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The Brosnan Era was underway. The legal issues that had derailed Dalton’s spin in the Aston were seemingly over, and Brosnan’s first outing, GoldenEye, was a commercial and critical smash. Most importantly, Brosnan had been embraced by fans as the new 007. So, where did they go next? It was still the 1990s and the world was a very different place to the one Moore, or even Dalton, had inhabited. The race was now on to ensure Bond moved with the times. Looking East, and looking to the headlines, Tomorrow Never Dies started to take shape…
Tomorrow Never Dies – Behind The Scenes
Albert R. “Cubby” Broccoli was dead.
His health had been in decline for a number of years, not helped by the myriad of lawsuits that had kept his beloved franchise off the screen for too long. He had taken a back seat, to a degree, for the making of GoldenEye.
One of the last things Cubby did before his passing was to make sure that the next Bond adventure after GoldenEye was greenlit. It was greenlit before GoldenEye was even released. Following the immensely positive public reaction to the GoldenEye teaser, he pushed the studio to make sure things were in progress.
Eon then started to feel the pressure. MGM had a new owner in the shape of billionaire Kirk Kerkorian, and he wanted the film’s release to coincide with their public stock offering. The clock was ticking, but after the success of GoldenEYe, the producers were determined not to push out anything that they felt wasn’t good enough.
The producers tried to persuade GoldenEye director Martin Campbell to return, but he didn’t want to direct two Bond movies in a row, choosing instead to make The Mark Of Zorro.
Instead, they turned to a director who had been in line to potentially direct Bond 17 – before it became GoldenEye – when Dalton was still in the role: Roger Spottiswoode.
While the director was being onboarded, work was already underway on the potential story.
Donald E. Westlake is widely regarded as one of the great crime writers of the 20th Century, with three Edgar Awards and named as a Grandmaster by the Mystery Writers of America. He also received an Academy Award nomination for his screenplay for The Grifters.
He drafted a story outline driven by the transfer of Hong Kong back to China, as per the terms of their agreement. A businessman who was to be ruined by the transfer would take revenge on both Britain and China by destroying the colony.
John Cork and Richard Smith also took a run at a screenplay. Plus, MGM had a script based on the Hong Kong handover. The issue was that the transfer was to happen in July 1997, and the movie was due that December. The moment would have passed by six months. As a result, the decision was made to go back to square one.
Westlake used some of his ideas in a novel that he completed the next year, though it was not published until 2017, under the title Forever and a Death.
Bruce Feirstein was brought back after the work he did on GoldenEye and used his own experiences in journalism and having been transfixed by Sky News and CNN’s 24-hour news coverage of the Gulf War a few years earlier.
Part of America’s scarred psyche from the Vietnam War was from that war being the televised war, allowing people back home to see the horrors of conflict up close, and with reports outside of the control of the US military and government.
Feirstein understood that reporting for the Gulf War had been very open, with embedded journalists and many briefings, yet also incredibly tightly controlled to prevent a repeat of Vietnam-style opinions forming back home. He was fascinated with the idea of controlled narratives shaping world events. He stated he aimed to:
“…write something that was grounded in a nightmare of reality.”
Feirstein’s script was then taken by Spottiswoode and used as the basis for brainstorming by seven Hollywood screenwriters at a special workshop in London. It was then rewritten by Star Trek II: The Wrath Of Khan director Nicholas Meyer based on that output.
After Dan Petrie, Jr. and David Campbell Wilson also made some amendments, Feirstein was brought back for a final polish. The issue was that this all took time, and the release date was locked. As a result, Producer Michael G. Wilson said:
“We didn’t have a script that was ready to shoot on the first day of filming.”
Brosnan similarly recalls:
“We had a script that was not functioning in certain areas.”
One thing they did have was a title. Inspired by the Beatles’ song Tomorrow Never Knows, the title was locked in as Tomorrow Never Lies. However, when the title was faxed to MGM, it was unclear and they interpreted the title as Tomorrow Never Dies. When this was pointed out to them, MGM preferred the incorrect title and insisted it was kept.
For the first time in a long time, there was no question over who would be 007. Pierce Brosnan was locked in a contract. With the lead settled, attention could turn to other roles. After a near miss with GoldenEye, they once again turned to Sir Anthony Hopkins and offered him the role of Elliot Carver. Hopkins was already committed to The Mask Of Zorro, so he had to decline.
