I don't think anyone finds if confusing, just S-L-O-W, especially (at least from my perspective) the ParaHawk chase, though most everything in the film runs too long.
I love the part where Bond slices through one of the parachutes with his ski, which somehow magically cause the ski-mobiles engine to start sputtering. How can you not be confused by something like that?
That chase was painful to watch. Kind of like the hovercrafts in DAD. Maybe put him on a bicycle next time...
Why was it painful? It was one of the best, and the ending to it, where he reassures Elektra it really means something to the characters, its not just like kiss kiss "You saved me james" she freaks out and he reassures her.
I love the part where Bond slices through one of the parachutes with his ski, which somehow magically cause the ski-mobiles engine to start sputtering. How can you not be confused by something like that?
I don't find that confusing ... moronic cause-and-effect (like every time a plane depressurizes in any film--let alone a Bond film--it automatically goes into a death spiral) maybe, but not confusing.
I love the part where Bond slices through one of the parachutes with his ski, which somehow magically cause the ski-mobiles engine to start sputtering. How can you not be confused by something like that?
I don't find that confusing ... moronic cause-and-effect (like every time a plane depressurizes in any film--let alone a Bond film--it automatically goes into a death spiral) maybe, but not confusing.
And all the unimportant characters follow the laws of physics while the main ones do not and manage to weather the depressurization. 8-)
I love the part where Bond slices through one of the parachutes with his ski, which somehow magically cause the ski-mobiles engine to start sputtering. How can you not be confused by something like that?
I don't find that confusing ... moronic cause-and-effect (like every time a plane depressurizes in any film--let alone a Bond film--it automatically goes into a death spiral) maybe, but not confusing.
Wouldnt that go with any chase/conflict/action scene in a Bond movie though?
Wouldnt that go with any chase/conflict/action scene in a Bond movie though?
It would. I think they're picking on TWINE simply because they don't like the film in general. I have to say that, although I think it has its flaws, I would never describe TWINE as confusing.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
I think its the most amazing character driven in the series, yet to see CR tho.
It is terrific, but it has flaws.
The biggest problem with the film is that much of the promise isn't followed through. So we have a villain who feels no pain, great, but it proves to be completely irrelevant. Apart from the scene with the rock, when was his unique 'gift' exploited? Electra was a great villainess (and the killing of her was IMO a classic Bond moment) but the love affair between her and Bond wasn't really followed through. I didn't get as much of a sense of betrayal as I would have liked.
Also, the action scenes, with the exception of the skiing scene, arguably weren't all that great and the final fight was a disappointment.
Additionally, while I don't dislike Denise Richards, I do think she's a little young to play a nuclear weapon expert (althugh I did appreciate her name.) I also felt that the abduction of M was completely pointless and served no purpose other than to show off the fact that the film had an Oscar winner as M.
That all said, I loved TWINE. I just don't think it fulfilled its potential.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
With TWINE and Renard, DS, I suggest that Renard is a sort of dummy to fool the audience, that he's a brutal monster in the waiting while in fact, it turns out, he's the weak link with regards to Elektra, so it's an irony. That he feels nothing, but in fact he is all over her while she feels nothing, so to speak, for him.
The action climax is a tad weak, but the the emotional climax 'I never miss' is where it's really at...
I agree that in retrospect the action aint so great, esp on the small screen where it all suffers and seems small scale
With TWINE and Renard, DS, I suggest that Renard is a sort of dummy to fool the audience, that he's a brutal monster in the waiting while in fact, it turns out, he's the weak link with regards to Elektra, so it's an irony. That he feels nothing, but in fact he is all over her while she feels nothing, so to speak, for him.
You're probably right. I was just disappointed that he had the opportunity to be a truly great villain (or henchman) and IMO he fell quite short.
The action climax is a tad weak, but the the emotional climax 'I never miss' is where it's really at...
Oh, that was a brilliant moment. I actually think that was one of the best Bond climaxes in years.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
I was just disappointed that he had the opportunity to be a truly great villain (or henchman) and IMO he fell quite short.
