---
title: "GoldenEye"
year: 1995
kind: "film"
canonical: "https://film.one/film/goldeneye"
fi1m_id: "goldeneye"
imdb_id: "tt0113189"
tmdb_id: 710
wikidata_id: "Q19089"
fi1m_score: 78
critics_score: 71
critics_reviews: 13
published: "2026-09-13"
updated: "2026-09-18T08:38:18.526682+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# GoldenEye (1995)

Directed by Martin Campbell · 2h 10m · MPA PG-13 · Adventure, Action, Thriller

## Identity

GoldenEye

- **Canonical:** https://film.one/film/goldeneye
- **Type:** Film
- **Fi1m ID:** goldeneye
- **IMDb ID:** tt0113189
- **TMDB ID:** 710
- **Wikidata ID:** Q19089
- **Same entity:** https://www.imdb.com/title/tt0113189/, https://www.themoviedb.org/movie/710, https://www.wikidata.org/wiki/Q19089

**Fi1m score: 78** · Critics 71 from 13 reviews

*In a sentence:* Pierce Brosnan can manage the stunts; explaining himself to Judi Dench looks like the dangerous part

> Pierce Brosnan makes a persuasive Bond in a brisk, entertaining revival that knows the old habits need questioning. Martin Campbell delivers the action; the attempts to give Bond more emotional weight are less convincing.

## Synopsis

James Bond (Pierce Brosnan) operates in a post-Cold War world, where the end of an old confrontation has not removed the threat of international violence. M (Judi Dench) has little patience for his attitudes, while Q (Desmond Llewelyn) remains part of the operation. Bond faces globe-threatening adversaries and questions about loyalty, duty and his place in the changed political order. The cast also includes Izabella Scorupco as Natalya Simonova, Sean Bean as Alec Trevelyan and Famke Janssen as Xenia Onatopp.

## Review

*GoldenEye* is a good Bond film, brisk and sufficiently amused by its hero to make another round of the familiar business worthwhile. Martin Campbell brings James Bond into the post-Cold War world without treating that change as a reason to abandon the series’ pleasures. Pierce Brosnan has the ease the part needs, particularly when there is something physical to do. The film is less persuasive when it asks him to reveal how much all this costs him.

The useful change is Judi Dench’s M, whose assessment of Bond’s sexism makes clear that she need not share his opinion of himself. Dench delivers the reprimand with the firmness of someone addressing a longstanding problem, and does not ask for our approval afterwards. The screenplay by Jeffrey Caine and Bruce Feirstein allows the criticism, then carries on enjoying much of the behaviour under discussion. That limits how far the updating goes, though having someone question Bond without being charmed into submission is welcome.

We were properly gripped by the opening bungee jump: the sheer distance involved briefly made Bond’s usual confidence seem inadequate. Phil Meheux’s photography gives the stunt room to register, making the scale of the drop easy to grasp. Terry Rawlings’s editing sustains that directness, keeping the action moving without making the basic business difficult to follow. Campbell understands that an improbable feat is more enjoyable when we can see clearly what is being attempted.

The tank chase in St Petersburg is the larger, sillier expression of the same skill. Its pleasure lies in the mismatch between the vehicle and the place, with Campbell keeping the joke going through the destruction. Peter Lamont’s production design gives the film’s large-scale action suitably substantial surroundings, so the damage has enough weight to make the absurdity funny. Campbell also knows how long to sustain a chase without stopping it for a separate joke.

Famke Janssen’s Xenia Onatopp is the performance most comfortably matched to that appetite for excess. Janssen commits to the absurdity without looking embarrassed by it, and we enjoy her scenes even when the villainy elsewhere feels routine. Brosnan is a capable centre for this sort of entertainment, light enough to keep the proceedings from becoming laborious. When the film slows for self-examination, however, his reserve can look like uncertainty, and the writing does not give him enough help.

