador is exemplary. I just think his Bond films don't give him that journey as an actor. Instead they're isolated scenes that are swiftly forgotten. Such as his first encounter with M in DAD behind the glass. That should be a ripping scene especially with an actor of Dench's ability - but it feels flat. (I lay quite a bit of this at the director's feet, similarly with TND's awkward or OTT moments. A director with a little more feel for acting performances might have moulded those with more care.)
Moore has these tonal shifts in his films as well - but he doesn't go full dramatic instead he goes quietly steely - such as his later interactions with Scaramanga on the island or Zorin in the town hall fire scene. Also Brosnan's Bond lingers over dead females way too much - he does it in three consecutive films - with Paris, Elektra and most inappropriately over Miranda Frost (in the sense that it seems unjustified that they have an emotional connection.)
Brosnan does cool and deadly very well, and he can deliver a one liner but something about his interpretation of an emotional, 'dramatic' Bond style just jars.
Very good points. After watching TWINE I wonder if Pierce was poorly served by his directors.
The scenes with Pierce that are meant to have an emotional impact I find unintentionally funny.
Then again, both Connery and Moore were able to provide the right emotional tone with subtly in their films.
It's clear as a bell to me that Connery is upset over Jill's golden demise. It affects him emotionally, but Sean's performance is appropriately subtle and he keeps his professional composure.
Same with Roger as he find's Vijay's dead corpse. Neither one of those actors had to do much in those scenes to display the right emotion. Yet it's there, and those scenes work beautifully.