007: El mundo no basta

The film opens with a formidable assassin who had recently posed as a banker's secretary… She had given Bond a cigar, before killing her boss in the Swiss banker's office in Bilbao, Spain…

Now, when a bomb blew a hole in MI6's London headquarters, the super spy sped off in the Q boat, ignoring Q's plaintive cry, "Stop" Stop! It isn't finished!" It was Q's fishing boat for his retirement… There's a splendid boat chase along the River Thames between 007 and the stunning Maria Grazia Cucinotta, the "Cigar Girl" – who worked as a barmaid at the village inn in "Il Postino." Bond was eager to capture her for questioning…

When a bomb planted in a briefcase of money killing British oil tycoon Robert King, M was determined to bring the perpetrators to justice… The prime suspect was Renard who had once kidnapped King's daughter, Elektra… M (Judi Dench) believed Elektra was next on Renard's list and 007 was assigned to act as her "shadow" while she supervised the building of an oil pipeline in Azerbaijan… Yet despite his powerful urge to protect her, there was something about this beautiful, cunning, willful woman that aroused his suspicions…

Bond flew to Azerbaijan, where King Industries was building an oil pipeline… Elektra gave 007 a 'cold' reception, taking him up into the snowy peaks to the pass where the two ends of the pipeline would soon meet... It was then that unsocial 'visitors' struck…

Sophie Marceau plays the magnate's daughter Elecktra who had once escaped Renard's clutches all by herself… Her favorite motto: "There's no point in living if you can't feel alive."

Robert Carlyle plays Renard, the former KGB hit-man who had set up his own organization and demanded fanatical loyalty… He was a murderer, a terrorist, and a kidnapper… His only goal was chaos… Subordinated who failed him killed themselves rather than face his wrath… After Robert King came to see M, she sent 009 to kill Renard… 009 caught up with him and put a bullet in his head…The bullet was now killing off all his senses and was impervious to pain… Renard was determined to pull off one last coup against the West… But his motivations were motivated by blind hatred, or blind love?

Goldie plays Bull, Zukovsky's shifty, gold-toothed bodyguard… He was a menace to his boss and an important Renard spy…

Denise Richards plays Christmas Jones, the sexy atomic scientist overseeing the dismantling of the Kazakhstan nuclear test site… Dr. Jones became an invaluable ally of 007's following Renard's theft of a nuclear bomb…

For "The World Is Not Enough," Q equipped Bond with the faster car 007 had ever been entrusted with: the MBW Z8, armed with a radar-guided missile system...

Robbie Coltrane returns as the duplicitous Russian black marketeer Valentin Zukovsky whose ebony walking gun stick seemed a typically showy affection - but it had its uses...

A final sad note: "The World Is Not Enough," marked the final appearance of the beloved Desmond Llewelyn, who acted from 1964 to 1995, except for "Live and Let Die." A perfect foil to 007's lighthearted nature… Q has been one of the series' most enduring character...

James Bond must rescue M, protect an oil heiress from her former kidnapper Renard, a terrorist who can't feel pain.

It begins with the sleek gun barrel Point of View walk, and what follows is arguably one of the greatest Bond pre-title sequences and certainly Pierce Brosnan's best. There's a specular escape in Spain, an explosion in MI6 headquarters London and a chase on the River Thames to apprehend an assassin (Sicillian star, Maria Grazia Cucinotta) that climaxes at the Millennium Dome. All this action before the James Bond title song and it's carried out not just for show, but as it's all part of the story's later developments.

Michael Apted directs the 19th Bond instalment in which Brosnan gives his finest performance as 007, he appears, confident, intellectual, more dangerous and authentic as the spy. In this he is injured and carries his ailment throughout the film, making him more vulnerable and real in life threaten situations, leaving the entertaining but bland Tomorrow Never Dies behind.

For the most part this instalment is more grounded and played serious with fewer gags than in previous Bonds, certainly less than Moore's outings. A lot of this is due to Neal Purvis, Robert Wade and Bruce Feirstein screenplay which lends itself as a mystery, whodunit thriller theme and the villains, have more shades of grey as well as the heroes.

Despite, Denise Richards beauty with brains role as Dr. Christmas Jones, she still appears as the typical Bond girl by the end. Robert Carlyle character Renard is given depth and ulterior motives as the villain but he still is cliché Bond Villain with scars. This aside, Sophie Marceau is excellent as femme fatale oil baron heiress Elektra King and M's (Judie Dench) late friends daughter. Dench is given more to do and shines on screen, and regulars Desmond Llewelyn (Q), Samantha Bond (Miss Moneypenny) and Colin Salmon reprise their roles. Robbie Coltrane makes a welcomed return as Zukovsky to briefly assist Bond, and Goldie makes an appearance as a henchman. Comedy legend John Cleese plays Q's side kick R.

