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Rating:  -
1. Timothy Dalton as James Bond: One of my biggest problems with this film and "The Living Daylights" is this man playing Bond. He just doesn't cut it: Connery, Moore, and even LAZENBY before him were witty and funny as well as being determined secret agents. Now Timothy Dalton is stiff, cold-blooded, sadistic, and almost evil in this movie and humorless. This man is the worst James Bond to date, he's cold, humorless and doesn't even try to be funny. This is one of my biggest problems with the movie.
2. The Villains (Sanchez, Milton Krest, Killifer, Dario, Heller, Prof. Joe, Truman-Lodge) In this wide-array of henchman, you'd think there would be a plus side. There isn't, these are all the worst villains of all time. Franz Sanchez, measly South American druglord. This is the stereotypical 1980s-cocaine smuggling "let's kill the druglord" movie than Bond. They're the worst-written and aren't unique in any way shape or form (like Auric Goldfinger, Max Zorin, Hugo Drax, Alec Trevelyan, Ernst Stavro Blofeld...) larger than life, psychotic, completely unique villains with unique henchman as well! (Oddjob, May Day, Jaws, Xenia Onatopp, Helga Brandt, Irma Bunt) but these villains are average and could be found anywhere (Heller, Truman-Lodge, Dario, and Killifer could be found anywhere, Professor Joe and Krest are a little more interesting but screen time is cut short to the most gruesome death in the Bond series and Joe's screen time is limited as well). Sanchez is my other beef with the film, he's menacing but is merely a small time crook and is not worth going after. I hate him.
3. The plot - Bond's adventures are usually a bit over-the-top and always involve saving the world. Not here. Here we have Bond taking down small time crook Sanchez because he tried to kill Felix Leiter. So, he never had a need to go after Sanchez before but because of Leiter, Dalton gets meaner than he already is and QUITS THE SECRET SERVICE. That's right, quits. In a pointless act of defiance, Bond quits to avenge Leiter and leaves us all not rooting for him or for anybody for the rest of this trainwreck (sorry, I mean film). I'll have to give it to the film, the precredits is mildly exciting but for the rest of the film it's dull-dull-dull. This is meant to be tackled by the US Narcotics Board, not MI6, or the Chinese Narcotics Board (why on earth are the Chinese there in the FIRST PLACE?)
4. The girls - These I actually don't mind (and no, this is not a chauvinistic post on how these women are just lookers). Pam Bouvier is underappreciated (and not the most attractive) because she is probably the most equal to Bond of any woman (because no one saw this film people talk of Wai Lin and putrid Jinx). The woman definitely out-Bond's Bond most of the time, shoots Dario, carries a shotgun, and kicks serious [...] Lupe is okay but I won't waste my time there.
5. The Budget - Probably one of my biggest problems with the film is that I could make it. The money was obviously spent on the precredits sequence.
Dr. No: $1 Million Dollars
A View to a Kill: $30 Million Dollars
Licence to Kill: $12 Dollars
Getting a new Bond to replace putrid Dalton: Priceless
Exactly. This film is so cheap, it's not funny. TLD showed the money onscreen and I could make this movie in my backyard (and I'd get a better cast too). Get this everyone we get a fight scene of course but not just any fight scene... a fight scene in a SLEAZY BAR! Oh, I'm crying by now and I'm sure everyone else is too because we don't get any flashy sports cars in these films, instead we get Tanker Trucks for the finale chase scene/fight scene which seems to go on forever. They really cheaped out with having it being set in South America, getting Bond away from MI6 and using sets from a cancelled FOX TV show. How cheap can you get? Thankfully, next time we'll get a big budget Bond film, the best in the series, GoldenEye.
6. The violence factor - I'm all for action, sometimes bloody deaths, but these are unnecessary. This is the only Bond film to get a 15 over in Europe and it's NOT BOND. Bond has never been the cold-blooded killer type or rugged, ruthless action man. Here are some of the deaths that were UNNECESSARY.
1. The death of Milton Krest: Though unique, this death is probably what earned the film its rating. Sanchez, outraged that Krest is allegedly ripping him off, throws him into a random decompression chamber, cranks up the pressure and cuts the hose so his head can explode. Bloody and unnecessary, plus Sanchez thought that out pretty quickly.
