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The gun barrel - not a big fan of the music that accompanies the cool, confident walk of Brosnan. He turns, he shoots and we get that bloody awful bullet fly at the screen. Really dislike it and I think it cheapens the gun barrel.
The pts sees a return to something similar we saw in GE and TND, with Brosnan's Bond being a one man army again a big number of villains. The fight vs Moon on the hovercraft is very good but let down with poor back projection, a common issue in this movie. I like the pts, good action etc. but it's a one-man army again. However, I do really kind the twist of Bond being caught and tortured as he is. It leads nicely into the title sequence.
The locations look good, although I know that other places were stepping in as the supposed places at times. Iceland looked ok in parts but is then spoilt with poor CGI etc towards the finale.
A few gadgets of note here, the underwater rebreather makes a return after not being seen since TB, the glass shattering ring also has its use during the course of the movie, all ok there. The Vanquish, I like the idea of it but I don't think I'm overly excited about it. Plenty of nods to old Bond gadgets during the scene with Q.
Really don't like that suit of Graves.
Plenty of action in the movie, but the best of it comes early on in the pts. The fight scenes are all ok although I didn't see the Ned for slow motion during Bond's fight with Zao at the clinic. The sword fight is also ok, Gotta say, I'm not a massive fan of it but I do like how Stephens and Brosnan give it their all. I also noticed the little bit of does up action during this scene, something we don't much see with these later Bond movies. The car chase on the ice would have been more appreciated by myself if it didn't have the slow mo parts put in it.
The tsunami surfing scene - I really like the idea of Bond surfing that wave, unfortunately it is let down with very poor effects etc. I do think that it could have looked amazing and, maybe if this was being made now it would do. An adventurous idea to take on, just too adventurous, I'm afraid.
The humour seems more suited to a teenager, I'm sure my son's would laugh, as it seems to be no more than sexual innuendo than anything else.
One of the more out there plots of the series and a hark back to the old days of massive schemes put together by the villain. However, as I said earlier and has also been mentioned by other/s, for all that happens within Moon/Graves world in 14 months is beyond believable, even for a 007 adventure.
Um........everything okay there, @Birdleson? Needing a new anger therapist?
I wonder if that will hold up in court?
In a few days we hit the Craig era full on and the Bondathon approaches the end. For my part I'm doing CR and QOS in one double bill as my wife is away for a couple of days.
Pizza, beer, Bond double bill.
Final thoughts on Die Another Day.
When it was released my brother in law and nephew took the micky in a big way, but only one aspect of the film.
Not the CGI or the para-surfing, but the invisible car. Despite that technology actually already in it's infancy and heading towards reality, they were merciless about that part of the film. It wound me up so much I found myself defending all aspects of the film.
Now with time, Brosnan, Dench and Pike aside, I can feel free to criticise the film where it needs to be criticised.
It does lose it's way, for sure but as everyone on this thread has said it has it's good moments. The best parts are more lively, involving and entertaining than anything in The World Is Not Enough. The problem is that while the earlier film is consistent in tone and quality, Die Another Day veers from one extreme to the other and is the most frustrating Bond film to watch.
It came close to being the best Bond film for many years. It ended up being the worst.
But, it is what it is, and it gives @Birdleson a real reason to hate Madonna on a 24 hour a day basis.
On Sunday I watched The World Is Not Enough. And a jolly time was had by all.
James Bond
In his third appearance, Pierce Brosnan has matured nicely into the role of 007. He looks spiffy in his tailored suits. Brosnan has the air of a veteran agent, cool and calculating, as demonstrated by his quick despatching of Lachaise’s goons. Bond picks up an injury. A timely reminder that Bond isn’t a superman.
As Brosnan got comfortable in the role, certain ticks, or foibles started to appear. Such as his “nose touching” before he would move in on the person that was playing opposite him. For me, Brosnan is trying too hard, and breaks the immersion of his performance, slightly. Fleming wrote that Bond was economical with his movements and guarded with his emotions. Whilst Brosnan is too animated.
Further gripes of mine are the increasing Americanisations of Bond, such as “All the romantic vacation spots.” or use of “huh?!” when Bond has Renard in the bunker. Plus Brosnan groans and moans too much in the final third.
