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Jackie Chan’s The Myth
Director: Stanley Tong
Cast: Jackie Chan Solon So Barbie Tung Willie Chan Buting Yang Albert Yeung
(Sony, 2005) Rated: PG-13
US DVD release date: 30 October 2007 (Sony)
UK DVD release date: 30 October 2007
by Bill Gibron
Film & TV Columns Editor

Legend in His Own Mind

He remains one of the most misunderstood martial arts action stars in the world. Though he’s enormously famous, richer beyond anyone’s wildest dreams, and essentially an economy unto himself, Jackie Chan seems to suffer from something akin to Woody Allen syndrome, i.e., fans enjoy his ‘earlier, more stunt-oriented’ efforts rather than his recent dilution at the hands of Tinsel Town.

Some argue it’s the icon’s own fault. As he ages (he’s 53, as of this writing), he’s unable to perform many of the amazing feats that earned him his original reputation. Even worse, there are hints that ego and unchecked hubris have hindered some of his more promising productions. Take The Myth, for example. Though directed by long time Hong Kong titan Stanley Tong (Rumble in the Bronx, Police Story 1 & 2), the stars imprint is all over the wacked out action epic.

Our story begins when a princess, promised as a concubine to the ruling emperor, is hijacked by a former beau. He claims the lady as his own, both betrothed when they were young. Living up to his majesty’s mission, General Meng-Yi (Chan) promises to protect and serve the maiden. A carriage chase ends up with everyone teetering on the edge of a cliff.

Fast forward several centuries, and tomb raider Jack (Chan, also) is contacted by old friend William. Seems he needs the fabled historian to help him locate the secret to antigravity. Sure enough, in a remote region of India, they find a mausoleum festooned with strange stones. The rocks, when aimed correctly, give objects (and people) the ability to levitate.

Fall back to medieval times, and Meng-Yi and Princess Ok-soo are getting better acquainted. She is falling in love. He is determined to live up to his charge. Jump back to present day, and Jack is searching for a hidden cave behind a famed waterfall. While William wants to help, his greed has led him to double cross his pal. Former professor, and no good evildoer Mr. Koo is waiting to see what Jack uncovers – and take advantage of it any way he can.

Part period piece, part extremely surreal modern action movie, The Myth is like Raider of the Lost Ark restaged in feudal Asia. Telling two supposedly interlocking tales, we get Chan as a noted archeologist and, when flashing back to the past, a brave military general. It sets up an intriguing dichotomy within the film, since it basically allows for the star to compete against himself. One of the odder elements of this movie is the implied battle for honor and courage between contemporary Chan and conqueror Chan. One has amazing larger than life battles. The other returns to the tricks that made him an international legend.

Which one is best depends solely on what you value more: do you like sweeping sword spectacle, performers falling off horses and clanging together sabers with blood thirsty abandon? Then you’ll cotton to General Meng-Yi. He’s literally a one man 300. If, on the other hand, you prefer well choreographed fisticuffs, location and logistics adding to the miraculous parameters of the melee, then celebrated scientist Jack is the guy for you.

There’s really not much else here. All the other characters are pushed far off into the background, limited in screen time, dimension, and in some cases, purpose. Gorgeous Bollywood actress Mallika Sherawat is supposed to be a yoga practicing, martial arts wielding, butt kicking sidekick to Jack while he’s in India, but aside from a couple of minor fights, and an erotic dance, she’s in and out of the film within minutes. Similarly, Ahou Sun’s Mr. Koo doesn’t make an appearance until an hour in, and when he does arrive, his intent is all inference and unexplained history (Jack and William know him, but we barely learn when and how).

The Myth likes to do this—introduce new elements right in the middle of establishing exposition. The story of the Princess and her role as concubine is jarringly interrupted so talk of an immortality pill can be offered. William and his collegues will discuss plans for their anti-gravity device, only to take a side trip to the Museum of Qin Terracotta Warriors to discuss the pilfering of a country’s national treasures.

Even the signature action scenes seem strangely out of place. When chased by Indian police officers into a local glue factory, Jack and his opponents end up playing out a classic bit of ‘stuck to the spot’ slapstick. It is a truly amazing sequence, and definitely one of Chan’s more memorable. Equally unforgettable is General Meng-Yi’s one man stand against a legion of disloyal soldiers. Using fists, swords, knifes, poles, and anything else he can wield, our brave leader takes on all comers, and the brawling is massive in scope. There’s even a little arterial spray for those who like their cock-ups soaked in blood.

