The world is not enough. It is nahht. Oh hi Mark. – Tommy Wiseau.
It is no secret that Christopher Nolan is a huge Bond fan by his own admission. With that in mind, I can’t help but wonder if Cobb’s rappel scene from Nolan’s very own Inception was inspired by this movie. A more eerie similarity between this particular Bond film and another one of Nolan’s pictures, The Dark Knight, is between two lines of dialogue. In the World Is Not Enough, a character says, “She could be everywhere” in reference to M’s potential death by bomb. Of course, if the bomb were to have gone off, M’s remains would certainly be “everywhere.” In the Dark Knight, when Batman is interrogating the Joker as to the whereabouts of Harvey Dent, the Joker responds, “Depending on the time, he may in one spot, or several.” Interesting, how the lines of dialogue are so similar under like circumstances.
On the other side of things, this Bond film nods to an older era of Bond and refers to Live and Let Die by flipping a speedboat. Thankfully, because the universe was kind on a particular day in the editing room, there was no slide whistle sound effect include this time around!
The World Is Not Enough features another strong Q scene, one that undoubtedly served as an appropriate sendoff for Desmond Llewelyn, who died shortly after the film’s release. The scene is touching, and it marks the end of a truly spectacular Q. Brosnan brought out the best in Llewelyn, as is palpable on screen. Or perhaps it was Llewelyn who brought out the best in Brosnan. However the chemistry was conjured, the two have the greatest scenes of any Bond-Q pair to date.
I have finally determined that Brosnan handles a gun significantly better than he handles hand-to-hand combat. The manner in which he handles firearms exudes confidence and power, which is fitting, given that this Bond has proven to be more fond of including (and more apt to have) technology in his arsenal.
I enjoyed seeing Robbie Coltrane’s Zukovsky appear once again, with his first appearance being in GoldenEye. Continuity is a rare element in Bond films, and seeing a recurring supporting character who isn’t from MI6 a pleasant treat.
Though The World Is Not Enough moves along Bond’s evolution quite nicely, the film lost much of its charm and shine as it went on, suffering from a problem possessed by a host of older Bond films. That is, the second half of the film lags. This is a decent Bond film, but it is not a standout for me.
Hello, everyone. It’s been a while. Well, let’s dive into it, shall we?
It is easy to regard Tomorrow Never Dies as Brosnan’s Moonraker for a number of reasons. To start, the sets are gorgeous. The futuristic aesthetic was palpable throughout the film. Visually, Tomorrow Never Dies is stellar, and the same could be said about the score. The music is notably strong in this installment.
Where this film shines, however, is its cast. Brosnan comes across as incredibly likable his second go-around. He seems to have struck a balance between charming, energetic, serious, and humorous. In this film, he doesn’t have a stick up his arse. Instead, he naturally plays Bond as a man rather than as a caricature.
The villain proves a strong adversary for Bond, a visionary type who rings quite close to Steve Jobs. Seeing him atop a stage only solidifies the similarity in my mind. He is intimidating and eccentric without being over the top with his performance.
The Bond girl is an interesting character in her own right. She possesses strength and independence, two traits that not many Bond girls have.
M is still a badass who is intolerant of crap and disinterested in the fact that she is not universally well-liked. As for Q, the Q scene in this film is brilliant. Brosnan has great chemistry with Desmond Llewelyn. I am convinced that Brosnan’s interactions with Q are the best of the the series. With that, the two characters don’t simply banter. No, Q hooks up Bond with some gnarly gadgets. In fact, I feel that Tomorrow Never Dies provides what is perhaps the best and most comprehensive use of gadgets in a Bond film thus far into the series. Check out this chase scene in which Bond shows off some of his toys.
In terms of the action, Tomorrow Never Dies features intense action sequences that are well shot, wildly entertaining, and, above all, over the top. The movie’s pace is brisk, yet it retains tension throughout, a feat that is not easy to accomplish.
