ARCH CHINESE FONTS MOVIE
Martin Campbell’s assured direction - the movie is largely powered by expert editing and Brosnan’s charisma - elevates the shoulder-shrug of a plot involving 006 (Sean Bean) coming back from the dead to steal a helicopter and an EMP-delivering satellite in space. The “sexist, misogynist dinosaur” that Judi Dench’s M sizes him up to be serves as a meta-commentary on the character’s past as Goldeneye charts a new future that isn’t all martinis, girls, and guns.
ARCH CHINESE FONTS UPDATE
The wait was worth it, as Brosnan finally got his chance to play Bond* and update the character for the ‘90s. “Bond’s valet.” That is how the late Gene Siskel described Pierce Brosnan in Goldeneye, his blockbuster debut as the super spy after 007’s six-year absence from the big screen. Bond is just there to shoot and punch and blow stuff up before clunkily moving on to the next scene as if previous ones didn't really matter. (The parallel plots eventually intersect, but never in a way that resonates emotionally). Surprisingly, 007's revenge storyline takes a backseat to that of a supporting character (an underrated Olga Kurylenko), with our favorite spy failing to drive the main narrative of his own movie. Instead, it's a rushed, and at times, soulless affair - despite Bond’s revenge plot over the death of Vesper servicing as a direct sequel (a franchise first) to Royale and having director Marc Forrester inject the film with some artistic visual flair (love the fonts each new location gets!) The shaky-cam action scenes feel like Bourne's leftovers, and Bond should never copy from a franchise that it had a hand in inspiring. If Casino Royale was Bond's Batman Begins, then Quantum of Solace could have been his The Dark Knight. (Another all-timer, but in the negative column? Denise Richards as a nuclear scientist named Christmas Jones.) It’s an all-time moment for Brosnan’s too-brief tenure in the role. She gives the movie its best scene, where Bond is forced to shoot her in cold blood and then cooly deliver the line “I never miss” after calling her bluff that her former lover would not kill her.
The franchise’s first major female villain, the heiress to her dead father’s oil fortune, Elektra King ( Braveheart’s Sophie Marceau), is an effective and tragic foil for Brosnan’s Bond. While he gives his best and most compelling performance here, TWINE’s over-complicated plot and by-the-numbers set pieces fail to service it. Unfortunately, that was not the case for Brosnan. Traditionally, the third time was the charm for previous Bond actors in terms of making their best movie. Seeds of Skyfall’s plot - Bond recovering from a shoulder injury and M’s past coming back to haunt her - are planted here in Brosnan’s third outing, which features the longest (and one of the most exciting) pre-titles action sequence in the franchise’s history. Say what you will about Quantum of Solace, but at least it didn't put a bullet in the heart of all the goodwill earned by previous outings. And then became Bond's secret adversary for years and years, implausibly sending disparate threats to attack Bond in movie after movie - with Bond never once realizing he is in the center of the longest long con ever. Yup, Franz Oberhauer (aka Blofeld) became the leader of a super terrorist organization because, well, daddy issues. Spectre would have you believe that 007 somehow found his way on the path to being a super spy because the father of his adopted brother/future arch-nemesis (Christoph Waltz) liked Bond better. It also features a classic villain that's wasted due to soap opera-level plot twists and bad monologuing. Instead, the Bond of Spectre surprisingly, sadly, literally, turns his back on that promise - saddled with a crisis of conscience never established in the previous Daniel Craig entries. One capable of being the gritty assassin born in Casino Royale and also the spy we love from the Connery and Moore era. The end of Skyfall promised a Bond ready to finally become James Bond.