I've been pretty pessimistic about Brosnan's Bond films in general every since the disappointing Goldeneye so I certainly didn't approach his latest opus expecting all that much. On top of that I'm a man that goes through life preternaturally disposed towards pessimism. And while there are certain obvious drawbacks toward such a proclivity, at least I find it tends to inoculate me against being overly disappointed. Yet with Die Another Day, the Bond filmmakers have managed to produce a film that caught even me unprepared. The film is without a doubt the most ridiculous Bond movie ever made. My refusal to pick A View To A Kill as the worst Bond continues to look more and more prescient every day. Beside this film, the enormously silly A View To A Kill looks like another Goldfinger (the film it was ripping off) in comparison. Next to Die Another Day the wacky Moonraker looks like an exercise in gritty realism. What can I say about a film that makes the muscle-bound, heavily tattooed Vin Diesel swaggering through Eastern Europe in XXX look like a more plausible intelligence operative than Brosnan as Bond does here?
Since this stinker is still in theaters, I'll try to be cautious describing it so as not to drop any major spoilers. I must engage in some minor spoilers ahead, so if you're intent on seeing this mess you may want to come back after you're done. Although as an aside, the existence of things to be spoiled is in and of itself an indication that the filmmakers have gotten far, far away from Fleming's source material. Fleming wasn't interested in loading his novels with double- and triple-crosses so they really had very little that could be spoiled by reciting the plot. To be as fair as possible to the film, I'll admit that the first 15 minutes or so are not totally disastrous. The teaser is actually somewhat intriguing and features Bond posing as a diamond smuggler in order to get close to the North Korean Colonel Moon for purposes of assassination. Moon is a wiry little guy that bears something of a resemblance to my brother-in-law. Bond is found out by the Koreans and barely escapes death by firing squad. After a chase across minefields in hovercrafts, Bond's mission appears a success but at a frightful personal cost. At the end of the pre-credits sequence, Bond finds himself captured by the North Koreans and scenes of his torture at their hands play during the credits themselves. Bond is tortured savagely by being forced to listen to an abominable Madonna pop tune while only intermittently being dunked in ice water or stung by scorpions as a respite from the agony. It's sad to have to say it, but the film's only interesting female role appears during this time in the form of a North Korean military officer in charge of Bond's torture. Her callous indifference to the infliction of misery suggests that it may be my ex-girlfriend. I'd have to watch the movie again to confirm or deny that it's her however. After 14 months in the Korean jail Bond is traded for Zao, Colonel Moon's right-hand man, in a prisoner exchange. The exchange also features one of the very few times in the film that Brosnan can be seen acting. Upon being ordered across a bridge by his captors, Bond is uncertain as to whether or not he's to be shot in the back. Brosnan's expression is masterfully resigned and terrified here as he shows Bond preparing for the bullets to strike.
Unfortunately, the promising beginning is almost immediately followed by a precipitous slide into absurdity. Bond's boss "M" suspects Bond of cracking under torture and relieves him from duty. He is to be moved under guard and kept under observation at a detention facility in the Falklands. Bond is certain that he was set-up during the mission to North Korea and he believes that Zao knows who betrayed him. Bond escapes from custody and sets off after the just released Zao. This would all be well and good if it weren't for the fact that Bond manages to escape custody by stopping his heart and overcoming the medical personnel sent to resuscitate him. This is the first inkling that things have taken a wrong turn. How in the world can Bond stop his heart? Is he supposed to be some Zen yoga master now? Did he learn to cloud men's minds as well while he was off learning how to do that? Hoping that it was a temporary botch, we can move on to Bond getting a lead on Zao from a Chinese agent in Hong Kong. Zao is apparently in Cuba and Bond pursues.
The appearance of Halle Berry in Cuba marks almost the precise point at which this film totally goes to hell. To be fair, while Ms. Berry deserves a heaping helping of opprobrium here shortly, her appearance is coincident with the film's ludicrous turn into science fiction and consequently out of her control. It seems that Zao is in Cuba to undergo some ridiculous DNA transplant procedure that will completely alter his appearance. Ms. Berry is playing a not-anywhere-near-tough-as-nails American secret agent called Jinx who has been sent down to assassinate the doctor performing this procedure. Bond locates Zao but he proves to be pretty darn spry for someone who we've been told has had all his bone marrow killed off and he makes his escape from the clinic. In their struggle however, Bond rips an amulet off of Zao's neck and finds it filled with diamonds. These diamonds are marked with the insignia of one Gustav Graves, a nouveau riche foreign upstart that supposedly hit it big with a diamond discovery in Iceland and is soon to be knighted by the queen. Postulating a connection between Zao and Graves, Bond heads back to London to snoop on Graves.
