The World is Not Enough (Ultimate Edition) Review



By 1999 Bond was truly back. Pierce Brosnan had taken the moribund character and shaken and stirred him enough to bring him back to life, making him relevant once more and returning the sexist, misogynist dinosaur to blockbuster status. Cinema audiences, who ten years before had declined to such an extent that it never seemed possible he would live again, had once more embraced his extravagant lifestyle, able to fully embrace the (now slightly embarrassing) Cool Britannia ethos that encouraged us all to think we could live forever. By the turn of the century there was a confidence in the franchise not seen since the heyday of Moore and there was much anticipation for the third Brosnan picture, which would premiere shortly before the beginning of the new millennium. It was an exciting time, and, it was felt, Bond could capture that moment perfectly. Sadly, it’s almost impossible to live up to such hype and The World Is Not Enough, in such a context, is nothing but a let down. But, taken away from its cultural heritage and viewed with a more dispassionate eye, it’s also a deeply intriguing film, unfairly maligned nowadays, that presents to a fan of a franchise a challenge that can be both rewarding and deeply puzzling.

Put simply, TWINE is almost brilliant. It’s almost the best Brosnan picture. It’s almost exactly what it wants to be, a Bond picture that tells a more complex tale with more complex characters than before without forgetting the requisite number of thrills Bond needs. It almost succeeds in presenting a morally ambiguous villain, and almost manages to up the stakes as far as the interpersonal relationships between Bond and his secondary characters. Frustratingly, though, it manages to not quite get there on any of these fronts, fumbling the ball at the last when, given a bit more work, it could have produced the most mature Bond the franchise had yet seen. Instead we get a squandered opportunity, and an ultimately frustrating film. Frustrating as at times it’s difficult to see why it isn’t working. The cast is almost uniformly great; Brosnan exudes self-assurance and charisma as 007 while the casting of Begbie as a villain initially sounds inspired. Judi Dench has an increased role and stake in the story which should be nothing but to the good, while Sophie Marceau brings a combination of Gallic poise and immense beauty which should have placed her among the very best Bond girls. Together with a director who favours realism and character over fantasy and spectacle and a storyline that is potentially a lot more interesting than most in the previous eighteen films and it should all come together marvellously for a truly memorable instalment. And yet… it doesn’t.



The story sees Bond investigating the death of Sir Robert King (David Calder), the owner of a multi-million pound oil company which is busy constructing a new pipeline. Being indirectly responsible for King’s death, Bond is assigned to protecting his daughter, Elektra (Marceau) who is now running the business and whom M believes is next on the assassin's hitlist, and flies out to Azerbaijan to meet her. However all is not as it appears, and when Bond discovers the man responsible for King’s assassination, the anarchist Renard (Robert Carlyle), is the same who some years previously kidnapped and held to ransom Elektra, he realises these are far deeper waters than previously suspected. Just what is the connection between Renard and Elektra? What is Renard’s real plan and why? And just what kind of parents would call their daughter Christmas Jones?

The film starts superbly with one of the few truly memorable moments from the Brosnan era, the boat chase down the Thames. The longest opening sequence in the franchise’s history (clocking in at nearly fourteen minutes), originally it was going to be far shorter, with the title sequence kicking in following the first scene in Bilbao. Thankfully director Michael Apted decided to extend it to include the chase, turning what would have been a rather flat opening into a brilliant one, easily the best of Brosnan’s films and one that not even the presence of Ray the clamper can't truly dampen (although hopefully not many reading this will even remember who Ray the clamper is anymore). It’s everything Bond should be: fast, thrilling, humourous in places and a new twist on a familiar idea (not always easy to do) as well as splendidly setting up the rest of the film, and is a world away from the utterly tedious boat chase of Live and Let Die. Riding past the Houses of Commons marries two deeply British institutions, reminding the world who Bond is together with a pride of both his and our country’s heritage, the Brosnan equivalent of the Union Jack parachute and when at the climax 007 crashes onto the roof of the Millennium Dome, having utterly failed in his mission and obviously in deep pain, and with the opening title sequence and Garbage’s mournful song literally washing over him, the audience is set up for quite a ride. (On a side note, discussion of the Garbage song, which was actually written by David Arnold with lyrics by Don Black, only proves divisive. As a long-standing fan of the group and Shirley’s Manson sound it’s my favourite Brosnan-era theme; for many it’s terrible. Let’s leave it at that).



