Tag: Pierce Brosnan

Black Adam (2022, Jaume Collet-Serra)

Black Adam opens with kid narration. At first, it seems like the narrator kid is Ancient Kahndaqi Jalon Christian, who’s sick and tired of living under a tyrannical king who has his people mining eternium for him. Eternium is not a “Masters of the Universe” thing; it’s more like the DC Universe version of vibranium. Except not really, because it doesn’t do anything. They set it up like it gives people superpowers, but… no.

But the narrator is not Christian because the flashback’s not in English. The present-day Kahndaqi people all speak English (and are apparently a Christian Middle Eastern nation-state in the DC Movie Universe—they’re Muslim in the comics, but the movie people don’t have the stones to make sympathetic Muslims).

Anyway. The narrator is Bodhi Sabongui. His mom is renegade university professor Sarah Shahi (dressed like a less objectified “Tomb Raider”); she’s trying to keep Intergang from getting all the Eternium. Including a magic crown, which we saw in the prologue. The evil king wants to be a demon lord and needs the crown, but then the people’s hero comes to stop him.

In the comics, Intergang was a criminal organization in Metropolis who gave Superman trouble. In Black Adam, they’re Blackwater, except they’re called Intergang. And they’re committing war crimes daily, but there’s no United Nations to send Jean-Claude Van Damme and whoever in the DC Universe. Instead, there’s the Justice Society, and they don’t give a shit about Intergang committing war crimes. They’re about maintaining the status quo, globally speaking.

So when Shahi resurrects Dwayne “The Rock” Johnson from his tomb to save her from a bunch of bad guys, Viola Davis calls Hawkman Aldis Hodge to go keep the West’s oil interests safe or whatever. The first act of Black Adam—besides the introduction to the superhero team, which is basically just an X-Men sequence (or Deadpool 1)—is a little like Terminator 2. Sabongui is going to teach Johnson it’s not okay to kill people. Except, not really, because Sabongui’s country is being occupied by a criminal organization who made speeder bikes because they really liked Tron. It’s a complicated situation and might need Johnson’s killer instincts, which Pierce Brosnan realizes, but no one listens to him despite him being a hundred years old with a magical gold helmet to tell him the future.

Now, I really hope Davis gets two million dollars a minute in these movies on the condition she films on her iPhone in the bathroom, but Brosnan’s hacking through this movie. He gets some energy when he’s opposite the other actors, including Hodge, who’s an intentional charisma vacuum (he’s playing the straight edge who gets in the Rock’s way), and especially Johnson. Still, Brosnan looks exasperated with all the superhero business.

So, interesting casting choice.

Quintessa Swindell and Noah Centineo play the young superheroes. Centineo is a legacy hero and a lovable, slightly dopey bro. Swindell has a way too intense origin recap, seemingly just so she can privilege-check Centineo. Black Adam’s got three credited screenwriters, but it feels like Many Hands contributed. Because despite that first act “young John Connor and his pet Terminator” setup, the second act’s mostly a superhero fight movie. Johnson’s dealing with the mercenaries while Hodge tries to stop him and let the mercenaries go back to killing civilians.

But there’s also the magical archeology subplot with Shahi and then the secrets of Johnson’s origin story.

The movie’s got a surprisingly effective plot structure. Director Collet-Serra front-loads the best action sequences, set to either pop songs or scene-appropriate selections; the rest of the action’s middling, occasionally a little better. Johnson turns on the charm a little earlier than he should—narratively speaking—but the movie needs it, and he obliges.

Oddly catchy score from Lorne Balfe; it’s not particularly good, but it earworms all right. The special effects and technicals are all competent, though there’s way too much going on in the third act without enough actual content. Characters have big, action-packed story arcs just to delay them from participating in the main plot. It’s weird. They also use a lot of slow and fast motion effects to distract from the finale’s limited scale.

Johnson’s the whole show and he’s much better than anyone else in the movie. His closest competition is Brosnan and Brosnan’s not close. Centineo and Swindell are likable, but in a TV show supporting cast sort of way (which is appropriate since they’re TV show supporting cast). But Shahi and Sabongui—occasional affability aside—aren’t good. And whatever Hodge is doing isn’t working.

With some very specific caveats, Black Adam’s far from a fail.

The Tailor of Panama (2001, John Boorman)

While The Tailor of Panama is on firm ground in and of itself, it’s difficult not to think about in the context of James Bond. Pierce Brosnan plays a brutal, womanizing British secret agent and sort of gives cinema it’s only realistic Bond movie.