Feirstein based the character on Robert Maxwell when writing, but Spottiswoode came to consider him as a version of Rupert Murdoch. To bring him to the screen they turned to Olivier and Tony Award-winning stage actor Jonathan Pryce, who had carved out roles on screen ranging from Brazil to Evita.
For the role of Paris Carver, Brosnan tested with Monica Belluci and favored her, but the studio insisted an American actress must play the part. Teri Hatcher was playing Lois Lane on the television show Lois & Clark: The New Adventures of Superman, where she was voted the “Sexiest Woman on Television” by readers of TV Guide.
Brosnan and Hatcher did not have a very warm relationship on set. Hacher was three months pregnant at the time. Brosnan did not know and was annoyed by her timekeeping. When it later emerged this was due to her pregnancy, Brosnan apologized profusely.
Brosnan did, however, have a great relationship with Michelle Yeoh. Natasha Henstridge was rumored to be cast in the lead Bond Girl role, but the story dictated that she had to be able to pass as Chinese. This led them to Chinese-Malaysian Yeoh who was famous in Hong Kong cinema.
Brosnan was impressed, describing her as a “wonderful actress” who was “serious and committed about her work”. She was not used to Western restrictions on stunt work and wanted to do all her own stunts as she had in Hong Kong. The insurance company had other ideas.
The rest of the cast features quite a few actors who would go on to big things, such as Gerard Butler as a crew member on the HMS Devonshire, Hugh Bonneville as the Captain of the HMS Bedford, and Julian Fellowes as the Minster Of Defence.
They had planned to shoot again at Leavesden Studios, the studio Bond itself had established from an abandoned Rolls-Royce factory when making GoldenEye, but George Lucas had booked it completely for The Phantom Menace. Instead, they followed their GoldenEye blueprint and simply built what they needed on a derelict industrial site next to Leavesden, in the process expanding the studio.
The famous 007 Stage at Pinewood Studios was also used. For the water scenes, they used the tank built for the recently completed Titanic in Baja California. For the U.S. Air Base in the South China Sea, they used the American airbase at RAF Lakenheath. The USAF supplied the helicopter Bond arrives on.
The Royal Navy allowed the use of HMS Westminster, a Type 23 frigate, which stands in for the various British vessels at several points in the movie.
It wasn’t all plain sailing. The production had received permission to be the first major Western movie to shoot scenes in Vietnam since the war. At the last minute, permits were revoked. This was thought to be because members of the ruling party viewed GoldenEye and were not impressed with the Communist iconography seen tumbling down or being destroyed during the title sequence.
Instead, they moved filming to Bangkok, standing in as Ho Chi Minh City, and also revisited the bay from The Man With The Golden Gun to film the search for Carver’s stealth boat.
They spent three weeks in a car park in Brent Cross, London, filming the car chase sequence with it doubling for Hamburg, although the finale and jump was filmed on location in the German City.
After Eric Serra’s poorly received score to GoldenEye, they went back to basics for the music. John Barry was to return, but they could not agree on his salary. So instead the producers took a decision that would turn out to be an excellent one.
A young, up-and-coming, composer was getting great notices for his work on movies such as Stargate and Last Of The Dogmen. David Arnold was also a huge James Bond fan and had even produced an album, Shaken And Stirred, The David Arnold James Bond Project. Barry personally recommended Arnold to the producers and he jumped at the chance. Arnold would eventually score five Bond movies in a row.
The film had a World Charity Premiere at The Odeon Leicester Square, on 9 December 1997; this was followed by an after-premiere party at Bedford Square, home of original Ian Fleming publisher, Jonathan Cape.
Tomorrow Never Dies went into general release in the UK and Ireland on 12 December and in most other countries during the following week. It did huge business everywhere, with audiences really responding to the return of Bond to the big screen following the post-Dalton hiatus. Brosnan was a fan favorite.
The only thing that kept Tomorrow Never Dies off the various number one spots was the little movie it opened opposite. You might have heard of it. James Cameron’s Titanic.
Do You Expect Us To Talk?
Stark: So I have to declare early, I really dig this one. There are a lot of reasons. It is an often forgotten and overlooked Bond entry but I think it is a damn fine addition to the Bondian pantheon. Check me out using these big words!
Wrenage: I remember seeing Tomorrow Never Dies in the theater in 1997. I had no major problem with it. The movie had its share of critics, though. For one, naysayers found the villain ridiculous.
Stark: Way ahead of it’s time!