Oddly enough, the finale, set within a gravity free afterlife, is a tad underwhelming. Not enough is done with the physics defying realm, and even when employed, Tong cuts the situations way, way down. It’s been said that this version of The Myth (released by Sony a full two years after its Hong Kong debut) has been severely edited. The original running time was over 122 minutes. The Region 1 release comes in at a scant 96. Somewhere, there is another near half hour of material.

Apparently, some of it has been relegated to a section of deleted scenes, offered as part of the DVD’s extras. Though only 11 minutes in length, we do get more backstory on Jack and William’s friendship, additional material with the Princess, and a visit to an Ice Cave. None of the footage helps us with the frequent narrative gaps, however.

In addition, there are a couple of featurettes (focusing on the film, swamis, and Chan’s charitable work) as well as a genial audio commentary from the star himself. Happy to discuss how much he loves the final product, there are long gaps in the discussion as our hero simply sits back and admires his efforts. It’s a shame that we can’t get as much satisfaction out of The Myth as he does.

As with any new proposal from the plaintiff, critics call the standards assessment of the Chan (insert here), and they did everything. Indeed, over time, the authenticity and admissibility of the date is pushed further and everything behind. At this pace, experts are proud to say that no matter what is on the screen, nothing can beat the brutal Boxer Chen.

Of course, every performer is ready to cooperate with Chris Tucker not once but three times, deserves the reputation of being less particular about their parties. But you can say is considered a masterpiece of modern myth, the wuxia ask someone too late for the genre. Even with CGI horse antics, floating royalty routine, and excellent sense of time and place, this is a movie that can not fulfill his legacy. Instead, the myth goes from the first demolition peacefully in the air, was never heard from again.

Jason Bourne (Matt Damon) begins again. When The Bourne Ultimatum opens in mid-chase scene, the ever stressed Bourne is eluding CIA agents on a moving train en route to Moscow. He leaps to the ground and makes his way to a hospital, where he grabs an emergency kit and finds a sink where can wash and treat his own bloody injuries—again. Within seconds, he’s tangling with Russian officers: he takes out the first and considers the second, pleading for his life. Bourne lowers his weapon. “My argument,” he says, “is not with you.”

In this third film based on Robert Ludlum’s novels, the terms of Bourne’s argument turn exceedingly clear: he’s set against the U.S. program that produced him and now wants to eliminate him. The onetime asset has become a self-aware mistake. “Something happened to me,” Bourne says, “And I need to know what it is.” In a mash-up of Robocop and Manchurian Candidate, he seeks not only his identity, but also the individuals responsible for his extraordinary altered state. The state has its upside: trained to kill and survive, he repeatedly rises from crashes and explosions, bloodied and lurching, then pushing forward to full speed, on to the next unbelievable stunt.

Bourne’s unkillability is a function of his amnesia (he has nothing to lose, only his mission to fulfill). But it’s also thematic. He’s the logical product of the secret CIA program that made him, the dark routes by which a desire for surveillance and security gives way to brutal dominion and extreme measures. “Decisions made in real time,” explains CIA Deputy Director Noah Vosen (David Strathairn), “are never perfect.” And so, in “real time,” Vosen terms his quest for Bourne a matter of national security, covering over its imperfections, the incidental corpses and errors in judgment.

Bourne makes such mistakes manifest, because he embodies them and because he’s determined to “right” them to the extent he can (he’s found, in Bourne Supremacy, that apologizing to targets’ relatives is not especially productive). It’s ironic and typical that Bourne, so damaged and pragmatic, remains idealistic. And he’s entertainingly fierce about it, if not precisely vengeful. (To maintain his sympathetic mien, he leaves the overt payback to others, with his violent retributions framed as excitingly edited bouts of self-defense.) Bourne’s journey spans continents (from Torino, Paris, and London, to Tangier and Manhattan, each picturesque location yielding a piece of his puzzle) and times. At first his flashbacks are odious and cryptic (”Will you commit to this program?” barks a shadowy interrogator), but they’re increasingly legible, leading to the moment when he re-sees his first, terrible kill.