Of course, mentioning James Bond is something to get out of the way with Panama, because it’s not a commentary on the film series. Brosnan does a great job with thoroughly unlikable character. He never humanizes the character, making all his shocking behavior continuously reprehensible. Boorman and Brosnan create incredible discomfiture.

Brosnan shares the lead with Geoffrey Rush, who’s the opposite. He’s lovable, partially because he’s not very bright. Rush is great too. There aren’t any bad performances in Panama. Most of them are exceptional–Brendan Gleeson, David Hayman, Leonor Varela. Martin Ferrero is wondrously odious in a small part and Harold Pinter’s hilarious in his cameo role. Oh, and so’s Dylan Baker. Boorman casted the film well.

As the love interests, Jamie Lee Curtis and Catherine McCormack are probably the least impressive. Both are quite good, but there isn’t enough space for them to get the screen time they need.

Panama is packed. It maintains a good pace throughout; the third act full of subtle, difficult content. The script’s outstanding.

Philippe Rousselot’s rich photography is an asset to the film. Ron Davis’s editing is sublime.

Great costumes, which a film with Tailor in the title probably needs, from Maeve Paterson.

Panama‘s rich, but easily digestible.

4/4★★★★

CREDITS

Produced and directed by John Boorman; screenplay by Andrew Davies, John le Carré and Boorman, based on the novel by le Carré; director of photography, Philippe Rousselot; edited by Ron Davis; music by Shaun Davey; production designer, Derek Wallace; released by Columbia Pictures.

Starring Pierce Brosnan (Andy Osnard), Geoffrey Rush (Harry), Jamie Lee Curtis (Louisa), Brendan Gleeson (Mickie Abraxas), Catherine McCormack (Francesca Deane), Leonor Varela (Marta), Martin Ferrero (Teddy), David Hayman (Luxmore), Jon Polito (Ramón Rudd), Mark Margolis (Rafi Domingo), Dylan Baker (General Dusenbaker), Ken Jenkins (Morecombe), Jonathan Hyde (Cavendish), Paul Birchard (Joe), Harry Ditson (Elliot), John Fortune (Maltby), Martin Savage (Stormont) and Harold Pinter (Uncle Benny).

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GoldenEye (1995, Martin Campbell)

I love Goldeneye’s plotting. It’s clear they plotted the film to be most enjoyed the first time through, but in terms of reveals and action sequences. The opening sequence doesn’t work particularly well in the end, though, a problem I had the last time I watched the film as well. It’s simply not interesting on video—we know James Bond is going to make it and without the spectacle, it doesn’t work.

Goldeneye excels on two levels. Campbell’s direction is magnificent; he’s able to alternate between the grand, third person Panavision action and setup direction, but also some incredibly personal moments. Combined with his ability, Eric Serra’s score just makes Goldeneye an audio-visual delight. Campbell’s an excellent Panavision action director and generally traditional in those scenes. But Serra’s music is very revisionist. It changes the film’s feel, without affecting the tone.

The other level is Pierce Brosnan and Izabella Scorupco. While Brosnan’s great as Bond, it’s not like he’s achieving much. There’s only so much he can do. But Scorupco is able to humanize him. She’s not a damsel in distress, instead she’s an active participant (one wonders if a better film might not have featured her as the lead and a Bond-like character as her sidekick). She’s fantastic.

The supporting cast has highs and lows. Famke Janssen, Robbie Coltrane and Gottfried John are all good, John especially. Sean Bean and Alan Cumming are weak. Judi Dench and Joe Don Baker are in between.

It’s a solid film.

3/4★★★

CREDITS

Directed by Martin Campbell; screenplay by Jeffrey Caine and Bruce Feirstein, based on a story by Michael France and characters created by Ian Fleming; director of photography, Phil Meheux; edited by Terry Rawlings; music by Eric Serra; production designer, Peter Lamont; produced by Barbara Broccoli and Michael G. Wilson; released by United Artists.

Starring Pierce Brosnan (James Bond), Sean Bean (Alec Trevelyan), Izabella Scorupco (Natalya Simonova), Famke Janssen (Xenia Onatopp), Joe Don Baker (Jack Wade), Judi Dench (M), Robbie Coltrane (Valentin Dmitrovich Zukovsky), Gottfried John (General Arkady Grigorovich Ourumov), Alan Cumming (Boris Grishenko), Tchéky Karyo (Defense Minister Dmitri Mishkin), Desmond Llewelyn (Q), Samantha Bond (Miss Moneypenny), Michael Kitchen (Bill Tanner) and Serena Gordon (Caroline).

