Lethal Weapon II (1989)

Ahhhh. So the need to be politically correct is still nowhere to be found as the cops at the precinct are taking bets in a high-speed car pursuit involving shooting. Very promising.

The ominous introduction of our villain and the following acts set up the same darkness as the first installment. Unfortunately, this time around they fail to pull off a credible darkness throughout, destroying the flow and credibility. Nothing is worse for that flow than Pesci's Leo Getz. Not a bad character as comical relief, but there is no need for comical relief here, and most of the interaction between Gibson, Glover and their colleagues is much, much funnier than anything Pesci brings. all of a sudden there are mass assassinations of cops in most brutal ways. Pick a lane and stay with it please.

Joss Ackland as the villain has a nice few couple of scenes in the first half, but as time goes by he's more and more of a cartoon. His main henchman, portrayed by Derrick O'Connor, does little to aid.

Worse though, is the romantic interest. Patsy Kensit is, quite frankly, a ridiculous match to Gibson with her fragile appearance and demeanor. So she's the "first half" Bond-girl. Some flirting, some bedtime and some permanent bedtime. At least she won't be back and she gave Gibson some angry motivation. Besides, a buddy-cop really doesn't need romance.

The humor is much lighter this time around, with the condom-gags a particular highlight. Hilarious.Generally, there is still absolutely nothing wrong with the chemistry between the two leads, whether it's for dramatic, suspenseful or (hooray) comedic effect.

They try to insert a racial sub-story here, but they're just not willing to spend enough energy and time on it to make it believable and interesting. Even worse is the lame attempt to solve the "murder" of Riggs' wife with a couple of random sentences.

So to the set pieces. The original car chase is most delightful, the second somewhat drab and daft (with a key piece busted on "Mythbusters"). A real treat, though, is the toilet-scene. Wonderful suspense with some good jokes and prime acting thrown into the mix. The big whoop however is the end game. Very nicely executed from start to finish leaving you wanting a third installment.

This is not a a bad film, it has action and humor a-plenty, just not always the right types at the right times. But considering the prequel, it is still somewhat of a disappointment

6/10

Lethal Weapon (1987)

After having seen the whole franchise many years ago a return to the beginning of it all made me surprised how dark this flick is. At times it's utterly pitch black.

First things first. Villains! Though Gary Busey earned his only nomination for an Academy Award as Buddy Holly, I sincerely feel that Mr. Joshua is the best he has offered us in his career. A meticulous character of great villainy with just the right dose of absolute psychopath makes for a fantastic adversary to our friends.

As far as the buddy-cop-genre goes, there is nothing more important than the chemistry of the two leads. In this movie, Mel Gibson and Danny Glover deliver in full. Gibson as the emotionally unstable gung-ho semi-suicidal rogue and Glover as the methodical family-man with a whole different set of problems to tend to.

The earlier mentioned dark side of this action-flick is established pretty early on. With an absolutely heartbreaking scene of Gibson shoving a gun in his mouth during a Bugs Bunny Christmas Special with a picture of his deceased wife on his lap. He ultimately buckles under and throws the gun away, sobbing. There are more subtle clues too, though. Watch for Gibsons reactions as he on several occasions early in the film escapes from extremely dangerous situations before the botched suicide. Some gloomy and rather unpleasant torture-scenes of our heroes make for another surprisingly dark twist.

In addition to Gibson's lunacy giving the movie a lot of its dark edges it also works great on the comedy front. "You're not trying to draw a psycho-pension. You really are crazy. "

It's hardly politically correct, ridiculing psychology as a science (and in most other ways), making (funny) gay jokes and providing elements of HR no boss today would be caught saying. Personally, I find it funny. Even more funny is Gibson's relentless teasing of Glover. Pure comical gold. There are no romantic side-stories here, no unfunny comic relief, just a great cast, a good story and some very apt directing.

With an absolutely epic stand-off between Gibson and Busey, this is a gem of an action/suspense-movie and one of the best of its genre.

8/10

Stripes (1981)

Ah. The wit of Ivan Reitman. There aren't many reasons to like the Eighties, but Reitman and his team is such a reason.

The misanthropy of Bill Murray is as good as ever through the first hour of the movie. His carelessness, cynicism and utter lack of self-respect (not to mention respect of others) is spot on and Harold Ramis as his enabler is as good as he always was in these parts (he had quite a few). Look at Trey Parker and Matt Stone in some of their pre-episode scenes and see if you can't spot a few things they've taken from this flick.

Generally, there is a lot of comedic talent here, with Judd Reynolds, John Larroquette, John Candy and Sean Young and most of them are funny. As far as drill sergeants there is really only one, but Warren Oates is not at all a bad match to Murray's antics.

