GoldenEye (1995)

The film is a confident return to classic Bond form after the series' 1980s struggles, packed with stunts, chases, and action sequences. It singles out Famke Janssen's Xenia Onatopp as the standout element and calls it the best Bond movie since On Her Majesty's Secret Service.

The critic declares Bond back in business with a dynamic action entry that breathes fresh life into the series through smart repositioning for the 90s. Brosnan makes a solid debut, the director keeps momentum high with coherence and energy, and the stunt work is terrific, especially the opening bungee jump.

The critic praises GoldenEye for successfully updating the Bond franchise with self-aware humor and more progressive sexual politics suited to a post-Cold War world. It singles out the film's handling of Bond's chauvinism, including M's memorable rebuke of him as a 'sexist misogynist dinosaur,' for helping refresh the character.

The critic notes that M's description of Bond as a sexist, misogynist dinosaur rings true, yet praises Brosnan for establishing himself as the best Bond since Connery by emphasizing loyalty and patriotism. Highlights include Judi Dench's debut as M, Famke Janssen's memorable villain, and a standout tank chase in St Petersburg.

The critic praises the film's renewed vigor and top-drawer action sequences in this successful relaunch of the Bond series with Pierce Brosnan, while noting it gets bogged down in secondary characters and has disappointing villains.

The critic notes that the film follows the classic Bond formula with spectacular stunts but marks a shift as the first self-aware entry that acknowledges the absurdity of its hero. Brosnan’s Bond is portrayed as more sensitive and vulnerable than previous iterations, though the overall experience is entertaining without full engagement.

The critic finds a fair bit to enjoy in this 1995 Bond film reissued for its 30th anniversary, praising its post-Soviet self-awareness, high-octane action and introduction of Judi Dench as M. It is described as best experienced on TV over Christmas, with some reservations about Pierce Brosnan in the role and the sketchy plot details.

The review observes that GoldenEye updates Bond for the post-Cold War era with new characters and moral dilemmas while retaining classic elements like Q and globe-threatening villains. It notes Brosnan excels in action but seems less assured in introspective scenes, with Campbell maintaining a brisk pace and evoking the style of earlier films.

The critic finds GoldenEye an acceptable but unoriginal Bond entry that feels weary and like a reasonable facsimile of the formula. It singles out the strong pre-title sequence and Brosnan's self-confident swagger as highlights amid the familiar explosions and plot turns.

The review finds Brosnan’s Bond viable in a 90s style but criticizes the film for lacking the Cold War context and classic Bond theme, resulting in flat dialogue and a series that still suffers from the blahs. It praises the reliable action sequences supplied by director Martin Campbell without special flair.

The critic views GoldenEye as a schizophrenic film that both honors and trashes Bond traditions, ultimately feeling like a mindless exercise despite some ironic touches. It singles out the impressive pre-title bungee jump sequence for its sense of excess and excitement.

The critic calls GoldenEye a mostly triumphant return for the franchise after a long hiatus, praising its brio, strong villain in Sean Bean’s Alec Trevelyan, and the entertaining action sequences despite some flaws like pacing issues in certain scenes.

The critic finds GoldenEye a decent, effective re-launch of the Bond series with fresh post-Cold War elements and self-aware moments, but notes it lacks enough originality to rank among the most memorable entries. Brosnan makes a charming Bond and the action sequences impress, though the film largely sticks to the familiar franchise formula.