Perhaps the fact that Brosnan is cast alongside the formidably talented Marceau that caused him to try so hard.
It’s Bond’s relationship with Elektra that intrigues me so. Little touches, such as -
- Bond and Elektra first notice each other at King’s funeral. A bird with a wing down, as Fleming would say.
- During his research on Elektra Bond touches the tear. He’s already smitten.
- M blocks Bond on reading Elektra’s file. This is personal for M too.
- The “worm on the hook”. Again.
- The brief pause, as Bond shifts uncomfortably, as Elektra says, “Have you ever lost a loved one, Mr. Bond?”
- Bond is quietly embarrassed when this happens -
“Your father's legacy.”
“My family's legacy...
...to the world. ”
- Immediately after the avalanche, when Bond is trying to get Elektra to calm down, he asks her to look into his eyes. Their eyes meet. Bond is getting too attached. Bond thus stopped. (if this was a Sean Connery picture, do you reckon Bond would've slapped Elektra? “Calm down woman!”)
- Elektra questions Bond’s manliness (after another nose touch) “And who's afraid now, Mr. Bond? ” in her bedroom. Bond is trying to keep the relationship professional after he crossed the line, so to speak.
- Bond is reminded of Tracy in Elektra’s reckless behaviour at the Casino -
“You're determined to protect me.”
“From yourself. You don't have to do this.”
- Seeing, what would later be revealed as a pay off, Bond senses something isn’t right between Elektra and Zukovsky. A shadow of doubt perchance?
- “What do you do to survive?”
“I take pleasure...
...in great beauty. “
Bond thinks that he has found a survivor, unaware of the danger he’s in.
- “But then again, there's no point living if you can't feel alive. ” uttered by Renard. That must be the clincher that Elektra is a wrong ‘un!
- Bond and Elektra's confrontation at her place. Despite his instincts, Elektra serves up a plausible explanation over Bond’s injured arm - “You had a sling on your arm at the funeral. ” - and deflects Renard’s use of her phrase by saying - “You used me as bait. And you made love to me. What? To pass the time”, which in part was slightly true of Bond. Rather she thinks of Bond as a cad, and not that he’s getting too involved.
- A brilliant piece of impromptu subterfuge by Bond as he lets the bomb explode, forcing Elektra to reveal her hand.
- “If only you'd kept away...
...we might've met again in a few years and become lovers once more.” A brief moment of hesitation from Bond as he considers this. If I were in Bond’s shoe, it would be bye-bye to Istanbul, I’m afraid.
- If Elektra did kill Bond in the torture chair, I guess he would have gone out a happy man. “You know what happens when a man is strangled? ”
- “You meant nothing to me” - a bluff both realize is false.
- “You can't kill me. Not in cold blood!”. Winding Bond up is not the smartest thing to do.
- Bond gave Elektra all the chance in the world to call Renard off.
- “I never miss” a heartbreaking admittance rather than a quip.
- Bond touches Elektra’s hair. A brief moment of vulnerability from Bond before he had his armour back on.
All in all, Pierce Brosnan excels as Bond turning in an elegantly lethal performance, despite, or maybe that should read in spite, of his “acting foibles”.
Main Villain
Ah, Sophie Marceau. Bond thinks he has found found Tracy, but he has actually found Blofeld. From damaged angel with a wing down, to spoilt rich girl with daddy’s issues, Marceau has great fun in the role, going from cold and aloof in the beginning, to hamming in up something rotten during the torture of Bond. Marceau is smouldering and sensual, and for me, she shares a genuine chemistry with Brosnan, and is the highlight to the film
Other folks have mentioned that the Brosnan era is the kinkiest, what with rampant necrophilia, Xenia and her thighs, and the torture chair. Only reinforced by Elektra’s pleasuring herself with ice, much to Renard distress.
Main Henchman
Being Elektra’s lackey diminishes the threat of Renard somewhat. A ploy used in The Dark Knight Rises with Bane and Talia. Elektra and Renard are a fascinating double act - Renard is dead, physically and hurts emotionally, while conversely Elektra reveals in her sensuality, yet is dead inside. You feel pity for Renard. He realises Elektra is playing him, but he does not mind; he goes even so far as sacrificing his remaining days to see her happy.