The movie here proceeds to subvert the only bit of good will that it earned from its intriguing beginning. When Bond returns to London, he is simply put back on the job by "M". The net impact of the rogue agent on the run from his own people subplot becomes effectively nil. Bond's back on the job and getting gadgets from "Q" like nothing happened. To make matters even worse, these are utterly ridiculous gadgets. While reviewing these films, I've tended to pass over the gadget aspect of them simply because I'm not that interested in that part of the Bond formula. I have to mention them here however because the filmmakers have insanely decided to provide Bond with an invisible car! I guess Wonder Woman is still holding on to the invisible jet! All Bond has to do is pop on a benippled bat suit and adopt a youthful ward, and we'd be looking at a remake of Batman and Robin! And as if invisible cars aren't ridiculous enough, we also see Bond engaging in some kind of virtual reality shooting simulation in MI-6's version of the holodeck. I just hope the computer doesn't malfunction and release a copy of Jack the Ripper or something into our world because I don't think Jean Luc Picard is around to handle it.
As much as it pains me to continue, Bond is off to Iceland in his sometimes-invisible car to snoop further around Gustav Graves. Graves is holding some kind of party at an ice palace to introduce his satellite Icarus to a bunch of richy-rich types that vanish from the film immediately afterwards. At this point I'll be circumspect with spoilers, but quite frankly whatever plot the film had effectively vanishes once Bond and his Bondmobile reach Iceland. Girly-girl Jinx reappears to plague us for the rest of film. Graves does prove to be up to no good, having somehow managed to launch what is in fact satellite weapon without attracting any adverse attention from anyone. Just to summarize, Bond snoops around but avoids capture and/or death. Jinx snoops around but is captured only to be rescued by Bond. Bond goes after Graves but narrowly avoids capture and/or death again. Jinx is meanwhile captured again (!!) only to be rescued again by Bond. Next Bond and Jinx go after Graves for what is thankfully the last time, even though I'm not all that hot about their avoiding capture and/or death at this point. And lest you think that the batsuit joke above was less than telling, Graves unbelievably does have his own goofy rubber pseudo-batsuit that he can use to control his satellite and give people electric shocks! The only thing to be thankful for at this point is that they left off the nipples and that soon after the suit makes its appearance the credits start rolling.
The only lead actors that escape from this train wreck relatively unscathed are Toby Stephens as Gustav Graves and Rick Yune as his henchman Zao. These two are nowhere near the best villains of the series, but they have no reason to be embarrassed at their performances. Stephens is a perfect combination of urbanity and braggadocio here, and really turns in the performance that Christopher Walken should have given in A View To A Kill. While he does have the unfortunate tendency to resemble Conan O'Brien from certain angles, his veddy, veddy British diction and sartorial aplomb put me in mind of characters from British fiction from the 20's and 30's. I could easily see Stephens starring in a Bulldog Drummond adventure or strolling the manor grounds in an Agatha Christie whodunit. He's also clearly younger than Brosnan, which could have added much to Bond and Graves’ interaction here. The overly cocky and self-confident Graves could have made a perfect contrast to a recently defeated and unsure Bond had they bothered to do anything with the set up to the film. Rick Yune deserves a great deal of praise for insistently turning in a serious and intelligent performance regardless of how ridiculous the movie becomes around him. The stupid DNA transfer stuff at the start of the film supposedly left Zao deathly pale and sporting eerily light blue eyes. Even aside from the makeup, however, Yune projects a calm yet forceful menace in every scene that he's in. I particularly liked the way he responded to one of Bond's witless quips here with a punch to gut and quiet "Here's the punchline.". Frankly, I was rooting him on at this point in the film. Even setting that aside, however, its striking how Yune can deliver the jokey line with a real menace that's true to his character while everyone else in this film looks like an idiot while trying to deliver their clumsy quips. I also found interesting the implication that Graves and Zao's relationship is not merely (ahem!) one between villain and henchman. At their reunion scene in the ice palace, the two are shot in tight close-up with their faces quite close together. It truly looks as if Graves is ready to plant a big smooch on Zao! I don't know if this is an intentional subtext or not here, but it serves as a further instance of these two bringing to light intriguing facets of their characters while everyone around are barely one-dimensional.
