GoldenEye

This movie began the weird Bond-series tradition of changing some players while retaining others. The old Q is still banging around here, but Judi Dench steps in as the new M, and of course Brosnan quickly secures the role of Bond as his very own. The six-year layoff between films was, apparently, good for everyone; the production is back to its usual standards, Russia plays prominently once again (as a post-Cold War venue, but it still had some of the old juice), and the gadgetry--sorely missing in the last two films--returns to its usual role. Most noticeably, there’s fun to be had here, the lack of which was a major deficiency in the Dalton movies. No wonder a tottering enterprise was able to save itself, not just to continue but to achieve future excellence.

Die Another Day

(Re-viewed and reviewed as part of the 2017 "Watch all James Bond movies in sequence" project.) Brosnan goes out with a bang. Several of them, in fact. Brosnan was, by this point, a solid number two on the Bond list (after Connery, of course); his films largely held their own among entries in the canon. This one did not impress me that much upon first viewing, but it has aged well and earns higher marks upon a second showing. The strengths here are in the action sequences, including some truly audacious work with hovercraft, cars (on ice, no less), and a helicopter escape from a disintegrating cargo plane. the eye-candy remaining top notch, with Rosamund Pike getting bested by Halle Berry (it’s closer than you’d think). There are downsides: we’ve seen the orbiting super weapon at least three times now. But generally, this is an entertaining and satisfying entry in the series; at this remove one wonders why any felt an urgent need to reboot the franchise. Perhaps Brosnan had simply had enough. The reboot idea turned out to be golden, in hindsight, but on the strength of this flick, at the time, you could have made the case to keep going with one more effort along these lines.

The World Is Not Enough

(Re-viewed and reviewed as part of the 2017 "Watch all James Bond movies in sequence" project.) This movie really showcases how well Pierce Brosnan fit the role of 007: he had the hard-ass side, as well as the joie de vivre, and just enough vulnerability to make you care about the high-stakes games he was playing. There are some hilarious aspects to the production, including what must be the fifth high-speed chase sequence on skis--honestly, Bond has schussed down more mountains than Jean-Claude Killy ever did--and a touch more convolution to the plot than was probably necessary, but those are small minuses. On the big plus side, the eye candy is top notch: Sophie Marceau is no slouch, but she’s a hag compared to Denise Richards at her zenith of hotness. All in all, it’s pretty basic Bond film stuff--and when you exceed that bar, generally you’re getting good entertainment.

Tomorrow Never Dies

A solid effort all around. Upon rewatching this movie, I found it to be better than remembered: good action, good work by Brosnan as 007, good humor throughout, some clever gadgetry, and it even contains a touch of the old magic with the megalomaniacal villain (something missing from the previous run of Bond outings). Probably the biggest lesson to be learned here comes from the use of technology in a movie: overall, it’s a bad idea to rely too heavily on tech for visuals, set design, atmosphere, etc., because it all winds up looking so dated. Anything with a digital readout just looks comical at this point, however cutting edge it may have seemed back then. Better to make sure that Bond is his usual self, that there’s enough eye candy around to keep the film well-decorated, and that the action sequences come fast, furious, and look great. For the most part, this one hits on all those marks, and that’s enough to make this entry in the series worth seeing.

After The Sunset

Implausibility in the opening sequence: bad sign. Salma Hayak's tits: good sign. I guess it's all about what you're looking for. What you see here is a scenario we've witnessed many times (cool, suave criminals as heroes of the story). The charm of the actors (Pierce Brosnan and the aforementioned Hayak) helps immensely, as does the funny, well-written script. And the Caribbean scenery looks great on screen. Not a bad way to go, overall.

Laws of Attraction

I wanted to rave about this one, because it starts out nice and nasty (or at least acerbic, and often that's enough), but then it kind of wimped out towards the end. Ah, well, it's still an enjoyable film to watch, largely on the strength of the leads. Pierce Brosnan once again demonstrates that he'd have a grand film career if he could just get away from that Bond stuff. And Julianne Moore gives a smart, vibrant performance (and looks just fabulous in the process). Give it a shot in one of your lighter moments.

The Long Good Friday

Boy does this flick look dated. It seems even older than it actually is (circa 1980). This film made a name for Bob Hoskins, and he certainly delivers the goods. But, while it does hold the interest, becoming more engrossing as it progresses, the story takes too long to develop, and it's tough to get past the movie's age. A tough call, but you can probably miss it.

Evelyn

I saw a broken family, lots of drinking, and occasional fighting. And I thought, "Yep...they're Irish." Beyond that, it's becoming painfully clear that the whole 007 thing is getting in the way of Pierce Brosnan having a fine movie career. This is better than any of his Bond movies, and more significant, given its topic (a father fights for custody of his children in 1950s Ireland). There are a few weak points--some telegraphed storytelling, and some predictable and shameless suspense-making--but you find it forgivable.

The Tailor of Panama

Bond, depraved Bond. It's impossible to watch this movie without making the 007 comparison, what with Pierce Brosnan playing the flip side of his franchise role. The difference is quite instructive; instead of screwing around with razzle-dazzle horseshit, this one sets the special effects aside and plays up the intelligence--and a touch of sleaze--giving you a nittier, grittier look at the world of spying. Geoffrey Rush, always the pro, provides more than capable backup.

The Thomas Crown Affair (1999)

A good time is had by most. Pierce Brosnan practically ODs on suavity, Rene Russo gets a little too wild, and Denis Leary provides the stable base. It's not particularly meaningful, but it's well done and entertaining.