Sadly, the rest of the film doesn’t come close to living up to that grandstanding opening. The story I’ll discuss in detail below, but none of the set pieces stand comparison with the chase either. Ultimately, they feel too mechanical, too calculated to truly thrill, and almost without exception look painfully artificial, in both the scenario involved and also the actual look of the sets. The perfect example of this is the attack on Valentine’s dock. The dock doesn’t look real, but entirely constructed for the express purpose of a Bond film. Surrounded by darkness, it has no exterior context, no connection to the outside world, and reminds me of nothing more than a deathmatch level in a first-person shooter, something that would be great fun to run around in shooting at chums but not a real place. When Bond swings across it near the end, the set-up of the moment looks as though the designers always expected someone to do something like that (which, of course, in reality they did). This isn’t Bond using a landscape in new and outlandish ways; this is Bond fulfilling a place’s destiny, and that’s just not the same thing. The use of the helicopter saws, too, is daft; originally meant to be appear in Goldeneye, when one sees the things it looks both very cool and very silly at the same time, almost as though the villains know they are in a Bond film and have to purposefully attack in outlandish fashion. There’s no reason for those saws to be used to try and bump off Valentine which, in case one forgets, is the actual reason Elektra has sent the helicopters there - why doesn’t she just send Renard? True, it provides some superficial thrills, but on repeat viewings it becomes less and less effective, not a good thing. The other action moments of the film are nearly all a let down too: the ski chase is a retread of multiple past ski chases, while the finale in the submarine feels anticlimactically claustrophobic. The only moment that comes close to feeling both true and Bondian is the sequence in the underground mine shaft, which looks good and has real moments of tension. Even that, though, has an artifice about it that ultimately lets the side down.

But Apted wasn’t brought in for his renowned action sequences - as ever, most of the stunt work was directed by the Second Unit under the capable direction of Vic Armstrong. Instead, producers Michael G Wilson and Barbara Broccoli hoped that Apted would bring his experience in making the documentary series 7 (and beyond) Up to bear on the characters, enriching and broadening their appeal, and he does this in the person of Elektra. Arguably the most three-dimensional Bond Girl ever, she is a complex, self-contradicting woman, ultimately a tragic figure, as much a victim as a villain. Arguably even more so; even though we get no clue to what she was like before her kidnapping (this absence being a key flaw of the screenplay) we certainly know that Renard had a deeply corrupting influence on her. Their Stockholm Syndrome relationship is the key on which the film is built, and while she might think she is using him to get what she wants, it’s almost certainly the case that matters are the other way round. Virtually from the moment he appears, Renard is constantly reminding anyone who will listen that he is already dead, which suggests that the bullet in his brain has taken away more than physical sensation, but emotion as well. If this is the case, keeping Elektra as a lover, beyond his initial conquest of her, must be for purely selfish reasons. She thinks she has taken advantage of their relationship - at one point she tells Bond, when describing how she eluded her kidnappers, that she used her body and then shot lots of people, but it could just as easily be Renard speaking those lines. He uses Elektra’s body, and person, as an extended suicide bid, one final glorious two-fingered salute to the world, taking control of his destiny before the bullet in his brain does it for him. He has enthralled her by taking her virginity but doesn’t give a stuff about her. He just wants to blow things up and he sees in her a final direction in life, after being kicked out of virtually every terrorist state going for being too volatile.



That said, even though she's a victim literally corrupted by evil, she's also a manipulative and cold-hearted bitch. She exploits M’s guilt to the hilt; M, who originally told her father not to bargain with her kidnappers, M, who let her father, an old friend, die while under her watch, M, who subsequently feels personally responsible for her safety. The two women share the opinion that everything that has happened is M’s fault, and, when Elektra directly appeals to her for help, she knows that the MI6 chief will come without a moment’s hesitation. Near the beginning of the film, M tells Bond that her non-negotiation policy in regards to Elektra’s abduction “went against every instinct I had as a mother” and it is this maternal bond that she feels, but Elektra doesn’t, that is almost her undoing. (The fact the character is called Elektra is a joke: the Elektra Complex sees a daughter first turning against her mother and then, ultimately, her father as well, but here the situation is reversed, with Elektra stage-managing the death of her father before turning on the replacement maternal figure of M.) Equally, Elektra manipulates Bond, positively wrapping him around her little finger for the first half of the film. She knows what she’s doing; watch the early scenes, in which she rejects his help, knowing full well what his response will be. Her ultimate plan is to murder seven million people in Istanbul just so her oil pipe line will corner the market; you can’t get much colder than that. In all the Brosnan films the villain is ultimately capitalism and here it is personified in Elektra.

