The World Is Not Enough

 

In Pierce Brosnan’s third outing as 007, The World is Not Enough, the stakes are high as Bond races to defuse an international power struggle over the global oil supply.

While the premise was intriguing, the plot felt predictable at times. For me, this was the film where the franchise finally jumped the shark. Many of the action sequences, particularly the opening boat chase, came across as silly and unrealistic. Additionally, the villain lacked the necessary presence to feel truly dangerous, and Bond’s ability to bed every woman he meets reached a point of being distractingly unbelievable.

One of the strongest highlights was that the female characters, played by Sophie Marceau and Denise Richards, were written as fully formed and intelligent professionals. This depth helped balance out the more painful puns and corny dialogue that plagued the script.

While it may not be the strongest entry in the Brosnan era, its brisk pace and capable cast make it worth a view.

Tomorrow Never Dies

 

Tomorrow Never Dies (1997) serves as Pierce Brosnan’s second outing as 007. The film follows Bond as he attempts to stop a power-mad media mogul who is trying to manufacture World War III just to boost his headlines.

While the plot was entertaining and the script leaned into fun, notwithstanding some corny, 90s charm, there were several moments where the logic started to fray. For instance, the film featured Bond speaking Mandarin in the middle of Vietnam, and a scene where a man asks Bond for $5,000 USD when, as a British secret agent, he logically would have been carrying Pounds.

One of the absolute highlights of the film was seeing a young Michelle Yeoh as Wai Lin. Released just a few years before her massive breakout in Crouching Tiger, Hidden Dragon, she was a breath of fresh air as a character who was genuinely capable, independent, and Bond’s equal in the field. However, the film’s handling of other female characters was less successful; the unnecessary sexualization of a Vietnamese woman felt tacky and dated, serving as a reminder of tropes that could have easily been left on the cutting room floor.

While this film delivered the high-octane spectacle, expected from the franchise, it was a bit of a mixed bag. Despite these flaws, the movie remains a solid, fast-paced piece of entertainment that showcased Brosnan’s peak era as the world's most famous spy.

GoldenEye

 

GoldenEye is an action spy thriller that follows James Bond, played by Pierce Brosnan, as he is assigned to track down a Russian crime syndicate that has stolen a high-tech satellite weapon capable of global financial devastation.

What stands out most today is how direct and unapologetic the film is about its politics. Unlike modern spy movies that often use vague, fictionalized, or "stateless" villains to avoid controversy, GoldenEye is very direct, planting its roots firmly in the fallout of the Soviet Union. This clarity gives the stakes a weight that sometimes gets lost in the more ambiguous "shadow organizations" of today’s cinema.

Pierce Brosnan’s debut was a masterclass in style. He moved with a rhythmic, dancer-like grace that earned him his reputation as the "smooth" Bond, especially when compared to the grittier, more muscular iterations that came later. While the fight sequences might not feel as crisp or bone-crunching as the hyper-realistic choreography we see in current films, they were still incredibly clever in their execution. It felt like watching the literal blueprint for the modern action blockbuster. It was fascinating to see how much the Mission: Impossible franchise owes to this film. From the high-stakes "two-key" system used to launch the satellite, a clear ancestor to the keys in Dead Reckoning, to the flirtatious, high-speed car chases with Xenia Onatopp that felt echoed in MI-2, the DNA of GoldenEye is everywhere.

It’s a stylish, high-stakes ride that proves Brosnan’s gadget-heavy era was a foundational pillar for everything that followed. Even for a first-time viewer, the film was incredibly entertaining and easy to follow, successfully transitioning 007 out of the Cold War and into a tech-driven era of spectacle.

The Smashing Machine

 

The Smashing Machine takes us back to the late 90s to tell the story of UFC legend Mark Kerr. Starring Dwayne Johnson as Kerr and Emily Blunt as his partner, Dawn Staples, the film captures Kerr’s meteoric rise and the devastating spiral of addiction and obsession that nearly cost him his life. 

Directed with a clear eye for immersion, visually, the film's cinematography utilized an indie-documentary style with a "gloomy, cloudy" palette that perfectly evoked the grit of the early MMA era. It was paired with an unconventional, chaotic jazz score that felt dated in a way that heightened the tension. 

