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<blockquote data-quote="Willie Oleson" data-source="post: 439046" data-attributes="member: 8"><p>GoldenEye (1995)</p><p></p><p>[ATTACH=full]58856[/ATTACH]</p><p></p><p>Perhaps it was the end of the Cold War that sent our beloved British Spy on a very long vacation, but after 6 years there's new trouble in paradise and so Bond returns - rather aptly - with a new face.</p><p>The pre-opening credits scene starts very promising and then...it happens: the jump the shark moment, which is literally jumping after a diving plane and take control of it.</p><p>And to highlight a moment in the Bond series as "jump the shark", well, that's really saying something.</p><p>Right there and then I was tempted to abort my rewatch but instead I buckled up because I <em>needed </em> to know how to rank it.</p><p></p><p>Luckily, there's enough going on to distract me, most noticeably the female empowerment.</p><p>M's successor is a woman (Judi Dench), Bond is being evaluated by a woman, and Miss Moneypenny has a serious chip on her shoulder.</p><p>"You've never had me" she tells James, and even playfully hints at reporting him for inappropriate behaviour (!!)</p><p><em>GoldenEye</em> villainess Xenia Onatopp has the physical strength of <em>Diamonds Are Forever</em>'s Bambi & Thumper on steroids, combined with the psychopathy of Fatima Blush.</p><p>She kills because she can, for the heck of it.</p><p></p><p>Compared to the 1990s, the female empowerment of the 1980s seems more like A Licence To Bitch.</p><p>As it happened in the film from 1994, <em>Disclosure</em>, things are getting more serious and it's quite amazing to see that happen in a James Bond film (of all films).</p><p>Of course, at that time we didn't think anything specific of it, perhaps it was perceived as amusingly subversive.</p><p>A lot of things have happened since then, and female empowerment in film is now often clickbaitingly presented as girlboss propaganda.</p><p>Somehow they don't understand that it happened long before MeToo, it's not a new "thing".</p><p>However, I do agree that the sisterhood vibe in many modern films seems a bit unrealistic, and sometimes at the expense of good writing for the male characters. Replacing one extreme with another is not real progression.</p><p>Anyway, <em>that</em> is certainly not the case in GoldenEye, and when James bursts through a wall driving a big tanker he sort of reclaims his phallus masculinity previously dismissed by his female peers.</p><p>Epic chaos ensues, but that goes without saying.</p><p></p><p>The fights and spectacle provide a lot of fun, and with the post-<em>Die Hard</em> competition it simply <em>needs</em> to be good. The <em>Mission:Impossible</em> series started only one year after GoldenEye.</p><p>It's not a very pretty or glamorous film, there appears to be no room for anything vintage except for Q's funhouse laboratory - which is my favourite part of this Bond film.</p><p>The dialogue is well-written and that also has a positive effect on the traditional jokes and double entendres.</p><p>Sean Bean plays the 00villain with a unique revenge angle, and there's something very daring about James Bond admitting to "not our finest hour".</p><p>To put this into perspective, the Union Jack parachute scene in <em>The Spy Who Loved Me</em> resulted in a standing ovation by the Royal Family.</p><p></p><p>It's all great entertainment and my love for Bond is unconditional anyway, but this is not one of the first Bond films I'd like to rewatch again.</p></blockquote><p></p>
[QUOTE="Willie Oleson, post: 439046, member: 8"] GoldenEye (1995) [ATTACH type="full"]58856[/ATTACH] Perhaps it was the end of the Cold War that sent our beloved British Spy on a very long vacation, but after 6 years there's new trouble in paradise and so Bond returns - rather aptly - with a new face. The pre-opening credits scene starts very promising and then...it happens: the jump the shark moment, which is literally jumping after a diving plane and take control of it. And to highlight a moment in the Bond series as "jump the shark", well, that's really saying something. Right there and then I was tempted to abort my rewatch but instead I buckled up because I [I]needed [/I] to know how to rank it. Luckily, there's enough going on to distract me, most noticeably the female empowerment. M's successor is a woman (Judi Dench), Bond is being evaluated by a woman, and Miss Moneypenny has a serious chip on her shoulder. "You've never had me" she tells James, and even playfully hints at reporting him for inappropriate behaviour (!!) [I]GoldenEye[/I] villainess Xenia Onatopp has the physical strength of [I]Diamonds Are Forever[/I]'s Bambi & Thumper on steroids, combined with the psychopathy of Fatima Blush. She kills because she can, for the heck of it. Compared to the 1990s, the female empowerment of the 1980s seems more like A Licence To Bitch. As it happened in the film from 1994, [I]Disclosure[/I], things are getting more serious and it's quite amazing to see that happen in a James Bond film (of all films). Of course, at that time we didn't think anything specific of it, perhaps it was perceived as amusingly subversive. A lot of things have happened since then, and female empowerment in film is now often clickbaitingly presented as girlboss propaganda. Somehow they don't understand that it happened long before MeToo, it's not a new "thing". However, I do agree that the sisterhood vibe in many modern films seems a bit unrealistic, and sometimes at the expense of good writing for the male characters. Replacing one extreme with another is not real progression. Anyway, [I]that[/I] is certainly not the case in GoldenEye, and when James bursts through a wall driving a big tanker he sort of reclaims his phallus masculinity previously dismissed by his female peers. Epic chaos ensues, but that goes without saying. The fights and spectacle provide a lot of fun, and with the post-[I]Die Hard[/I] competition it simply [I]needs[/I] to be good. The [I]Mission:Impossible[/I] series started only one year after GoldenEye. It's not a very pretty or glamorous film, there appears to be no room for anything vintage except for Q's funhouse laboratory - which is my favourite part of this Bond film. The dialogue is well-written and that also has a positive effect on the traditional jokes and double entendres. Sean Bean plays the 00villain with a unique revenge angle, and there's something very daring about James Bond admitting to "not our finest hour". To put this into perspective, the Union Jack parachute scene in [I]The Spy Who Loved Me[/I] resulted in a standing ovation by the Royal Family. It's all great entertainment and my love for Bond is unconditional anyway, but this is not one of the first Bond films I'd like to rewatch again. [/QUOTE]
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