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The World Is Not Enough (1999, Michael Apted)

Denise Richards is not convincing as a nuclear physicist. That statement made, Apted might get her best performance ever in this film. It’s still awful. Her lack of charisma is painful; one has to wonder how Brosnan and Apted were able to put up with it, given the rest of the film’s considerable accomplishments.

The World is Not Enough probably has ten great action sequences. Something about Apted’s direction lets him ground the general Bond absurdity and create these transfixing sequences. Not all of these scenes are important–there’s a couple for pure padding purposes–but Apted makes them work. Given he’s not known as an action director, it’s interesting to see his sensibilities translate so well to the genre.

Besides the direction, the film’s got a pretty solid script. It’s got some goofiness–it’s not particularly believable Judi Dench is a sentimental moron–but it’s fine. There’s some smiles, if not laughs, and it moves well.

And besides Richards, the supporting cast is excellent. Sophie Marceau gets the primary female role and does well with it. The other principle is Robert Carlyle, who gives one of his great, chameleon performances here. While it might have been simpler just to mimic his Trainspotting performance, he instead creates a nearly sympathetic, utterly evil villain. And Robbie Coltrane’s back. He’s hilarious.

The film survives Richards mostly thanks to Brosnan, who carries the weight of their scenes all himself. But he’s also just very assured here.

Still, I can’t help wondering who else auditioned for Richard’s role.

2/4★★

CREDITS

Directed by Michael Apted; screenplay by Neal Purvis, Robert Wade and Bruce Feirstein, based on a story by Purvis and Wade and characters created by Ian Fleming; director of photography, Adrian Biddle; edited by Jim Clark; music by David Arnold; production designer, Peter Lamont; produced by Michael G. Wilson and Barbara Broccoli; released by Metro-Goldwyn-Mayer.

Starring Pierce Brosnan (James Bond), Sophie Marceau (Elektra King), Robert Carlyle (Renard), Denise Richards (Dr. Christmas Jones), Robbie Coltrane (Valentin Zukovsky), Desmond Llewelyn (Q), John Cleese (R), Maria Grazia Cucinotta (Cigar Girl), Samantha Bond (Miss Moneypenny), Michael Kitchen (Tanner), Colin Salmon (Robinson), Goldie (Bullion), Serena Scott Thomas (Dr. Molly Warmflash) and Judi Dench (M).

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Mars Attacks! (1996, Tim Burton)

I remember seeing Mars Attacks! in the theater–in those days, the pre-Sleepy Hollow days, I was quite the Tim Burton aficionado. That affection has changed (changed is the polite word) in the last fourteen years, but Mars Attacks! has just gotten better and better on each viewing. At present, it’s my vote for Burton’s most accomplished film (Ed Wood being the other contender).

In fact, it’s almost unbelievable Burton made the film–during the war room sequences, one could feel Strangelove, something I don’t think of with Burton, and his handling of the cast is magnificent. In a lot of ways, Burton does here what Soderbergh tries to do with his populist films and can’t achieve fully–Burton makes a great time, but for himself. The film’s completely indifferent to its potential audience (something I sort of remember from the response when it came out) and just… enraptured with itself.

The Martians don’t show up for at least a half hour–it might be forty minutes–so the cast is instead given the opportunity to create these fantastic characters who may or may not matter later on. I think only Danny DeVito really gets to define himself after the invasion begins.

Everyone in the film is fantastic (I always forget Natalie Portman used to be good), but standouts are Nicholson, Glenn Close, Annette Bening… oh, wait, I’m just listing the cast.

Jim Brown’s really good.

Burton’s direction–his first Panavision, I think–is singular.

Simply put, it’s awesome.

Dante’s Peak (1997, Roger Donaldson)

Dante’s Peak came in the slight post-Twister disaster movie resurgence–and might have helped end it–but it really doesn’t know how to be a disaster movie.

Leslie Bohem’s script film follows Jaws‘s plot structure–no one listens to Pierce Brosnan’s roguish geologist (has Brosnan ever been asked to do an American accent, it seems to be part of his persona to never do one) until it’s too late–only replacing Richard Dreyfuss with Linda Hamilton as sidekick. Romance develops and Brosnan’s bachelor warms quickly to Hamilton’s two really annoying kids. They aren’t really annoying until the volcano, which means at least they’re tolerable for an hour.