I must note that I noticed a cello being used in a fight scene. I cannot help but wonder if that bit was meant to be a nod to the Living Daylights. In any case, Tomorrow Never Dies was a solid installment in the Bond series. I am glad that Brosnan is more comfortable in the role. Let us see how he fares as time goes on. After all, time seems to be Bond actors’ worst enemy.
In honor of April Fools’ Day, Robert and I felt like treating ourselves to what is perhaps one of the greatest albums of our time: Hannah Montana (self-titled).
In green is my opinion. I think Hannah Montana is an artist who should be regarded among figures such as Neil Armstrong and George Washington in terms of sheer impact on the world. It would be an honor to offer my opinions on Hannah Montana’s first album.
In blue is my cousin Robert’s opinion. As he sees it, Hannah Montana used to be a positive Disney star who many young girls fell in love with, but he ultimately feels that she messed up her life.
Let’s start our track-by-track review!
The Best of Both Worlds
Wow! If there is any song that gets my heart pumping, it’s this one! The Best of Both Worlds combines a complex dance beat with Hannah Montana’s dynamic vocals to create an epic anthem detailing the high-octane, drug-infused, adventure-riddled life of a rockstar. What a song! I work out to this s***.
Oh yeah, you gotta love catchy theme songs! In this song you really do get the best of both worlds: great lyrics and a catchy beat! What more could you want from the opening track of an album?
Who Said
The opening guitar riff of Who Said is clearly an homage to Pearl Jam, as it oozes hardcore grunge. The attitude with which Hannah Montana sings about her invincibility is inspiring. Through this artful song, she singlehandedly convinces me that I can jump off of a bridge into concrete and come out unscathed.
Who Said is a great song if you are the type of person who does not give a crap about what people think of you. It is a great song to motivate Hannah’s listeners by making them feel like they can do anything!
Just Like You
Just Like You progresses in an epic manner, erupting from an elaborate guitar riff into poetic verses that deal with the inevitability of mortality. Just Like You may be the new Stairway to Heaven. Robert Plant’s vocal range is undoubtedly impressive, but Hannah Montana’s tone is simply angelic. This is truly a transcendentalist piece of art.
Hannah Montana, you lie. You are nothing like me. You do not have to work 50 hours a week at your dad’s donut shop or worry about getting a college education. You had it so easy because you became a Disney star. Unlike you I actually have to earn my money by doing hard labor! Yeah, that’s great you got everything you dreamed of, but you do not need to sing about it to make me feel like trash.
Pumpin’ Up the Party
Who’s got the funk? HANNAH MONTANA’S GOT THE FUNK! Where was this song in the 70s? John Travolta could have oonced to this song in Saturday Night Fever! Leave it to Hannah Montana to craft such a delightful throwback to a time of golden music. Bravo!
This song just makes you want to get up and dance! Gosh, I remember blasting this song in the house and just dancing until I could not dance anymore! You must blast this song at the highest volume whenever you listen to it for maximum awesomeness!
If We Were a Movie
Because I share a spirit animal with Hannah Montana (a hippopotamus, for those who are wondering), I feel the sadness that she conveys through this song. If We Were a Movie is an emotional trip for me. My cheeks are wet with salty tears. What a moving piece. Celine Dion should do a duet with Hannah so the song can evoke peak emotion.
Comparing relationships to movies? Yeah, I guess that works in a strange way. Basically this is just your average relationship song with a cute charm to it.
I Got Nerve
This song convinces me that Hannah Montana could beat me up with her hands tied behind her back. With a swift kick to the rib cage, she could incapacitate me. Or she could rip out my jugular Rick Grimes-style with her screwed up, shark-like chompers. Hey, to quote Hannah, “nobody’s perfect,” so don’t judge me for judging her.
As a kid, I always thought this song was catchy and fun. Now that I am older and can understand lyrics, this song really gets deep into my soul. As for the song title, yes, Hannah really has a lot of nerve in the present day.