Wrenage: Low and behold, we now see disinformation and fake news recognized as actual threats to society.
Stark: I think people still genuinely had a lot of trust for the press back then. Nowadays, if any television news anchor told me it was raining, I would check out the window. I am sure we will talk more about Elliot Carver soon…
Wrenage: Tomorrow Never Dies also got labeled as a dumb action movie. This criticism is not unfair. In this regard, I tend to group Tomorrow Never Dies with License to Kill and Quantum of Solace. Not because those movies are dumb, but because all three tend to commit more energy to the action side of the Bondian equation.
Stark: The word I would use is “Propulsive.” There is very little fat and it moves fast The story is explained on the move and we jump through the hoops with Bond, all against the feeling of urgency from the 48-hour deadline set by the Minister. There is very little stopping and waiting while exposition is delivered. It happens at pace, as the movie moves forward. You know who else makes movies like that? James Cameron.
Wrenage: Does all of this mean that time has been kind to Tomorrow Never Dies, and it will creep up in the rankings from a place of general dismissal to greater respectability?
Stark: I hope so. I have been singing the praises of this overlooked Bond movie for years. It would be nice to see a few new recruits over to my side of the fence.
Ranking And Rating
Let’s get to the ratings and rankings. Wrenage and Stark will give their opinions on the Bondian elements found in Tomorrow Never Dies and come up with a score and ranking to place them appropriately in their league table of all things Bond.
Bond
Stark: Now I didn’t have a major issue with Brosnan in GoldenEye like you did, but even I can see that he has settled more confidently into the role this second time around.
Wrenage: Brosnan must have attended Bond School after GoldenEye. He is sooo much better in this one that it is a night-and-day difference to my eye. Maybe Brosnan didn’t have his sea legs on GoldenEye. Maybe he didn’t have good direction. Maybe both. Maybe neither.
Stark: He doesn’t seem to be trying as hard, and as a result seems more confident and relaxed.
Wrenage: Regardless, my problems with him have been solved. Brosnan takes the role and makes it his in Tomorrow Never Dies. He is confident, charming, intelligent, and ruthless. He is also much better at quips this time around. He isn’t delivering the jokes with an unspoken apology. He simply serves them up, and lets the chips fall where they may. Even his haircut is better. Way too bushy in GoldenEye. He looked like he was growing his hair out to audition with the Monkees. His suits are better, too.
Finally, Brosnan’s barrel sequence is also the best to this point. Welcome to the role, Pierce. You are absolved for GoldenEye.
Bond Girls
Wrenage: Like GoldenEye, Eon tries to give Bond a bit of depth in this one. Paris Carver is revealed to be one of the women he actually loved.
Stark: I don’t see it as loved. Sure, they had a relationship in the past, but I don’t think she was really loved.
Wrenage: You don’t think she breached Bond’s armor, joining the likes of Tracy Di Vicenzo and Vesper Lynd?
Stark: Not really. She knows he sleeps with a gun under his pillow and isn’t what his cover at Carver’s party says he is. He left her with the word’s “I’ll be right back…” and then never returned. I don’t think she was anything other than a past fling. One of his many notches on the bedpost.
Wrenage: If she was one of Bond’s special ladies, she doesn’t get a chance celebrate this achievement. She is barely in the movie, which is maybe for the best. Hatcher doesn’t fit in the Bond universe. She gives off more of a cheerleader vibe than a sophisticated vibe. Who else could they have cast in that role at that time? Catherine Zeta Jones? Gwyneth Paltrow? Emmanuelle Beart? Madeline Stowe? Not sure, but Hatcher is not quite right. She is more a light-hearted, comedic actress.
Stark: That pesky studio insisting on the current “thing” from TV, whereas Brosnan wanted Monica Belluci.
Wrenage: Oh, man, Monica would have been perfect! Miss opportunity there.
Stark: Whatever anyone’s feelings about Hatcher in the role, her character does give Brosnan, to my mind, his best sequences as Bond in his entire run.
He is kinda flippant with her when they meet. However, his waiting in the hotel room like a coiled spring, knowing somebody will come, is excellent. He also shows genuine regret when he finds her body. The sequence with Kauffman is exceptional, brutal, and cold. I don’t think Brosnan has ever been better as Bond than he was in those Hamburg sequences.
Wrenage: Not even Connery achieved that precise level of coldness.