2. The death of Heller: Despite being a crappy villain, Heller is likeable in my eyes and though annoying Bond is right in that Heller is ripping Sanchez off, he pays for it by being impaled on a forklift. Okay, Heller can get impaled on a forklift but what was the use of it randomly driving into the room Pam and Bond were in? It makes no sense.
3. The death of Dario: "You're dead!" "You took the words right outta my mouth!" Good dialogue there, Pam shoots Dario a few times, causing him to lose his balance and falls into the cocaine shredder, getting his legs chopped to bits in the process and having his mangled flesh and blood fly at the camera. Ewww, gross and unnecessary.
This violence is not needed, plus it isn't very Bond-ish. Bond is not about gruesome deaths, he kills when necessary and I don't believe he enjoys it when Dalton seems to almost enjoy the deaths and here's Heller's little witticism.
Pam: Oh my God! It's Heller!
Bond: (stiff as a plank of wood) Yeah, he came to a dead end. Because "He got the point" was already used in Thunderball and it was delivered better by Sean Connery, it worked there so they had to come up with a second-rate "He got the point".
So there you have it, a long list of why LTK is one of the worst Bond films ever. With all these negatives, the only thing positive is Q gets a little more screen time and Pam is a good Bond girl.
Rating:  -
Yes, believe it or not, Licence to kill is one of the finest Bond films of all. It is quite different from the other entries in the 007 film era. Of course the excessive violence was a little bit to much here, but this is a Bond for adults and not for the kiddies. Times have changed, gone are the bubblegum and comic book fantasies of Roger Moore. Dalton is not one of the best Bonds, but he's definitely a very good actor and his brought more charisma and charme to the role like no one other. Beside the spectacular action scenes in Licence the whole plot is superb. Starting from revoking Bond his Licence to kill by a really angry M going to the funny episode were Q (this time quite friendly to Bond) gives his gadgets away for free and help 007 all along, to the climatic tank chase with Action at his very best.
All in all the behind the scenes material is outstanding and this time you'll trailers, music videos, gallery and so much more.
Go get, get thrilled!!!
Rating: -
This film ranks with "Dr. No," "From Russia With Love" and "On Her Majesty's Secret Service." Not since those films has James Bond on screen come as close to Ian Fleming's character. What makes this film stand out is that it combines the best elements of the three films sited. Both "Dr. No" and "From Russia With Love" contained images to the grittiest side of James Bond. In "Dr. No" the execution style death of Professor Dent and the gruesome knife killing of the guard in the swamp were both disturbing demonstrating a cruel edge to our hero. In "From Russia With Love" the struggle between Bond and Grant aboard the Orient Express was filmed in a more realistic style, not so much for cinematic flair but for realism. Beginning to explore the personal side of James Bond "On Her Majesty's Secret Service" really gives us an in-depth study of an agent who is starting to take account of his life and what future that profession offers him. "Licence to Kill" resurrects and combines the best elements of these three previous films.
Timothy Dalton totally revamps his first interpretation of James Bond for this film. In "The Living Daylights" we got a 1960's Bond but slightly more serious. In "Licence to Kill" Dalton closes out the decade of the 90's with a more up to date Bond. Notions of fair play and "Queen and Country" were given up long ago and all that one is left with is a sense of loyalty only to those close to him. What we are left with is an agent "on the edge" who is willing to take the battle to the enemy with "an eye for an eye" and to hell with anybody who gets in his way. The script lets us down in this respect but through the brilliant subdued performance by Dalton the idea still comes across. Also, a great piece of casting of Benicio Del Toro as devoted henchman Dario gives the audience the push it needed to see that this bunch of despicable villains really get their comeuppance from Bond. Michael Kamen's downbeat score also adds to the grimness of this film and the dirty business that our hero deals in on a daily basis and the toll it has taken on his psyche. This is a very different kind of Bond movie, bold in many respects and somewhat disturbing. There have been many strong reactions to this film. You either like it or you don't. If you examine the three Brosnan films, they contain many elements, which explore and owe inspiration from "Licence to Kill." "Licence to Kill" demands your attention.