Despite the heavy themes of obsession and the high-stakes world of fighting, there were moments where it felt like there wasn't quite enough story to sustain the runtime, leading to some boring lulls. 

The production’s commitment to authenticity shined through the casting, featuring real-life fighters like Ryan Bader playing Mark Coleman, which added a layer of legitimacy to the cage sequences that I appreciated. The transformation of Dwayne Johnson is the film’s biggest talking point. Thanks to incredible hair and makeup, Johnson physically disappears into Kerr. His performance was at its best when he was conveying the quiet agony of addiction; the "masks" he puts on to hide his depression from those around him were genuinely well-done. However, while Johnson was solid, he lacked the transformative emotional range that usually attracts major acting awards. Emily Blunt, predictably excellent, shared great chemistry with the cast, but the depiction of their relationship was exhausting. The constant, petty arguments highlighted a toxic dynamic that was difficult to watch at times.

Ultimately, The Smashing Machine felt like it struggled with its own pacing. It aimed for the raw, emotional gut-punch like The Wrestler, but didn't land with the same impact. It was a respectable effort that succeeded in its aesthetic and authenticity, but it fell just short of the legendary status of the sports dramas it tried to emulate.

The Rip

 

Joe Carnahan's latest gritty thriller, The Rip, is more than just another cop drama, it's a fascinating experiment in modern filmmaking that reunites real-life best friends Matt Damon and Ben Affleck. The film centers on a group of Miami narcotics officers who stumble upon a secret room filled with $20 million in cash, and what follows is a tense mystery where greed, betrayal, and outside pressures turn a routine seizure into a fight for survival.

One of the most compelling reasons to watch The Rip is the story behind the camera. Produced by Damon and Affleck's company, Artists Equity, the film made headlines for its landmark deal with Netflix where back-end revenue and performance-based bonuses are shared with the entire cast and crew. Knowing that all 1,200 people who worked on the film benefit from its success adds a layer of goodwill that's hard not to appreciate while watching.

The film shined brightest in its pursuit of authenticity. Set in the heart of Miami, the attention to detail was sharp, particularly with the diverse casting and the cops' seamless use of Spanish; a necessary touch for anyone actually working on the streets of South Florida. As expected, Damon and Affleck had a lived-in, effortless dynamic, playing off each other with the ease of life long friends, which anchored the film even when the script felt a bit thin. While the cast was incredibly talented, including standouts like Steven Yeun and Teyana Taylor, most characters felt underbaked. The filmmakers make a solid attempt at depth with Damon's Lieutenant Dane Dumars, whose backstory was inspired by the real-life grief of the officer who lived the true story, but the supporting team could have used more development. The plot itself followed a fairly predictable path, and if you've seen a "dirty cop" or "heist gone wrong" movie before, you'll likely see the major beats coming.

Matt Damon recently noted in interviews that Netflix encouraged "streamer-style" storytelling for this film which included repeating the plot several times and front-loading the first act with a massive action sequence to keep people from looking at their phones. In The Rip, you can definitely feel those gears turning as the film hit the ground running and constantly reminded you of the stakes. While that made for a movie that is very easy to follow, it occasionally sacrificed nuance for clarity.

Ultimately, The Rip is a high-octane, one-time watch that succeeds thanks to the undeniable star power of its leads and its impressive production values. It's a solid Friday night choice that keeps your eyes on the screen, but don't expect a new classic for the re-watch list.

The Running Man

Set in a decaying near-future, The Running Man centers on the worlds most popular and lethal reality show. With a simple premise, survive 30 days while being hunted by professional assassins and a bloodthirsty public for a massive cash prize. Following Ben Richards, played by Glen Powell, a man pushed to the edge by a failing system. Driven by the desperate need to fund medical care for his dying daughter, Richards accepts an offer from the show’s ruthless producer to become a "Runner."

The reimagining of this film successfully pivoted away from the neon-soaked camp of the 1987 Schwarzenegger classic, opting instead for a thriller that honored Stephen King’s original novel. There were great themes around consumerism, media consumption and how it can be used to manipulate a population, all which felt quite relevant in today’s day and age. I thought it was ironic that Stephen King set his 1982 novel for the year 2025. The film exceled at world-building, and I definitely picked up on the heavy Hunger Games vibes which wasn’t surprising given that King’s source material helped birth the "deadly game" genre.

