Digging Double Oh Seven: GoldenEye (1995)

The six year gap between License To Kill and GoldenEye must have been unbearable for longtime Bond fans. Up until that point, there had been a new installment every two or three years since the series debuted with 1962’s Dr. No. A combination of legal problems, unfortunate passings and illness, this expanse of time lead Timothy Dalton to opt out of playing Bond again, so the role went to Pierce Brosnon who was actually favored to replace Roger Moore a few times and was even offered the part but couldn’t do it because of Remington Steele contracts. Other changes this time around are the wonderful Judy Dench as M, Famke Jansson as henchwoman Xenia Onatopp, Joe Don Baker in his first good guy role Jack Wade and Alan Cummings as a computer geek who falls in with the bad guys.

Continuing where Dalton left off as Bond, Brosnon’s version keeps things a little more dark and realistic. Well, for the most part. Some folks might have a problem with the opening sequence’s getaway on a physics level, but if you can’t enjoy all that I feel bad for you. Not only does Bond bungee jump to a secret facility, team up with fellow Double Oh agent Sean Bean (forgot to mention him above), shoot and fight a bunch of guys and then ride a motorcycle off a cliff to soar down, get into a plane and fly it to safety. It was AWESOME. The over the top action sequences (there’s also the tank chase which is pretty epic), Famke’s wonderfully crazy Xenia and another wonderfully light appearance by Desmond Llewelyn as Q bring things up a bit but overall the movie has a pretty serious tone.

Even with the somewhat darker tone, I still had a lot of fun with this movie. In addition to all the elements I’ve already mentioned, the idea of a Double Oh going rogue and returning to face off against Bond is super interesting and I’m kind of surprised hadn’t been used before. It’s also interesting that this is the first of the Bond flicks to be completely original and not have any references to Ian Fleming’s books or short stories. It comes across in the story which has a lot to do with computers and EMPs and giant satellites and the like. Like every movie involving computers from the mid 90s, though, anything having to do with them seems cute and quaint now. When the beautiful on-the-run code monkey and soon-to-be Bond Girl Natalya Simonova (played by Izabella Scorupco) tells some guy the kind of computer she needs, I chuckled to myself. Phones can do what that computer could do.

It was interesting going back and watching this movie for probably only the second time. I was 12 when this movie came out. I don’t have specific memories of going to see it in theaters, but I think I did. Even though I’ve talked about my love of the Bond series, it always tended towards the older movies because those are the ones I watched with my dad on tape or TV. I remember liking Brosnon’s Bond movies for the most part, but there wasn’t any nostalgia there because they were modern. Looking back now, there’s definitely some nostalgia now because these are the Bonds of my teenage years and I saw most of them in theaters with friends throughout high school and possibly college (I’ll have to check out some dates and get back to you with the specifics).

Josie and the Pussycats: The Movie!

I know there’s been a lot of talk about Josie and the Pussycats (2001) on the internet lately (well, Jim mentioned the soundtrack over on Enemy of Peanuts and also watched it last night at the same time I was and Kiel‘s been telling me to watch it for years). Well I finally checked it out and it was definitely surprising.

Did you fall for the hook? I hope so, because I loved this movie way more than I thought I would. Sure, I love Can’t Hardly Wait, which was written and directed by the same team as Josie (Deborah Kaplan and Harry Elfont), but this is a movie based on an Archie comic. That would seem to limit the comedic potential, right?

Fortunately no. First of all, I was surprised with how many “bitches” and “shits” we got at the end of the movie, but nowhere near as much as in the beginning when Tara Reid’s character causes a car crash by holding up a sign that, at first glance, reads “Honk if you love pussy.” She pulls the sign out from behind something to reveal that it actually says “pussycats,” but I was still surprised that joke made it into the movie. You always hear horror stories about really funny ideas being nixed because parent companies are worried about how it’ll make their property look. Apparently Archie Comics is pretty cool, or just weren’t paying attention.

The basic plot is that Alan Cumming (who I thought was Paul Reubens at first, sorry Alan) is a manager for a big record company looking for a new band to replace with the boy band whose plane he let crash (code “Put the Chevy to the levy”). He stumbles across Josie and the Pussycats and signs them, but it later turns out that Parker Posey, who runs the record company, has been encrypting subliminal messages in the music for various reasons. It’s a really goofy plot, exactly the kind you’d expect for a movie like this, but there are enough winks to the audience and tongues in cheek to let you in on the joke that the writers are making fun of movies just like this. It’s oddly subversive.

In honor of the marketing-to-kids theme/satirization, the filmmakers do quite a few things that I liked. First off, anytime the Pussycats are out in public, everyone else is where the “it” color of the moment (starting with pink, then orange and on and on). I noticed it before it was explained (the record company is controlling fashion and slang though these impressionable kids with tons of disposable income, as explained by Eugene Levy playing himself in a filmstrip), which made the reveal all the more satisfying. There’s also enough product placement to make Michael Bay jealous. According to IMDb, they didn’t actually receive any money for all the shout-outs as they were, again, there to show how crazy intense the marketing towards kids can be.

Josie also works as a strange kind of time capsule. TRL and Carson Daly play a somewhat important role in the movie. Daly and Reid have some screen time together and, as anyone who’s anyone will remember, they dated for some time (though I couldn’t remember when that happened or when they broke up, which made the scene both funny and awkward, like watching episodes of Newleyweds after Nick and Jessica got divorced). We also get glimpses of Behind the Music (a show they should really bring back along with Pop Up Video) and Serena Altschul of MTV News fame. If you were a way-too-avid watched of MTV in the late 90s, you’ll remember Serena, if not, she’ll just be another face on the screen, but man, that was a fun little flashback.

Lastly, I’ve got to talk about the cast. First up, you’ve got the Pussycats played by the aforementioned Reid, Rachel Leigh Cook (what is she doing nowadays?) and Rosario Dawson (I had no idea she was in this until the credits rolled). They’re all very serviceable in their roles, but they’re significantly outshined in my opinion by the members of Du Jour, the boy band (another 90s flashback now that I think about it) from the beginning of the movie consisting of Breckin Meyer, Seth Green Donald Faison and a guy named Alexander Martin who played the foreign exchange student in Can’t Hardly Wait. Now CHW fans will remember that Faison and Meyer played two members of the band at the party. I’d like to think that they ditched the other two guys, grabbed Green’s Kenny, taught the foreign kid to speak English and blew up on the boy band scene. These guys are hilarious from the very first moment they’re on screen to their inevitable plane crash.

After a quick look at the Robot Chicken IMDb page, I wonder if this is where Green met Meyer and Cook, both of whom who have regularly contributed voices along with tons of other late 90s “teen” actors. Maybe they can get a good script together and give us a new movie with all those familiar faces dealing with being in their late 20s/early 30s. I could go for that, how about you guys?