![]() This is an impressive-looking version of Lewis Carroll's story originally produced for NBC-TV. Dreading a singing recital at her parents' lavish home, Alice falls into a strange world in pursuit of a large White Rabbit. The talented child actor Tina Majorino (Corrina, Corrina) plays Alice with all the good graces but mostly wanders through the story unquestioningly. Carroll's tale of whimsical, illogical adventures is a field day for designers Roger Hall and Alan Tomkins, costumer Charles Knode, Jim Henson's Creature Shop, and director Nick Willing (Photographing Fairies. Influenced by Time Bandits and Labyrinth (the latter also designed by the Henson company), the film has a splendid array of effects, many dealing with multiple perspectives as Alice constantly changes sizes. The highlight is Whoopi Goldberg as the Cheshire Cat, a seamless mix of cat and comic. Martin Short as the Hatter and Mirandra Richardson as the Queen of Hearts seem to be having the times of their lives. This is not the definitive version of Carroll's tale, and, like the popular Disney animated version, combines some elements of Carroll's sequel, Through the Looking Glass. It is perhaps better viewing for the fan that has seen another version of the tale or read the book. —Doug Thomas ![]() James Bond DVDs have in general been pretty loaded, but Die Another Day raises the bar with a two-disc set featuring dynamic DTS 6.1 ES and Dolby Digital 5.1 EX sound that makes good use of the rear speakers. The first commentary track is by Pierce Brosnan and Rosamund Pike (who plays villain Miranda Frost). They weren't together at the time, so their comments are spliced into one track. Brosnan has a good time watching and is proud of the film but also doesn't take himself too seriously ("They don't teach you this stuff at drama school: 'OK, now you're going to be electrocuted by the bad guy.'"). Self-proclaimed "Bond novice" Pike also is proud of the film and says she's annoyed by people who question whether there's still a need for Bond. On the second commentary track, director Lee Tamahori and producer Michael G. Wilson chat about topics as diverse as casting, Bond lore, and product placements. For more Bond lore, don't overlook the trivia track, which offers pop-up tidbits about the filming and tips on the inside jokes. ![]() In his 19th screen outing, Ian Fleming's superspy is once again caught in the crosshairs of a self-created dilemma: as the longest-running feature-film franchise, James Bond is an annuity his producers want to protect, yet the series' consciously formulaic approach frustrates any real element of surprise beyond the rote application of plot twists or jump cuts to shake up the audience. This time out, credit 007's caretakers for making some visible attempts to invest their principal characters with darker motives—and blame them for squandering The World Is Not Enough's initial promise by the final reel. ![]() Pierce Brosnan returns for his second stint as James Bond (after GoldenEye), and he's doing it in high style with an invigorating cast of costars. It's only appropriate that a Bond film from 1997 would find Agent 007 pitted against a media mogul (Jonathan Pryce) who's going to start a global war (beginning with stolen nuclear missiles aimed at China) to create attention-grabbing headlines for his latest multimedia news channel. It's the information age run amok, and Bond must team up with a lovely and lethal agent from the Chinese External Security Force (played by Honk Kong action star Michelle Yeoh) to foil the madman's plot of global domination. Luckily for Bond, the villain's wife (Teri Hatcher) is one of his former lovers, and at the behest of his superior M (Judi Dench), 007 finds ample opportunity to exploit the connection. Although it bears some nagging similarities to many formulaic action films from the '90s, Tomorrow Never Dies (with a title song performed by Sheryl Crow) boasts enough grand-scale action and sufficiently intelligent plotting to suggest the Bond series has plenty of potential to survive into the next millennium. Armed with the usual array of gadgets (including a remote-controlled BMW), Brosnan settles into his role with acceptable flair, and the dynamic Yeoh provides a perfect balance to the sexism that once threatened to turn Bond into a politically incorrect anachronism. He's still Bond, to be sure, but he's saving the world with a bit more sophisticated finesse. This edition includes a separate tape on the cinematic history of James Bond.—Jeff Shannon ![]() Pierce Brosnan assumed the role of James Bond for the first time in Goldeneye, the 17th entry in the series. Brosnan looks a little light on the big screen under any circumstances, and he does take some getting used to as 007. But this busy film keeps him hopping as freelance terrorists from the former Soviet Union get their hands on super-high-tech weapons. The film's challenge is to bring free-spirited Bond up to date in the age of AIDS and in the aftermath of the cold war: director Martin Campbell (The Mask of Zorro) succeeds on both counts with a cheeky hint of irony. The best moment in the film is a chase scene that finds Bond tearing up the streets of Moscow in a tank. But Brosnan's most interesting contributions are reminiscent of the dark streak that occasionally showed up in Sean Connery's Bond. —Tom Keogh ![]() Timothy Dalton's second and last shot at playing James Bond isn't nearly as much fun as his debut, two years earlier, in the 1987 The Living Daylights. This time Bond gets mad after a close friend (David Hedison) from the intelligence sector is assassinated on his wedding day, and 007 goes undercover to link the murder to an international drug cartel. Robert Davi makes an interesting adversary, but as with most of the Bond films in the '70s, '80s, and '90s—and especially since the end of the cold war—one has to wonder why we should still care about these lesser villains and their unimaginative crimes. Still, Dalton did manage in his short time with the character to make 007 his own, which neither Roger Moore did nor Pierce Brosnan did. —Tom Keogh ![]() Timothy Dalton made his 007 debut in the lean, mean mode of Sean Connery, doing away with the pun-filled camp of Roger Moore's final outings. He establishes his persona right from the gritty pre-credits sequence, in which he hangs from a speeding truck as it barrels down narrow cobblestone streets, battles an assassin mano a mano, and lands in the arms of a bikinied babe. This James Bond is ruthless, tough, and romantic. The Living Daylights, set during the thaw of the cold war, begins with the defection of Russian KGB General Koskov (Jeroen Krabbé) and his revelation of a Soviet plot to eliminate Britain's secret agent force. Assigned to eliminate Koskov's Soviet boss (John Rhys-Davies, cutting a memorable figure in his brief appearance), Bond uncovers a conspiracy involving Koskov and an American arms dealer (Joe Don Baker). Maryam d'Abo makes a fine Bond girl as Koskov's beautiful cellist girlfriend, a classy innocent who soon loses her naive blush and shows her pluck. The villains are lackluster—Krabbé is a clown and Baker a blowhard—and Dalton hadn't yet mastered the delivery of the trademark quips, but it's a sleek script with a no-nonsense attitude. Veteran series director John Glen's action scenes have never been better—especially the show-stopping mid-air battle on the net of a speeding cargo plane—and he returns the series to the smart, rough, high-energy adventures that made the Bond reputation. —Sean Axmaker ![]() Roger Moore's last outing as James Bond is evidence enough that it was time to pass the torch to another actor. Beset by crummy action (an out-of-control fire engine?) and featuring a fading Moore still trying to prop up his mannered idea of style, the film is largely interesting for Christopher Walken's quirky performance as a sort-of supervillain who wants to take out California's Silicon Valley. Grace Jones has a spookily interesting presence as a lethal associate of Walken's (and who, in the best Bond tradition, has sex with 007 before trying to kill him later), and Patrick Macnee (Steed!) has a warm if brief bit. Even directed by John Glen, who brought some crackle to the Moore years in the Bond franchise, this is a very slight effort. —Tom Keogh ![]() After years of enduring Roger Moore in the role of James Bond, it was good to have Sean Connery back in this 1983 film for a one-time-only trip down 007's memory lane. Connery's Bond, a bit of a dinosaur in the British secret service at (then) 52, is still in demand during times of crisis. Sadly, the film is not very good. In this rehash of Thunderball, Bond is pitted against a worthy underwater villain (Klaus Maria Brandauer); and while the requisite Bond Girls include beauties Kim Basinger and Barbara Carrera, they can't save the movie. The script has several truly dumb passages, among them a (gasp) video-game duel between 007 and his nemesis that now looks utterly anachronistic. For Connery fans, however, this widescreen print of the Irvin Kershner (The Empire Strikes Back) film is a chance to say a final goodbye to a perfect marriage of actor and character. —Tom Keogh ![]() Sean Connery casts a long shadow over the James Bond legacy. He created the movie persona and starred in six of the first seven features, all but establishing the cool cold warrior as the world's most suave secret agent. The six titles in MGM's third collection celebrate the Connery Bond with three of his classics, including From Russia with Love, 007's second and perhaps finest outing. A blond, buff Robert Shaw plays Bond's most ruthless nemesis, and Lotte Lenya and the great Pedro Armindáriz costar in this sleek, high-energy trip through the Iron Curtain. Connery travels to the Far East in You Only Live Twice, which introduces the international criminal conspiracy SPECTRE and its cat-loving mastermind, Blofeld (Donald Pleasence). After a brief retirement, Connery returned for Diamonds Are Forever, his final "official" appearance in the Bond series (15 years later he played Bond for a rival studio's Never Say Never Again). This more tongue-in-cheek adventure takes 007 to Las Vegas, where he battles Blofeld (this time played by Charles Gray) and his minions—namely, a pair of fey, sardonic henchmen and a team of bikini-clad karate killers. ![]() Roger Moore was nearing the end of his reign as James Bond when he made Octopussy, and he looks a little worn out. But the movie itself infuses some new blood into the old franchise, with a frisky pace and a pair of sturdy villains. Maud Adams—who'd also been in the Bond outing The Man with the Golden Gun—plays the improbably named Octopussy, while old smoothie Louis Jourdan is her crafty partner in crime. There's an island populated only by women, plus a fantastic sequence with a hand-to-hand fight that happens on a plane—and on top of a plane. The film even has an extra emotional punch, since this time out 007 is not only following the orders of Her Majesty's Secret Service, but he is also exacting a personal revenge: a fellow double-0 agent has been killed. Two Bond films were actually released in 1983 within a few months of each other, as Octopussy was followed by Sean Connery's comeback in Never Say Never Again. The success of both pictures proved that there was still plenty of mileage left in the old license to kill, though Moore had one more workout—A View to a Kill—before hanging it up. And that title? The franchise had already used up the titles to Ian Fleming's novels, so Octopussy was taken from a lesser-known Fleming short story. —Robert Horton |