Éric Serra’s music is a less dependable companion. Its heavier passages make the action feel more solemn than Campbell’s staging warrants, weighing down sequences that otherwise move cleanly. The film also has more secondary characters than it can use well, with introductions and explanations interrupting the forward movement. At 130 minutes, it has room for a firmer cut between the major action sequences.

A Bond film need not reinvent the series, but it should make its familiar routines worth repeating. Campbell manages that, and Brosnan gives him a hero who looks at home in the action. We would have preferred sharper dialogue and less hesitation whenever the stunts stop. Choose it for an evening when a well-staged chase matters more than a searching conversation.

*Fi1m score 78, published 13 September 2026.*

## What the critics say

Most critics welcome GoldenEye as a confident relaunch after the series’ gap, and the praise clusters on the action. The opening bungee jump and the tank chase through St Petersburg are singled out, and Martin Campbell is credited with keeping the pace brisk and the set pieces coherent. Pierce Brosnan is judged a solid fit, though a few find him less assured in quieter scenes. Judi Dench’s M and Famke Janssen’s Xenia Onatopp draw consistent notice, and several reviews approve of the film’s willingness to poke at Bond’s chauvinism for a post-Cold War audience.

The reservations concern originality. Several critics find it a competent run through the formula rather than a fresh one, and the spread is wide. The dissent comes largely from the American press of 1995: The New York Times misses the Cold War backdrop and finds the dialogue flat, while The New Yorker judges it mindless beneath the irony. Reviews from years later tend to be warmer.

## Straight answers

**Is GoldenEye worth watching?**

*GoldenEye* is worth watching for anyone who wants a brisk, well-staged Bond film, and we scored it 78. Pierce Brosnan is at ease in the action, and Martin Campbell stages the bungee jump and the tank chase with unusual clarity. It is less convincing when it slows down to examine its hero, so choose it for the stunts rather than the conversation.

**How long is GoldenEye, and what is it rated?**

*GoldenEye* runs 2h 10m and is rated PG-13 by the MPA in the US. It is an adventure and action film.

**Where can I watch GoldenEye in the US?**

*GoldenEye* is available to rent from Amazon Prime Video and Apple TV from $3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is GoldenEye, and is it suitable for children?**

*GoldenEye* is a UK 15, and its violence is the large-scale, largely bloodless kind of a Bond film: chases, explosions, shootouts and a tank driven through St Petersburg. There is little to frighten a teenager, though the certificate makes it unsuitable for younger children. Famke Janssen's villain is played for excess rather than menace.

**How does GoldenEye compare to Licence to Kill?**

*GoldenEye* is the lighter and better-made of the two, while [*Licence to Kill*](https://film.one/film/licence-to-kill) is the harder and more personal. Timothy Dalton's film is tougher but looks like television and has a thin score; Brosnan's has bigger, clearer action and a sharper M in Judi Dench. Pick *Licence to Kill* for grit, *GoldenEye* for a more entertaining evening.

**Do you need to have seen the other James Bond films before GoldenEye?**

*GoldenEye* stands alone and is a good place to start with James Bond, since it introduces Pierce Brosnan and Judi Dench's M as a fresh beginning after the Cold War. Nothing in the plot depends on earlier films. Knowing the series helps only with the jokes about Bond's old habits, which the film makes clear enough on its own.

**What should I watch after GoldenEye?**

After *GoldenEye*, try [*Casino Royale*](https://film.one/film/casino-royale) (2006, Fi1m 86): A tougher Bond, with the action tied more closely to character. Then [*Ronin*](https://film.one/film/ronin) (1998, Fi1m 80): For clear, forceful chases and professionals who do not entirely trust each other; and [*La Femme Nikita*](https://film.one/film/nikita) (1990, Fi1m 76): Another lethal professional discovers that the employer may be the real problem.