As super-duper American NSA operative Jinx, Halle Berry is laughably miscast. I could suspend disbelief were she playing practically any other part - Russian computer programmer, the Queen of England, Ernst Stavro Blofeld - other than what has been hyped as the "female James Bond". First of all she's utterly incapable of projecting the least bit of physical toughness. The pouty little expression she gets on her face while we're supposed to believe that she's engaged in secret agent stuff reminds one of the look his toddler daughter gets when she's refusing to eat her vegetables. That baby doll voice of hers isn't helping any either. Quite frankly Mary-Kate and Ashley Olsen would make more plausible secret agents, and I hope I'm not giving the filmmakers any ideas in mentioning the fact. And to make things even worse, it's amazing how such a waif-like woman can be so lacking in anything resembling agility. She clumsily swings a heavy silenced automatic around like she's deathly afraid of breaking a nail. Watching her lumber around trying to approximate a run puts one in mind of Rosanne Barr with a pint of Scotch under her belt. With her appearance I already have another favorite unintentionally comic moment to describe. Ms Berry is trapped in a room in Graves' ice palace and some of his henchmen come to visit her. As the doors to the room slowly draw open one of Graves goons stands stock still while Ms. Berry stands with one leg hoisted in the air in order to foster the illusion that she has directed a kick at him. Even the much blabbed about homage to Ursula Andress' appearance in Dr. No is risible here. The first thing that Ms. Berry does upon rising from the sea is treat us to a jawbreaking yawn (?!) as if the effort given in standing up in the ocean left her badly in need of a nap. I'm really kind of pained to have to be so harsh to Ms. Berry, but someone really should have noticed the tough girl act just wasn't flying. When Diana Rigg put on the slinky leather outfit in "The Avengers", her physicality let her look convincingly tough and formidable. When Ms. Berry puts on the cat-suit it reminds me of a little girl playing dress-up for Halloween. Furthermore, what with the cropped hair-do and the toy gun, she disconcertingly reminds me up a little girl dressing up as a boy and that's just not something you want in a Bond film's female lead.
Rosamund Pike plays the extraneous second female lead Miranda Frost, and the role is far too minimal and pointless for her to end up embarrassing herself. At least I can believe that she has the agility necessary to be a fencing champion as she is claimed to be here. Just to insure the minimum of originality the screenwriters have made Ms. Frost a secret agent as well albeit a British one. The real problem with this meaningless female role and Ms. Pike's appearance here is not the quality of the performance. What with Ms. Berry's bufooning around, there was a very real possibility of Ms. Pike stealing the show had her role been larger. What is becoming increasingly clear with Die Another Day, however, is the fact that the makers of the Bond films have entirely abandoned any attempt at romance. I understand that at this point it's become apparent that the filmmakers would never countenance the slightest hint of originality if it involved Bond not sleeping with a female lead. The screenwriters of this movie threw a pretty meatless bone to Fleming fans by claiming that they had based portions of the film on Fleming's novel Moonraker. Apparently in an earlier version of the script, Ms. Pike's character was named Gala Brand after the female lead in Fleming's novel. As vague as the connection is between the book and film, it's worth mentioning here because, rather notoriously, Bond ends up alone at the end of the novel. Gala Brand in the book is engaged to be married to someone else and has no romantic interest in Bond. I thought just for a moment something similar might be happening here as Frost's response to Bond's frankly boorish and adolescent come-ons is decidedly chilly. And yet, Frost hops into bed with Bond at Graves' ice palace for the flimsiest possibly reason. Bond is running from some goons that caught him snooping around Graves' private residence, and Frost grabs him and starts smooching ostensibly to mislead Bond's pursuers. This is unnecessary on its face given that Bond at the time must be practically five feet away from a party full of people. Even more absurd is the fact that Frost follows Bond to his room after being treated to another string of dimwitted and smutty remarks. On display throughout this scene is the filmmakers' pr0n movie idea of romance; women will just hop in bed with Bond after a string of suggestive comments. Bond doesn't even need to buy the woman dinner or drinks anymore much less save her life - something that has been used as tenuous justification in the past. And while we're on the subject, let me point out that Ms. Berry's stab at romance is possibly even more ridiculous. Upon first meeting Bond in Cuba, Jinx spends practically all her time staring at his crotch as if mesmerized. After the hypnosis they immediately hop into bed. Particularly icky is how Jinx takes a bite of some kind of fruit, slobbers all over it, and then spits it into Bond's mouth! Yuck! That's not only unromantic, but decidedly unerotic as well.
