I think the main problem is that the producers and director don’t know how to use Denise Richards. She would’ve been great in an Austin Powers movie, but she doesn’t fit into a Bond movie - and giving her the name Christmas Jones is a hurdle that few actresses could own.
I contend that Pierce looks his best in this movie, and the plot of this one is actually pretty good. After the first set piece none of the others…
Pretty solid, if not a little forgettable.
Johnathon Pryce is a big ol ham with a little sauerkraut on the side. Fun to see Ricky Jay just hanging out in the Bond-verse.
Not all the puns land in this one. You know a whole team were in agony trying to think of one that involved “getting drilled”, and then gave up.
Michelle Yeoh is cool.
Pierce seems more comfortable, and really rocks a suit.
Most of my nostalgia apparently is only tied to the opening sequence and the video game.
He doesn’t even use the car! And that beach scene!
The weird ass score! Sounds like it was done on a cheap Casio!
+ for the tank scene though
- that it ends with Bond sneaking up on the bad guys IN A TANK.
But good for Sean Bean for being a fairly compelling villain despite having a lame final plan,…
Hanna: “You know, we are sitting here, you and I, like a couple of regular fellas. You do what you do, and I do what I gotta do. And now that we've been face to face, if I'm there and I gotta put you away, I won't like it. But I tell you, if it's between you and some poor bastard whose wife you're gonna turn into a widow, brother, you are going down.”
McCauley: “There is a flip side…
“God created me in his image… I guess he has a thing for models.”
Pour one out to all the losers who never had Tony Scott direct their bio-pic with as much reckless abandon as he did Domino Harvey’s.
Just top-tier stylization that works as characterization. Truly in the Scum-Bum Hall of Fame. Other-worldly in its energy.
What a cool fucking movie.
Tony Scott was the master at creating a new visual language that would then be taken and diluted by less talented acolytes. This frenetic shooting and editing style isn’t new for Scott, which is a visual style he’d been tweaking since The Fan, but here he ramps it up to a near epileptic mania, with splashes of subtitles that convey emotion, cross fades and recurring dialogue that put you into a character’s mindset, the camera speed ramping up and down,…
I worked at a theater in south Florida when this came out, the most distinct memory I have of its opening weekend is a bunch of old white people angry that there wasn’t some boat race in it and that “it felt like the movie started in the middle of a scene or something!”
Which, talk about bad takes, cause it’s like they didn’t hear Colin Farrell tell Gong Li, “I’m a fiend for mojitos,” or “you do not negotiate…
“The mystery of Dune isn't a problem to solve, but a reality to experience. A process that cannot be understood by pausing it and asking me “who’s that” every ten minutes. We must move with the flow of the movie. We must join it. We must flow with it.”
- Me to my brother during my third watch in as many days.
It’s disappointing that there’s three great cinematic weirdos in Benicio, Hopkins and Weaving, that can give great ham-n-cheese performances, and the movie instead wants them be as boring as possible.
Joe Johnston’s speciality is mid-to-late century Americana, and here’s he’s tackling a story that’s supposed to feel like an English 19th century gothic-Romance, and he just can’t quite get there.
I’m just not convinced anyone knew what tone they wanted from this thing.
This is such a weird movie. It’s a jumble of genres, and in its best and lightest moments it reminds you of something Hitchcock might’ve done. It’s maybe supposed to be a comedy but the funniest person in the cast is fourth billed and has maybe ten minutes of screen time.
Chevy just kinda sucks. The most comedic thing he does is act like he can’t feed himself because he can’t see his hands.
Carpenter does pull off some impressive…