Il domani non muore mai

Tomorrow Never Dies is another great Bond film that's suitably thrilling, action packed and fun, even if it doesn't do anything new. Pierce Brosnan is a perfect James Bond once again and Michelle Yeoh is definitely one of the best Bond girls. Jonathan Pryce is fantastic as a reliably over the top villain. Roger Spottiswoode's direction is great with some impressively shot action sequences. The music by David Arnold is really good and the song by Sheryl Crow is excellent.

It is more like a remake of the overused formula plot of old Bond movies where a megalomaniac steals and strikes the superpowers from a hideout to create a misunderstanding and start WWIII and become the principal bargainer in the process. It lacked intrigue, suspense, twists, not that many of Bond movies have that, but was far too straightforward, predictable and cliche. I always liked Brosnan , he is one of the better Bonds I felt, hope he had something more play to with in the opportunities he got to play this iconic character. 6/10

"Tomorrow Never Dies" manages to top "Diamonds are Forever" and J.W. Pepper as the dumbest thing to happen to Bond's cinematic incarnation, until "Die Another Day" came along, that is. It's blisteringly, unrelentingly, unbelievably stupid from start to finish. Yes, I've heard the defenses: "it's a Bond film, what do you expect?" seems to be a popular one. What's even sadder is that certain people relish this stupidity, and wish that this was how most Bond films were.

I hate to say it, as he is a friendly and intelligent person and based on what those who are properly acquainted with him say, a remarkably professional and careful director, but Roger Spottiswoode's work as director here is poor for the most part, with the exception of the one truly great sequence in the film- the chase scene with Michelle Yeoh tied to Bond on a motorbike (probably thanks to a second-unit director anyway). It's not a confidently directed movie at all, and only looks somewhat good thanks to Robert Elswit's photography.

I wish the direction at least was good, as it is hard to compound how atrocious this script is. The vast majority of the dialogue is among the most ridiculous you've ever heard (no, seriously, take a Michael Bay film and dumb down the worst scene then you've got "Tomorrow Never Dies" for basically its entirety). What's most insulting about this script is that Bond barely features in it. Oh, sure, Bond is present in most scenes, but for all he actually does and says it could have been just about anyone in the scene. He speaks strictly in short sentences the writer thought were witty or clever (boy, was he wrong), or partakes in action scenes. I've always defended Brosnan's Bond, but I realize now that I am defending his better Bond, and not the terribly-written and lazily performed version present in this flick and "Die Another Day". What's going on here?

Let's end this with some positive comments: The score is good. It's much, much better than the "GoldenEye" score (oh why couldn't they have hired David Arnold for that movie?), and relies heavily on Barry-like arrangements of the Monty Norman theme, but the original parts are nice too. There are a couple of solid action scenes, and the motorbike chase really is terrific, but this movie is too dumb and too awkwardly-directed for it to work on any level.

3/10

One of the standard received ideas of film criticism is to say that sequels are almost never as good as the original film. (There are also a few standard exceptions to this rule, such as 'The Godfather Part 2' and the second and third parts of the 'Lord of the Rings' trilogy). Subject to these exceptions, however, there seems to be a law of diminishing returns to the effect that the more sequels a franchise spawns, the worse they become. The Bond films, however, seem to me to provide the most striking exception to this principle. The franchise started with 'Dr No' in the early sixties, and 'Tomorrow Never Dies' amounts to 'James Bond XVIII', or 'James Bond XIX' if one includes 'Never Say Never Again' in the total. Despite this, one can watch the latest offerings with as much pleasure as the original Sean Connery films from the sixties and seventies.

The Bond films are highly formulaic. They typically start with an action sequence before the opening credits that has little or nothing to do with the film that is to follow. The main story will involve Bond thwarting a dastardly plot by some megalomaniac bent on world domination. It will always involve at least one extended chase sequence, and possibly two or more. The main character, apart from Bond and the villain, will always be a beautiful young woman who helps Bond in his quest and who will end up by falling for him. There will always be at least one other beautiful girl, either as a secondary heroine or as a villainess. The villain will always have a small army of henchmen ready to do battle on his behalf. The story will always end with a shoot-out, normally in the villain's headquarters, in which Bond manages to avert the threatened disaster at the last minute.

