Behold another fiasco, taking massive hits and heavy losses, the banner has got to be vulnerable and is ought to make more mistakes like such.
Glen has a new asset to mold and present it neatly to the avid viewers. He fails in doing so, that’s a one thing, but he couldn’t even save the film either. Or maybe I should have gone the other way around. Maybe, it goes like this, the director, John Glen even failed to create a compelling bond chapter let alone stage the newer addition with sparkly lights and bright colors. This new and statistically the least successful Bond, has frankly no whatsoever rhythm in his body language to carry an entire film on his shoulder let alone a big banner like such. Addition to it, with zero empathy that he has to offer, Timothy Dalton is barely seeking for any opinion in here.
And if you find yourself cornered in a situation like such, he had the option to make an effort too. But ignoring that path perpetually, the boat he so graciously wishes to float on, is crooked itself. With an overlong and overridden concept, the film manages to convince you from time to time to, well, have a peak on the clock. And disappointed with how much is still left, the horrifying realization of what has been gone in over the last hour strikes with a jarring impact to us.
Since, the first hour is basically passing the parcel game, the romance between the lead characters. for a brief period in an intense scene, gives us a glimpse which apparently is meant to make up for all the drama that they cared for up till now. In a film, that desperately tries to be light on the feet and fast paced in its speech, to weave out a honeymoon sequence– and not the obvious signature to-the-point scene but a train of rom-com alike montages– has got to be a bold choice, it certainly gave me The Living Daylights.