These kind of scenes allow Brosnan to display a glimpse of the toll being married to Queen and Country takes on Bond. His relationship with Paris Carver is nothing that slows the movie down, though. Five minutes after she dies, Bond is laughing it up while laying waste to bad guys with his remote-control car. Hmmm, maybe you are right and he didn’t love her…
As for Michelle Yeoh, I was under the impression she got the role because of Crouching Tiger, Hidden Dragon. Turns out Tomorrow Never Dies came out three years before that movie, so Eon got to her first.
Stark: I was the same. I got the order all messed up. Then again, I also thought Arnold scored Wing Commander before he did this as well, and I was wrong about that, too!
Wrenage: Regardless, they really lean into Yeoh. She has entire action sequences where she is off by herself, sans Bond, and slaying cannon-fodder bad guys. She is mostly entertaining. Petite women wrecking men onscreen is often, and correctly, mocked. Yet, Asian women can get away with it. Why is it that when an Asian woman is handed a machine gun or sword, everyone buys it?
Stark: Secret ninja kickass-ability exemption. It’s a thing.
Wrenage: Meanwhile, Judi Dench as M is less of a cast-iron bitch in this one. Except for one joke, her gender is mostly irrelevant. She is just a professional doing her job. Like Brosnan, Dench is much better on her second attempt. I also absolve her for GoldenEye, as well.
Stark: I bloody love her in this! Her back and forth with Admiral Roebuck is great fun – “What the hell does he think he’s doing…?” – “His job”. Roebuck was played by Geoffrey Palmer, and Dench was appearing on television with him in a sitcom at the time. I think that helped.
Villains
Stark: Another role they talked to Anthony Hopkins about. A lot of critics knock Pryce’s portrayal, but I think he gets it – gets that a Bond villain is allowed to be a bit theatrical and can look like they are having fun causing mayhem.
Wrenage: Jonathan Pryce is suitably hammy as Carver. The only thing holding him back from being more fun is that he doesn’t get to play a wolf in sheep’s clothing. Carver is the bad guy from his first scene. His plan is known from his first scene. Bond knows Carver is bad upon their first meeting. Pryce is always and only in evil mode, kind of like when the camera pans to him during Ricky Gervais evisceration of the room at the 2020 Golden Globes.
Stark: That is something else I love about this movie. I have mentioned the sense of urgency, driven by the 48-hour deadline and reinforced through the M briefing being in a speeding car with motorcycle outriders zooming away from the Ministry Of Defence back to MI6 through London. Bond doesn’t sneakily infiltrate, or spend half a movie investigating. He only has 48 hours. He basically gets straight in Carver’s face and tells him he knows he’s a shitbag to provoke a reaction. And Carver goes for it, thus revealing himself.
Wrenage: Pryce gets some good lines, too.
He’s my new anchorman!
As for the henchman, he is not as memorable. I call him Strong Billy Idol. He is played by Gotz Otto. Strong Billy Idol is no Odd Job, Jaws, or Tee Hee. He is simply a physical presence for Bond to eventually face off against. He needed more of a personality and perhaps some sort of gimmick. Maybe they should have given him a peg leg or something that doubles as warclub.
Stark: They do give him a love of the mystical art of Chakra torture.
Wrenage: In that case, maybe his peg leg could have doubled as a Chakra implement.
“This one is for the body’s center of intelligence!”
Then Strong Billy Idol proceeds to kick people in the buttocks.
Helping Strong Billy Idol out in the henchman department is Ricky Jay as Carver’s IT guy. Jay also doesn’t have a great deal to do. Sadly, none of his magician skills are put on display either. They tried to implement Jay’s ability to throw playing cards into the movie. Jay was a great card thrower, able to pierce the skin of a watermelon.
Producers couldn’t think of a way to do card throwing in the film that wasn’t cheesy, however. I didn’t realize Jay died in 2018. Too bad. He was a great performer.
Stark: Jay has another fun line – “Perfect employee record, crossed every T, dotted every I – so he’s a government agent.”
Plot
Stark: As we have said, way before its time and looking eerily prescient these days. Another thing I dig about this movie, the megalomania is still exactly that, but feels wierdly grounded and based on nothing but personal gain for the villain.
Wrenage: The plot is something that brings Tomorrow Never Dies down a couple of notches. Carver’s plot is dastardly and devious, which is great. Yet, the plot is essentially over by the third act. Heck, maybe the plot is even over by the second act. The movie then becomes a bullet-riddled explosion fest.