The Bourne Ultimatum’s perspective shapes particular scenes in the present as well. He finds clues to himself in a London Guardian article by “security correspondent” Ross (Paddy Considine). Their meeting at Waterloo Station becomes an elegant, exhilarating cat-and-mouse exercise, reminiscent of the mall scene in Minority Report: Bourne leads Ross—using a comparatively low-tech prepaid cell phone—through Vosen’s intricate surveillance network, Ross responding to Bourne’s perfect, in-the-moment calculations. Sharply edited to show close calls and Bourne’s flabbergasting ingenuity (”What the hell just happened?” exclaims Vosen more than once), the sequence is all about Bourne’s training, anticipating, and intuiting, besting the CIA at its own game.

Even as Bourne sees so ultra-accurately, the film complicates the very concept of perspective. “Funny how different things look,” says Vosen, “depending on where you sit.” Skeptical CIA specialist Pam Landy (Joan Allen) sees such language as self-serving and self-deceiving. Like CIA undercover Nicky (Julia Stiles), she once hunted Bourne and now seeks to help him. Their changed perspective becomes yours, admiring Bourne’s brilliance but also appalled by his ferocity. The difficulty of this doubleness is visible in another setpiece (this one in Tangier), where Vosen sets an asset after Bourne and Nicky. The sequence is multiply layered, with Bourne eluding cops across rooftops and Desh (Joey Ansah) chasing Nicky through close apartments and alleys below. Bourne and Desh’s inevitable throwdown is all visceral slam-bangs and smash-cuts, punctuated only by ambient grunting and thumping, no music to prettify the action. Watching the mayhem, Nicky’s stunned face mirrors yours. If Bourne’s pitiless antics are entertaining, they’re also often dreadful.
But if Bourne is a stone-cold death, it is also a victim. Sort of. This perversity develops ultimatum, in order to make their political affairs. If Paul Greengrass previous film, United 93, indicts USA unpreparedness official (at least when it is not necessarily stresses fictionalized heroism of passengers and crew members), it indicts the U.S. official self-respect fictionalized differently. In the beginning, “says Bourne Vosen year design program was” carefully monitoring program, now in its “umbrella” for all kinds of dastardly absolutely necessary and black ops. “We stick sharp end now,” says proudly Vosen, that makes us unique.… No more red tape We need these programs now. ”

Too bad if, as Landy protest: “This is not what I signed up for it is not us.” Such Dick Cheney-ish rationale occur in the ultimatum. Bourne thinks himself antithetically, too self-aware, and indeed, to blame too, to keep red tapeless process. But his desire inevitably leads him to see himself again. His memories outbreak showed not only his tortured trainers (caps and waterboarding referring to the much-documented tactics dollars), but also its commitment in the end. While he looks for those who made it, he saw, finally, as the coach puts it, “you into who you are. You came to us, you voluntarily. You said, you need to do all that is needed to save American lives.”

This is a devastating revelation, undermining the very idea of Bourne decision “volunteers”. His commitment to the “program” is, you know, all along, based on lies. When he finally finds himself, he saw, he must define his motives, did not believe in someone else’s.

It would be truly fantastic if I could announce that there was “more than meets the eye” to Michael Bay’s triumphant two-and-a-half hour robot melee, Transformers. Alas, this is not the case. However, when the director is the hyper-presentational Bay, what meets the eye is quite a lot.

This is not to say that there is not a plot hidden beneath the gears and sheet metal of this film. Rather, it is a simple admission that Transformers achieves little more than an extended flurry of sparks and mutating metal action. Then again, does anyone go to a film about robots fighting looking for a philosophical treatise? Of course, any such agenda would ruin the entire viewing experience.

Transformers tells the tale of Sam Witwicky (Shia LaBeouf) who buys, or is rather chosen by, a beat-up yellow Camaro which turns out to be a good-guy alien robot (known as an Autobot) sent to protect the young boy from the forthcoming mecha-war on Earth. The reason for this special security is a pair of his great-grandfather’s spectacles, which have encoded upon them the location of the Allspark, a magic cube which created the Autobots and their enemies, the Decepticons.

A tough (but friendly hearted) crew of fellow Autobots gather around Witwicky to explain the dire importance of finding the Allspark to prevent the Decepticons from obtaining its power and transforming earth machines into an alien army that will ravage the universe. Meanwhile, the Decepticons decimate American armored forces in their parallel pursuit of the Allspark. Robot war ensues.