The missed opportunities not only made for a weak character but a weak storyline; Elektra is so obviously the main villain because Renard is so undeveloped, gets so little screen time, etc.
Oh, that was a brilliant moment. I actually think that was one of the best Bond climaxes in years.
If only Elektra's deception had been more convincing--if she could have been played a little warmer, a little less petulant--then it wouldn't have been a such an utterly predictable end. It would also have better served Renard's character.
If only Elektra's deception had been more convincing--if she could have been played a little warmer, a little less petulant--then it wouldn't have been a such an utterly predictable end.
I wouldn't describe shooting her in cold blood as 'predictable.' As for the way she acted, that was understandable considering she had lost a mother, been kidnapped and had recently lost a father. It also reminded me of Tracey.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
For all the films that Young did, I think FRWL was his best. TB was an attempt to 1-up the job that Hamilton did. I like Goldfinger, but it really doesn't age well. Aspects of TB don't do so hot on the time test either. It's truly FRWL that stands as a timeless tale of espionage. The best directors in recent years are obviously Apted and Campbell. TWINE, I really liked the meandering sneaking about bits that are greatly reminiscent of Young's work.
Any director that can capeably handle a sequence where Bond is wandering around where he doesn't belong, and it makes the audience grin because they wish they could do that. THAT to me is what makes Bond so great. A director that lets Bond make a scene his own and every prop something to his disposal is a director that has a keen eye on what it is to be 007.
I'm surprised there's only one mention of Campbell. I think he's great and should have been kept on for at least one more especially as evidenced by the Zorro films.
Well I understand that Campbell was asked to do the next one, but backed out. I got the impression he felt Bond was slumming it, though I don't know why, as his previous films were B flicks. He did say that he'd return for an overhaul of the series, which maybe was mooted to him by the producers at the time., who knows? Spottiswoode also hated his time on Bond, while Apted enjoyed it - but he wasn't asked back.
Babs and Mickey were said to be loving the way DAD was developing... nuff said.
And Mike Newell's dropped out of Bond 22 - they don't have great luck with directors.
And Mike Newell's dropped out of Bond 22 - they don't have great luck with directors.
Really? I didn't know he had dropped in. (At least officially rather than simply a rumour.)
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
My favourite is 007 director is probably Guy Hamilton, for not only his Bond films but also some of the other films he directed. GF and LALD are two of my absolute favourite Bond films, and Hamilton also directed Battle of Britain, one of my favourite films of all time. Also his films The Colditz Story and Funeral in Berlin are amongst my favourites.
I wouldn't describe shooting her in cold blood as 'predictable.' As for the way she acted, that was understandable considering she had lost a mother, been kidnapped and had recently lost a father. It also reminded me of Tracey.
Well, she was a Bond villain(ess); she was hardly going to live. Agreed, though, "predictable" might not be the right term; how about ... "satisfying"? While her backstory stood to create a sympathetic character, it didn't come across at all on screen and I was left thinking "about time" when she did meet her end. As you mention Tracey, perhaps if there'd been more irony to her fate--accidentally killed by Renard perhaps (which would also have made his final battle with Bond more interested)--maybe I would have found it more surprising.
Well I understand that Campbell was asked to do the next one, but backed out.
I heard quite the opposite; that he felt GE was MGM's and the franchise's salvation and that he'd only take on another with the promise of much bigger pay day. EON, of course, said no and that was that.
I interpret his return as EON acknowledging that, given the success of Brosnan's debut and--I think--the less positive reviews of the films that followed, it was worth having a proven hand at the helm for CR.
Well, she was a Bond villain(ess); she was hardly going to live. Agreed, though, "predictable" might not be the right term; how about ... "satisfying"? While her backstory stood to create a sympathetic character, it didn't come across at all on screen and I was left thinking "about time" when she did meet her end.
