Directed by:
Roger SpottiswoodeScreenplay:
Bruce FeirsteinCinematography:
Robert ElswitComposer:
David ArnoldCast:
Pierce Brosnan, Jonathan Pryce, Michelle Yeoh, Teri Hatcher, Ricky Jay, Götz Otto, Joe Don Baker, Vincent Schiavelli, Judi Dench, Desmond Llewelyn (more)VOD (3)
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In TOMORROW NEVER DIES, British super-spy James Bond (Pierce Brosnan) goes after a ruthless media baron, Elliot Carver--an amalgam of Ted Turner, Rupert Murdoch, and Bill Gates--played with feisty aplomb by Jonathan Pryce. Carver's diabolical plan is to instigate World War III so that his empire can obtain exclusive coverage (a la CNN during the Gulf War). This time, 007 must endure the sorrow of love lost as he shares a nostalgic interlude with his ex-lover Paris (Teri Hatcher) who is now married to his nemesis, Carver. He also discovers a worthwhile partner in a female Chinese counterpart, Wai Lin (Michelle Yeoh). (official distributor synopsis)
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Reviews (6)
I won't say it's a great Bond film, but I find it more interesting than GoldenEye. It’s mainly because even though the logic takes a back seat, it's not as glaringly obvious as in the previous film. While Teri Hatcher wasn't a particularly great choice, Michelle Yeoh is something else entirely. The big problem, though, is Jonathan Price, who didn't work for me as the main villain. It’s a terrible acting performance and generally, the character is also bad. On the other hand, the topic is quite interesting.
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Hi-tech, but it's not it. This episode has aged a lot, but it's not so much the direction's fault as it is the time when it was made. The end of the 20th century with its massive boom of IT and digital media, the film is saturated with it, in fact, it forms the backbone of the story. The Bond girls are okay, especially Teri Hatcher's cameo, which is truly charming. It's clear that Bond is gradually becoming a money-making machine, and participation in this project is always something "special" for everyone involved. Music by David Arnold, theme song by Sheryl Crow, renowned actors, famous directors, and for the first time a budget of over 100 million dollars. Yet, despite all that, it is narratively unengaging and boring, with very few truly thrilling moments, and the ones that are good were only due to fantastically shot action scenes – the helicopter, the motorcycle, and the BMW.
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I don't mind Pierce Brosnan, but frankly, I can't say the same about his Bond. He comes across as more of a comedian than an agent and the script unfortunately plays into that. The main villain is played by Jonathan Pryce, and I have to say I remember him in better roles. He was memorable in Brazil, but that was a whole other level.
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Well, the first time I commented on Tomorrow Never Dies, I wasn't exactly a "well-read" Bond fan, so I was pretty rough with the review. Today, however, is not yesterday, so I am correcting it. Roger Spottiswoode filmed a truly perfect Bond with a current overlap to the manipulative power of the media, but otherwise with a typically carefree (in Brosnan's version almost boyish) charm and style, which in many ways (musical accompaniment, a good old Aston Martin, quotes from older Bond films) invokes 007 classics. Jonathan Pryce is really excellent as the bad guy, he's got that typical mix of cunning, danger and sleazy cowardice. Götz Otto alias Mr. Stamper's nothing special, but he's got a few brighter moments. However, he was completely overshadowed by the excellent Vincent Schiavelli vulgo Dr. Kaufmann. Otherwise, it's James Bond with everything that comes with it – inventions more than ever, action scenes spectacular exactly according to the Brosnan model for the late 20th century, beautiful women, martinis with vodka shaken, not stirred. Only two things spoil my joy – a very unfunny ending (where are the genius Roger Moore barks?) and the title song by Sheryl Crow, which absolutely can't compete with the final Surrender. Edit 2012: Even in the context of the rapidly aging GoldenEye, this Bond film still feels very fresh. It has a much more balanced pace, which reminds of 1990s fashion through certain techniques (fast camera, perspective turning), but essentially refers to classic films from the beginning of the series with its clear and detail-free style. But the end is weaker, more static and wooden. By the way, it's a good thing Brosnan gave up trying to humanize Bond with emotion (the romance with Teri Hatcher really can't count in that category) and leads him down the previously questioned "boy with a toy" path. This is where he manages to be persuasive.
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Bond’s new enemy in the globalised world is the mass media, because of which he accepts a person of the opposite sex as his equal for the first time in his career (but Bond is still the one who does the driving). Unfortunately, the inspiration of Hong Kong action movies is not as prominent as Michelle Yeoh would deserve and the ending unappealingly reminds me of how many of the previous Bond films ended in a similar way (a huge freight vehicle, water, explosions), but it is entertainment of the highest order for viewers and, for Bond, a successful coming to terms with modern technology as well as with women. 75%
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