Posts tagged “caroline bliss

GoldenEye (1995)

James Bond film #17 (Pierce Brosnan Bond)

GoldenEye (1995)

GoldenEye was released in 1995 after 6 years of a world without Bond, still the longest gap between any two 007 adventures. Because of the delay and all the legal tanglings that caused it, Timothy Dalton opted out of the role and Pierce Brosnan stepped into his place, a man who has come to define James Bond for pretty much all of Generation Y. Also huge is the fact that this is the first post-Cold War Bond, a point referenced to extensively and used to hang the plot on. In a lot of ways, it seems like a reboot of the series; the big change-up in production personnel is clearly evident. GoldenEye brings Bond up to speed in the modern world, finally stepping out of the mold it crafted in the 60s and 70s.

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Licence to Kill (1989)

James Bond film #16 (Timothy Dalton Bond)

Licence to Kill (1989)

If anyone ever wanted to see James Bond in rampage mode, they need look no further than 1989’s Licence to Kill. Running with the darker realism of The Living Daylights (15), Licence to Kill sees Bond going vigilante after a Colombian drug lord destroys Felix Leiter’s life. The film that follows has the most graphic violence of any Bond to date and an almost complete lack of light-hearted moments. It’s the most we’ve ever strayed from the Bond film formula, replacing all the campy elements of the franchise while retaining the spectacular action, and the film excels because of its willingness to stand apart from its predecessors

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The Living Daylights (1987)

James Bond film #15 (Timothy Dalton Bond)

The Living Daylights (1987)

The Living Daylights is the first Bond film with Timothy Dalton, a man who would certainly be the most forgotten Bond if it weren’t for Mr. George Lazenby. While Roger Moore altered Bond to make him more comical and suave, Dalton dials back the self-awareness and plays the role more like a serious spy. It’s not a bad idea, and we’ll see that approach work well when we get to Daniel Craig in Casino Royale, but there’s very obvious tension on display in this film between Dalton’s new take and the material’s inability to adapt alongside him.

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