Tomorrow Never Dies
Chad'z rating: *** (out of 4 = good)
1997, PG-13, 119 minutes [1 hour, 59 minutes]
[action]
starring: Pierce Brosnon (James Bond), Jonathon Pryce (Elliot Carver), Michelle Yeoh (Wai Lin), Teri Hatcher (Paris Carver); written by Bruce Feirstien; produced by Barbara Broccoli, Michael G. Wilson; directed by Roger Spottiswoode; based on characters created by Ian Fleming.
Seen December 28, 1997 at 8:45 p.m. at the Crossgates Mall Cinema 18 (Guilderland, NY), theater #8, with Matt Perreault and my sister Jena for free (Matt paid using pre-paid passes).
If there's ever been an exception to the perils of excessive cliches and non- stop action, the James Bond films are it. And if there's ever been a James Bond film that not only proves this, but does so by pushing it to the extreme, "Tomorrow Never Dies" is it.
Opening sequences almost always make or break action films. When done properly, not only are they actually exciting, but they foreshadow things to come. This film starts off on the right foot by establishing the kind of atmosphere that could only be found in an action movie, but with a sense of the self-aware, enclosed universe where James Bond movies take place in.
First there's a high-tech, slightly complicated scene involving a British warship crossing into unfriendly, Chinese waters. There's definite tension as there seems to be an unknown, but certainly hostile, third party involved who is manipulating both sides. When the scene ends in tragedy, it's clear there's some kind of powerful conspiracy going on, and who else to call on for such a case but James Bond?
The film uses good judgment in the way it introduces us to Bond (Brosnon). As the enemy was portrayed as evil and mysterious, Bond is clearly (and obviously) depicted as an out-and-out hero. He single-handedly takes out a small army of terrorists, and then must escape in the nick of time by flying away in a fighter jet while the co-pilot tries to strangle him and a terrorist in another jet tries to shoot him down! This might sound like the kind of cliches films like this are notorious for (over-)using, but it works here because the film knows how to get our attention quickly. It's not about the payoff because it's obvious Bond will escape, instead, it's the way it processes the action sequences by going over the top and not apologizing for it, all the while creating for witty, hysterical comedy.
It seems less emphasis is placed on the villains in thrillers anymore, because of political correctness, and just plain copping-out on behalf of the filmmakers (even the term "villain" sounds passe). What the film deserves kudos for is its ability to create a villain as heinous as they come, yet making him seem completely plausible. Jonathon Pryce delivers a perfect performance as the arrogant, cunning Elliot Carver, a media mogul whose goal is to take over the world, that is, through his massive media empire, not through nuclear weapons. Through some interesting detective work, Bond and the English Ministry of Defense believe Carver is behind the trouble brewing in the southern Asian seas as a way to create and accurately cover his own news. Not only is that an original idea for a conflict, but one which could carry over into reality.
Surprisingly, this is about as detailed as the story allows the specific plot to become. The film's hook is the action, and of course those cool gadgets and we get plenty of that here as Bond goes out to investigate Carver and finds himself in a jam or two along the way. The story works much like Bond himself - always on the run and concentrates more on the individual conflicts than any general plot. Somehow a Chinese agent, Wai Lin (Yeoh), bumps into Bond a few too many times and they find themselves working together. The chemistry between Brosnon and Yeoh is rigid, but also works because of this, not in spite of it. The two are constantly on the run from Carver and his goons, yet the film manages to balance the stunts and special effects with its clever story.
Although "Tomorrow Never Dies" is far from perfect, it is quite an impressive film in terms of its ability to be so cliche and cartoony and not make plausibility an issue.
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(C) 1997 Chad Polenz
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