As this is an eighties-comedy, naturally there are titties galore. Strange that... there were more breasts in comedies 30 years ago than now. No wonder I hate modern comedy. And to seen John Candy mud-wrestle six models, well that never gets old does it.


The gals even provide some cute romance here. Worth a smirk and a smile as Ramis and Murray play to their strengths, making the girls giggle and put out.

As much as you want this movie to escalate in humor, it gets lost in morals and a manuscript that runs on the leftover-fumes of better comedies. First after the usual 90 minutes a comedy is supposed to last (it would have been so much better with the last 25 minutes) and then again as director Ramis simply can not seem to end at a sensible time.

Elmer Bernstein composed an epic loser-track, and a most humorous comedic action track, most worthy of mention.

Though the thought of a military-SUV is a brilliant one, it's just not enough to justify another half hour, particularly as the film's strong suit is comedy, not suspense. Thus making this a good comedy that wouldn't end rather than a great one.

7/10

The music of James Bond

The Music, or rather the Songs, of James Bond

Nothing is better for my motivation to write than someone else screwing up. So, in honor of James Bond and all those associated with the music  from these (mostly) fantastic films, I have decided to write a short review of all the songs from the series, chronologically of course.

Dr. No (1962)

Monty Norman - The James Bond Theme

No real song, but the infamous James Bond theme originated here. There is still some controversy surrounding who actually wrote this, as Barry refused to deny rumors that Monty Norman had taken undeserved credit for it all these years. Nevertheless. This is an absolutely haunting theme, repeated in countless variations over the years. Only John Williams' main theme from Star Wars comes close to the James Bond theme in fame. And it's not really a close call, just somewhat. Brilliance!

10/10

From Russia with Love (1963)

Matt Monro - From Russia with Love

Entrance John Barry for what was to be the most famous franchise-composer collaboration in Hollywood history.
A true crooner, Monro brings real weight to this orchestral ballad. A rather soft ballad, though, lacking the aggressiveness one later came to expect from John Barry when working with 007. Still pure quality though.

7/10

Goldfinger (1964)

Shirley Bassey - Goldfinger

Thus starteth the aforementioned aggressive ballads.With a screaming intro, Barry sets the pace for a classic Bond-song. Bassey adds more than him, though, spiraling in and out of the chorus with panache and fury, leading to one the true brilliant crescendos of this decade.

9/10

Thunderball (1965)

Tom Jones - Thunderball

John Barry was never more lazy than this, repeating a 5-note intro in every second line of music and leaving most of the rest to the Welshman. Fortunately for Barry, Jones is quite good here, saving what is a very mediocre tune with a set of lungs unequaled since.

6/10

You only live twice (1967)

Nancy Sinatra - You only live twice

An astute orchestral ballad, with more strings than trumpets as Barry finds his romantic side. Sinatra provides a perfectly smooth accomplice, making this a most memorable song without ever really needing to bring out the big guns. 


7/10

On her Majesty's Secret Service (1969)

Louis Armstrong - We have all the Time in World 

In perhaps Barry's best score comes the late, great Satchmo. A pure ballad, low on Barry's patented horns, Armstrong's characteristic voice was rarely more beautiful than this. So low-tuned that it was thought to set the wrong mood if played during the vignette, this song is the only one ever to be played during the closing credits, in the only Bond-movie without a happy ending. Gorgeously fitting end in all ways.

9/10

Diamonds are forever (1971)

Shirley Bassey - Diamonds are forever

Less fury and more bleeps this time around as Barry and Bassey both fail to recreate former heights. Not a bad little tune, but more dull and less varied. Barry tries to speed things up in the third verse, but the magic just isn't there.

6/10

Live and let die (1973)

Wings - Live and let die. 

Strangely for a Bond-tune this starts off on a slow note with a piano and Paul McCartney. As the chorus beckons the tendencies of a ballad are all long gone. Until the bridge, which is just crap. But 3/4 of this song works fine as McCartney seems to toss a bit too much into at times. But it doesn't get much more dramatic than this.

7/10

The Man with the Golden Gun (1974)

Lulu -  The Man with the Golden Gun

In a very disappointing film, I suppose it's only fitting with a somewhat disappointing song. With a melody that seems perfect for Shirley Bassey, Barry opted for Lulu and although she is nowhere near bad, it would appear that she struggles for the effect that Bassey could have gotten in her sleep. Plus for bringing a bit of aggressiveness back, but it's not quite good enough.

5/10

The Spy who loved me (1977)

Carly Simon -  The Spy who loved me

It is exceptionally, unequivocally clear that this tune has nothing to do with John Barry as Marvin Hamlisch took the reins. A very straight pop-ballad and not a horn in sight. I find this song cute despite Simon's obvious shortcomings when compared to earlier singers like Monro, Jones and Bassey, though, and most fitting of a rather romantic Bond-flick that is a little better than it's reputation.