Stark: That was one of the main criticsms at the time, that it’s too much of a 90s action movie in the finale rather than a Bond movie. But the late 80s included action movies like The Rock and Face/Off so that’s not always bad.
Wrenage: When the critics ding the movie for becoming a mindless action film, I can’t really disagree with them. Even I grow a bit tired of the explosions at the end of Tomorrow Never Dies. Part of the problem is there are no interesting way to blow up superstructure. It is just fires and sparks among girders with metal-bending sound effects. Explosions outside can at least blow up dirt, buildings, vehicles, etc.
All men love a good cutaway – fact!
Stark: At least it’s got the same sense of urgency. Carver’s stealth ship needs to be revealed before the Chinese and the British make a terrible mistake.
Wrenage: While we are here, this is as a good place as any to mention Bond’s rescue of Michelle Yeoh’s character at the end of the film. That seemed like it came out of a totally different movie. Diving down to her underwater and giving her a kiss of life was played up for dramatic effect in a way that I don’t think I have seen in a Bond movie up to this point.
Usually, Bond’s rescue of maidens is pretty perfunctory. This was chick-flick stuff.
Stark: Maybe they had one eye on Titanic… which would have been a smart move seeing how that turned out.
Wrenage: Do you think Yeoh was bound by some Chinese codes of conduct? She is definitely not as sexualized as Bond girls before her. Nary a slinky outfit in sight. She is even fully clothed in her “shower” scene.
Stark: I think there is definitely something in that. I don’t know, but I could see it.
Action Sequences
Wrenage: They really amped up the action in this one, and it is well done. Viewers get plenty of fisticuffs (I particularly like when Bond hoists a cello to go WWE on a guy), a car chase (which is given the wrinkle of being via remote control to give it a unique spin), an over-the-top motorcycle/helicopter chase and shootouts to the point where Bond and Yeoh are double-fisting weapons.
Stark: The fight in the music studio is one of my favorites. I like how it happens in silence on the other side of the glass. I also like Bond weighing up the ashtray and checking how solid it is before braining the guy calling for help on the radio with it.
Wrenage: You even get skydiving and underwater diving. For the most part, the movie adequately straddles the line between somewhat realistic and ridiculous. Some sins exist, though. For example, a hood ornament that doubles as a cable cutter seems a bit unlikely. I also suspect that using helicopter blades like a street sweeper would probably unbalance them a bit, but whatever.
Overall, the action is well-filmed. It is not edited into confusion. The geography of the scenes is clear. Roger Spottiswoode obviously took what he learned from Stop! Or my Mom Will Shoot and put it to good use in these scenes.
Or did he? A great British stuntman, who worked on Indiana Jones movies, Bond movies, Superman movies, and more, was second-unit director on Tomorrow Never Dies.
Vic Armstrong is likely the reason why the action looks so good on Tomorrow Never Dies.
Stark: Armstrong is a legend of cinema, but a quiet legend who lets others take all the credit.
Pre-Title Sequence
Wrenage: This is a pretty great pre-title. You get Bond on a mission. It has lots of action and a ticking clock to keep up the suspense. Ultimately, it flirts with being a bit goofy at the end, though.
Stark: Probably the only thing that stops it being perfect, to me, is the ejector seat finale. Then again, as it feels straight out of a Roger Moore entry in the series, other’s mileage may vary.
Wrenage: Yep, that is exactly what I was talking about, too. The part where Bond is dogfighting by piloting the plane with his knees is also a bridge too far. It is another example of a Bond sequence just missing out on great by not knowing when to pull back a bit. They needed a Fitzgerald on these films. Murder those darlings, baby!
Stark: Then again, somebody saying “Enough!” and dialing it back to sensible levels happened a lot for Craig’s run and other people complain they’re too serious.
Theme Song And Score
Wrenage: Sheryl Crow’s crooning is solid. Her song has a great 60s vibe delivered with modern production. She does a nice job of capturing the feel of a classic Bond tune while being poppy at the same time.
Stark: It’s just Bond enough, without it falling into the trap of just being a “Bond Song”. David Arnold put a song in with KD Lang but that was rejected as the theme. Instead they used it over the closing titles.
Wrenage: As for the movie score itself, David Arnold nails it. He elevates the movie during the emotional and action beats. Plus, he isn’t afraid to reference the classic Bond theme. It is great to hear that dirty guitar riff that has come to represent Bond as much as dun-dun represents Jaws.