Rating:  -
LICENCE TO KILL is an interesting follow-up to Timothy Dalton's version of James Bond in THE LIVING DAYLIGHTS. Though interesting there seems to be something offbeat and awry about it.
James Bond resigns in this film, but it had nowhere near the impact as when he offered his resignation in ON HER MAJESTY'S SECRET SERVICE. The story is supposed to be about Bond's revenge for the mutilation of his friend, Felix Leiter and the death of Leiter's wife. Revenge is usually meant to inflict punishment for a wrong deed received. The wrong received was the emotional pain that Bond was supposed to have experienced at Leiter's misfortunes. Cinematically, there was no visual basis for Bond's emotional pain. We never see the camaraderie or friendship between Leiter and Bond that was supposed to have existed. Why should Bond loose his objectivity and his professionalism over this incident, especially with Timothy Dalton portraying him for only the second time? Dalton's Bond certainly possessed the drive that Connery had established for the character and was present in Brosnan's interpretation of James Bond as well.
Dalton's Bond however, had little time for levity or diversion from the mission at hand. He was the dedicated civil servant. It is not that Dalton could have resigned and gone off on some personal revenge, but the film never lays the foundation for this happening and given Dalton's interpretation of the character, Bond's actions make no sense. For the viewer, revenge would suggest that some degree of emotional anger be felt while watching the film. As a viewer I felt very little anger for the pain and suffering dispensed by Sanchez and his henchmen. Certainly many of their acts were heinous and brutal, but as filmed and edited they did not have the dramatic impact that they should have.
I feel that the direction, the editing and screenplay lacked a cohesive vision. Once Bond breaks into Milton Krest's warehouse in Key West and proceeds to get pulled in by M at the Hemmingway House, the film starts losing what little momentum it had. We see Sharkey's body being towed to Krest's boat, another victim of Sanchez. We never learn under what circumstances he was killed. Bond meets up with Pam Bouvier at the Barrelhead Saloon. Following a poorly staged barroom brawl they join forces and peruse Sanchez to Isthmus City. Several superficial and perfunctory side plots divert the central story line. Banal dialogue, poor casting in key roles and Michael Kamen's unusually lackluster score permeates the entire film. It plods along to what should have been a face-to-face and no-holds-bared confrontation between Bond and Sanchez. This type of confrontation never materializes in the form that it should have. Bond informs Leiter over the phone about his retribution on Sanchez in a very brief and throwaway scene. This should have been a key scene in the film, bringing the revenge to an end. The best element of the story line was the idea of having Bond place doubt in the mind of Sanchez that henchmen in his organization were plotting against him and he didn't know whom to trust. However, this plot device was not exploited till nearly the last third of the film.
LICENCE TO KILL does contain some good performances. The film's greatest asset is Benicio Del Toro's performance as Dario, a Sanchez henchman. Dario's screen presence is twisted and contorted bringing the notion that evil menace is the only reason for his existence in life. Don Stroud was very credible and somewhat likeable as Heller, the head of security and Sanchez's private army. Wayne Newton actually brought a nice touch of comic relief as Professor Joe Butcher, head of a meditation temple and front for Sanchez's laboratories. Anthony Zerbe brought his unique brand of histrionics to his role of the seemingly drunken smuggler Milton Krest. From a sentimental point of view, it was good to see David Hedison reprise his role as Felix Leiter and it was nice to see Desmond Llewelyn as Q in the field in a meatier role than usual. Robert Brown gave his most credible performance as M in this film. Brown never possessed the charisma that Bernard Lee brought to the role. Here Brown as M brings a cold detachment in his scene with Bond even deploying sharpshooters in the event that the rogue agent may attempt to act irrationally when his licence to kill is revoked.
Also this film contains two of the best-staged and edited action scenes from the James Bond series. Bond's single-handed assault on Milton Krest's smuggling boat, which goes above and below water and finally into the air is incredible. The film's finale contains an intricate, complex, enthralling and completely entertaining duel between Bond and Sanchez and his cronies as they drive, jump, hurdle and hang on for dear life onto oil tank trucks along a mountainous curving road while bullets ricochet, rockets fly and explosion abound. The film seems more palatable with the passage of time. Bond was literally living on the edge in this one.