Bond and Renard have a good dialogue scene in the bunker, with Bond barely controlling his contempt for Renard.
Until this -
“How does it feel...
...to know I broke her in for you?”
Bond’s aversion to killing in cold blood is waived for Renard.
- “I usually hate killing an unarmed man.
Cold-blooded murder is a filthy business.”
“A man tires of being executed.”
“But in your case, I feel nothing...
...just like you. “
“She's waiting for you” is a line I’ve always enjoyed. Seeing Bond triumphant and Renard blissfully going onto to see Elektra on the other side...
Is TWINE a perfect film? Far from it. Does it succeed a being a more emotionally driven story? Not always. But TWINE tries its hardest, in amongst the protective bubble of formula filmmaking. However, the overall premise is inspired and all the Bondian attributes abound and in novel fashion. And TWINE was the proving ground for Casino Royale (love story) and the bombing of MI6 HQ and M’s deeper involvement (Skyfall).
I think this is, more or less, the original unsaved write up I did on Sunday. Being my first Bond film in the cinemas, I wanted to do a piece, a “review”, worthy of such a momentous moment in my life.
What’s that you say? I should be watching and reviewing DAD? Well, DAD can get f....................
(Also, while Bond should remain quintessentially British, the odd Americanism doesn't bother me. He's better traveled than most and would pick things up from other cultures, like the vodka purification habit Fleming has him pick up from the Russians. Plus his best friend is a Texan. Makes sense.)
"Egad!"
Ah ok. Actually I can see how that would have heightened the tension of that scene in the bunker. Shame they didn't stick with the Britishism.
As Brady said, we oft say "Egad!". Or if one has lost something one says, "Hullo, where has my chauffeur gone to?", or if one misunderstand someone, one says, "I'm sorry old boy, but as one didn't speak the regimented Queen's English, I am having trouble understanding you."
Brosnan says "huh" in a distinctly "mid-Atlantic" fashion. I agree with you up to a point re. Bond picks up various cultures. Bond should adopt an American disguise in let's say, the literary LALD or DAF, even FYEO, but never in his "home life". "Vacation" was just pandering to the American audiences. (Why is beyond me, surely the most dense Yank would understand holiday, instead of vacation?)
and then - "What a lovely day for running up to EON and shouting take that up your Spectre".
And when Bond receives help from an ally, a hearty "Fanks, guv'na" wouldn't hurt.
And Bond will say it with the cockney accent of Dick Van Dyke in Mary Poppins.
"It's a jolly holiday wif' Blofeld..."
Die Another Day - Production
Lee Tamahori is on directing duties here and, the pressure was on straight away as this was an anniversary Bond. 40 years on and I think we should expected a great Bond adventure. Unfortunately not, as director he has to take responsibility for the slow motion rubbish, poor CGI, poor back projection etc. He did get the best out of his actors, Brosnan and Pike in particular but, for all his ambition, he doesn't make the best of it.
The opening title design is unique in that it progresses the story 14 months on from the end of the pts, really good idea. I like these titles, not as grand as some from the past but very good nonetheless.
The script, again, ambitious but whoever decided to add a the sexual innuendos throughout has had a shocker. Poor dialogue, awful innuendos that are not helped by, Berry in particular, poor execution.
The movie looks fine with some decent shots. Iceland should have looked beautiful but it's let down by all the awful CGI that comes with it late on.
I like the score of the movie, certainly a high point for Bond 20. Madonna's theme tune is by far the worst of the series for me. Hate it. Also, not a fan of having London Calling thrown in there. I like the clash but I wasn't a fan of that being put in the movie. Sorry.
The editing seemed fine, the fight scenes all looked fairly seamless, to me. Again, Shane about the back projections and CGI.
All the costumes were ok for the most part. Whoever came up the the Graves Iron Man suit though needs telling that it was far from any good. And not sure about Brozzer and Berry in the camo suits.
The ice palace. Great idea, but didn't look as grand as I would have hoped. Good effort as they were obviously trying to go big, but not overly impressed.
That's all my thoughts on that, sorry these last ones were late.
Final thoughts:
We see Bond through a hole blown in away with sprinklers going off a over him. All very TWINE.