The Other Side of Me
This song is an unpredictable feat. The Other Side of Me flows from the verses to the chorus to the bridge so abruptly I get whiplash at every choppy transition. I appreciate the bold flavor the song possesses. Thank you, Hannah, for breaking barriers. Too many artists nowadays are putting effort into making songs that flow well. You showed them that their efforts are pointless!
The other side of you? I am pretty sure the world has had enough of your other side and wish it would go away. Do us a favor and bury your other side. Bring back the good side that many fell in love with.
This Is the Life
This is garbage. What was Hannah thinking? She should have stuck to her Southern (albeit likely racist) roots. Weakest track on the album by far. This Is the Life should have been omitted from the record.
Oh yes, I remember jamming to this song as a young kid when the show first came out! This song is perfect for almost any occasion, as it is very uplifting.
Pop Princess (The Click Five)
WHO THE HELL IS THE CLICK FIVE? I purchased the deluxe vinyl version of this album so I could listen to HANNAH MONTANA! Instead, I’m listening to a My Chemical Romance cover band! Come back, Hannah!
Wait, this is not Hannah Montana singing! Oh well. Pop Princess is still very catchy and sounds like a pop hit you would hear on the radio. Honestly, this is one song I would not be ashamed of having on my iPod. It reminds me of the 2000s pop/alternative craze that was very popular and still kinda is.
She’s No You (Jesse McCartney)
I think it’s really cool how Hannah Montana got Paul McCartney to guest on her soundtrack. He still sounds great considering his old age.
Oh look, it’s a Justin Bieber-like singer, except he actually doesn’t sound too bad! Jesse is your typical young guy artist that girls of all ages always adore and fall in love with. Once again, we get another catchy pop song that ultimately became a fad. It has that early 2000s feel to it.
Find Yourself in You (Everlife)
This Everlife group is trying way too hard to emulate Hannah Montana. Sure, Phillip Phillips got famous for literally impersonating Dave Matthews, but copying a successful artist rarely helps a new artist to rise to stardom. Everlife is just jealous of Hannah. They should erase themselves from this album out of respect.
The guitar intro got me hooked on the song right away. I like these vocals a lot more than Montana’s. Find Yourself In You has a nice alternative vibe to it, which allows it to appeal to a wider audience. This is another song I would not be ashamed of having on my iPod. I would actually blast this song in my car.
Shining Star (B5)
Oh, I’m sorry, did I misread the title of the album? No. No, I didn’t. It still says Hannah Montana on it. Why, then, is Jay-Z rapping on this track? Gosh.
Jesus, what is this, a cheap rip off of 70’s disco music that our parents grew up with? Oh man, this is utter garbage. What a disgrace to retro disco/dance music. I would rather listen to rap than this abomination, and I really do not like rap. Stop trying to sound like Earth, Wind & Fire and never touch the 70’s vibe.
I Learned From You (Miley Cyrus and Billy Ray Cyrus)
Who the hell is this Miley Cyrus chick? She sounds like ass. The fact that she brings her brother on the track to sing with her is even worse, because he sounds just as bad. Miley needs a vocal coach or something.
We end the album with a nice father/daughter duet. This is actually a great father/daughter song, showing us that no matter how bad times can get, you will always love and appreciate everything your dad has done for you. Dads will always be there for their daughters no matter what happens. For all the daughters out there, enjoy every day with your father because when they become grandpas, you may regret not having those special moments anymore.
My Top 3
The Best of Both Worlds
Just Like You
If We Were a Movie
Robby’s Top 3
Find Yourself In You
Pop Princess
The Best of Both Worlds
Hannah Montana the album is a definite Filet. It is a legendary record that deserves to be certified triple platinum. Hannah Montana is truly a genius in our time.
I’m in the process of watching every Bond movie, from the first to the most recent. I will be giving my thoughts on each film as I go along. Not many people have seen every Bond film, and so I feel that this should be an interesting journey. Let’s get started!