When disaster does strike, it’s amusing to watch all the friendly neighbors try to kill each other to get onto the highway faster–after the movie opens saying it’s the second-best place in the country to live. Maybe in the first they’d help each other.

It’s probably Hamilton’s best film role as an actor. She’s not asked to do much (it’s a little unbelievable she could put up with her kids at the end, or her evil mother-in-law, boringly played by Elizabeth Hoffman).

The film takes place in a rural mountain town and–shockingly–never tries to show racial diversity among the town population. Nor does it try to make anyone likable; watching the disaster doesn’t encourage much emotional response. It’s boring.

Donaldson’s direction is mediocre at best (he’s not an action director) but the visual effects are good.

Murder 101 (1991, Bill Condon)

It’s kind of amazing how much self-depreciation can turn something around. Not to spoil Murder 101‘s usage–it’s actually not the spoiler for the mystery–but think of The Muppet Movie. Almost the entire running time of the movie, there are frequent acknowledgments of the absurdity of the TV movie thriller genre. Murder 101‘s charm, in the end, is how dumb a lot of it gets….

The story, involving a writing professor (of a one year long course, which seems a little off for undergraduate writing courses) whose assignment of planning a murder for his mystery writing class, has a very TV feel to it. Pierce Brosnan both brings a cinematic quality to the film–so does Raphael Sbarge, which is strange, given Sbarge hasn’t been in theatrical releases since the mid-1980s–and makes Murder 101 seem silly. Brosnan’s performance is fine, but it reminds a lot of “Remington Steele,” down to the wife’s name. There’s an even split between trying hard to overact and acting. If that sentence just gave away the end twist, I apologize. But it’s worth sitting through for it.

Murder 101 establishes its mystery gradually, which gives the movie a real narrative feel–there’s a definite first act, introducing Brosnan back to teaching his course (only one, apparently) after a long sabbatical. Once the mystery starts, then everyone becomes a suspect–because everyone has to be a suspect in a television movie thriller. Except for the resolution, which isn’t particularly interesting, it’s compelling enough. It’s TV fare. But it always seems slightly more self-aware than most television movies allow themselves. Bill Condon’s direction–except when he apes Hitchcock’s low angles–is decent. There’s some visible intelligence at work with the movie. So when it’s just too stupid at times, it seems wrong. I’m not sure if that self-awareness covers the idiotic portrayal of college life, but I’ll give Condon the benefit of the doubt. The one scene I had the most problems with–people falling asleep at a poetry reading–became mildly more possible once I realized I’ve never been to a mandatory attendance undergrad reading.

On to Sbarge. He has this deceptive quality about him, like he’s easy to dismiss, but his performance is solid. He’s a suspect, of course, so he’s got a couple levels to work on… but he’s good. And made me feel bad I ho-hummed when I read his name in the opening titles.

The rest of the supporting cast is okay. Dey Young and Antoni Corone have their high and low points. Kim Thomson’s bad–her big scene is Condon’s worst, just because it’s so stupid. Mark L. Taylor, who’s a fine actor, gets stuck with a bad character.

Murder 101 is a good TV movie, from back when the cable companies were just getting started airing them (this era of relative quality lasted something like two and a half years). The twist is good enough, so well-played, it’s hard to know how much of it was supposed to be a joke.

1/4★

CREDITS

Directed by Bill Condon; screenplay by Condon and Roy Johansen; director of photography, Stephen M. Katz; edited by Stephen Lovejoy; music by Philip Giffin; production designer, Richard Sherman; produced by Oscar L. Costo; released by the USA Network.

Starring Pierce Brosnan (Charlie Lattimore), Dey Young (Laura Lattimore), Antoni Corone (Mike Dowling), Raphael Sbarge (Robert Miner), Kim Thomson (Francesca Lavin), Mark L. Taylor (Henry Potter), J. Kenneth Campbell (Tim Ryder) and Todd Merrill (John Defazio).

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Mamma Mia! (2008, Phyllida Lloyd)

The first act of Mamma Mia! practically kills the entire thing. The goofy proposition of a musical set to ABBA songs engenders a lot of curiosity (one starring Meryl Streep provokes a lot more), but the first act–when it tries to be a narrative–is a disaster. The attempts at narrative and summary storytelling are atrocious. The first act would have been more successful if the movie had just started by playing the trailer to establish itself. There’s also the problem with Amanda Seyfried, who’s awful when the story centers around her. Luckily, it’s only for that first act. Later on, when Seyfried’s supporting, she’s better.

