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My 2nd favorite Brosnan film behind my beloved GoldenEye. This one still kicks a lot of ass. Free of the soggy melodrama and general pale blandness that would plague the following film, TND is a great remedy for a rainy day (such as today).
Brosnan is noticeably more confident in the role. Here he's at his coolest, and he looks more the part in this one as well, which is always a benefit. David Arnold's first score is one of his best, and the "Surrender" brassy cues without are a real treat. This one is a shameless action romp, all while keeping Bond at the center of attention.
Elliot Carver is one of the most underrated villains in series history, and I've always loved him a lot. He's one of my favorites. He's absolutely MENTAL, attempting to create mass chaos and WWIII all for news ratings. It's delicious.
The action set pieces are excellent with my favorite being the motorcycle chase through Saigon.
The interior of the stealth boat is a really cool set as well. Overall I just find TND to be straight formula Bond done RIGHT. There's no shame in a well-executed Bond film that doesn't try to get too cute.
PS - as good as Carver is Stamper might be the WORST henchman in the series.
'The Man With The Golden Gun'
Well, I don't do Bond film rankings, but if I did, this one would be at the bottom. The PTS is pretty good, but the theme song is atrociously bad. I cannot stand it, and it's been stuck in my head (unfortunately) ever since I heard it. From here on out, I just don't like the film. I don't care for the Bond girls, the locales, the fight sequences, the mysterious appearance of the highly irritating Sheriff J.W. Pepper, the flying car, that whistle 360 car jump, none of it. I think the only pros (to me) of this film are Christopher Lee as Scaramanga, the PTS, and the car chase from the boxing match to the shed. That's about it for me, unfortunately. With the Roger Moore films so far in my Bond marathon, I'm hooked with LALD and then heavily let down with TMWTGG. I don't remember disliking it so much. Now, on to TSWLM.
My condolences. :))
'The Spy Who Loved Me':
- The PTS skiing sequence is amazing, though I don't particularly like Moore's outfit at all, and I really don't like the score, though when it ends as James jumps off the cliff in silence, it all comes together so well, followed by the Union Jack parachuting. I love it.
- I really love the theme song. Am I alone in saying this? I've never really focused on or talked about the theme songs, so I'm not sure what is or isn't popular among the rest of you, but I think it's really catchy and fits so well.
- Look at Q kicking ass and showing off his knowledge of submarine hijacking.
- I love this shot of 007 and Sir Gray walking down the pier with the submarine riding along behind them. It's excellent. Cut to Stromberg's pad at Atlantis, and it's beautiful with the paintings detailing the entire room. The elevator trap is very cool, too, though if I was one of the men who was just about to leave, I would be questioning if there was another way out of that place.
- Speaking of the elevator trap, did it involve a shark because that was the most plausible "trap" considering Atlantis was out in the middle of the ocean, or was it thrown in because, as Bond movies have done several times (working off of something popular of that certain time period), of the popularity of "Jaws"? It could just be conveniency of the times, because sharks have been in Bond films before, or it could be from the novel, which I'm ashamed to say I still have yet to read.
- Jaws. What a tall, frightening man. One of my favorite Bond henchmen.
- The helicopter explosion is well done, I enjoy the slo-mo they used as the burning wreckage falls to the sea. "The funeral was at sea." Now we cut to Roger Moore in 'Lawrence of Arabia.'
- Okay, I know Sean Connery was a ladies man, but I'm fairly certain from LALD until this point in the film (when Bond arrives looking for Fekkesh), Moore's Bond has had sex with at least 600 women (don't quote me on that). He just goes from woman to woman, I love it. Now look, one kiss on the neck and this woman risks her life for Bond. Moore's got the sexual power of the gods.
- I dig the pursuit and rooftop fight, albeit the latter part seems a little tame with Moore's tumbles. The tie part gave QoS some inspiration, it appears (and then of course, it cuts to Moore infiltrating a huge audience event, like Tosca in QoS).
