SEAN BEAN GOLDENEYE MOVIEA distasteful, even upsetting image that shaves off that critical half-point.įun fact: in my ranking, the top three categories for this movie combine for a higher score than in any Bond film we have looked at, and, unless I have forgotten something significant, than any Bond film yet to come. Virtually perfect my single complaint is the image of a two-faced woman (this ties into the plot), who ejects a gun barrel out of one of her mouths the design needed at least one more go-round to make her neck not quite so skinny and deformed, and the gun itself protruding from her wide-open jaw is sort of gross. But Daniel Kleinman's experiments with computer animation really do take the cake - and we get off to an astoundingly good start with a sequence in which partially clothed or entirely naked (and tastefully shadowed) women stand in a flaming landscape of orange explosions, littered with relics of the USSR positioned in the film's narrative between 19, this sequence effectively dramatises the downfall of the Soviet empire, with the requisite sexy girls hammering and chipping away, and otherwise dealing with the violence of post-communist, free-for-all Russia. Which I say with all apologies and respect to Maurice Binder, whose work with silhouetted naked women and solid-color backdrops defined so much of the mood of Bond for three decades. Say what you will about Brosnan's tenure as Bond - and I will join you in much of it - but it was Golden Age for credits sequences. If the word "smokey" has ever been accurately applicable to any song, than it surely applies to this one. Take note, Gladys Knight and your vanilla "Licence to Kill" - this is how you sing a Bond theme: like one hand is down your pants and the other is on the trigger of a gun. This has much less to do with the at times nonsensical lyrics (they are high on imagery and finagling the word "GoldenEye" into the line, but low on any sustained emotional message), than with Turner's absolutely perfect performance, low and purring, with a measure of cruelty, and it drips sex. But the song "GoldenEye", written by Bono and The Edge and sung by Tina Turner, but it has since grown into one of my very favorites. I take this one to be divisive I can recall, certainly when a much younger version of myself had no use for this song at all. Plus, it's the basis for my favorite level in the N64 game GoldenEye 007, which isn't worth points per se, but I figured we might as well start to the references to The Best First-Person Shooter Ever early, the better to squeeze in as many as I conceivably can. It's bookended by two of the best stunts in the franchise - a bungee jump down the sever concrete face of a gigantic dam, and Bond's dive off a cliff on a motorcycle to catch a plane (the visual effects let this second one down a bit - there is some sneaking about and spying, there's oodles of flippant banter between 006 and 007, a nice vigorous dose of casual brutality for the people still smarting that Timothy Dalton only got two movies, a big fireball for the mindless popcorn action fan, and Brosnan is at his absolute best, cool and witty under fire. If the absolutely tremendous opening to Octopussy can be called the definitive short film guide to the Roger Moore Bond, this GoldenEye opener is even better: it's the definitive guide to all things Bond, past, present, and future. They're caught, though, by Colonel Arkady Grigorovich Ourumov (Gottfried John), who callously puts a bullet in 006's brain, and is about to do the same to 007, though by hiding behind a cart of highly inflammable gas tanks, the spy is able to sneak out, and run like hell to an airplane about to take off chasing it off a cliff on a motorcycle, he's able to fly away from the facility as it explodes. SEAN BEAN GOLDENEYE CODEPierce Brosnan's four-film, seven-year residency in the tux of Britain's greatest spy, James Bond, started off at its very peak, with what I believe to be the longest of all pre-credit sequences at that point in the Bond franchise, and my own personal pick for the single best pre-credit sequence it is not merely the pinnacle of Brosnan era Bond pictures, but among the best extended moments in the entire history of the character.īack in the '80s, during the Cold War, Bond sneaks into a Soviet chemical research facility, where he meets up with fellow MI6 agent Alec Trevelyan (Sean Bean), code name 006 they sneak through the building and banter with the easy familiarity of old friends, preparing to blow the place to hell. Written by Jeffrey Caine and Bruce Feirstein, A guide to all things Bond at Alternate Ending.
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