DaRick89
Iscritto in data gen 2006
Ti diamo il benvenuto nel nuovo profilo
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Recensioni61
Valutazione di DaRick89
Tomorrow Never Dies is a perfectly decent film, but it never touches anything resembling greatness. Indeed, it is probably my least favourite of the Brosnan Bond films.
Part of the problem is that, like all Brosnan-era Bond films, it is weighed down by what I call the 'Bond plot structure', with a comparatively dull middle section following a spectacular beginning before the movie goes out with a bang.
After said spectacular beginning, which involves Bond making a literally explosive entrance at a Russian arms fair, the plot examines the media's drive to achieve ratings and the lengths that they will go to achieve them. While said plot is not necessarily original (media outlets engineering war for ratings does have historical precedent), it is very topical and generally executed in a fairly competent manner.
However, there are a few issues. For example, unlike in other Bond films there are no plot twists and while there is some exposition (with Carver boasting of his past misdeeds at his party) there is not much character development. Bond having past off-screen romances is hardly a novel concept, while the media mogul - Carver - and his associates are obviously evil from the outset.
As noted earlier the middle section is comparatively dull. Bond's attendance at Carver's party doesn't make for particularly compelling viewing, while the romance between Brosnan and Hatcher is completely forced and should have been written out completely. Luckily the film has enough sense to incorporate an amusing cameo from Schiavelli, Bond's escape from Carver's facility, a fairly exciting car chase and also a subsequent bike chase through the streets of Saigon. As such, this film flows better than The World Is Not Enough.
Additionally, with the exception of Michelle Yeoh's character, the Chinese perspective regarding the incident is not explored in the film. It may have been better to remove the rote romantic elements and instead explore said perspective in a bid to elicit sympathy for or against the Chinese.
There are also some plotholes. For instance, why Britain's admirals would think it was a good idea to start a war with China has me mystified, given that it was a great power even in 1997.
The dialogue is sporadically amusing, with Bond's usual quips punctuating the film and providing levity in otherwise tense situations. The revelations that Stamper's henchmen engage in torture as a hobby are so ridiculous that they arouse amusement.
The acting is a mixed bag. Brosnan is as assured and witty as ever, but he has no chemistry with Hatcher, who herself seems to be going through the motions. His interactions with Yeoh also frequently seem somewhat forced, with their romance being especially unconvincing. Yeoh does however, acquit herself well during the fight scenes and her combative character provides a point-of-difference to the usual stereotypical damsel-in-distress Bond Girl. Judi Dench plays a stereotypical stern authority figure, though she does display chemistry with Geoffrey Palmer during their acerbic interactions (not unlike in As Time Goes By).
As for the villains, Pryce is eloquent and entertaining, but it is difficult to regard his cartoon character as a serious threat. However, he does contrast effectively with the more effective Gotz Otto, who besides being a real physical presence has the cold, malicious purposefulness which makes for a great villain. Ricky Jay is wasted - his tricks could have been used to good effect, but his character is instead a forgettable technician. Similarly, it is a shame that Schiavelli doesn't feature more because his cameo elicits genuine mirth.
To summarise, Tomorrow Never Dies is competent, but its flawed and predictable plot, comparatively dull middle section and mixed performances prevent it from being anything more than that.
3/5 stars
Part of the problem is that, like all Brosnan-era Bond films, it is weighed down by what I call the 'Bond plot structure', with a comparatively dull middle section following a spectacular beginning before the movie goes out with a bang.
After said spectacular beginning, which involves Bond making a literally explosive entrance at a Russian arms fair, the plot examines the media's drive to achieve ratings and the lengths that they will go to achieve them. While said plot is not necessarily original (media outlets engineering war for ratings does have historical precedent), it is very topical and generally executed in a fairly competent manner.
However, there are a few issues. For example, unlike in other Bond films there are no plot twists and while there is some exposition (with Carver boasting of his past misdeeds at his party) there is not much character development. Bond having past off-screen romances is hardly a novel concept, while the media mogul - Carver - and his associates are obviously evil from the outset.
As noted earlier the middle section is comparatively dull. Bond's attendance at Carver's party doesn't make for particularly compelling viewing, while the romance between Brosnan and Hatcher is completely forced and should have been written out completely. Luckily the film has enough sense to incorporate an amusing cameo from Schiavelli, Bond's escape from Carver's facility, a fairly exciting car chase and also a subsequent bike chase through the streets of Saigon. As such, this film flows better than The World Is Not Enough.
Additionally, with the exception of Michelle Yeoh's character, the Chinese perspective regarding the incident is not explored in the film. It may have been better to remove the rote romantic elements and instead explore said perspective in a bid to elicit sympathy for or against the Chinese.
There are also some plotholes. For instance, why Britain's admirals would think it was a good idea to start a war with China has me mystified, given that it was a great power even in 1997.
The dialogue is sporadically amusing, with Bond's usual quips punctuating the film and providing levity in otherwise tense situations. The revelations that Stamper's henchmen engage in torture as a hobby are so ridiculous that they arouse amusement.
The acting is a mixed bag. Brosnan is as assured and witty as ever, but he has no chemistry with Hatcher, who herself seems to be going through the motions. His interactions with Yeoh also frequently seem somewhat forced, with their romance being especially unconvincing. Yeoh does however, acquit herself well during the fight scenes and her combative character provides a point-of-difference to the usual stereotypical damsel-in-distress Bond Girl. Judi Dench plays a stereotypical stern authority figure, though she does display chemistry with Geoffrey Palmer during their acerbic interactions (not unlike in As Time Goes By).
As for the villains, Pryce is eloquent and entertaining, but it is difficult to regard his cartoon character as a serious threat. However, he does contrast effectively with the more effective Gotz Otto, who besides being a real physical presence has the cold, malicious purposefulness which makes for a great villain. Ricky Jay is wasted - his tricks could have been used to good effect, but his character is instead a forgettable technician. Similarly, it is a shame that Schiavelli doesn't feature more because his cameo elicits genuine mirth.
To summarise, Tomorrow Never Dies is competent, but its flawed and predictable plot, comparatively dull middle section and mixed performances prevent it from being anything more than that.
3/5 stars