Pierce Brosnan (James Bond); Sophie Marceau (Elektra King); Robert Carlyle (Renard); Denise Richards (Christmas Jones); Judi Dench (M); Desmond Llewelyn (“Q”); Samantha Bond (Moneypenny); John Cleese (R); Robbie Coltrane (Valentin Zukhovsky) Claude-Oliver Rudolph (Colonel Akakievich) Maria Grazia Cuccinotta (Cigar Girl)Serena Scott-Thomas (Dr. Molly Warmflash); Ulrich Thomsen (Davidov)

Director (Michael Apted); Musical Composer (David Arnold); Screenplay (Neal Purvis, Robert Wade and Bruce Fierstein); Story (Neal Purvis and Robert Wade); The Producers: Michael G. Wilson and Barbara Broccoli through Albert R Broccoli`s EON Productions.

The nineteenth official James Bond film from EON closes out the 20th century in style, opting for more drama and humanity over less gunfire and explosions. To be sure, the action is still there, whether it`s a dizzying high speed race through an oil pipeline or the implosion of a nuclear submarine. But `World` builds upon the foundation set by Goldeneye: to make Bond more human, less automatonic.

This is done first and foremost by hammering out a script that makes Bond more vulnerable. Here we see Bond can get hurt (his left shoulder is injured during the precredit seqeunce), Bond feel Elektra`s pain (notice his fingers touch her face on the computer monitor as if to comfort her) and he can be fooled by Renard (by taking the wired money back to Sir Robert King). Humanizing the story gives the viewers more to emotionally invest in.

Bringing on Michael Apted to direct was an oustanding choice and he`s surrounded by a first rate cast. The standout of this group is, without question, Sophie Marceau. Her relationship with Bond makes or breaks this film and fortunately, both Marceau and Brosnan pull it off convincingly. Marceau plays the character just right. You believe that Elektra can`t believe Bond would shoot her in cold blood. You *believe* that Elektra has never been turned down by men, and can`t understand Bond telling her he never loved her. Watch the scene again where M tells Renard that `her people will finish the job`. Elektra steps into the conversation, and in a scene of complete bewilderment, says: `Your people? Your people will leave you to rot. Like you left me.` Elektra looks almost as if she`s out of her senses, unable to grasp the concept that she might be fallible.

Right beside Marceau is Robert Carlyle, playing Bosnian terrorist and kidnaper Victor Zokas, otherwise known as Renard. A bullet to the brain has caused Renard to lose his sense of pain. Although the injury will ultimately prove fatal, he can push himself harder, faster, longer until the day he dies. This kind of idiosyncrasy is pure Bond; like Jaws having steel teeth or Oddjob having a razor edged bowler. But Carlyle doesn`t allow this to overshadow his portrayal of the character and reduce it to a caricature. Instead, he downplays the inability to feel pain (we only see three examples of this in the film) and plays Renard as a soulless, depraved animal. The scene where he is initially captured by Bond is pure gold. The look in Carlyle`s face, the tone of his voice, the smug attitude as he humiliates Bond with a question regarding Elektra: `So young…so innocent. How does it feel to know that I broke her in?` Carlyle makes you just want to reach out and strangle Renard. It`s a credit to Carlyle that he makes us care at all about his character. He even puts the Bond audience in an unfamiliar position: feeling some small amount of sympathy for Renard. Just look at the scene again where Renard looks forlornly at Elektra`s naked body in bed, unable to feel even the most basic emotion known to man. The wounded look in his face; the scar; the drooping eye. Lesser actors would have played the roles of Renard and Elektra over the top, shrieking and giving into fits of theatrics and overdramatization. Instead, both actors give excelling, standout performances in a low key, subtle manner filled with detail and nuance.

Of course you can`t forget about Judi Dench and Robbie Coltrane, both playing their largest role to date yet in a Bond film. Dench is so wonderful in her role, as an agonizing mother and also head of MI6, that it makes you wonder how she managed to be so underutilized up to this point. Coltrane provides the movie`s comic relief, providing one of the films best lines: “Can`t you just say hello…like a normal person?” Even without dialogue, Apted squeezes out fine performances. Witness the eye contact between Zukhovsky and Bond at the film`s climax. No words are spoken, yet a message is conveyed, hope for Bond is restored, and it sends chills down the viewers spine just knowing what Bond is about to do.
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The rest of the MI6 staff get expanded duties as well. Moneypenny and Bond`s exchanges are less vulgar this time around, and more appropriate. The look Moneypenny shoots Dr. Molly Warmflash is Samantha Bond`s best work to date in the Bond series. We get Tanner back, along with more of Charles, the MI6 Chief of Staff. And now we have John Cleese, perfectly cast, in the role of Q`s bumbling assistant, tenatively referred to as “R”. Cleese is a worthy successor to Desmond Llewelyn, and shows that he`ll retain some of the chemistry between Q and Bond, while maintaining some differences. You can already see the irritation boiling up inside “R” as he probes 007: `I thought you were on some sort of leave.`

Denise Richards plays against type by portraying nuclear weapons expert Christmas Jones, with mixed results. The character comes on to 007 very strong and filled with attitude, the result of pent up anger from being leered and ogled at in a male dominated work facility. We get what we hope will be a glimpse of some good back and forth bantering between Bond and Christmas when she informs Bond `that if he needs protection from anything, it`s from me.` Sadly, the ensuing scenes don`t help establish the role of Christmas, or her centrality to the plot. This becomes painfully obvious when the setting shifts to Zukhovsky`s caviar factory, and Christmas is reduced to wearing a denim jacket and a lavendar miniskirt to attract Valentin`s attention. There is clearly little for the character to do once she has defused the bomb with 007 in the pipeline, and it shows. For this, the writers must be blamed. Early drafts showed a weakly conceived character that eventually got better through rewrites, but this is clearly one case where not enough rewrites were administered. For example, Christmas declares she has to get that bomb back or someone`s going to have her butt. Who? Why? In an early draft of the script, Christmas is concerned that if she doesn`t get the bomb back, her nuclear decommisioning program will be handed back over to the military, which means there will never be an end to the nuclear weapons. Richards could`ve used this kind of help to assist her in shaping the character. Still, Richards does an amiable job working through a sorely underwritten part, while having to work in the shadows of actors such as Judi Dench, Sophie Marceau and Robert Carlyle.

Michael Apted gets all the credit for the serious direction the film takes, whether it`s all his to take or not. One of the things that makes this film stand out from the other Bond films are the changes it`s been willing to make. Outside of this film, “M” rarely has left his/her office. The scenes are perfunctory. But in `World`, Apted wisely makes use of one of the most talented actresses on screen today, not only expanding her role, but making M`s history with Robert King central to Elektra`s plans; providing Elektra with the motivation for her scheme.

Or just take a look at the painting behind M at MI6`s headquaters in Scotland. It`s a portait of Bernard Lee, the film series` first M. It`s a nice touch that says a lot about the attention to detail paid to this film. Allowing a woman to be the lead villian in a Bond film has been a welcome change.

The cinematography was excellent. Particular praise for the sequence where Bond and Elekta jump off the helicopter and ski down the mountain. Accompanied by David Arnold`s lush score, this sequence is one of the highlights of the film, and says “Bond” in a way that nothing else can.

For the next film, it would be nice to see Michael Apted return as Director. His work on this film, actually, everyone`s work on this film, from Barbara Broccoli and Michael Wilson, to Pierce Brosnan and Sophie Marceau, has been more than fantastic. The World Is Not Enough has set the tone and direction for the next film. Now let`s just make sure to maintain the course and Bond will thrive into the next century.