6/10

Moonraker (1979)

Shirley Bassey - Moonraker

This tune is in no way interesting. There's very little of anything here. Barry's composition is most uninspired and Bassett tries to get away with just showing off her voice here and there, without really making this song hers. Most worthy of being forgotten.

4/10

Octopussy (1983)

Rita Coolidge - All Time high

What the hell is this? Bill Conti does Bond. And it's terrible. An absolute monstrosity of a song, made worse by a singer that has all the wrong traits for the melody. I have no idea how people with a musical background managed to pick this stinker, nor why idiots bought the single later. Horrid, absolutely horrid.

1/10

A View to a Kill (1985)

Duran Duran - A View to a Kill

And there we have it. The normal aggressiveness  in a Barry-intro. Thank God. Duran Duran has a nice sound to join Barry's fondness for huge horns and short, catchy themes. This is one of Barry's best scores and Duran Duran does not let him down with a song very much perfect for its decade.

7/10

The Living Daylights (1987)

A-Ha - The Living Daylights

Magne Furuholmens synth proved a nice intro for another Barry-composition and with Morten Harket we certainly have a broad-spectred singer again. It does seem a bit flat though as the aforementioned synthesizer whimpers bleakly where there should be triumphant horns and drums. In hindsight, this could have been a consequence of the fact that Barry later said he thought A-ha was a nightmare to work with.

6/10

License to Kill (1989)

Gladys Knight - A License to Kill

And: For the first time in more than two decades. A huge, orchestral John Barry ballad. It is better than Moonraker, but not that much as it has all the shortcomings of an 80s-ballad (a decade later) and seems to be short a bit of weight, both in the arrangements and vocals.

5/10

Goldeneye (1995)

Tina Turner - Goldeneye

Eric Serra wrote the score, but this mediocrity was written by Bono. I'm sad to say it's as dull as most of his other works and Tina Turner is unable to lift it out of the mire. It's not a bad attempt on her part, though. It never really goes anywhere, building up here and there but always landing in it's own boring path. Get a job in UN, Bono and stop harassing my ears.

3/10

Tomorrow never dies (1997)

Sheryl Crow -  Tomorrow never dies

For some reason, this was the first Bond-song not to break into the billboard. I guess that goes to show I will never understand the masses. Crow and Arnold make a good couple here as Arnold throws in some very Barry-like guitars and intros to Crow's hoarse, lingering voice that even fits the mood of the lyrics. All in all a very thorough and good song.

8/10

The World is not enough (1999)

Garbage -  The World is not enough

Another female with a voice full of gravel as David Arnold continues to deliver trombones and guitars so Barry-esque it begs belief. Though it sets a nice, sneaking tone, it feels a bit flat, lacking a singer with some deep, deep tones and uncomfortably large lungs.

6/10

Die another Day (2002)

Madonna - Die another Day

I don't like Madonna. I never saw any reason to respect her as a singer nor a composer. Though a brilliant PR-machine, her contribution to music as an art-form is non-existent. And in that respect she delivers perfectly here. This is as drab, flat and as soulless as anything she has made the last 20 years. Her mediocre vocals add nothing to this festival of bleeps and beeps. If I was to guess, the violins in the background that save her from the absolute pit is Arnold's but there you have it.

2/10

Casino Royale (2006)

Chris Cornell -  Casino Royale

Now that's more like it. Rock with some pace in it. Who would have thunk it? A smart, sassy song, delivered nicely by Cornell, with just the right sounds, and horns in just the right places. Another singer that makes you miss the depth of Jones and heights of Bassey, though.

8/10

Quantum of Solace (2008)

Jack White & Alicia Keys - Another way to Die

With perhaps the worst Bond-movie ever, came this more experimental piece from Alicia Keys and Jack White. Though I see that this is a most genius attempt, it doesn't turn out as it could. White and Keys have a very varying harmony, and you need perfection at that with such distinctly different singers. Keys comes across as her most annoying self at times, whining, moaning and shouting. Never a good thing. The interludes also fail when it comes to consistency, making this the only Bond-song that simply doesn't seem well-arranged.

3/10

Skyfall (2012)

Adele - Skyfall

A snarling horn taken by a dull piano. Adele's simply doesn't add the necessary ingredients to the verse. Thankfully for her, Arnolds build-up is very nice and takes us beautifully into a more ordinary chorus (with some nice orchestral arrangements). Generally the arrangements and the production here is good, but the melody line and a somewhat monotonous Adele never allows to explode like it should.