If there were any doubts about Glen Powell’s status as a powerhouse lead, this film put them to rest. Powell brought a grounded, blue-collar intensity to Ben Richards that made him instantly easy to root for. He balanced the physical demands of the role with a weary, emotional core that kept the stakes feeling personal rather than just spectacle-driven.

The film had a refreshingly diverse cast. However, while the representation was appreciated, the script left something to be desired in terms of depth for its supporting characters of color, who often felt more like plot catalysts than fully realized people.

At times, the dialogue leaned into corny territory but thankfully, the plot was so lean and easy to follow that these moments of cheese didn’t derail the momentum. I also thought that the twist toward the end was clever and helped to elevate the story beyond a simple "cat and mouse" chase.

In the end, The Running Man is a rare remake that justifies its existence by returning to its roots that Stephen King fans have long asked for. It’s a solid, high-octane thriller that proves the 1982 novel still has plenty of teeth in the 21st century. While it isn’t without its stumbles, it’s a fun ride that felt relevant in our modern media landscape.

Hedda

 

Nia DaCosta's latest film is a bold reimagining of Henrik Ibsen's 1890 play Hedda Gabler. After directing The Marvels, DaCosta has made a complete 180 and I'm here for it. Set in 1950s England, the film follows Hedda, played by Tessa Thompson, a woman caught between the ghost of a past love and the slow suffocation of her current life.

The costumes were stunning, they felt authentically 1950s but somehow contemporary at the same time. The film had a "gilded cage" vibe that reminded me of the films Passing and The Great Gatsby. Underneath all the glitz and glamour of lavish parties in grand estates, lied a tension that was bubbling up. DaCosta used this luxurious world to dig into themes of racial identity, queer desire, and what it meant to be trapped by wealth and societal expectations. She tackled big questions about how you live your life authentically in these settings where you feel you have no real control or freedom.

I appreciated the diverse casting and strong character development. The chemistry between Tessa Thompson and Nina Hoss was magnetic and their scenes had an intensity that kept me glued to the screen. Thompson's performance was worthy of the Golden Globe nomination that she received. She became a woman who was drowning in desperation and mental anguish, someone who had to manipulate everyone around her just to feel like she had any control over her own life.

In the end, you are left with some uncertainty as DaCosta doesn't give us easy answers. By playing with ambiguity and shifting how we see Hedda's story, she created something that felt both classic and new.

Tron: Ares

Tron: Ares is the third installment in the iconic franchise. It marks a significant shift for the series, following a highly sophisticated program named Ares, played by Jared Leto, as he leaves the digital world for a dangerous mission in the physical one.

While the premise was intriguing, the film unfortunately struggled to live up to the legacy of its predecessors. Despite a star-studded cast including Greta Lee, Evan Peters, Gillian Anderson and Jeff Bridges, the movie was hindered by a predictable plot and a script that felt uninspired. I liked the exploration of an AI program navigating the complexities of the human world and the moral choices that come with it, but the execution just didn't play out well.

Visually, however, the film was a triumph. The cinematography was crisp and futuristic, offering a stunning aesthetic that honored the franchise's roots. The fight choreography was creative, and the film included clever nostalgic nods, such as the iconic light trails from the motorcycles that slice through real-world traffic. The costuming was another high point, particularly for Jodie Turner-Smith, who delivered a standout performance as a ruthless, objective-driven program. Jared Leto’s naturally stoic acting style fit the one-dimensional nature of an AI, and Greta Lee entertained despite a limited range. Unfortunately, the performances couldn’t quite save the clunky narrative that relied heavily on copy-paste elements from Tron: Legacy, resulting in a film that felt like a beautiful but hollow shell.

One of the most disappointing aspects was the soundtrack. While Tron: Legacy had the legendary Daft Punk score, Ares featured music by Nine Inch Nails and incorporated tracks from Depeche Mode. While the attempt to pay homage to the 80s was clear, the industrial, dark vibe simply didn't hit the mark for a Tron film. It felt more suited for a movie like The Crow. Ultimately, Tron: Ares offered a nice visual homage to its 80s roots, but it lacked the narrative innovation and score needed to stand on its own, making it unsurprising that it struggled to find an audience at the box office.