It would be unjust to say that the plot and characters are paper thin. Despite how fashionable it is to decry Bay as all flash and no content, he makes a strong effort to keep the film human. The wonderfully charming LaBeouf delivers an incredibly sophisticated and amusing performance and, overall, Bay succeeds in maintaining a warm spirit in the film. It is no small accomplishment for such a core to be preserved beneath the many layers of steel, testosterone, and robo-geekery. At the end of the day, Witwicky is the film’s protagonist and not the lead robot, Optimus Prime. Cheers.

Up to this point, the visual effects and “cool” factor have been lurking in the periphery of the review but the question demands to be confronted, “Are the robots jaw-dropping and does the action make you pump your fist with enthusiasm?” Put simply, it is by sheer force of will alone that I uncurl my fingers from their cheer long enough to type this review. CGI has never looked less cheesy, a commendation owed not only to the animation wizards at Industrial Light and Magic but to Bay, as well, whose will to actually blow up as many things as one man possibly can serves the movie’s realism wonderfully.

The detail of the models is incredible and the minutiae of the transformations, incomprehensible. Consider how impressed you are when you think about the patience and time it must have taken for a kindly old tinkerer to have built a ship in a bottle. Now imagine a fully functional Spanish Armada in a snow globe. That is what Bay and his visual effects wunderkinds have created in this film.

Furthermore, Bay’s frenetic camera hurtling through miles of dolly track finally seems at place within this movie. The hyper-technological character of the film is well served by such cinematographic slickness, the viewer often feeling as if their viewpoint is as precisely articulated as their robot heroes.

Does this film have flaws? Of course, it does. Despite her heartbreaking gorgeous looks, Megan Fox (as Mikaela Banes) has her performance devoured by the far more adroit LaBeouf. How one quirky, curly haired boy could rob an audience’s eyes from Fox is mind-blowing and a true testament to his chops.

There are some directorial gaffes, as well: Who thought it would be anything short of farcical to have Josh Duhamel sound a warcry as he slides on his back over concrete between a robot’s legs? If this doesn’t sound ridiculous, watch the movie and try not to laugh. However, when all is said and done the film easily spackles over its faults with “Wow” and nothing about its action disappoints.

Complimenting the feature on the two-disc special edition, are some of the most polished special features recorded on DVD. A wealth of interviews and making-of’s populate the second disc, all edited razor sharply and introduced with glossy, glowing menus. The featurettes only heighten one’s awe for this film as one is privileged to the gargantuan undertaking. LaBeouf proves to be equally affable in real life as when acting, and Bay’s enthusiasm makes you forgot the man just directed the film. This special edition truly sets the bar for fat action volumes.
Review by Erik Hinton

007 View to a Kill, A | (1985, UK, USA)

Genres: Action | Adventure | Thriller
Actors:
Roger Moore James Bond
Christopher Walken Max Zorin
Tanya Roberts Stacey Sutton
Grace Jones May Day
Patrick Macnee Tibbett, Sir Godfrey
Patrick Bauchau Scarpine
David Yip Chuck Lee
Fiona Fullerton Pola Ivanova
Manning Redwood Bob Conley
Alison Doody Jenny Flex
Willoughby Gray Dr. Carl Mortner
Desmond Llewelyn Q
Robert Brown M
Lois Maxwell Miss Moneypenny
Walter Gotell General Gogol
Directors: John Glen

IMDB Rating: 6.00 out of 10 (9863 votes)

007 returns from the USSR with a new computer chip; one that is invulnerable to the magnetic pulse of a nuclear explosion. The chip is being manufactured by Zorin Industries, headed up by a sociopathic businessman named Max Zorin (Walken) who is planning to corner the world microchip market by using explosives to cause an earthquake in the San Andreas fault that will wipe out Silicon Valley - and the millions who live and work there! Bond must face not only Zorin himself, but the equally twisted May Day (Jones) and Scarpine, another one of Zorin’s henchmen. Assisted by San Francisco City employee Stacy (Roberts) Bond goes after the would-be computer magnate in a series of frightening confrontations - including fire in the SF City Hall, a wild chase through the city with Stacy at the wheel of a fire department ladder truck, and finally in a hand-to-hand fight atop San Francisco’s Golden Gate Bridge.