Pierce Brosnan’s first outing as Bond was much like that of Roger Moore. In other words, Brosnan played the role conservatively. He did the charm, he did the humor, and he did the action. I believe that it will take another film for Brosnan to ease into the role of Bond and to exude confidence naturally. Nonetheless, Brosnan did a fine job as 007.
GoldenEye begins with a spectacular bungee jump that serves as a throwback to the iconic parachute stunt from the Spy Who Loved Me. If there is any stunt to rival that in the Spy Who Loved Me, it’s this one.
The percussion-based Bond score was well done overall, save for the music played over the opening car chase sequence. It was as if the 80s regurgitated onto the 90s. No thank you. Other than that hiccup, the score was dynamic in spite of its ambiance.
GoldenEye features a couple of new cast members. Moneypenny, now the third version in the series, is formidable. She holds her own against Bond without an issue. She has a sass to her that is electric. M, now played by Judi Dench, is commanding and ultimately badass. She too is able to stick it to Bond. In fact, one of the best scenes of the film is defined by M calling out Bond for what he is. The exchange is golden.
Q, while still portrayed by Desmond Llewelyn, appears to be amped up as well. His Q branch scene is hilarious and charged with ceaseless energy. The entire supporting cast creates a strong base for Brosnan to stand on. I trust that he will take full advantage of the talented individuals around him in future films.
While GoldenEye did beckon in fresh faces, there still remains remnants of an older era, specifically the Moore era. The film’s henchman, Onatop, provided for some good laughs, but she was ridiculous. Her whole shtick may as well have been pulled directly from the Moore era. Her whole deal was strange, really.
This film also introduces CIA agent Jack Wade. I will refer to him as Sheriff Pepper Version 2, because that is all he is.
Over all, I enjoyed GoldenEye. Its grand action pieces that put Bond against the world were engaging, if over-the-top at times. Furthermore, Brosnan has room to grow into Bond’s suit. I am confident that he will.
I’m in the process of watching every Bond movie, from the first to the most recent. I will be giving my thoughts on each film as I go along. Not many people have seen every Bond film, and so I feel that this should be an interesting journey. Let’s get started!
License to Kill is Timothy Dalton’s second and final entry in the Bond series. I write this with great sadness, as I have greatly enjoyed Dalton as Bond. Dalton brought an energized magnetism to the character, a cold danger to the man who, for so long, lacked any kind of screen command.
License to Kill stands out from the get-go because it clearly establishes itself as a non-formulaic Bond movie. The film begins with Felix Leiter’s wedding. Of course, Bond is there too, celebrating and enjoying himself. At the same time, notorious criminal Sanchez escapes from custody via Inception and captures Felix. The rest of the movie follows an alternate course for Bond. Instead of trying to save the world from a grand scheme, Bond goes out to find Sanchez, a pleasant change of pace from the usual Bond.
Dalton is still cold, though I won’t go into much detail about it because I don’t want to spoil his actions. There is genuine shock value in this movie that I wouldn’t want to deprive you of. Oh, and there is notably more blood in this installment than any Bond film prior.
Sanchez, the main villain of the film, is strikingly menacing. He walks around with a Goodfellas-esque confidence and sells it entirely. Strong villains seem to be a growing trend in Bond films as of late. I like it.
I enjoyed watching Benicio del Toro as the goon because it was like watching a young Fenster from Usual Suspects. To say that that is the sole reason why I enjoyed watching him would be misleading. Benicio del Toro was not a clear-cut goon who was sent around to do dirty work. Instead, he seemed to be like a son to Sanchez, a dynamic that gives him depth that is not attributed to many Bond goons.
Q shines in this movie, providing a warm screen presence as well as a delicate dose of humor. I feel that Q has always been a lovable character. His ceaseless scolding of Bond has always been a key component of the Bond films, and an enjoyable one at that. In License to Kill, however, Q is not reduced to a single humorous scene or two. Instead, he is a key character in the plot of this particular story. The fondness and loyalty that Q has for Bond is highlighted throughout the movie. The scene below is a fantastic representation of the spirit he contributes to License to Kill.