The movie starts getting entertaining–and Mamma Mia! is nothing but entertaining, the joke of it being the presence of Streep and Pierce Brosnan, both of whom are established, undeniable movie stars. It’s fun watching them have fun (I suppose Mamma Mia! is a low rent Ocean’s Twelve and Thirteen as it were). Anyway, it gets entertaining when Julie Walters and Christine Baranski arrive. Once the film gets those two and Streep together, it’s a lot of fun. Baranski’s the only cast member who I’d expect to see in Mamma Mia! Watching Julie Walters in the movie is almost more disconcerting than seeing Streep in it.

I’m unfamiliar with modern musicals, so I don’t know if this “style” is the norm, but Mamma Mia! is absurd as one of the Muppet movies. It tries for humor in the same way (a line of the song leads to some amusing, literal sight gag), which is a lot different than presenting a narrative set to music. The failed first act never established itself as acknowledging its absurdity, something Seyfried’s ever-pensive performance doesn’t help.

At times with Streep and Brosnan–mostly with Streep, because Brosnan seems perfectly aware his presence in the film is silly and can’t stop grinning–there’s the implication the movie’s format is wasting its cast. Maybe Streep should have made a movie with Brosnan about middle-aged romance or one with Seyfried (well, not Seyfried, but some other young actress) about letting go of an about-to-be married daughter. But then Streep sings and brings her superior acting ability to it. Streep’s not a good singer (but better than I would have thought, ABBA songs lend themselves to enthusiasm over ability), but her performance makes it not matter. It makes the super-pop songs all of a sudden of the greatest human import. All because of Streep.

The rest of the cast is fine. Colin Firth and Stellan Skarsgård get the heave-ho once the focus shifts from Seyfried to Streep but it’s hard to miss them. Seeing Pierce Brosnan break out into song–he seems to be trying to turn ABBA into Irish folk songs–obscures their absence. Mamma Mia! is one of the first times it becomes clear what a good movie star Brosnan has turned into–quite a turnaround for someone who was doing direct-to-cable movies twenty years ago.

The direction–which is essentially a string of music videos strung together–is occasionally annoying, as is the digitally enhanced cinematography. But it’s a fine enough hour and forty minutes… with the last number making any problems more than worth enduring.

1/4★

CREDITS

Directed by Phyllida Lloyd; written by Catherine Johnson, based on her original musical book, originally conceived by Judy Craymer based on the songs of ABBA; director of photography, Haris Zambarloukos; edited by Lesley Walker; music and lyrics by Benny Andersson and Bjorn Ulvaeus, some songs with Stig Anderson; production designer, Maria Djurkovic; produced by Craymer and Gary Goetzman; released by Universal Pictures.

Starring Meryl Streep (Donna), Pierce Brosnan (Sam), Colin Firth (Harry), Stellan Skarsgård (Bill), Julie Walters (Rosie), Dominic Cooper (Sky), Amanda Seyfried (Sophie) and Christine Baranski (Tanya).

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Butterfly on a Wheel (2007, Mike Barker)

Besides opening with that long, awkward and confusing title, Butterfly on a Wheel opens a lot like a 1980s thriller would. Robert Duncan’s score is quite effective throughout the film, but during the opening titles–knowing very little about the movie–I think I got a little more hopeful than I should have. Butterfly takes place over a long night (except the first act, which summarizes the day before) and running the present action limits the movie’s potential. With a couple exceptions, the movie doesn’t do anything wrong, it just doesn’t set its ambitions high. As a ninety minute diversion, it’s pretty good, but only because it’s got a couple nice surprises at the end. I’m not a fan of trick endings… but for a ninety minute, second and third acts over one night narrative, I could care less.

Except it’s Pierce Brosnan in the heavy role. Brosnan doesn’t have to quell his accent–though I have no idea, having never seen him interviewed, if he still has a strong Irish accent–but since his character’s deceiving the other characters and the viewer, it’s not like there’s much potential for acting. Brosnan’s good when he does get to act, but it’s only a couple times. It’s a waste of time for Brosnan, the kind of silly role one would take in a vanity project… oh, did I forget to mention he produced Butterfly too? His participation makes a lot of sense with that detail taken into account.

Maria Bello is good, even though the specifics for her character are real sketchy. The first act, the brief establishing of her backstory and the ground situation… it’s too abridged. But she does have some really excellent small moments. They don’t really contribute to the movie, just showcase Bello’s acting.

