Le monde ne suffit pas

I first saw this in the early 2k on cable tv.

Revisited it recently.

This is the nineteenth in the Bond series and the third to star Pierce Brosnan as James Bond.

In this one Bond is assigned to protect an oil tycoon's daughter who had previously been held for ransom by an ex KGB turned terrorist. During this assignment, Bond unravels a scheme to increase petroleum prices by triggering a nuclear meltdown in the waters of Istanbul.

This one has an amazing pre credit scene (not the lousy window jump sequence). The boat chase sequence is amazeballs.

The villain, Reynard, is truly sinister n Carlyle did a fine job but his character ain't developed well.

The story ain't engrossing n none of the henchmen is memorable.

This time Bond faces Reynard who is hell bent on causing chaos n destruction.

Bond faces many henchmen, Gabor, Mr. Bullion, etc. But the most noteworthy is the attractive cigar girl (Giulietta da Vinci).

Bond gets to cool off with Serena Scott Thomas, Denise Richards and Sophie Marceau.

Some info on Reynard: His real name was Victor Zokas n his childhood was particularly traumatic as he was raised in poverty.

At the age of fourteen, he ran away from home and joined the Soviet Army. Due to his vicious nature n brutal methods, he was given a place in the KGB. Due to his cunning and effectively discrete ways, he got the nickname, "Renard The Fox".

Aft his expulsion from the KGB due to his evident mental instability, Zokas took "Renard" alias and became one of the world's most feared terrorists.

It was 009 who shot Reynard in the head n although a doctor was able to save Renard's life, he was unable to extract the bullet from his patient's skull. Due to its retention within his brain matter, Reynard lost most of his senses and pain was never felt by him.

This allowed him to push himself much further than the ordinary human limits.

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?

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."

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 first time I saw this in the cinema in '99, I remember actively disliking it - the first time I'd had that reaction to a new Bond release. I saw it a second time at the cinema, and disliked it less - but still wasn't keen. Now, in the dying days of 2002, and quaking with hatred for - and disappointment at - 'Die Another Day', I re-evaluated TWINE for a second time. And I have to say, compared to this year's farce, TWINE is bathed in a golden glow. In terms of character development, plausibility (always tenuous in Bond films, but still), acting, and script, TWINE is far and away and without a shadow of doubt superior to 'Die Another Day'. Above all, this is a Bond film that does occasionally treat its audience like they have brain cells, rather than a ghastly exercise in sci-fi pretensions with MTV production values.

The opening sequence reveals itself to be one of the very best in the series, taut and exciting, flawlessly directed and perfectly executed. There's nothing else in the film that can quite top it, but some inspired casting helps immeasurably. Sophie Marceau is superb, and it's great to see Robbie Coltrane reprise Valentin Zukovsky, who bags many of the best lines. Judy Dench as 'M' is given a high profile in this entry, which is all to the good as she's clearly the best thing to happen to the Bond films in the Brosnan era. Alas, Desmond Llwelyn makes his final appearance as 'Q' - it would be thus even had he not died the following year - and his exit is well-handled.touching, even. On the downside, Robert Carlyle is not quite convincing as Renard, but it barely matters as Marceau is so firmly in control. Denise Richards isn't as bad as she's been made out to be - indeed, she actually seems smarter and less bland than Halle Berry in DAD.

Plot and action sequences throughout the film are deftly handled, but there are some areas where TWINE seems a little derivative, cheerfully looting the Bond back catalogue, for example in the Caucasus skiing sequence which fuses together action setpieces from YOLT and OHMSS. There are also moments of alarming silliness more redolent of the 1970s and '80s, such as the scene with John Cleese making his debut as future-'Q' and all scenes with Goldie in as Bullion. And for those of us who aren't fans of Pierce Brosnan, there's plenty to annoy - excessive jaw-clenching, lots of posing, inherent charmlessness. I'm sure he's lovely in real life, mind.

Generally, though this is a competent entry in the series, and its attempts at depth just about succeed. It is also the most `how'-and-`why'-proof Bond film since the 1960s, a refreshing change from those Bond films that arrogantly command the audience to suspend their beliefs and do all the maths themselves. Quite why it all went wrong three years later is anyone's guess, but I blame 'XXX' and a continuing adoration of 'The Matrix'.