Bond’s other MI6 chum, Moneypenny, does not fare as well as Q, unfortunately. I have determined that the new Moneypenny is no good. The new actress just doesn’t fit the mold of the witty yet lovable secretary. I can’t tell if she’s supposed to be brainy or sexy or foolish. This Moneypenny is a bit jumbled, is all.
One thing that did fall flat in this film was the romance. Bond’s womanizing is forced. There is literally no buildup to the romance with either of the women. I don’t feel that this is the fault of Dalton, as he does a fine job on his end at appearing interested in the women he acts opposite to. Instead, I feel that it is the script that puts the romance in the backseat, as there is little opportunity to develop the motivations and the passions. This is surprising, as the Living Daylights featured one of the most natural relationships that Bond has had with a woman.
The film ends with one of the most inventive Bond chase sequences to date, which features massive explosions like I’ve never seen in a movie. The flat explosions from Transformers cannot hold a candle to those in License to Kill. I felt the heat of the fire and the shock waves of the explosions. I kid you not. And seeing a tanker truck drive like that was incredible to witness.
Timothy Dalton had an excellent run as Bond. I would have liked for him to have continued carrying the torch for a few movies more, but perhaps it is for the best that he didn’t work himself dry as did Sean Connery and Roger Moore. Of the four Bonds that have been put to screen as of this film, Dalton is my favorite. He will be missed. The next film in the series will introduce me to Pierce Brosnan, the Bond that I knew when I was growing up.
I’m in the process of watching every Bond movie, from the first to the most recent. I will be giving my thoughts on each film as I go along. Not many people have seen every Bond film, and so I feel that this should be an interesting journey. Let’s get started!
Bond. Is. Back.
They say that Bond became dark with the arrival of Daniel Craig in Casino Royale. As a young lad who had gone from Die Another Day to Casino Royale, I couldn’t help but agree. But now I am older. Now I know better. Dark Bond was born with Timothy Dalton in the Living Daylights, a film that has breathed new life into the James Bond franchise.
I must begin by discussing Timothy Dalton’s screen presence. The man fits right into the role of Bond. There was no adjustment period, there was no question as to whether or not he could take on the role. For me, Timothy Dalton was Bond the second he took off his mask in the opening sequence. Dalton’s Bond has a cold, brooding presence. He comes across as being a smart, quick thinker. He cracks jokes, yet he is ultimately a serious individual.
Often times, I felt that Roger Moore was aloof, standing about and responding woodenly to the conflicts that surrounded him. Timothy Dalton, on the other hand, was always present. Even when he wasn’t uttering a word, the audience was fully aware of his screen presence. Dalton sold the cool look without seeming apathetic and without hanging about like he expected everything to turn out well. This man is Bond.
The Living Daylights begins with what may very well be the best Bond opening sequence to date. It was captivating, visually impressive, and properly scored. In fact, the entire film has a stellar score that achieves the perfect balance between classic Bond and a retro Bond sound. This movie kicked off Timothy Dalton’s Bond with a well-executed bang.
Another thing about the Living Daylights that surprised me was the degree to which the dialogue captivated me. I found the words exchanged to be interesting and substantial, which has rarely been the case with Bond films thus far into the series. To my satisfaction, I was fully invested in what the characters were saying. Hats off to the writers who worked on this Bond installment.
I must add that I had a blast with the crafty gadgets in this movie. The decked out cars were also a treat. What triumphs everything, however, is the “ghetto blaster.”
Politically correct? No. Priceless? Indeed.
This time around, the Bond girl was a likable and layered character. She was well acted, she had great chemistry with Timothy Dalton, and she was one of the most capable Bond girls to date. She is the first in a string of countless Bond girls who was not
a) utterly useless
b) annoying
c) merely there for to provide cleavage
d) All of the above
(D is the correct answer)
Props to her for stepping up the Bond girl game.