I also can see that the filmmakers lamebrained ideas about who should take the director's chair have finally caught up with them. Before Brosnan took over as Bond, the film crew seemed to have been a tight-knit group with the same personnel signing on to participate in the making of each new film. When one director stepped aside for whatever reason, a second unit director or editor with years of Bond experience would take over. Now with Brosnan in the role the filmmakers go out and sign a brand new director with each new feature - all but ensuring no continuity with the past. With Die Another Day, the folly of this strategy has become apparent. The man who helmed this outing, Lee Tamahori, is so infatuated with trendy camera tricks that for the first time in the series a directorial style has become intrusive. The film is stuffed to the gills with slow motion, double exposures, and that sudden undercranking done to death in The Matrix. Given the lack of interesting characters, these hey-look-at-me directorial flourishes just add to the distance placed between the audience and the film. And as if artsy-fartsy camera gimmickry weren't off-putting enough, any good ideas for an action set piece are sunk by abysmal editing. In most of the films chase sequences it is practically impossible to figure out what is going on. Take for instance the pre-credits teaser. Bond is infiltrating North Korea to assassinate Colonel Moon, but is found out to be a British agent. Moon pulls out some huge caliber rifle and fires a shot at a helicopter and an explosion results, then another explosion from a different angle, and then another from a different angle still. Now I think the exploding helicopter was the one Bond flew in on, but even that is not clear. But what's with all the different explosions? Did Moon fire several times at the same 'copter? Several times at different 'copters? Several times, once at a 'copter, the other times at something else? Only once with the same explosion filmed from different angles? Granted this is the kind of thing I'm sure I could clarify upon another viewing, but why should I have to see it again to figure it out? We're just watching a helicopter blow up and I still don't know what the hell is going on. And if you think this is just a nit-pick, wait until you see what happens just a minute later. Bond is set to be killed by firing squad. His back is to a main building and armed soldiers are facing him and the building. Bond remotely detonates a bomb that is sitting slightly behind and to the right of the soldiers. So far this is clear. Next however, several seconds later, cars start blowing up. As near as I can tell these cars were in front and to the left of the soldiers. How could the bomb have possibly caused something there to explode? Next, the building behind Bond starts blowing up! Now I literally couldn't tell what in the world was going on. A bomb explodes hundreds of feet away from a building and ten to fifteen seconds later, the second story of the building blows up! Again maybe I could step through it frame by frame on DVD later and figure out exactly what happened, but the reason we have film editors in the first place is to insure that that's not necessary. After this bewildering array of explosions, Bond commandeers a hovercraft to chase after Moon who is riding his own larger hovercraft. This could have made for an interesting bit, but here again the bad editing rears its head and ruins it. Hovercrafts flip, blow up, and crash into walls. How many hovercrafts there are to start, where they are located in respect to one another, and what causes their eventual destruction are all matters for intense speculation. As it stands the only interesting part of the teaser (if not the entire film!) is the footage of Bond and backup surfing into a North Korean beach to start the movie. The shots of men riding the rolling surf and the blue-black water are lovely to look at and at least this portion of the teaser is not rendered incomprehensible by lousy editing.