Rating: -
LICENCE TO KILL is an interesting follow-up to Timothy Dalton's version of James Bond in THE LIVING DAYLIGHTS. Though interesting there seems to be something offbeat and awry about it.
James Bond resigns in this film, but it had nowhere near the impact as when he offered his resignation in ON HER MAJESTY'S SECRET SERVICE. The story is supposed to be about Bond's revenge for the mutilation of his friend, Felix Leiter and the death of Leiter's wife. Revenge is usually meant to inflict punishment for a wrong deed received. The wrong received was the emotional pain that Bond was supposed to have experienced at Leiter's misfortunes. Cinematically, there was no visual basis for Bond's emotional pain. We never see the camaraderie or friendship between Leiter and Bond that was supposed to have existed. Why should Bond loose his objectivity and his professionalism over this incident, especially with Timothy Dalton portraying him for only the second time? Dalton's Bond certainly possessed the drive that Connery had established for the character and was present in Brosnan's interpretation of James Bond as well.
Dalton's Bond however, had little time for levity or diversion from the mission at hand. He was the dedicated civil servant. It is not that Dalton could have resigned and gone off on some personal revenge, but the film never lays the foundation for this happening and given Dalton's interpretation of the character, Bond's actions make no sense. For the viewer, revenge would suggest that some degree of emotional anger be felt while watching the film. As a viewer I felt very little anger for the pain and suffering dispensed by Sanchez and his henchmen. Certainly many of their acts were heinous and brutal, but as filmed and edited they did not have the dramatic impact that they should have.
I feel that the direction, the editing and screenplay lacked a cohesive vision. Once Bond breaks into Milton Krest's warehouse in Key West and proceeds to get pulled in by M at the Hemmingway House, the film starts losing what little momentum it had. We see Sharkey's body being towed to Krest's boat, another victim of Sanchez. We never learn under what circumstances he was killed. Bond meets up with Pam Bouvier at the Barrelhead Saloon. Following a poorly staged barroom brawl they join forces and peruse Sanchez to Isthmus City. Several superficial and perfunctory side plots divert the central story line. Banal dialogue, poor casting in key roles and Michael Kamen's unusually lackluster score permeates the entire film. It plods along to what should have been a face-to-face and no-holds-bared confrontation between Bond and Sanchez. This type of confrontation never materializes in the form that it should have. Bond informs Leiter over the phone about his retribution on Sanchez in a very brief and throwaway scene. This should have been a key scene in the film, bringing the revenge to an end. The best element of the story line was the idea of having Bond place doubt in the mind of Sanchez that henchmen in his organization were plotting against him and he didn't know whom to trust. However, this plot device was not exploited till nearly the last third of the film.
LICENCE TO KILL does contain some good performances. The film's greatest asset is Benicio Del Toro's performance as Dario, a Sanchez henchman. Dario's screen presence is twisted and contorted bringing the notion that evil menace is the only reason for his existence in life. Don Stroud was very credible and somewhat likeable as Heller, the head of security and Sanchez's private army. Wayne Newton actually brought a nice touch of comic relief as Professor Joe Butcher, head of a meditation temple and front for Sanchez's laboratories. Anthony Zerbe brought his unique brand of histrionics to his role of the seemingly drunken smuggler Milton Krest. From a sentimental point of view, it was good to see David Hedison reprise his role as Felix Leiter and it was nice to see Desmond Llewelyn as Q in the field in a meatier role than usual. Robert Brown gave his most credible performance as M in this film. Brown never possessed the charisma that Bernard Lee brought to the role. Here Brown as M brings a cold detachment in his scene with Bond even deploying sharpshooters in the event that the rogue agent may attempt to act irrationally when his licence to kill is revoked.
Also this film contains two of the best-staged and edited action scenes from the James Bond series. Bond's single-handed assault on Milton Krest's smuggling boat, which goes above and below water and finally into the air is incredible. The film's finale contains an intricate, complex, enthralling and completely entertaining duel between Bond and Sanchez and his cronies as they drive, jump, hurdle and hang on for dear life onto oil tank trucks along a mountainous curving road while bullets ricochet, rockets fly and explosion abound. The film seems more palatable with the passage of time. Bond was literally living on the edge in this one.
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