Świat to za mało

One world is not enough for me to be happy at the time, but with hindsight I have to evaluate very positively the sparkly duel between Bond and Elektra, which culminates in a really rough demonstration of agent 007 principles. The script is a bit shaky at first - confused, very conversational, but as soon as the plot gets going and the excellent caviar tycoon Zukovsky played by Robbie Coltrane enters the game, the entertainment is taken care of. This time, the main villain "actor" has the surprisingly emaciated face of Robert Carlyle, and in essence it is a rather turbulent fate that attracts attention and sympathy uncharacteristically. The action scenes aren't that crazy, the story keeps a low profile and takes on fewer fantasy elements, and Brosnan has hardened a lot in his expression since GoldenEye, which is a good thing. It fits him. Judi Dench as M definitely proves herself, the chemistry of the feminist hooker boss is great, and John Cleese's new "Q" (actually R) is also more than promising. Plus, the title song GARBAGE is really great! Summarized and put into context: probably the best Brosnan Bond film. Edit 2012: Apted's direction is terribly professorial and boring - it is clear, but the slow and long camera rides and the use of the shot x counter-shot scheme in the frenetic action reveal an old-school director. Moreover, the screenplay that draws Bond to the melodrama contains an excessive amount of pathetic filler. Looking back, I'm a little sad that M, who originally profiled herself as a sharp and ruthless commander, is turning into a bit of a funny grandmother without an edge. There are interesting attempts to experiment with linking Bond's susceptibility to women and the main villain, but with a little poking, it smells like a lot of bad theater in places. Years later, I'm going back to my first impression from the movie theatre. In the context of Brosnan Bond films, this is not the weakest, but the title of the best belongs to the film after. This one's not enough. (21.06.2005)

Not long ago I claimed that Die Another Day is Brosnan’s second best Bond movie. Silly me. A mouth full of crap then apologies for miscalculation. The World Is Not Enough is not only better, but there’s more suspense, the BondGirls are prettier (both Sophie Marceau and Denise Richards are pretty as a picture and hard to say who I would pick), the glasses I want, the car I want and even Q’s fishing boat :-). Great work, 007, I apologize again ;-). (19.01.2007)

Why can't James get both of the girls? That in particular I wished him the most. The sensual Sophie and the almost teenage expert Denise seduce 007 with every gesture. Pierce Brosnan is also in the purest relaxed form. Despite his injured shoulder, he travels on a boat, on skis, or on chains, he cracks jokes, destroys everything, and at an unstoppable pace in a story full of twists, clearly enjoying himself immensely. (18.08.2007)

Denise Richards and Sophie Marceau are quite possibly the best (meaning: best + add any flattery you want) Bond girls of them all. In this film, they reunite with Brosnan, who, more than ever, gives a flashback to the days of Connery's charm and Moore's wisecracking. In addition, John Cleese appears as R, to whom Q hands over the token toy scepter, Carlyle is interestingly slimy as the villain, and the action is pretty decent. The best scenes, however, come at the beginning of the film (the boat chase, the ski chase) and the ending in the submarine is a bit of a letdown - uninteresting. (24.01.2010)

In the TOP5 of all Bond movies. It's as if the screenplay was tailor-made for the main hero. Pierce Brosnan is at his most distinctive and charismatic here. Maybe it's because of the tons of sexist comments and innuendos, but it works like a well-oiled machine. The best action so far, and above all brilliant pace and fantastic Bond girls who drive the whole story forward. Few Bond movies are as diverse and captivating as this one. And above all – thanks to Michael Apted's clever and sharp direction, it hasn’t aged like the over-technological and slower Tomorrow Never Dies Essentially a step into the new digital millennium, and a truly confident one at that. (26.05.2006)