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Personally I think your opinion is not controversial enough. Although I admit Spy is objectively the better film, I get more pleassure from watching Moonraker. Silly, outlandish Bond is not my preferred take on the character anyway, but Moonraker boasts even more memorable locations, a more exciting climax (both are a little drawn out though) and a significantly better score. And on the topic of main villains: There's no contest. Drax is in a different league!
What's really interesting about that list, is that literally all the villains on it were written to involve some kind of misdirection as to their identity and or evil plan.
I actually like a lot of these villains, but I will concede that they can often feel a bit shortchanged by having the narrative prevent the audience from actually getting to know them until around the 3rd act.
Fair point. When I think of Drax, I think of big dramatic monologues and a stony, almost bored affect. When I think of Stromberg, I just have a mental picture of a portly, wheezy man sat behind a table.
I feel that Bond is in more danger during MR than in TSWLM,and John Barry's excellent score,haunting in parts,adds to that danger.
My opinions might be a bit out of the mainstream, though. Max Zorin ranks up there as well, alongside some of the more populist picks like Goldfinger, Dr. No, Scaramanga.
It may be my favorite installment of the 70s Bonds.
I'm just curious as to if I'd actually seen TSWLM first two years prior that would've made that type of impact on me; I opted to go to a baseball game that day instead of the film. Seeing it on its TV premiere just didn't have the same impact I'd hoped.
On the Elektra King thing, she's really down there in my rankings. After one gets over the twist and her being a woman villain, there's not much there other than a spoiled, manipulative heiress type pulling the strings of a terrorist. If anything, it makes Bond seem like a fool for not figuring her out quicker, but the majority seem to forgive that due to the "I never miss" scene, not to mention M. Personally, I still feel that REnard is the main villain.
She still outranks Stromberg, though, my least favorite main villain.
Yes yes and yes !!
It bounces around my top 10 in my rankings,it’s #11 atm .
Love it !
I think it's unfairly treated, yes, but the dialogue isn't that good and Brosnan doesn't do that inner-hurt-but-going-on Bond well. TBH one moment would've made the film so, so, so much better, if he hadn't melodramatically hung over her dead body, but just had given her a final glance and muttered, whilst stepping outside: 'I never miss'.
Still, definately not a bad film at all.
I'd give the edge to Robert Elswit's cinematography in TND out of the Brosnan movies, but I do love the way DAD looks. Elswit has lensed some absolutely gorgeous films, namely the majority of Paul Thomas Anderson's feature length work, and the 2015 Mission: Impossible entry. TND is stunning.
Honestly, I like GE's industrial, post-Cold War aesthetic as well. It's really only TWINE that I think has fairly pedestrian cinematography (hardly offensive, but nothing particularly striking).
21 year old Timothy Dalton was offered the role in 1967/68? Tell me more.
I have had it with Bond's brother Blofeld, and Bond's woman knowing the Bond villain. Give me a bloody break. What would Ian Fleming think about all this? Maybe in the next installment of the "Bond's Not-So Secret Life" soap opera, we'll find out that M has gingerly begun a romantic relationship with Moneypenny, and Q and Bill Tanner are going to sideline by starting up a marijuana business. Wow, that'll be awesome, and woke!
Barbara Broccoli and Michael G. Wilson--I think you two have some serious soul-searching to do.
I should have said "considered for the role", not offered. Both in John Glens book, For My Eyes Only, and Charles Helfensteins excellent The Making of The Living Daylights, they state that Dalton was always on Cubbys radar, but according to Helfenstein, Peter Hunt stated he would never have got the part because he was far too young!
Agreed. I've said elsewhere that TWINE has one of the best stories (particularly as it's original), however scattershot it is in its execution.
I agree, no-one is going to say it's a masterpiece but I appreciate the things that worked. In fact, to break it down simply, my main dislikes are the script and use of cgi - the premise is excellent, including the gene replacement and invisible car.
Unfortunately, script and stunts are prerequisites for a good Bond film...
Bless him. I don't believe for a second he meant that, he was just doing his job as a good current employee of EON with a film to promote. Lee Tamahori, for me, is the exact reason the film was as disappointing as it was/is. I really do think there is a great film hidden in there somewhere and we'd have got it with a more grounded director. Of courseI know a film is a huge collaborative effort so I shouldn't blame just one person. However Tamahori was a massive influence on the film we got, I feel about him the same as I do about Schumacher after Batman and Robin. Very misguided people with a lack of respect for the subject's legacy.
To be fair, wouldn't the BAFTA appearance still have been early on in the filming of DAD at the time? The energy may have been there still at that point considering the hype around Halle Berry's Oscar win and it fell apart more as it went on and in editing where many of the bad decisions were made. Just a guess.
In 2002, I enjoyed DAD upon first seeing it while still recognizing its many flaws. It was on repeat viewings things like Jinx and the disappointment of the second half are more glaring. Either way, it was a lot more fun than the soap opera that preceded it and remains so for me.
Just go and see the films Tamahori made before Bond and you'll appreaciate Brosnan's comments far better. How Tamahori got so unhinged on Bond will probably always be a mistery.