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GOLDENEYE
1995, Park Circus/MGM, 130 min, UK, USA, Dir: Martin Campbell

Following the collapse of the Soviet empire, a renegade Russian general commandeers a deadly satellite; in order to stop him, James Bond must go up against a fellow MI6 spy - who's also licensed to kill. After a six-year hiatus, the world's most famous secret agent returned to the screen in this successful reboot of the franchise for the 1990s. GOLDENEYE introduces a new Bond (Pierce Brosnan), a new M (Judi Dench), a new Miss Moneypenny (Samantha Bond) and even a new car (a souped-up BMW replaces the trusty Aston-Martin). And though it's also the first of the series to utilize CGI effects, the film has plenty of good old-fashioned stunt work, including a breathtaking opening bungee jump and a chase sequence with 007 behind the wheel of a tank!


LICENCE TO KILL
1989, Park Circus/MGM, 133 min, UK, Dir: John Glen

On his way to CIA friend Felix Leiter's wedding, James Bond is pulled into a mission that leaves Leiter injured and his bride dead. Bond vows revenge on the drug lord responsible, tracking him to Central America even after M has revoked his license to kill. One of the darker and more violent entries in the series, this film was the last with Timothy Dalton as Agent 007. It also was the last produced by franchise co-creator Albert “Cubby” Broccoli (though he would later consult on GOLDENEYE), and the final Bond film from screenwriter Richard Maibaum and title designer Maurice Binder. With Carey Lowell, Robert Davi, Wayne Newton (as a televangelist) and a young Benicio Del Toro.


THE LIVING DAYLIGHTS
1987, Park Circus/MGM, 130 min, UK, Dir: John Glen

James Bond (Timothy Dalton) first encounters the lovely Kara Milovy (Maryam d'Abo) at a concert hall in Bratislava. Bond is there to bring a KGB defector back to Britain while she is there to play the cello - or so it initially appears. The KGB general, too, is not what he seems, and 007 soon finds himself entangled in assassinations, arms deals and Afghanistan's mujahideen in this gritty Cold War thriller. Dalton's first film as the oft-shaken-but-never-stirred spy, THE LIVING DAYLIGHTS also served as the swan song for longtime Bond composer John Barry. With Joe Don Baker and John Rhys-Davies.


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