And yet, this is an ice-queen who, one suspects, would begin to melt if she let her guard down for one minute. Watch her genuine terror following the ski chase when she thinks she will be killed in an avalanche. It’s the one time we see a genuine emotion from her, and it strips away her veneer to show a very frightened, terrified little girl behind the strong-willed woman. The same little girl, one suspects, that watched in horror as Renard advanced on her to take away her innocence. Was it that moment when her emotional shield was first raised? It’s very easy to suppose so. And, as happens so painfully often, the abused becomes the abuser. One of the key lines in the film is “What’s the point in living if you can’t feel alive?” and one suspects that it is only by this plan, this evil, dastardly plan, that Elektra can feel alive now. By playing her manipulative games, by being the only player who truly knows where all the pieces on a chess board are going, she is reclaiming her independence, her feelings. In many ways she’s as emotionally blunted as Renard, but unlike Renard she doesn’t see she’s trapped, and thinks there’s a way out. Truly she doesn’t understand her predicament at all, making her ultimately a tragic figure. She doesn’t get it, which is why at the end she honestly doesn’t think Bond will shoot her in cold blood. That he does, finally releasing her, is a depressing but perhaps necessary end. Just like Renard, she died a long time ago. Unlike Renard, she doesn’t realise it.



So why doesn’t the film, which centres around this woman, quite come off? There are many reasons, but the most fundamental is that the audience doesn't get a final act pay-off to The Tragedy of Elektra. All tragedy climaxes with a moment of self-realisation on behalf of the protagonist - indeed, it is this climax that makes a tragedy truly, well, tragic - but that is completely missing here. At no point does Elektra twig she's a victim, and the final scenes of her and Bond are thus completely flat. She doesn't get a final confrontation with Renard, in which she sees him for what he is, and she doesn't even see her impending death, all of which rather gets her off the hook. It's almost as though the writers didn't quite understand what they were setting up with the character, so much so that the narrative ends up being all set-up and no resolution. The main reason one walks away from watching the film with such an intense feeling of dissatisfaction is this, that we've only seen Acts One and Two of what should have been a three-act play. At the last moment an opportunity is blown and all the good work that has gone before squandered, good for nought, which is very disappointing. The story deserved better, as did Marceau, the best performer in the film, who gives a very controlled, calculated performance that mixes coldness with a lurking vulnerability in which one can almost see the shield she's surrounded herself with to protect her.

Another problem is the fact she is surrounded by characters not worthy to share the same stage as her. Renard is a straightforward and underwhelming Bond villain, a premise rather than a fully developed character (although, to be fair, many of the great Bond baddies have been just that - hello Oddjob). The unsubtle parallels drawn between him and Bond do nothing for the character and come across as very cheap attempts at cod psychology, and Renard eventually turns out to be a purely functional device for the plot. Early on we are told “his goal is chaos” and, while an anarchist who revels in destruction for its own sake would make an intriguing villain for Bond, here it is nothing more than a lazy copout, a reason to explain his actions without having to give it any more thought. He’s doing it because he wants to, he has a death wish - yawn. He refuses to try and make the best of a bad job - unlike Bond, he doesn’t take “pleasure in great beauty” (the explanation Bond gives Elektra when she asks how he keeps going). It’s an annoying treatment of a character who, in other hands, could have been truly effective, but in the end what is the point of casting the charismatic, threatening actor that is Robert Carlyle to play what is essentially a monotone, emotionless villain? Carlyle is the almost antithesis of that persona, all his best roles coming from a fiery Celtic emotionalism that can light up the screen with its power. There’s none of that here, resulting in a casting that initially looks so good but in the final reckoning proves to be a massive miscalculation.