**What order should I watch the James Bond films in?**

Release order is the safe choice for James Bond, and it is the order [our collection page](https://film.one/collections/james-bond) lists them in. *GoldenEye* is number 19 of the 27 James Bond titles on Fi1m; before it comes [*Licence to Kill*](https://film.one/film/licence-to-kill) and after it [*Tomorrow Never Dies*](https://film.one/film/tomorrow-never-dies). [The full order.](https://film.one/collections/james-bond.md)

### Reviews we read (13)

- **Empire**, Kim Newman (90/100, inferred): The film is a confident return to classic Bond form after the series' 1980s struggles, packed with stunts, chases, and action sequences. It singles out Famke Janssen's Xenia Onatopp as the standout element and calls it the best Bond movie since On Her Majesty's Secret Service. [Read](https://www.empireonline.com/movies/reviews/goldeneye-review/)
- **Variety**, Todd McCarthy (90/100, inferred): The critic declares Bond back in business with a dynamic action entry that breathes fresh life into the series through smart repositioning for the 90s. Brosnan makes a solid debut, the director keeps momentum high with coherence and energy, and the stunt work is terrific, especially the opening bungee jump. [Read](https://variety.com/1995/film/reviews/goldeneye-1200443796/)
- **Little White Lies**, Mark Allison (80/100, inferred): The critic praises GoldenEye for successfully updating the Bond franchise with self-aware humor and more progressive sexual politics suited to a post-Cold War world. It singles out the film's handling of Bond's chauvinism, including M's memorable rebuke of him as a 'sexist misogynist dinosaur,' for helping refresh the character. [Read](https://lwlies.com/in-praise-of/goldeneye-reinvigorated-james-bond-franchise)
- **Radio Times**, Adrian Turner (4/5): The critic notes that M's description of Bond as a sexist, misogynist dinosaur rings true, yet praises Brosnan for establishing himself as the best Bond since Connery by emphasizing loyalty and patriotism. Highlights include Judi Dench's debut as M, Famke Janssen's memorable villain, and a standout tank chase in St Petersburg. [Read](https://www.radiotimes.com/movie-guide/b-huykea/goldeneye/)
- **The Hollywood Reporter**, David Hunter (75/100, inferred): The critic praises the film's renewed vigor and top-drawer action sequences in this successful relaunch of the Bond series with Pierce Brosnan, while noting it gets bogged down in secondary characters and has disappointing villains. [Read](https://www.hollywoodreporter.com/news/general-news/goldeneye-review-movie-1995-1248798/)
- **RogerEbert.com**, Roger Ebert (70/100, inferred): The critic notes that the film follows the classic Bond formula with spectacular stunts but marks a shift as the first self-aware entry that acknowledges the absurdity of its hero. Brosnan’s Bond is portrayed as more sensitive and vulnerable than previous iterations, though the overall experience is entertaining without full engagement. [Read](https://www.rogerebert.com/reviews/goldeneye-1995)
- **The Guardian** (70/100, inferred): The critic finds a fair bit to enjoy in this 1995 Bond film reissued for its 30th anniversary, praising its post-Soviet self-awareness, high-octane action and introduction of Judi Dench as M. It is described as best experienced on TV over Christmas, with some reservations about Pierce Brosnan in the role and the sketchy plot details. [Read](https://www.theguardian.com/film/2025/oct/02/goldeneye-review-pierce-brosnans-sexist-misogynist-dinosaur-makes-his-bond-movie-debut)
- **Time Out**, NKe (70/100, inferred): The review observes that GoldenEye updates Bond for the post-Cold War era with new characters and moral dilemmas while retaining classic elements like Q and globe-threatening villains. It notes Brosnan excels in action but seems less assured in introspective scenes, with Campbell maintaining a brisk pace and evoking the style of earlier films. [Read](https://www.timeout.com/movies/goldeneye)
- **Los Angeles Times**, Kenneth Turan (55/100, inferred): The critic finds GoldenEye an acceptable but unoriginal Bond entry that feels weary and like a reasonable facsimile of the formula. It singles out the strong pre-title sequence and Brosnan's self-confident swagger as highlights amid the familiar explosions and plot turns. [Read](https://www.latimes.com/archives/la-xpm-1995-11-17-ca-4310-story.html)
- **The New York Times**, Janet Maslin (50/100, inferred): The review finds Brosnan’s Bond viable in a 90s style but criticizes the film for lacking the Cold War context and classic Bond theme, resulting in flat dialogue and a series that still suffers from the blahs. It praises the reliable action sequences supplied by director Martin Campbell without special flair. [Read](https://www.nytimes.com/1995/11/17/movies/film-review-that-sexist-misogynist-dinosaur-james-bond.html)
- **The New Yorker**, Anthony Lane (45/100, inferred): The critic views GoldenEye as a schizophrenic film that both honors and trashes Bond traditions, ultimately feeling like a mindless exercise despite some ironic touches. It singles out the impressive pre-title bungee jump sequence for its sense of excess and excitement. [Read](https://www.newyorker.com/magazine/1995/11/27/oldfinger-2)
- **Den of Geek**, Max Williams (80/100, inferred): The critic calls GoldenEye a mostly triumphant return for the franchise after a long hiatus, praising its brio, strong villain in Sean Bean’s Alec Trevelyan, and the entertaining action sequences despite some flaws like pacing issues in certain scenes. [Read](https://www.denofgeek.com/movies/how-goldeneye-updated-the-james-bond-franchise/)
- **Eye for Film**, Stephen Carty (65/100, inferred): The critic finds GoldenEye a decent, effective re-launch of the Bond series with fresh post-Cold War elements and self-aware moments, but notes it lacks enough originality to rank among the most memorable entries. Brosnan makes a charming Bond and the action sequences impress, though the film largely sticks to the familiar franchise formula. [Read](https://www.eyeforfilm.co.uk/review/goldeneye-film-review-by-stephen-carty)