The Jinx dive off the wall into the see. Another example of poor CGI, it looked terrible.
Nice nod to TSWLM with the Union Jack parachute.
Another nice nod to Sir Rog, having his daughter cameo.
The nod to DAF, "Diamonds Aren't For Everyone" - forced, didn't like that.
Oliver Skeet - why?
The meeting in the old tube station I really enjoyed. Great exchanges between Bond and M - "Well, it seems you've become useful again", "Then maybe it's time you let me get on with my job".
The new watch quote, "This'll be your 20th I believe" - comes across way too cheesy for me.
Nice little nod to Desmond Llewellyn when Q speaks of his predecessor.
The shot of Bond driving to the ice palace. More crappy CGI, saw better in much earlier movies.
"I'm Mr Kil", "We there's a name to die for." Yawn.
"Yo Momma" Erm, no Momma.
Jinx rattling on for 007 during the laser scene drives me crazy. He's in the middle of a bloody fight, shut up.
Jinx.....Again, "He did you? I didn't know he was that desperate." This is extremely childish dialogue for any movie, never mind Bond. Belongs in the playground.
Nice that Vincent Wong had a little part in this movie. As he seems to be the cover star of the 1970 Pan issue of Colonel Sun it's a really nice touch.
This movie is an odd one. There was some good ideas to make one hell of a massively grand Bond adventure. The first third is fine but then it goes downhill. It really is a shame. Over ambitious I think.
I have that copy too. Yes, I believe there was some discussion of it on here not so long back also. I remember just picking up the copy and realising that the face on the cover looked very familiar. Turns out, Vincent Wong by the look of it.
This pic pretty much ensures it is him.
[img][/img]
A shortish review that doesn't cover all the elements, because frankly I was boring myself trying to write more.
(Full disclosure: I spent the entire movie holding an ice cube, having, in a fit of especial brilliance, burned myself while making dinner. This did not improve my attitude.)
I, too, have a very clear memory of seeing this one on the big screen: I went the weekend it opened and I had to try three different cinemas before I found one with seats available. Clearly expectations were high.
The PTS is a good start. I've always found the surfing a bit silly, but credit to Pierce for looking good in a wetsuit, which is a very unforgiving garment. And I do like a hovercraft chase, though IMHO nobody does it better than the Doctor:
And thus into the titles, a stylish montage that moves the story along and - yay! - eliminates the need for a stupid ONE YEAR LATER caption telling us time has passed.
I'm not a huge fan of Madonna's music but I do admire her for doing whatever the heck she likes, and picking some pretty cool projects: a Bond film, Dick Tracy (which I love deeply and unapologetically), Austin Powers 2.
Pretty slender pickings among the girls. The much-touted Honey Ryder tribute is a beautiful moment, but it's spoiled the instant Jinx opens her mouth. It's a shame, because she gets to do some pretty cool stuff, but I can't feel invested in her at all. (I like the his-n-hers camo jumpsuits, though.)
Miranda Frost is very bland; I'm not even sure why Bond bothers to sleep with her. Because she's there, I guess. (Apologies to the many fans she seems to have on this thread!)
Meanwhile, back at MI6: John Cleese has settled down a bit and delivers his spiel pretty well. I...don't mind the invisible car as a concept, I just wish it had been executed better, without the glitchy-camera effects as it disappears and with a slight shadow of its presence when it's in stealth mode.
Judi Dench is superb as always. In the scene at Bond's bedside, I honestly can't tell if she's deliberately provoking him to run off or if she really thinks he might have let the side down (surely not?).
And I rather like Moneypenny's bit with the VR goggles. I'd be tempted, in her position. (Though not quite THAT position.)
I'm going to go out on a limb and say this is not the worst ending ever. Turn the sound off and squint a bit, and it almost looks sexy. Worst Ending still goes to TWINE, for dragging poor M into the agony.
The Right Stuff
Seeing Bond fail to bluff or fight his way out of an unbeatable-odds scenario was very new and surprising back in the day (as was the beard), and still holds up.
I have always envied the way he can walk into hotels all over the world and be instantly recognised and treated with deference.
