Whether or not Pierce Brosnan has been the best James Bond since Sean Connery, there is one thing he does have in common with his cinematic forebear, and that is a rather iffy taste in scripts. When he isn't appearing in stale romantic–comedy piffle like the recent Laws of Attraction, Brosnan has tended to play either real–life men fighting noble causes in obscure, mediocre films like Evelyn and Grey Owl, or he has given in to typecasting and played dodgier versions of his Bond persona, such as the sleazy, embezzling spy in The Tailor of Panama or the classy, refined art thief in The Thomas Crown Affair. Granted, all of these films have had their pleasures—many of them due to Brosnan's own easy, roguish charm and self–deprecating sense of humor—but the films themselves have been a mixed bag at best, and his newest, After the Sunset, is one of his lamer efforts.
It doesn't help that this new flick feels at times like it was cobbled together from pieces of Brosnan's other films. Once again, he plays a professional thief, whose name this time is Max Burdett, and whose field of expertise this time is jewelry; and once again, he gets to do fancy high–tech things such as operating a car by remote control; and once again, he spends most of the movie near a tropical beach, and the fact that it is Salma Hayek and not, say, Halle Berry with whom he makes sandy love as the waves roll by is just an accident of casting. Some things are admittedly different this time, though. Max Burdett is committed to his partner, Lola Cirillo (Hayek)—unlike Bond, he's a one–woman kind of guy—and the two of them have officially retired from the thieving life. What's more, Lola is eager to make their ...1
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After the Sunset
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