The film when the James Bond series finally went off the rails.
This $142 million dollar film from director Lee Tamahori may have received mixed reviews
upon release, but still pulled in over $430 million.
The twentieth entry in the series premiered in November of 2002, four decades after the
inaugural effort, "Dr. No".
In fact, to celebrate the franchise's 40th anniversary, this film reportedly contains
references to each of the previous 19 chapters.
The PG-13 rated action / spy film starts off uncharacteristically dark; James Bond, portrayed
by Pierce Brosnan - in his fourth and final appearance - is captured in North Korea when
an assignment goes bad.
While the audience listens to the distracting techno music of Madonna's titular theme song,
poor Bond is constantly being tortured and abused.
Upon his release, the two-hour and thirteen minute narrative has him investigating the
connection between a diamond mogul and a terrorist - who wants to weaponize a satellite to take
out his competition.
Seriously, what is it with this franchise and weaponized satellites?
Full disclosure here, Brosnan has always been my favorite Bond.
Perhaps it's a bias of nostalgia because he's the actor I grew up watching, or maybe it's
because he's able to balance the action, humor, and sex appeal of the lead character so effortlessly
- but either way, he once again excels here.
Even when the script becomes particularly goofy and unrealistic towards the end, Brosnan
maintains the essence and determination that makes his portrayal so effective.
Alongside him are two of the sexiest women to ever play the role of "Bond girl"; the
voluptuous Halle Berry and the exquisitely beautiful Rosamund Pike in her feature film
debut.
Both are quick to disrobe for 007, and the audience certainly benefits as a result.
Elsewhere in the cast, Colin Salmon, Judi Dench, John Cleese, and Samantha Bond all
reprise their roles from previous pictures - rounding out the ensemble with thankless
performances.
Toby Stephens portrays the English baddie - and is appropriately menacing and insufferable
with his arrogance, remarking on his dangerous lifestyle, "It's only by being on the edge
that we know who we really are."
Now, I normally don't do this - but it's unfortunately necessary to spoil one of this film's biggest
twists in order to explain my next criticism; so, consider yourself warned.
We learn later than Stephens is actually the same North Korean that Bond defeated before
his capture.
The film would have greatly benefited from a quick flashback illustrating how he survived
his run-in with Bond, and how he altered his appearance so convincingly.
But, not only is his "Face/Off"-like transformation left largely unexplained, it's also a bit
offensive.
Is the thought of an Asian actor playing your lead villain so unconscionable to have to
replace him with a Smug Brit?
This central plot reveal is completely unbelievable, and amounts to nothing more than a cheap gimmick.
The first half of this feature is actually incredibly strong though.
Bond's time as a POW, and his decision to seek revenge gives the film a very emotional
feel.
Plus, the action is well-executed, the script well-plotted, and the stakes are quite personal.
After the 60-minute mark however, everything goes tits-up; Bond arrives at an impossibly
lavish ice castle in an invisible car just after using magic sunglasses that replicate
the effects of Star Trek's "holodeck".
Moments later, he has a fist-fight in the middle of a pointlessly complex deadly laser
grid.
And minutes after that, he uses the upturned windsheild of a rocket-sled to wind-surf escape
from a tidal wave which has been caused by Stephen's orbiting death ray - which he controls
with an ugly Nintendo Power Glove.
It's ridiculous.
Completely ridiculous.
On the plus side, it's the failure of this style that led directly to the stripped down,
more realistic approach the series took with the next installment, "Casino Royale" - which
everyone agrees was a great decision.
Besides the goofy gadgets and poor CGI visuals, even the characters are making dumb mistakes.
Like when Brosnan discovers himself vulnerable after firing an unloaded weapon.
Are we really meant to believe an international secret agent can't tell when his own firearm
is empty?
It's just lazy, convenient writing - and moreso than usual for this franchise.
All that being said, this movie isn't quite as bad as its reputation suggests.
David Arnold's score keeps things suspenseful, the cast do a great job with the sillier material,
and most of the action sequences are genuinely thrilling.
One of the last true action movies of the "90s"-style, this remains a real guilty pleasure
for me.
All fans of James Bond or Halle Berry in bikini should find something to enjoy here.
"Die Another Day" approaches the absurd, but its more serious moments prevent mediocrity.
Here are some thoughts from the "Movie Night" audience.
On this outing, we mostly agreed; despite the cheesy, over-the-top style - it's still
a pretty fun action film.
You thought it was GOOD, and I'll score this a COOL myself.
That does it for this quick excerpt - but if you'd like to watch full episodes of "Movie
Night", and submit your own reviews to be included on the show, please visit the Jogwheel
YouTube channel.
My name is Jonathan Paula, thanks for watching and have a good Movie Night!