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007 The Spy Who Loved Me | (1977, UK, USA)

Genres:       Action | Adventure | Thriller
Actors:
Roger Moore         James Bond
Barbara Bach         Maj. Anya Amasova
Curd Jürgens         Karl Stromberg
Richard Kiel         Jaws
Caroline Munro         Naomi
Walter Gotell         Gen. Anatol Gogol
Geoffrey Keen         Sir Frederick Gray
George Baker         Capt. Benson
Michael Billington         Sergei Barsov
Olga Bisera         Felicca
Desmond Llewelyn         Q
Edward de Souza         Sheikh Hosein
Vernon Dobtcheff         Max Kalba
Valerie Leon         Hotel receptionist
Directors:     Lewis Gilbert

IMDB Rating:     7.00 out of 10 (9446 votes)

Both the British and Russians are amazed when a submarine from each country disappears and the only link is a microfilm detailing the movements of the British submarine meaning that somehow a submarine can be tracked via it’s “wake”. The British sends agent James Bond and the Russians send Major Anya Amasova, otherwise known as “Triple-X”. After first fighting against each other over the microfilm, the two agents are ordered to work together against the real enemy, mad shipping billionaire Carl Stromberg who plans to use the submarines to destroy the world via nuclear missiles so that any survivors are forced to live in Stromberg’s dream world beneath the sea. However James must also defend himself against Anya as she finds out that James had killed her lover on a previous mission…

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 007 Moonraker | (1979, UK, USa, France)

Genres:       Action | Adventure | Sci-Fi | Thriller
Actors:
Roger Moore         James Bond
Lois Chiles         Dr. Holly Goodhead
Michael Lonsdale         Hugo Drax
Richard Kiel         Jaws
Corinne Clery         Corinne Dufour
Bernard Lee         M
Geoffrey Keen         Sir Frederick Gray
Desmond Llewelyn         Q
Lois Maxwell         Miss Moneypenny
Toshirô Suga         Chang
Emily Bolton         Manuela
Blanche Ravalec         Dolly, Jaws’ Girlfriend
Irka Bochenko         Blonde Beauty
Mike Marshall         Colonel Scott
Leila Shenna         Hostess (Private Jet)
Directors:     Lewis Gilbert

IMDB Rating:     6.00 out of 10 (10777 votes)

James Bond Adventure. A space shuttle is stolen enroute to London and M sends 007 out to apologize to the shuttle creator - billionaire Hugo Drax. While visiting Drax’s estate several attempts are made on Bond’s life, making Drax himself the number one suspect. Bond also meets Dr. Holly Goodhead, a NASA scientist who is also a CIA agent investigating Drax. Their investigations lead Bond to discover a plot to murder the world’s population so that Drax can repopulate the planet in his image. The chase takes Bond all over the world - California, Brazil, the Amazon Jungle and, finally, to Drax’s huge space-city over the Earth. Drax, meanwhile, has hired a old friend of Bond to take care of any problems - the steel-toothed killer Jaws

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007 Man with the Golden Gun, The |(1974, UK, USA)

Genres: Action | Adventure | Thriller
Actors:
Roger Moore James Bond
Christopher Lee Francisco Scaramanga
Britt Ekland Mary Goodnight
Maud Adams Andrea Anders
Hervé Villechaize Nick Nack
Clifton James Sheriff J.W. Pepper
Richard Loo Hai Fat
Soon-Tek Oh Lieutenant Hip
Marc Lawrence Rodney
Bernard Lee M
Lois Maxwell Miss Moneypenny
Marne Maitland Lazar
Desmond Llewelyn Q
James Cossins Colthorpe
Yiu Lam Chan Chula
Directors: Guy Hamilton

IMDB Rating: 6.50 out of 10 (8819 votes)

Bond must find the missing “Solex Agitator,” a device that will harness the sun’s radiation and give awesome power to whomever possess it. But, also vying for the prize is Francisco Scaramanga (Christopher Lee), a world-class assassin who brandishes a distinctive golden gun. When 007 discovers he is to be Scaramanga’s next target, he is hurled into a deadly game of cat-and-mouse, continuing the search as he evades the killer on his trail. Bond must also contend with Scaramanga’s exotic lover Andrea Anders (Maud Adams), and Nick Nack (Herve Villechaize), whose small size belies his lethal abilities. Even as 007 enlists the aid of sensuous Mary Goodnight (Britt Ekland), he must overcome ferocious odds to survive an explosive showdown on Scaramanga’s remote island.

