After Moore, it’s Glen’s turn to get on stage, with successive dull projects publishing out and about, he is quite the competitor now.
Glen claims this chapter to be an improvement and we agree with him finally on something, but as an individual project, is it really though? The director John Glen starts off, this second and after encountering it, what looks like also the final round of Timothy Dalton, with the Manchurian Candidate theme, a little derivative but a safe way to open any storyline, not that there is anything beyond that. In order to make Dalton empathetic and a guy with a shoulder to cry upon, the narration is made a bit sombre and adaptive, which we encounter through his eyes. Also, he is often wrongfully condemned which then gives him a complimentary arc to prove himself to both the characters and us, a smart move by the makers to keep him in check and convey that he does and will earn himself; it’s a drop in the ocean, for sure, but that’s a different topic.
Frankly, it would have been a lot better if this chapter was his entry to this exotically sketchy world. The humor is almost non-existent which was good considering the material the film deals with, but the thing that actually goes past mention are the make out scenes. The whole kiss and make up thing is something they don’t even bother explaining, at this point, it’s part of a charm, the makers counter argue, every single time.
It’s like a textbook triangle love story with trust issues spiced up by a revenge driven plot, an eye for an eye action fabricated as a thriller; which so it blatantly has been claiming over the years; that’s just misleading. The antagonist is given almost a parallel role that casts quite an impression compared to the previous baddies involved in Bond’s memoir where unlike other times, he doesn’t have a License To Kill, like that’s going to change anything.