Bond reactivating a sleeper is that rarely-seen animal, Proper Spying, and a great little scene.
ICE CHASE. Can't beat a good ICE CHASE.
I do like all the callbacks to previous movies; they're well-meant, and particularly poignant given this turned out to be Brosnan's swansong. The final action on the plane borrows from both Goldfinger and TLD, with reasonable success.
The Wrong Stuff
Thumbs down for the hackneyed use of 'London Calling'.
What stretches my credulity most in this entire movie? Bond and Graves being allowed to take their protective gear off during the fencing match. Is Graves so rich that Health & Safety regulations do not apply to him?
Bond completely loses his cool when he's bringing Jinx round after her bath; compare with his rescue of Wai Lin, which manages to combine obvious fondness for her with professional composure.
Say Something Nice About The Surfing Challenge
Confession: I had forgotten ALL about this scene, and I assumed everyone was complaining about the surfing in the PTS. So I guess it does not offend me too badly? And it's pretty. And they resisted the temptation to play the Beach Boys over it, so things could have been worse.
And finally: I seem to have 'Beautiful Stranger' stuck in my head now. Help.
And the other concurrent double bill, pizza and beer
Die Another Day
Truth be told, I wasn’t overly enamoured to view DAD, it leaving such a bad aftertaste. Still, I’d thought I could get through it, with the promise of the ultimate palette cleanser – Casino Royale.
My reservations lasted about 2 minutes into the film. Once again DAD entertained me royally – at least up until the Ice Dragster sequence. Then it just fell apart, like some dodgy fake Rolex.
Style – DAD feels as if it’s main demographic was the teenage male market. (At that time, teenage males had disposable income, while today it is more likely to be the teenage female, apparently) With no so clever penis jokes and excessive set pieces.
Only reinforced by the video game-equse quality it has, with cartoon villains and overblown action. (In fact, Tamahori shot the VR sequence to mimic a shoot ‘em up video games) There is a lingering sense of fakeness to DAD. That “fakeness” is reflected in the digital grading applied to the cinematography. Desaturated in the North Korea scenes, and then the picture gets more and more colourful, until Iceland and beyond, where DAD is oversaturated to excess.
Led by Tamahori, the film delves into excess – a fay cry from what Messrs Purvis and Wade intended. (And what Brosnan would have preferred, I should imagine). What was meant to be a 40th Anniversary treat, a’la YOLT for Brosnan, turned into a mess.
CGI – The CGI on display in DAD was bad in 2002 and it is still bad today. More to the point, constructing entire sequences from CGI is wrong for the James Bond franchise. CGI is fine if your making let’s say a superhero movie, but with Bond? Bond is meant to be quasi realistic, with great practical effects and stunts.
CGI should only be used for touch up – the prime example being the removal of the harness in the Madagascar sequences, for example. And I have no problem seeing CGI used as an extension, even replacement for model work, such as the Icarus satellite, as long as it’s done well.
James Bond – Pierce Brosnan says that he “never really nailed the part” of 007. Well, I respectfully disagree with him. He fully nails his portrayal in DAD, after 4 goes.
I’ve enjoyed running through the Pierce Brosnan era. (@Thunderfinger must think I’m a masochist). I’d would have liked him to come back for a fifth movie - his FYEO to his MR – but fate wasn’t that kind.
Royale’s Ranking -
1. From Russia With Love
2. On Her Majesty’s Secret Service
3. Dr. No
4. Goldfinger
5. Licence To Kill
6. Thunderball
7. The Living Daylights
8. The Spy Who Loved Me
9. The World Is Not Enough
10. Octopussy
11. For Your Eyes Only
12. Tomorrow Never Dies
13. GoldenEye
14. You Only Live Twice
15. A View To A Kill
16. Moonraker
17. Live and Let Die
18. Diamonds Are Forever
19. The Man With The Golden Gun
20. Die Another Day
Despite it’s plethora of strengths, the substandard CGI, the dodgy script, the cartoon villainy sink DAD to the bottom of the rankings.
I watched Casino Royale last night and @royale65 is entirely correct -- it is the ultimate palette cleaner. I'll probably watch Barry Nelson's CR sometime today. My head isn't quite ready for Woody Allen's Jimmy Bond...