The casting of Timothy Dalton as James Bond in this 15th entry into the adventures of 007 is widely considered a classic mistake: Dalton isn't suave like Sean Connery or even Roger Moore. It's hard to explain, but he's too outright mean and gruff, and he doesn't come across with the sly sense of humor that, in my opinion, is essential in a good Bond. The vehicle he has to work with in The Living Daylights isn't exactly stellar, tagging along with a European cellist (Maryam d'Abo) as he unravels a KGB plot to kill MI-6 agents. The settings are on the lackluster side (Afghanistan?), aside from one notable sequence which gives Bond a trip down a snow-covered mountain in the Bond girl's cello case.
Every decade or so, those wacky independents try this stunt -- getting a bunch of Big Name Directors together to make a collaborative movie. Invariably, it sucks (see Lumiere and Company), but rarely does it suck so hard as it does in Aria.
The conceit this time: Each director takes a piece of classical music and sets it to film -- mostly without dialogue and invariably without any sense whatsoever.