Secondly, there’s the problem of Christmas Jones. Now, I want to be very careful not to turn this into a bashing-Denise-Richards exercise, but really, what were they thinking? Presumably that this was a fun, ironic casting choice, only the problem is, it isn’t; what the makers see as irony the rest of the world sees as absurdity, pushing the character over the edge from slight parody to an almost-cruel mickey-take of the actress herself. Whether true or not, Richards gives off a persona of sweet imbecility, one which she finds impossible to shake off here. It’s not the problem that she is (for want of a better word) a fit girl playing a nuclear scientist; that could be excusable if one believed there was intelligence there, but with Richards that’s impossible and, together with the fact she’s not a great actress, thus makes the second half of the film at times excruciating. What on earth does Bond see in the woman? She’s a model out of a teenage boy’s fantasy, not a suitable foil for 007 and, together with her Lara Croft outfit, makes her presence a definite negative to the film. And as a counterpoint to Elektra? Don't make me laugh. It’s little surprise Elektra is so blatantly contemptuous of her ostensive rival; there’s just no contest.

Of course in the right hands, and with a bit better writing, the character could have been fine. This is what makes the film so frustrating, there’s so much potential, but for every piece of good work in it there’s a corresponding pratfall, sometimes literally. The Q scene exemplifies this perfectly. Desmond Llewelyn’s final appearance is, inevitably, a bittersweet moment. It’s amazing to think that at the time of shooting it wasn’t known this would be his last film as there is such an air of finality about it. Llewelyn, who would be killed in a car crash shortly before the film opened, had asked that his technical dialogue be cut as he was finding it hard to remember (not that he ever knew what he was talking about anyway, as he often cheerfully admitted) and so John Cleese was brought in to help out. Cleese is an awful choice; as much as we love the man, his extrovert style of comedy just doesn’t work for the innuendo-laden world of 007, and here his larks irk rather than amuse. Llewelyn, on the other hand, is perfect. He and Brosnan always had a real chemistry in their brief scenes together and, even though there was a sense that we are watching the actors rather than the characters during Pierce’s visits to Q Branch, there is a real warmth about them which allows one to embrace the slightly knowing, removal-of-the-fourth-wall performances they put in. They are obviously fond of one another, and when Q disappears down that trapdoor, after giving Bond some grandfatherly words of wisdom, it’s very difficult not to become quietly emotional about it. That part of the scene is perfect, and I’m so glad it was made, but the Cleese stuff is terrible. Like much of the film, it gets things right and wrong in equal measures.



That said, principal screenwriters Neal Purvis and Robert Wade don’t deserve the vitriol that is sometimes thrown their way by fans. Although they must never be forgiven for Die Another Day (and let’s pretend Johnny English doesn’t exist) they do provide here a genuinely good story. A lot of the concepts are great; Elektra has already been discussed, but the Renard character is a good idea too, as are some of the setpieces, in theory at least. There are far too many one-liners (although Apted in his commentary suggests this was more down to script polisher Bruce Feirstein) but the line about Bond taking pleasure in great beauty is bang on the money, and the last time we catch a glimpse of Brosnan’s more three-dimensional persona. Ultimately, their problem is not in the story but the execution. Structurally it’s uneven; there’s a huge amount of information to digest in the first forty minutes but after that matters become completely straightforward, developing in a way no different to any other Bond. Those first forty minutes are brilliant, perhaps the best period of the Brosnan era, (not least of which because of the MI6 HQ in Scotland, which makes an extremely effective alternative) but the rest is just deeply ordinary. What shouldn’t be ignored is the fact they attempted to create a genuinely melancholic, almost depressing Bond film, a radical, highly intriguing idea that is never properly acknowledged. Is it a good idea to make a miserable 007 picture? Maybe not, but I love the fact they gave it a go, and I wish they hadn’t regressed so much with their next effort. (That said, they immediately lost points for killing off Valentine, as played by the marvellous Robbie Coltrane, who was a fab character and one who built up a completely convincing, highly enjoyable relationship with Bond over two films, and therefore has been wasted).

TWINE was the most successful Brosnan picture up to that time. Although it rarely features as anyone’s favourite from that era, it pushed enough of the right buttons to secure a healthy box office, although it is interesting to note that as time has gone on critical regard for the picture has fallen away somewhat rapidly. This is a real shame as, in its own way, it’s far more adventurous than the traditional and dull Tomorrow Never Dies. After the brilliant start of Goldeneye Brosnan’s Bond never really fulfilled his potential, but this is where he came closest to making a truly unique entry to the franchise. Deeply flawed, it still makes for an entertaining watch now, with arguably the central actor’s most assured, confident performance (I haven’t really touched much on Brosnan’s performance in the main review as there’s not a lot to say; by this point he was Bond, simple as that) and at least one highly memorable moment in the Thames. It’s just a shame that viewers, having got to the opening titles, have seen the best of the film, one that gets worse the longer it goes on. The world is not enough, it seems, and neither is this film, but at times it comes damn close.