What is most striking about the Living Daylights is its darkness. Bond is unbelievably cold. There is a moment where he rips the clothes off of a woman and uses her exposed body as a distraction. After she serves her purpose, he scares her into a closet. This comes as a shock, although it really should not. Bond has been harming women since From Russia With Love. In addition to Bond’s coldness, the film’s action is brutal. Check out this fight scene. (Begins 1:20, ends 2:15)
That was no karate scene with watermelons being used as weapons. That was hardcore.
Despite all of the darkness, the Living Daylights was not a depressing flick. There was plenty humor scattered through. In addition to the ghetto blaster featured above (watch it again. Soak in the glory), there was a chase down a snowy mountainside that involved a cello. The sight of it had me laughing out loud.
If you don’t find that funny, you have no soul.
The only aspect about the Living Daylights that I have yet to make up my mind about is the new Moneypenny. She seems to be agreeable thus far, though she may prove be too on-the-nose for Moneypenny. Time will tell.
Over all, the Living Daylights is a drastic revival of the Bond franchise. The movie brings new energy across the board. The acting, the music, the dialogue, the action, the entire spectacle was a joy. I am getting very good vibes from Timothy Dalton. The Living Daylights is one of my favorite Bond films thus far. It will certainly be hard to top.
I’m in the process of watching every Bond movie, from the first to the most recent. I will be giving my thoughts on each film as I go along. Not many people have seen every Bond film, and so I feel that this should be an interesting journey. Let’s get started!
At this point, I feel like I am sifting through elephant dung with my bare hands. Yes, I am that frustrated.
I began this series because I wanted to witness the evolution of Bond. I wanted to experience the Connery era. I wanted to see how that one guy did as Bond that one time. I wanted to see the gadgets. I wanted to hear the music. I wanted to watch the title sequences. I wanted to watch Bond. A View to a Kill was the straw that broke the camel’s back. I am the camel, for those who can’t figure it out.
We begin this movie with a horrendous song by Duran Duran. Horrendous. Horr-en-dous. Absolutely horrendous. People are complaining about Sam Smith’s recently released song for Spectre, a song that is the Last Supper when compared with this horrendous piece of cave art. Here, suffer with me.
A View to a Kill seems to be a parody at many points. The destruction of the taxi that Bond carjacks is absurd, as is the taxi driver who he carjacks. The production line scene is absurd. Mayday and Mayday’s encounter with Bond is absurd. The racetrack traps are absurd. The check duplicator gadget is absurd. The gadget glasses are entirely pointless. The Molotov cocktail being thrown into the elevator shaft is absurd. The entire ordeal was absurd.
Yes, this was an actual prop for the movie. An actual prop.
Unlike the previous two films, this movie had flavor. That is, the flavor of spoiled milk.
The two positive qualities retained by a View to a Kill include the the score, which was dramatic and more extensive than that of previous films, and the chemistry between Bond and Tibbett. That’s all.
80’s Bond has tortured me endlessly. Thankfully, because God is merciful, this is the last Moore film of the franchise. I have enjoyed Roger Moore as Bond, but once the 80’s era came around, the Moore installments became dreadful. The series needs a fresh start. Though my back is broken, I am ready to go back into the desert with hopes that Timothy Dalton’s first installment is an oasis of water. 8o’s Bond is 0 for 3. Let’s get this series back on track. Please.
The album reviews on this blog are nearly 100% free of technical errors because of the efforts of Natalia, the blog’s one and only album review editor. Since over 30 album reviews have been published as of today, I have decided it is time for her to get some extra recognition for her hard work. Let’s take a look at the interview I conducted with Natalia.
Juck: So Natalia. What is it that you like most about editing the album reviews?
Natalia: I enjoy getting to learn more about the different types of music and different artists and stuff life like that. It’s fun. I like finding music that I like through the album reviews.
Juck: Which album has been your favorite to edit?
Natalia: One of my favorites was the Lydia album review because I loved hearing what you had to say and it was entertaining seeing you bash the album. I also love any review with Robbyisms in it.