Stark: Arnold plays it himself on the guitar on the soundtrack too. An old school friend of mine worked on all of Arnold’s Bond scores with him. I used to get all sorts of inside information as my friend knew I was a fan.
X-Factor
Wrenage: I finally noticed that the guy who gives Bond his HALO lesson is Apone from Aliens. How did I miss that all of these years?
Meanwhile, Desmond Llewelyn is starting to wind down as Q, yet he is more lively in this one than his last outing. In GoldenEye, you can see Llewelyn looking to cue cards to avoid getting lost in his scenes. Here, he seems fully engaged and glad to be there.
Bond also ditches the PPK in this one and switches to the P99. He would mainly use the P99 until Quantum of Solace. Then Bond would return to the PPK.
Stark: Walther had a new gun to sell!
Wrenage: It was good marketing. I bought one!
Stark: So the exam question on X-Factor is, does the 1990s sheen stop Tomorrow Never Dies from having that Bond feel? I say no. It’s a full-throated 007 affair to me, but then again I am biased as it’s a personal favorite of mine from the modern Bond era.
Wrenage: No arguments from me. I have always been pro-Tomorrow Never Dies. Not only was the movie ahead of its time, but we were, as well. Are you reading this Barbara? You need to hire us as consultants. We promise not to make any production assistants cry. Okay, I made that up. Of course, we will make production assistants cry. But that will sort out the real ones from the namby-bamby ones.
Scoring Breakdown
Stark
Wrenage
Bond
8
8
Bond Girl
7
7
Villain
6
6
Plot
7
4
Action Sequences
7
7
Pre-Title Sequence
7
6
Theme Song
6
7
X-Factor
6
5
TOTAL
54
50
Stark: I always thought that my love of Tomorrow Never Dies was some sort of shameful secret I was alone in. Also, applying this scoring method to it, I was quite surprised to see it rank quite so high for me. Personally, I think this is still my favorite Brosnan outing and, to me, probably Brosnan’s best individual Bond performance.
Overall Rankings
Last time around, there was a difference of opinion between Stark and Wrenage. This time the gaps seem to have narrowed. Tomorrow Never Dies makes it as high as the second tier with both a respectable score and a respectable position.
First Tier:
From Russia With Love (61.5)
On Her Majesty’s Secret Service (61)
The Spy Who Loved Me (59.5)
Dr. No (56.5)
Licence To Kill (56)
Second Tier:
Goldfinger (54.5)
Thunderball (53.1)
Live and Let Die (53)
Tomorrow Never Dies (52)
You Only Live Twice (51.5)
For Your Eyes Only (51.5)
Third Tier:
Octopussy (51)
The Living Daylights (50.5)
Moonraker (48.5)
A View To A Kill (48)
Fourth Tier:
GoldenEye (47)
The Man With The Golden Gun (38.5)
Diamonds Are Forever (34.5)
Wrenage: Now we have a conundrum. You Only Live Twice and For Your Eyes Only are tied. One of them needs to move down a tier. What will we do?
Stark: I say let that tier run a little hot and see if it takes care of itself as we enter the home straight here? A couple more entries higher up, and they both drop.
That’s A Wrap
Wrenage: ‘Twas fun to revisit Tomorrow Never Dies. It scores surprisingly high, perhaps even overperforming a smidge. It doesn’t seem to deserve to be that high, but the scores are the scores. I still think it would be fun when all is done to have the official list at the end and then do personalized shuffles on how we think the films should be ranked according to our biases. That ought to sooth your angst for GoldenEye moving down to the fourth tier!
Stark: I still refuse to accept that, and The Living Daylights. I also imagine fireworks are coming as we start to tackle Craig’s run. It’s all just so staggeringly unfair and yet unarguably governed by structure and the scientific method. Dammit!
NEXT TIME… Brosnan is back. Is the third time a charm for The World Is Not Enough?
Meanwhile, check out the rest of our Bond On series as we take a walk through all the Bond movies in order: Dr. No, From Russia With Love, Goldfinger, Thunderball, You Only Live Twice, On Her Majesty’s Secret Service, Diamonds Are Forever, Live And Let Die, The Man With The Golden Gun, The Spy Who Loved Me, Moonraker, For Your Eyes Only, a two-way Battle Of The Bonds for Octopussy and Never Say Never Again, A View To A Kill, The Living Daylights, Licence To Kill, and GoldenEye.
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