The Disks
As with all these UEs, Disk One opens with a trailer for the Ultimate Edition series, highlighting the improvement in video and audio quality, which is a bit of a pain. Thankfully, it can be skipped. The main menus are the same as in all previous UEs, with a stylised background into which slots clips from the film. Very atmospheric, and very Bondian. All the extras bar the Commentary are to be found on Disk Two.



For a look at the other menus, click here.


Everything, bar one extra in 007 Mission Control, is subtitled, including the commentaries.

Video
The film is presented in an uncut version in its original 2.35:1 ratio, although for some reason the titles sequence is slightly cropped, and doesn't right itself for about ten seconds following the end of same. The picture itself is very nice, a vast improvement on the Goldeneye transfer, with bright vivid colours that never overreach themselves, resulting in natural skin tones and nicely delineated blacks.

Audio
Again, very nice, deep and thumping. David Arnold's music, which taken on its own is a little anonymous, comes across well, and the action sequences come with a suitably convincing thump, with the ski sequence particularly coming off well.


Extras
As with the other Ultimate Edition reviews, the Extras have been broken down into New Extras and Old Extras, which has extras that have been seen on previous editions. There are five main sections on the Extras disk: Declassified: MI6 Vault, 007 Mission Control, Mission Dossier, Ministry of Propaganda and Image Gallery and which extras are in which section have been delineated accordingly.


New Extras

Declassified: MI6 Vault

Creating an Icon: Making the Teaser Trailer(4:25) Unremarkable little featurette in which Tom Kennedy, former VP of marketing at MGM, talks to camera about the making of the final image of the teaser trailer (the one with Bond standing in front of the flaming girl). Enlivened somewhat by consisting of watching a lithesome young lady strike various poses in not very much (and, given how long she apparently worked with a choreographer to achieve those poses, it seems a shame that in the final product she’s almost completely obscured by Brosnan) but otherwise standard stuff.

Hong Kong Press Conference (9:46) Surprisingly humourless conference Brosnan did to promote the film. On his own, he blathers away for about ten minutes and, aside from one moment when his ire is raised as he remembers the doubters he had to face at the time of Goldeneye’s release and his defence of Richard’s performance, this is flat and monotone, rather like his throughout.

Alternative Angles and Deleted Scenes The highlight of this section is the boat chase, which can be viewed from a variety of viewpoints or, if you wish, all angles at once, as well as an extended version of the final cut. There are eight deleted or extended scenes in all, nearly all taken from the first half of the film, and all come with introductions from Apted.

007 Mission Control
Sick of this section on these disks now, and I say exactly the same thing about each one: a complete waste of time. This feature consists of series of clips from the film, organised into various categories, namely 007, Women, Allies, Villains, Mission Combat Manual, Q Branch and Exotic Locations. Most of these main categories lead to a submenu, in which individual character clips can be selected. Each character has multiple clips, but no collection lasts more than a few minutes. The majority of this is utterly superfluous: does anyone really need to see all of Q’s finest moments collected together in one easy-to-watch package? Or all the fight scenes for that matter? Added to this the fact that some clips are repeated multiple times, and you have a section on the disk you can almost completely avoid. The only two sections with any value at all are the credit-less opening title sequences (found in 007) and the Exotic Locations which is a 3:47 length featurette with a voice over from Samantha Bond detailing trivia about the various locations (which isn’t subtitled). Other than that, pointless.

Image Gallery
The first picture in this gallery is Michael G Wilson. I’m not quite sure what that says, but it’s one of the few amusing things to note in an otherwise bog standard slide-show style gallery which is made up of on-set photos, publicity stills and scenes from the films. The gallery is divided into the following categories: Introduction, Pierce Brosnan, Sophie Marceau, Robert Carlyle, Denise Richards, Maria Grazia Cucinotta, Goldie, Bond’s Team, Behind the Scenes/Bilbao, Behind the Scenes/Q Boat and Behind the Scenes: Baku, but none of the categories have a huge collection of photos.




Old Extras

Commentaries
Two commentaries come with the film, one from Michael Apted and one from Vic Armstrong, Peter Lamont and David Arnold.