The music score and Barry's trademark theme comes in just at the right moments to heighten the action on screen. And as a bonus the title songs music is interlaced throughout the movie.

The World Is Not Enough is only marred by some poor cringe-worthy quips that are synonyms with the franchise. It's a shame that all the hard work of writers, Bronson's and Apted's subtly was discarded in Die Another Day (2002), where it was CGI heavy and returned to a Moore- like, lighter spectacle adventure.

This Bond is in the tradition of the earlier Connery outings, the vein of Dalton's steely incarnation, and a credit must goto Pierce Brosnan as this influenced the style of the later Casino Royale rework.

Ultimately, The World Is Not Enough due to it's great plot is one of the better Bonds that can be enjoyed by fans and the causal viewer.

The World Is Not Enough is ranked as one of the weakest of any of the Bond films, but it does have many positives. The action is very strong in this one, like the caviar factory and the ski chase. Pierce Brosnan is joined by two very good actors to be the villains, and are some of the vest in the franchise. The locations are good, and it gives the films a different dimension, particularly in terms of the role of M. It is badly underrated, and is a great film, but just has some issues in the actual story.

The last James Bond film of the 20th century began in spectacular fashion. Now, a lot of the Bond movies have great openings, so that's nothing new, but this one outdid itself. This 15-minute opening may be the best ever with an amazing boat race and opening credits. It gets my vote, anyway.

After that, frankly, it slowly goes downhill. (That's the problem with too good a start!).

In the end, it's okay but hardly a memorable Bond picture. It has the usual assortment of heroes and villains, wild and improbable action scenes, tons of sexual innuendos, sharp DVD picture and great 5.1surround sound. New actors to this series included Sophie Marceau, Robert Carlyle, Denise Richards and Robbie Coltrane. None of them are big drawing cards who are going entice people to see the movie.

I didn't find any of the characters particularly memorable, unfortunately, so I can't rate the film higher than a "7," but that opening was a "10."

A lot of people have already commented intelligently here on the general suckitude of this movie. I would just add a few thoughts.

It's true that the recent Bond films are choking on the formula. But it's not the idea of a formulaic Bond film that's at fault here. Indeed, the Bond formula is the most established, specific, franchised formula in film history, complete with obligatory plot twists, locale changes and even obligatory dialogue in mandatory scenes. But that's not the problem. The problem is that the inbred idiots in the Broccoli family who own the Bond franchise and who have final script and creative authority, choose (I think deliberately) to give us Bond films of the lowest common denominator, trying to maximize bottom line profit by making the films as dumb and over the top as possible. They choose to remain faithful only to those aspects of the formula that would seem to guarantee commercial success. Those formula points are:

1) Action set pieces that are determined to one-up all previous Bond action set pieces in terms of craziness, speed, and death-defying stunts, but to the point where they lose all credibility.

For example, Pierce's speedboat chase in TWINE, or his motorcycle leap off the cliff into the plane cockpit in Goldeneye are so ridiculous that you have to laugh at them. I just shook my head in disbelief when I saw that speedboat chase, which was way over-the-top to begin with, morph into a hot air balloon stunt, I could almost hear the Broccoli family having a round table discussion, saying "Hey, then we could move the action into a balloon! Huh? Isn't that nuts! Who wouldn't love to see Bond in a hot-air balloon!" By contrast, just about any car or boat chase from the Connery era is much simpler, more plausible, and ultimately more fun to watch on repeat viewings because it won't dissolve into farce.

2. A beautiful woman with a funny name.

Hey, I love Bond girls as much as anyone else. And the funny names are great. But didn't they use to act better? And have more to do? And be sophisticated? Denise Richards seems to be best suited for a poster. She's a respected nuclear physicist like I'm an Olympic figure skater.

3. Updating the Bond "look" to reflect whatever is currently on top of the charts.

The mangled version of the Bond theme was disgusting. Giving him a German car because BMWs are cool is stupid. He's a Brit for Gods sake. Bond is cool because he's COOL. He has actual Mojo. It's not the brand of Vodka he swills, or who designed his suit. Leave well enough alone.

Basically, this franchise is headed down the toilet. It's circling the bowl as we speak. They'll always make money, but the experience is changing. These days, going to a Bond film is like going to a Circus. You're going so you can Ooh and Aah at something, not to watch a coherent movie with things like characters and plot.

Remember when these films were spy movies first, action movies later? Remember the whole train sequence in From Russia With Love, where Bond plays a game of wits with the evil spy? Remember the great chemistry with Connery and Honor Blackman in Goldfinger? Remember how Connery or Moore could make a line classic just with great delivery, instead of having "great" one-liners scripted in advance?

In short, remember when these movies were good?