Juck: Is there an album that you dreaded editing?
Natalia: Citizen Cope. I hate Citizen Cope. All of his songs sound the same. He sounds like an amateur artist who just made songs in his room. Like he just keeps making more and they sound the same because he doesn’t know what to do.
Juck: What is the biggest mistake that you have had to edit?
Natalia: You said headband instead of headbang. I don’t know if that’s the worst. And Robert doesn’t make any sense sometimes.
Juck: What is the most ridiculous thing that you have read while editing an album review?
Natalia: *laughs* Well when Robert said “you need to pray every night/day/both.” I love his use of slashes because they don’t make sense.
Juck: How do you think that Robert and I differ in our review styles?
Natalia: You’re a little bit more descriptive and you really get into the music and the instruments, whereas Robert does do that, but he also focuses more on the meaning of each song. What he says is more casual.
Juck: Would you ever consider reviewing an album with Rob and I?
Natalia: Yes, I would love to, if you let me. I really want to do that Hannah Montana one for April Fools.
Juck: Thank you, Natalia.
Natalia: Thank you, and thank you, everyone, for being cool.
I’m in the process of watching every Bond movie, from the first to the most recent. I will be giving my thoughts on each film as I go along. Not many people have seen every Bond film, and so I feel that this should be an interesting journey. Let’s get started!
My word, Roger Moore has gotten old.
Octopussy features what is possibly the worst credit sequence in any Bond film, and it’s not even because of the song. The visuals were subtle as the double-take pigeon and looked as if they were made with the skill of a Video Production I student. It was utter rubbish.
Octopussy’s strongest element was its villains. Both of the villains succeeded in being intimidating. I feel that Eon knew that it had such a solid cast of baddies this time around, as they dressed up Kamal Khan (Yes, they named the Afghani price Kamal. Camel. Kamal. Two thumbs up for cultural sensitivity) in Dr. No’s iconic getup.
The movie as whole, however, while it was able to keep my attention, was ultimately uninspired and dull, suffering from many of the same issues as did For Your Eyes Only. The film was relatively well-made, yet it didn’t have the charm of most other Bond films.
The circus element of the film was an usual fixture that threw me back to the supernatural element of Live and Let Die in that it was bizarre.
To make things worse, there were many points where I felt the movie wasn’t being remotely serious. The clown chase, the knife-throwing twins, the tennis rackets, Bond’s attempt at going at it with Octopussy while injured…The movie was just so tonally jumbled and bizarre. I was genuinely confused as to whether or not Eon was attempting to parody itself or if they were trying to come across as bold on account of randomness.
Highlight scenes include the tense auction scene and the surprisingly effective circus diffusion scene.
Octopussy was a dry installment of the Bond franchise. Yes, despite the clowns, the movie was dry. It was watchable, as I said before, but it was missing gusto. So far, 80s Bond is 0/2.
I’m in the process of watching every Bond movie, from the first to the most recent. I will be giving my thoughts on each film as I go along. Not many people have seen every Bond film, and so I feel that this should be an interesting journey. The franchise has been around for over 50 years for a reason. Let’s get started!
This is series is called “Juck’s Thoughts on Bond,” yet I don’t have many thoughts to share. For Your Eyes Only failed to captivate me. The action was well done, the writing was fine, the sets were nice to look at, the score was alright, and the film was cohesive, but something was missing. I felt like For Your Eyes Only displayed Bond going through the motions. There was no passion to be felt, no spectacle. And there was hardly any spy-work to be done.
For Your Eyes Only was a grand action sequence that contained occasional breaks which served to advance the plot. Chase after chase, action scene after action scene, it was as if the brain of the Bond series was simply shut off for this installment. I certainly don’t hate it, as it has some positive qualities, but it made a very minimal impression on me. For Your Eyes Only is perhaps the most forgettable Bond film thus far into the franchise.
Instead of delving into my thoughts on this film, of which there are few, a simple shrug will suffice.
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