Apted's commentary is rather good. It won't make you chuckle but in the level of detail he gives about each scene, as well as more general comments about how the film was put together and what he contributed to it, it's an extremely informative track and well worth a listen. He freely admits to being overwhelmed at times at the scale of the production and, while it's not particularly candid - you won't find any very great critiques of the final product - it still gives a very good picture of the process he went through in making the movie.

The second is a little duller. Although Armstrong, Lamont and Arnold all bring different areas of expertise to the track, and all have relevant things to contribute, it's a bit more hard work to sit through, and the very fact their comments are so disparate is a weakness, not a strength. It's not their fault, however, and they have interesting things to say, but it doesn't quite gel somehow.


Declassified: MI6 Vault

James Bond Down River (25:03) In depth look at the shooting of the chase down the Thames, made at the time of production. Covering everything, from initial storyboards through to training exercises going wrong and on to the final moments of the boat clattering towards the Millennium Dome, it’s difficult to think what else this comprehensive feature could have had in it.

Mission Dossier

The Making of The World is Not Enough (15:05) The highlight of this fluff piece is the name of the hostess, Leanza Cornett, a name that would not look out of place in a Bond movie… or maybe, on reflection, maybe a Sky Kids film. Sadly her name is the only interesting thing about her, as she’s one of those American identikit hosts that gushes about whatever film they are profiling this week in this extended trailer. You know you’re in trouble when she tells a bored-looking Brosnan in amazement that Bond has its own section in her local video store. “Yes,” says Brosnan, possibly wishing he really did have a license to kill. Dispensable.

Bond Cocktail (22:50) Not a guide to making the perfect vodka martini (which would make a good extra), instead this purports to be a more general look at the elements that make up a Bond movie but ends up being another Making Of, with nearly all the illustrations of such categories as “Villains, Girls, Gadgets” and so on being from TWINE, so acts as a better version of the first documentary in this section. Surely someone taking the mickey when playing Michael G Wilson’s comment about intellectual adversaries over a clip of Donald Pleasance’s Blofeld?

Tribute to Desmond Llewelyn (3:13) “Balls, Q?” Highly amusing collection of Q clips from down the years, set to “Nobody Does it Better.” As this feature has been on every DVD release of TWINE you’ve probably already seen it, but it’s always worth another look - never fails to make me chuckle anyway.

The World is Not Enough Music Video by Garbage Shirley Manson does not have a look typical of Bond girls and this video is not typical of Bond music videos either. The plot sees a robot replica of Manson infiltrating a high class gig and replacing the singer, with the intended purpose of blowing the concert hall up. As I love Garbage this scores with me, but there’s no escaping the fact it doesn’t feel very Bond-like which, together with TWINE clips thrown in besides the action, almost as an afterthought, makes this video less than a success in this context. Still a fab song though.

The Secrets of 007: Alternative Video Options Now, I’ve listed this under Old Extras but there’s a catch. In the SE (and, I seem to recall, the original issue of the film on DVD), this was an extra incorporated into the film itself, ala the White Rabbit option on The Matrix disk. When the appropriate scene appeared on the film, you could switch over to watch these. That option is no longer present; these sections are only to be found on Disk Two, which is disappointing, so now it’s just a collection of sequences from the film re-edited to show such things as alternative angles, original storyboard comparison, and alternative cuts, all set to music. The nine sequences are titled Opening Jump, Boat Chase, Main Title, Hologram, Ski Scene, X-ray Vision, Nuclear Facility, Caviar Factory and Submarine. Vaguely fun to watch, but not as much as if it had been within the film context.

Ministry of Propaganda
A single two-minute theatrical trailer here makes for slim pickings in the trailer park section of this Bond disk.


Missing Extra
The SE also had a trailer for a Playstation Game which is now AWOL.


Overall
Ultimately it’s not a satisfying film, but there are some nice extras to be found on this edition, although to be fair none of the new ones are really worth upgrading for if you’ve already got the Special Edition. The picture quality and audio might persuade you to, but really there’s not as much in it as you might expect. Still, if you haven’t filled this gap in your Bond collection, it’s worth a purchase.

Film
7 out of 10
Video
8 out of 10
Audio
9 out of 10
Extras
7 out of 10
Overall

7

out of 10

Last updated: 19/04/2018 04:55:51

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