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007 Live and Let Die | (1973, UK, USA)

Genres: Action | Adventure | Crime | Thriller
Actors:
Bernard Lee M
Roger Moore James Bond
Yaphet Kotto Kananga/Mr. Big
Jane Seymour Solitaire
Clifton James Sheriff J.W. Pepper
Julius Harris Tee Hee
Geoffrey Holder Baron Samedi
David Hedison Felix Leiter
Gloria Hendry Rosie Carver
Lois Maxwell Miss Moneypenny
Tommy Lane Adam
Earl Jolly Brown Whisper
Roy Stewart Quarrel Jr.
Lon Satton Harold Strutter
Arnold Williams Cab Driver
Directors: Guy Hamilton

IMDB Rating: 6.70 out of 10 (9347 votes)

When Bond investigates the murders of three fellow agents, he soon finds himself a target, evading the vicious assassins as he closes in on the powerful Kananga (Yaphet Kotto). Known as “Mr. Big,” Kananga is coordinating a globally threatening scheme using tons of self-produced heroin. As Bond tries to unravel the mastermind’s plan, he meet Solitaire (Jane Seymour), the beautiful Tarot card reader whose magical gifts are crucial to the crime lord. Bond, of course, works his own magic on her, and the stage is set for pulse-pounding action sequences involving voodoo, hungry crocodiles and turbo-charged speedboats.

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007 Goldfinger | (1964, USA, UK)

Genres: Action | Adventure | Thriller
Actors:
Sean Connery James Bond
Honor Blackman Pussy Galore
Gert Fröbe Auric Goldfinger
Shirley Eaton Jill Masterson
Tania Mallet Tilly Masterson
Harold Sakata Oddjob
Bernard Lee M
Martin Benson Martin Solo
Cec Linder Felix Leiter
Austin Willis Simmons
Lois Maxwell Miss Moneypenny
Bill Nagy Midnight
Michael Mellinger Kisch
Peter Cranwell Johnny
Nadja Regin Bonita
Directors: Guy Hamilton

IMDB Rating: 7.80 out of 10 (22340 votes)

The powerful tycoon Auric Goldfinger (Gert Frobe) has initiated “Operation Grand Slam,” a cataclysmic scheme to raid Fort Knox and obliterate the world economy. James Bond, armed with his specially equipped Aston Martin (its accessory package includes built-in machine guns, a smoke screen and an ejector seat), must stop the plan by overcoming several outrageous adversaries. First there’s Oddjob (Harold Sakata), the mute servant who kills at the toss of a lethal hat; next, the beautiful Jill Masterson (Shirley Eaton), who gives new meaning to the phrase “golden girl”; and finally, sexy pilot Pussy Galore (Honor Blackman), whose romantic feelings for Bond complicate her involvement in Goldfinger’s high-flying scheme.

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007 For Your Eyes Only | (1981, UK, USA )

Genres: Action | Adventure | Thriller
Actors:
Roger Moore James Bond
Carole Bouquet Melina Havelock
Topol Milos Columbo
Lynn-Holly Johnson Bibi Dahl
Julian Glover Aristotle Kristatos
Cassandra Harris Countess Lisl von Schlaf
Jill Bennett Jacoba Brink
Michael Gothard Emile Leopold Locque
John Wyman Erich Kriegler
Jack Hedley Sir Timothy Havelock
Lois Maxwell Miss Moneypenny
Desmond Llewelyn Q
Geoffrey Keen Sir Frederick Gray
Walter Gotell General Anatol Gogol
James Villiers Bill Tanner
Directors: John Glen

IMDB Rating: 6.70 out of 10 (9361 votes)

James Bond Adventure. A British spy-ship, the St. Georges, accidently hits a mine and sinks near a Warsaw Pact country. On aboard is ATAC, a communications device that could order Western subs to attack friendly areas. 007 is sent to recover the ATAC and the Russians, interested in getting ATAC, send a message to their local “contact”. Bond’s investigations leads to Greece and he meets Melina Havelock, out for revenge, as the “Contact” has had her parents murdered. Bond also meets Aristotle Kristatos and Milos Colombo (known as “The Dove”) and evidence leads that one of them is the Russian’s “Contact” but both accuses the other. Melina and Bond sets out to recover the ATAC and not only goes up against the “Contract” but also against Bibi, a young ice-skater, who has a major crush on 007.

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