The next big action set-piece is a sword fight between Graves and Bond. Actually Bond engages in a brief, yet passably edited for a change, fist-fight with Zao in Cuba, but it's clear that the sword fight is supposed to be one of the film's high points. Like ever so much in this movie however, the fight makes almost no sense in context here. In the film, Graves is a fencing enthusiast and Bond finagles an introduction to him at a toney men's club. A fight between Bond and Graves with tipped epees escalates into a battle to draw first blood with sabers and then clearly into a fight unto death with broadswords. As a matter of pure staging, it's hard to complain about the struggle. In the context of the story, it's utterly ridiculous. I can't believe for a minute that some exclusive men's club would allow two people to literally rampage through the building destroying things while seemingly fighting to the death. Surely, the police would have quickly become involved. And are we really supposed to believe that this struggle is deadly? Graves is at this point a few days away from realizing his ambition, so does he really thing he could hack a man down with a broadsword in front of witnesses and just walk away to implement his plans? And even if we were to believe that Graves is simply nuts, it's actually Bond that seems to be escalating the fight. Graves spends a good portion of the fight simply running away from the pursuing Bond. Why is Bond so determined to cut Graves up? At this point all Bond has reason to believe is that Graves is a diamond smuggler. It's questions like this that just ruined by enjoyment of what should be one of the better moments in the film. The whole thing feels comparable to Bond walking down to the nearest pub and starting a fight with the meanest looking guy in the place. It might be interesting in the particulars, but wholly meaningless in the abstract. It's a pity because this set-to was the one chance for the film to shine before completely self-destructing.
Bond's arrival in Iceland marks the point at which the film becomes almost complete busy and plotless without anything particularly exciting happening. Each subsequent set piece is either mundane or pointless or frequently both. A big unintentional laugh arises when Bond is found out snooping around Graves' private residence. While running from the guards he finds himself hiding next to a big valve with a sign next to it basically saying "Do not open this valve or something will explode". It's good for Bond that super-villains always take the time to install exploding valves outside their homes. After being chased away once, Bond returns about a half an hour later to break in again. The film's blithely casual attitude about the possibility of hypothermia is on graphic display here. Graves ice palace and residence are supposedly built upon a frozen lake covered with ice think enough for cars to race around on. Yet Bond cuts through the ice and swims underneath it over to the residence without protective clothing an suffers no apparent ill effect. There he finds Jinx menaced by lasers in what amounts to a complete rip-off of Goldfinger. A fistfight between Bond and Graves' sidekick, Mr. Kil (oh, brother!) ensues ostensibly while lasers flash chaotically about them. This actually sounds intriguing on paper, but what makes it to the screen complete fails to interest. This movie just hasn't deserved a suspension of disbelief so I just sat there in the theater trying to figure out why anyone would mount lasers on robotic arms so that they would swing wildly and lethally through a room at one touch of a button. And let's face facts and note that there's no doubt that Bond and Kil are just trading punches on a set while the lasers are later painted on the finished film. There's just not enough good will engendered by the film for me to have gotten around this. It could be the fact that Lawrence Makoare playing Mr. Kil is an flamboyant hamola that mugs his way through his brief time on screen or it could be the fact that the annoying Jinx spends the entire scene mouthing unfunny one-liners, but either way a potentially interesting bit just ends up falling flat.
Next up for our viewing displeasure are a couple of very poorly motivated vehicle chases. After stubbornly refusing to spare us further Jinx antics by rescuing her, Bond is almost captured himself. He escapes in an ice sled and takes off across a frozen lake while Graves directs some CGI special effects towards him from his Icarus satellite. Dialogue informs us that the sled is travelling at hundreds of miles per hour, but it just looks like an ordinary sled to me. When the sled reaches the end of the glacier it is speeding across, the satellite knocks a piece of the glacier that the sled is hanging off into the water below. What results is a CGI cartoon that's supposed to be Bond surfing around ice floes. After reading through other reviews of this film, I noted that this effect has come in for a lot of critical lambasting. The effect is indeed quite poor but given the overall quality of the film, it still seems one of its lesser flaws. The true inanity takes place immediately after when, after having quite possibly sled scores of miles away from Graves ice palace, Bond turns around and starts walking back! Let's put aside the fact that he has no protective clothing on for the walk back, and ask why in the heck he bothered to flee at hundreds of mile per hour in the first place if he was just going to turn right around and return. It couldn't be just because the filmmakers wanted to eat up running time with "cool" CGI effects, could it? And the inanities keep on coming when Bond makes it back to the ice palace and gets in his car. Zao is nearby and gets into his own gimmicky car to set out in pursuit. The chase quite frankly stinks, but let's set it aside for a moment to again puzzle over Bond's behavior. He's returned to the ice palace to rescue Jinx once again (why??) yet as soon as Zao comes after him, Bond sets off across the ice with Zao in tow. After driving miles and miles away from the ice palace, Bond then turns back towards it and ultimately into it with Zao still in tow! If he was just going to drive into the thing anyway, why in the heck didn't he just do it in the first place when he was 20 feet away? As for the chase itself, Zao's car is just as tricked-out as Bond's so we're just treated to the spectacle of two basically indestructible cars firing stuff at each other for minutes on end. It's twice as unoriginal as the usual gimmicky car chase, and less than half as exciting. And again I must ask what is wrong with the editor? For the entire length of the chase we see bullets fired and missiles exploding, but I'm damned if I can tell where each car is located in relation to the other and which is firing what. And also yet again Zao is remarkably immune to hypothermia after his car crashes through the ice so a dropped chandelier is required to finally take him down at the chase's end.