- The score in the bit where Jaws is revealed is too 70's again for me, very cheesy. Jaws running at Fekkesh is creepy, but I don't care for his death scene in the slightest. It's apparent that Jaws bites his vein, yet there's absolutely no blood when Bond examines the body.
- The orchestral music playing as 007 kicks the ass of the two guys with Anya is amazing, followed by some applause that I love believing is just for Bond. ;-)
- "Major Anya Amasova...or may I call you XXX?"
- "So you know who I am?"
- No, he has no idea, he just took a stab in the dark and got both names correct.
- Kalba doesn't even bother screaming. I would've attempted something. At least they remembered to add blood this time.
- Bond and Anya don't find it best to tone down their voices a little bit? They don't know the van is bugged, so I would at least attempt to whisper.
- The score and scenery as Jaws drives through the desert is amazing. So far, the score is about half and half for me. Only Bond could find himself out in the middle of the Egyptian desert in a nice tuxedo.
- Bond losing sight of Jaws, just to have him turn as the score blares very loudly startled the hell out of me. I love the pursuit and fight scene here, too, it's amazing work and quite entertaining. Added bonus: Anya looks stunning, and James' sarcastic comments as Anya tries to get them out of there in the vehicle are hilarious. I love her little comeback, too.
- Maybe I haven't seen this movie in a long, long time - way before QoS, even - but how much did QoS take from this movie? You have the tie-drop from the end of the Tosca scene also in this, the entire "audience" scene in the desert is heavily reminiscent of the whole Tosca scene, too, and now we have Bond and Anya, all dressed up, walking through the desert after their mode of transportation got destroyed: much like Bond and Camille in QoS. Now I'm waiting for Elvis to pop up with his shit-eating grin and bad hairdo.
- The shots on the water (well, the real ones, sans green-screen) look beautiful on blu-ray with the sun setting.
- Not liking the score as Anya blows the gas into Bond's face. Again, swing and a miss.
- James meets Q and that slo-mo, terrible-sounding 'seat jump' with the dummy is very laughable, too. Bond's quip about the saddle with the embedded knife, however, is laughable in a good way. I think Moore's quips and lines are some of best.
- I love the whole pissing contest in the room between Bond and Anya. Nice to see M congratulate Bond when he gets the upper hand with his knowledge.
- I don't like the fast forward thing they do with the fight between Bond and Jaws - something very prominent in the Connery era - but the rest of the fight is excellent. You get a good idea of just how big Jaws is when you notice that his hand is just as big, if not bigger, than Moore's entire face. Jaws has now been crushed by debris and kicked out of a train, and he's completely unharmed by it. Bond is in for the fight of his life.
- Anya's chest in that nightgown. Th-that's all I have to say.
- The hotel that 007 and Anya are staying at? Absolutely beautiful. If I could live there for the rest of my life, I would.
- Bond dressed up, arm raised on a boat as someone else drives. Now I think I'm just seeing things from QoS. (i.e. the scene where he is taken to Mathis' place.)
- I don't care for the score that kicks in as they arrive at Atlantis (while still in the boat), sounds like a beginner's level tango intro song to me, and the panning shot that shows the entirety of Atlantis is funny because the tip of the water looks real choppy and fake. Again, it's the 70's, so I'll forgive it.
- Stromberg's awesome lounge. Nice digs.
- The dialogue between Stromberg and Bond is tense, but unless I missed it, what is the point of the meeting? It seems they discuss a fish and Stromberg informs Bond of what he wants to do with his wealth. That's about it.
- I love the Lotus Espirit that Bond is given. Granted, not as great as the iconic DB5, but still nice.
- "Hotel Cala Di Volpe" = nod to Fiona's character in TB?
- Come on, this is getting ridiculous: Bond moves from behind one truck, speeds in the wrong lane, and avoids another oncoming truck in the nick of time: QoS PTS, anyone? I think I'm going crazy.