As for Gerard Butler–and it’s the first time I’ve ever see him in anything–he’s awful. His performance, if it deserves that term, is a disaster. He can’t emote, he can’t sit still. He can’t even walk convincingly. He does bring Butterfly down. Due to his performance, the end is less significant. He’s terrible. There aren’t words for how terrible.

The direction’s competent, bordering on good. It’s a thriller without many set pieces, which is odd, so Barker doesn’t have much chance for flash. There is one terrible scene–the camera is spinning around Bello and Butler, but instead of doing it practical, it’s an effects shot. Except the backgrounds keep changing and it all looks bad. And the effects shots at the end are bad too. But the direction’s inoffensive.

Butterfly‘s engaging in the worst way–it’s actually all about watching to find out what happens. There’d be nothing to see on a second viewing. But for one of those movies, it’s not bad.

1/4★

CREDITS

Directed by Mike Barker; written by William Morrissey; director of photography, Ashley Rowe; edited by Guy Bensley; music by Robert Duncan; production designer, Rob Gray; produced by Pierce Brosnan, Morrissey and William Vince; released by Lionsgate Films.

Starring Pierce Brosnan (Tom Ryan), Maria Bello (Abby Randall), Gerard Butler (Neil Randall), Emma Karwandy (Sophie Randall), Claudette Mink (Judy Ryan), Desiree Zurowski (Helen Schriver), Nicholas Lea (Jerry Crane), Peter Keleghan (Karl Granger), Samantha Ferris (Diane), Malcolm Stewart (Dave Carver), Callum Keith Rennie (Det. McGill) and Dustin Milligan (Matt Ryan).

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Die Another Day (2002, Lee Tamahori)

Fun. I’m trying to think–besides the Ocean series–of fun Hollywood blockbusters these days. It seems like fun is out. Certainly with James Bond. Die Another Day is a lot of fun. In fact, unlike some of the other Bond movies–the ones I can remember well–it seems to be more concentrated on being fun than anything else. I avoided it when it first came out for a couple reasons. Halle Berry and the title. It’s one of Berry’s best performances because, well, she’s supposed to be having fun and apparently she can (or can emulate it). As for the title… I mean, if Sony is going with Quantum of Solace… I don’t think I can hold Die Another Day against the now-gone MGM.

So, anyway, I tried it out….

The movie opens with James Bond surfing, which I thought was going to be too much, but wasn’t. Even though Lee Tamahori has some minor problems with hipster editing, for the most part he does a fantastic job. Die Another Day is a special effects extravaganza and the CG and practical mix very well. The film’s long and packed–the action moves from North Korea to China to Cuba to England to Iceland to North Korea again and there’s a decent action sequence in each location. In fact, I don’t think Tamahori even started messing with the editing until Iceland.

I suppose the movie’s a fine enough close for the original series (I mean, the pre-Sony series) and it’s a decent one for Brosnan. He’s having a good time and he and Berry work very well together. The rest of the cast is so-so. Toby Stephens is fine, but Rosamund Pike is lame. As the bad guy, Rick Yune leaves a lot to be desired… and the less said about Madonna and Michael Madsen, the better. Brosnan and Judi Dench work really well together in this one. As usual, the rest of office staff is good… Colin Salmon has nothing to do, but he’s good. Samantha Bond has one of the best Moneypenny moments.

Oh, the song. Madonna’s opening credits song is dreadful. One of the worst, maybe even the worst. It’s just terrible.

But it’s an incredibly fun outing, original song and lame supporting cast aside.

2/4★★

CREDITS

Directed by Lee Tamahori; written by Neal Purvis and Robert Wade, based on characters created by Ian Fleming; director of photography, David Tattersall; edited by Christian Wagner; music by David Arnold; production designer, Peter Lamont; produced by Michael G. Wilson and Barbara Broccoli; released by Metro-Goldwyn-Mayer.

Starring Pierce Brosnan (James Bond), Halle Berry (Jinx), Toby Stephens (Gustav Graves), Rosamund Pike (Miranda Frost), Rick Yune (Zao), Judi Dench (M), John Cleese (Q), Michael Madsen (Damian Falco), Will Yun Lee (Colonel Moon), Kenneth Tsang (General Moon), Emilio Echevarría (Raoul), Mikhail Gorevoy (Vlad), Lawrence Makoare (Mr. Kil), Colin Salmon (Charles Robinson) and Samantha Bond (Miss Moneypenny).

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