Nearly every previous Bond classic is represented here: there is, of course, the acknowledged nod of the head to Dr. No and the famous bikini sequence. But you don't have to look very hard to see many other references. There are depressuring fights on a plane ("Goldfinger"), a great car chase on ice sequence ("The Living Daylights"), Bond leaving the service as a rogue ("License to Kill"), diamond weapon in the sky ("Diamonds are Forever"), the list goes on and on (I would even venture to say there is a tribute of sorts to the foolishness that went on during Roger Moore's Bond days; the unbelievable wind surfing stunt Bond pulls about halfway through is exactly the sort of silliness that Moore did all the time).

Cynics might say this is true of any Bond film nowadays; they are so derivative they resort to stealing from themselves. But I don't think that's the case here. It's pretty clear the writers knew what they were doing when John Cleese even quotes some of the great "Q" lines from the past in his excellent sequence where he provides Bond his new Aston Martin (and now we've come full circle there as well, returning to the car that made Bond famous).

I'm not a big Halle Berry fan, but she's very good here. More to the point are the villians. Toby Stephens and Rick Yune are terrific, as so is Pierce, who ironically is hitting his stride and seems totally comfortable in a role he's soon to give up.

If you've enjoyed the great Bond movies in the past, you're sure to appreciate this one.

Halle Berry, Jessica Lange And Samuel Jackson give outstanding performances in enacting the rivalry and possessive claims that both women have on this young toddler. Poverty versus Affluence, the feasibility of inter-racial adoptions, marital/parental stability (and responsibility) and the do gooder mentality are themes that run their course throughout the drama. All of these elements are dealt with in the drama and pulls the viewer from one woman's claim to the other. Who is right? Does pigmentation or culture matter? Above all, what has love got to do with it?

Social workers and judges in juvenile courts across the country are daily making these decisions of terminating parental rights and placing children in what they see as stable homes. Losing Isaiah is not a fantasy but a present reality. How to resolve these issues of custody is the dilemma for all involved. There are not any easy answers and unfortunately this film ends with an "easy" answer which isn't realistic.

The little Isaiah in the film, like his prophet namesake calls these adults to spiritual, moral and social accountability. His impact makes Margaret (the social worker) deal with what is going on in her marriage and family.

Halle Berry, Jessica Lange And Samuel Jackson give outstanding performances in enacting the rivalry and possessive claims that both women have on this young toddler. Poverty versus Affluence, the feasibility of inter-racial adoptions, marital/parental stability (and responsibility) and the do gooder mentality are themes that run their course throughout the drama. All of these elements are dealt with in the drama and pulls the viewer from one woman's claim to the other. Who is right? Does pigmentation or culture matter? Above all, what has love got to do with it?

Social workers and judges in juvenile courts across the country are daily making these decisions of terminating parental rights and placing children in what they see as stable homes. Losing Isaiah is not a fantasy but a present reality. How to resolve these issues of custody is the dilemma for all involved. There are not any easy answers and unfortunately this film ends with an "easy" answer which isn't realistic.

The little Isaiah in the film, like his prophet namesake calls these adults to spiritual, moral and social accountability. His impact makes Margaret (the social worker) deal with what is going on in her marriage and family.