Pis*-poor, Ill-conceived, soulless, mindless, horrifying - and thats just the title track in this 40th Anniversary defunctular - proof positive that the series is in terrible terrible trouble. In fact, based on the this exercise in self-parody (even the title sounds like a parody), devoid of any new or exciting elements, it might be worth pondering whether its time for the super-spy to take a sabbatical while all concerned contemplate a wholesale reinvention of the Francaise; a full-scale rebuilding from the ground up with absolutely no return to the cut and paste methodology that rots this one from the inside out. It isn't even worth discussing the story to this anniversary entry because there isn't one but it might be worth pointing out the contrast between this and the last anniversary story The Living Daylights (1987) for therein lies the clues to what's gone wrong with 007's exploits. Whereas Dalton's film used the anniversary as a sort of reaffirmation of principles and a throw back to the series dramatic and literary roots, a new dawn if you like (and frankly even if you don't), Die Another Dies goes the other way and represents the zenith of the Pervis/Wade era of Brosnan Bonds that has seen the action and budgets scale upward while the substance has conversely dipped and with the arrival of an invisible car, evaporated. This is about a trillion miles away from the 25th anniversary Bond in which familiar elements made the odd cameo appearance - the Astin Martin for example. Here the familiar is everything - in fact its the building blocks of the story (such as it is) and the characters and, well everything really. The tone is pure fantasy - deadly lasers in space, an evil ice palace lair for the villain, Madonna etc... Characters with silly names trade puns and insipid dialogue while Brosnan goes through the motions. If it was the intention of all concerned to make a companion piece for Austin Powers then they should consider DAD a roaring success. For those of us expecting a serious Bond movie however, its a minor travesty - Bonds have been lazy before (Moonraker, naturally) but this one completes the post-Goldeneye trajectory toward total self-parody and in doing so arguably takes its place along other genre greats such as Rocky 4, Star Trek: Nemesis and Batman and Robin in the 'film that crashed the series' category. Bond films have also been looking down the business end of oblivion before but 'tis no exaggeration to say that this time the martini loving super-spy is fighting for his life. Bond is a great character but unless the powers that be start to take him seriously again and refrain from this derivative fluff, they might as well call it a day.
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