I liked the way she was killed, but I think that if you thought it was unsatisfactory then it was probably due to the script, which IMO didn't fully develop the relationship between Bond and Electra.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
Comments
I love the part where Bond slices through one of the parachutes with his ski, which somehow magically cause the ski-mobiles engine to start sputtering. How can you not be confused by something like that?
Why was it painful? It was one of the best, and the ending to it, where he reassures Elektra it really means something to the characters, its not just like kiss kiss "You saved me james" she freaks out and he reassures her.
"Better make that two."
I don't find that confusing ... moronic cause-and-effect (like every time a plane depressurizes in any film--let alone a Bond film--it automatically goes into a death spiral) maybe, but not confusing.
And all the unimportant characters follow the laws of physics while the main ones do not and manage to weather the depressurization. 8-)
Wouldnt that go with any chase/conflict/action scene in a Bond movie though?
"Better make that two."
I think its the most amazing character driven in the series, yet to see CR tho.
"Better make that two."
The biggest problem with the film is that much of the promise isn't followed through. So we have a villain who feels no pain, great, but it proves to be completely irrelevant. Apart from the scene with the rock, when was his unique 'gift' exploited? Electra was a great villainess (and the killing of her was IMO a classic Bond moment) but the love affair between her and Bond wasn't really followed through. I didn't get as much of a sense of betrayal as I would have liked.
Also, the action scenes, with the exception of the skiing scene, arguably weren't all that great and the final fight was a disappointment.
Additionally, while I don't dislike Denise Richards, I do think she's a little young to play a nuclear weapon expert (althugh I did appreciate her name.) I also felt that the abduction of M was completely pointless and served no purpose other than to show off the fact that the film had an Oscar winner as M.
That all said, I loved TWINE. I just don't think it fulfilled its potential.
The action climax is a tad weak, but the the emotional climax 'I never miss' is where it's really at...
I agree that in retrospect the action aint so great, esp on the small screen where it all suffers and seems small scale
Roger Moore 1927-2017
Oh, that was a brilliant moment. I actually think that was one of the best Bond climaxes in years.
The missed opportunities not only made for a weak character but a weak storyline; Elektra is so obviously the main villain because Renard is so undeveloped, gets so little screen time, etc.
If only Elektra's deception had been more convincing--if she could have been played a little warmer, a little less petulant--then it wouldn't have been a such an utterly predictable end. It would also have better served Renard's character.
Any director that can capeably handle a sequence where Bond is wandering around where he doesn't belong, and it makes the audience grin because they wish they could do that. THAT to me is what makes Bond so great. A director that lets Bond make a scene his own and every prop something to his disposal is a director that has a keen eye on what it is to be 007.
Well I understand that Campbell was asked to do the next one, but backed out. I got the impression he felt Bond was slumming it, though I don't know why, as his previous films were B flicks. He did say that he'd return for an overhaul of the series, which maybe was mooted to him by the producers at the time., who knows? Spottiswoode also hated his time on Bond, while Apted enjoyed it - but he wasn't asked back.
Babs and Mickey were said to be loving the way DAD was developing... nuff said.
And Mike Newell's dropped out of Bond 22 - they don't have great luck with directors.
Roger Moore 1927-2017
Really? I didn't know he had dropped in.
Well, she was a Bond villain(ess); she was hardly going to live. Agreed, though, "predictable" might not be the right term; how about ... "satisfying"? While her backstory stood to create a sympathetic character, it didn't come across at all on screen and I was left thinking "about time" when she did meet her end. As you mention Tracey, perhaps if there'd been more irony to her fate--accidentally killed by Renard perhaps (which would also have made his final battle with Bond more interested)--maybe I would have found it more surprising.
I heard quite the opposite; that he felt GE was MGM's and the franchise's salvation and that he'd only take on another with the promise of much bigger pay day. EON, of course, said no and that was that.
I interpret his return as EON acknowledging that, given the success of Brosnan's debut and--I think--the less positive reviews of the films that followed, it was worth having a proven hand at the helm for CR.