## Details

- **Director:** Martin Campbell
- **Director:** Martin Campbell
- **Screenplay:** Jeffrey Caine, Bruce Feirstein
- **Story:** Michael France
- **Cinematography:** Phil Meheux
- **Editor:** Terry Rawlings
- **Music:** Éric Serra, The Edge, Bono
- **Production design:** Peter Lamont
- **Costume design:** Lindy Hemming
- **Producer:** Barbara Broccoli, Michael G. Wilson, Anthony Waye
- **Cast:** Pierce Brosnan as James Bond; Sean Bean as Alec Trevelyan; Izabella Scorupco as Natalya Simonova; Famke Janssen as Xenia Onatopp; Joe Don Baker as Jack Wade; Judi Dench as M; Robbie Coltrane as Valentin Zukovsky; Tchéky Karyo as Dmitri Mishkin
- **Runtime:** 2h 10m
- **Certificate (MPA):** PG-13
- **Release (the US):** 16 November 1995
- **Genres:** Adventure, Action, Thriller
- **Part of:** [James Bond](https://film.one/collections/james-bond.md) · 19 of 27
- **Budget:** $60 million
- **Box office:** $352 million

## Where to watch in the US

- Amazon Prime Video: rent $3.99, hd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: buy $14.99, hd
- Apple TV: buy $14.99, hd

*Checked 2026-09-13.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HU, ID, IE, IL, IN, IT, JP, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *Casino Royale* (2006), Fi1m 86: A tougher Bond, with the action tied more closely to character. — [Fi1m page](https://film.one/film/casino-royale.md)
- *The Spy Who Came in from the Cold* (1965): A colder account of espionage, with fewer consolations and much sharper doubts.
- *Ronin* (1998), Fi1m 80: For clear, forceful chases and professionals who do not entirely trust each other. — [Fi1m page](https://film.one/film/ronin.md)
- *Police Story* (1985): Physical invention and comic nerve make the dangerous business worth watching.
- *La Femme Nikita* (1990), Fi1m 76: Another lethal professional discovers that the employer may be the real problem. — [Fi1m page](https://film.one/film/nikita.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/goldeneye