'Tomorrow Never Dies' contains all these formulaic elements. It is, nevertheless, in my view one of the better entries in the Bond canon, for a number of reasons beyond the fact that Pierce Brosnan is the best Bond since Connery. These can be summarised as follows:-

1. The Villain. Jonathan Pryce plays Elliott Carver, a newspaper and media tycoon intent on whipping up a war between Britain and China. The reason is to facilitate the accession to power of his ally, a renegade Chinese general who has promised to give his organisation exclusive broadcasting rights in China. Bond villains have always provided scope for some splendidly over-the-top displays of acting, going back to Lotte Lenya's Rosa Klebb and Gert Frobe's Goldfinger. Although Pryce's Carver is more restrained than some, it falls within this tradition. At first sight the silver-haired bespectacled Carver seems mild-mannered and soft spoken, but soon reveals the raving megalomania which is the hallmark of the Bond villain. Particularly noteworthy is the speech where Carver states his ambitions as being 'power' and 'world domination'. Although he puts a liberal, metaphorical interpretation on these two concepts, the audience is left in no doubt that he means what he says quite literally. There is also a good performance from Gotz Otto as Carver's brutal German henchman, Stamper.

2. The Girl. Admittedly, Teri Hatcher is rather wasted as the secondary Bond girl Paris Carver, Elliott's wife and a former girlfriend of Bond. Michelle Yeoh, however, is superb as the main female lead, the Chinese secret agent Wai Lin. (That's how it's spelled, although the pronunciation used in the film suggests that the name should actually be transliterated as Wei Lin). Apart from Michelle's striking looks, she is also an accomplished martial arts performer, and her skills are put to good use in this film. (Part of a trend of giving Bond girls a more active role, in contrast to the earlier films in the series where they were required to do little other than look decorative.) 3. The Chase Sequence. The main one, in which Bond and Wai Lin escape on a motorbike through the streets of Hanoi from the villains in a helicopter, is excellent. 4. The Opening Sequence. As usual, this has little to do with the main plot line. It does, however, fit in with a growing tendency in the Bond films, that of mocking or undermining the militaristic, macho values which the series was once accused of promoting. This film introduces a new comic character, the gung-ho, blustering Admiral Roebuck, a sort of naval equivalent of Colonel Blimp, who clashes with the more liberal 'M', the female chief of the British Secret Service. (I was interested to learn that the actors who play them, Geoffrey Palmer and Judi Dench, are husband and wife in real life). In the opening sequence, Bond narrowly prevents Roebuck's blundering attempt to bomb a gathering of international terrorists from setting off a nuclear explosion. The more active roles for female characters are also part of the trend towards a politically correct Bond, as is, perhaps, his remark that smoking is a 'filthy habit'. (The earlier films were often criticised for glamorising the habit by making Bond himself a smoker).

As with all the Bond films, one can probably pull holes in the plot of 'Tomorrow Never Dies'. (The scene where Carver sinks a British warship by cutting a hole in the side with what looks like a giant chainsaw struck me as particularly implausible. What's wrong with a torpedo?) Nevertheless, the Bond films are not meant to be works of social realism and unlike, say, the novels of John Le Carre, have never purported to give an accurate picture of life in the British Secret Service. 'Tomorrow Never Dies' is a good example of what the Bond films have always been- superior escapist entertainment. 7/10

This film isn't quite as good as "Goldeneye", but it still another fun addition to the series.

Pierce Brosnan once again shines as James Bond, and Wai Lin, played by Michelle Yeoh, is quite possibly the toughest Bond girl ever. She does a lot of karate and steals the show as much as Brosnan.

Elliot Carver, played by Jonathan Pryce, is a pretty decent villain. He is nowhere near as intimidating as some of the best Bond villains, but he is certainly passable. His goals were a little more realistic than most Bond villains. His henchmen is just another Red Grant clone.

The story, while not the deepest, has a lot of intriguing elements with Carver writing disasters in his newspaper and making them happen. The media angles makes a lot of sense these days. The locations work, especially Thailand.

This film is up there with "Moonraker" as one of the most relentlessly action-packed entries in the series. We get a spectacular opening sequence, a chase in a parking garage with Bond using his remote-control BMW, a wicked motorcycle chase, and so much more.

This is a very solid if slightly by-the-numbers entry in the series. There is rarely a dull moment, and there is enough action for several movies. Another fun Bond film.

RATING: B