Now it's time for the last, not quite least, but still wholly unabsorbing set pieces. After a missile fails to destroy Graves' satellite, Bond and Jinx sneak aboard his private plane to assassinate him. As a completely unrelated aside, I couldn't help but wonder if the Hollywood lefties realized that showing a satellite destroying a missile in flight comes rather close to arguing for the success of a Star Wars missile defense system. Of course, given the quality of this film its just as possible to believe that the filmmakers rather insultingly thought we were complete dunderheads that wouldn't realize everything in it was complete bulls*@t. I also have to think that once Graves started blowing stuff up with the satellite, it may have been a good idea to bomb his plane rather than just send two people to stow aboard it. I know that Dubya is going a little wobbly on Iraq, but once the missiles started flying I hope we'd retaliate in kind. Let's put aside our common sense objections to the unfolding plot and at least look forward to the end. I was hoping at least that some aerial mayhem would provide a bit of an upnote to the proceedings, but even that was botched here. The "action" transpiring on board Graves' plane suffers from B-movie budget restrictions that necessitate that all aerial action be filmed on a sound stage. The plane is all CGI and the cabins aboard are obviously sets. When the windows go, its obvious that some stagehands have switched on fans. The final struggle between Bond and Graves is particularly absurd given that Graves' crazy rubber electric suit comes into play. Some desultory punches are traded, some blue electric sparks are painted on a negative, and a good time is had by none. Even Graves' final comeuppance, while grisly in theory, is cartoonish and fakey on screen. Jinx also gets her own tedious fight scene aboard the plane, and for once I have to give the editor a bit of credit. Cutting in a Revlon ad still here and there actually managed to foster the illusion that Halle Berry was on the set while it took place instead of lounging in her dressing room while the stuntmen and women had at it. But at least after the cartoon plane disintegrates and Bond and Jinx escape in a cartoon helicopter the end is in site. After a bit of dialogue crafted by Beavis and Butthead (Huh, huh, huh. She said: "Don't pull it out."! Huh, huh, huh.), the end credits reassail us with the Madonna theme and threaten us with a Bond return. Take that with you when the theater lights come up and try to sleep sound in your bed that night.
I'm hesitant to engage in any hyperbolics at this stage because I want to let the shock of disappointment wear away before trying to rank this film. Maybe at some future date, I can stomach parts of this film again and enjoy its currently very difficult to see positives. The sword fight, though horrendously motivated, is actually fairly interesting and might merit another look. Still I can say right now that I liked this film far less than Brosnan's earlier Tomorrow Never Dies, and I have very little fondness for that. At least that film boasted a female lead with enough agility to be plausible as a female 007. In addition, as poor an idea as I found it to feature Bond's ex-girlfriend in the film, at least that inclusion resulted in some honest emotional interaction between Bond and a female lead. Die Another Day marks the arrival of the adolescent MTV Bond on the big screen. The film is loud, brainless, childish, and sleazy all at once. I'm pained to admit that this year's XXX, with its bald-headed lummox of a protagonist and principles with more tattoos than teeth, still features more impressive characterization than this film does. It's also extremely discouraging to note that the barrage of smutty and unfunny quips that plague Die Another Day make XXX's Xander Cage look urbane and witty in comparison. I was deluded into believing that things were looking up with Brosnan's last film The World Is Not Enough. That film showed interest in developing interesting characters and situations that are necessary to interest me now that action set pieces are nothing but car chases and CGI. This film, however, is a big, big, big step backwards in that regard, and clearly shows that the filmmakers are uninterested in providing anything more challenging or intriguing than Christina Aguilera's Dirrty video. As much as it hurts me to say it, I frankly hope that one of these movie megalomaniacs manages to do in Bond for good so as to spare us any more of this crapola in the future.