- Another silent falling sequence with the assassin that is following James flying off of the cliff to his death. I love it.
- Of course, that has to be spoiled by the car chase with Jaws. Could've been entertaining, but once again, they seem to speed up the shots to make the car look like it's going faster than usual/is spinning way more out of control than it really is, then it appears to fall off the cliff to an area that doesn't logically look like it really does rest at the bottom of the aforementioned cliff, lands in the house, "explodes" (but doesn't), then the house is still perfectly intact.
- Yet the entire scene redeems itself once more with the intense, well-filmed-yet-terribly-scored helicopter chase. Watching the Lotus dive into the ocean is another great shot as the helicopter hangs overhead. Goodbye, Naomi.
- Here's some more cheesy porn-esque music as Bond and Anya are pursued by the divers. It may have a moment here and there, but Hamlisch's soundtrack just isn't that good to me. It takes me out of the film and is one of TSWLM's weakpoints for me.
- Another casual, sexual encounter between Bond and the receptionist at the hotel. I love moments like this. I also enjoy the tense moment between Bond and Anya when they talk about the death of her lover. It's kind of taken away when it cuts to 007 flashing that cheesy smile to her as they're dangling from the helicopter.
- Bond's line in the sub about Anya being gravely disappointed because he has never failed a mission, either, is great. I'm pretty sure that Moore does get the best lines in the series.
- The booming score as the Liparus approaches is quite nice. About time I can commend the score. The shot of the top of the sub as it enters the ship is very nicely done, great cinematography there. I love seeing all of Stromberg's men running into position as the sub continues to enter.
- The sub has been sabotaged and one of my favorite Bond battles and finales is about to commence. I absolutely love this massive fight scene, heavily reminiscent of the big battle in YOLT.
- Stromberg just wants to destroy the world. He doesn't need money, he doesn't want to focus on extortion, he just wants his dream to come true. Doesn't get much scarier than that, a man that can't be bargained with.
- Wow...the boat popping out and landing in the water, and as it hits, just seeing those...puppets? Stick figures? Cardboard cutouts? Whatever they are, they're hilarious.
- Bond is in full action mode here. In just a minute, he sprints away from his captors, tricks one man, knocks another man out, knocks out the first guy, guns down two bad guys with the submachine gun, and then releases the prisoners. Moore, you've impressed me.
- Unfortunately, the score (once again) is terrible when Bond is releasing the prisoners...and it's the same thing as the prisoners escape into the arsenal room. I'm guessing this score really only works for the 1970's? I can't stand it.
- But, I don't care about the score, the massive battle has commenced and I couldn't be happier. Bond takes out the little jeep with a grenade and it's oh so beautiful.
- Bond: "...but I'm afraid your Captain's dead." The men aren't visibly shaken, nor could they care less about this nugget of information.
- It's funny watching Bond remove the detonator as it zooms in on the guy's face, whose only thought is "Oh...shit..." Time for Bond to play Operation with a love bomb!
- There's that Bond theme! Nice to hear it as Bond rides along the massive camera to set the bomb. Nice ad - oh, wait, I'm whistling along and enjoying it, yet it awkwardly cuts to the men in the control center. Well, that was awkward.
- The subs were destroyed and the torpedoes are loaded. Down goes the Liparus, and it looks amazing when it does go down. Time to knock on Stromberg's front door.
- I do NOT remember the death of Stromberg being so awesome. Bond tricks him in the elevator, dodges his bullet-under-the-table, then blasts him with the PPK twice under the table, pops one near his heart, then hits him again and leaves. This is Bond at one of his most brutal moments, and definitely not a one-and-done deal like he gave Scaramanaga in TMWTGG.
- Yet another Bond and Jaws fight, I'm always a fan of these. I can't really tell what the magnet would be for in the room with the shark, but hey, it does quite nicely for subduing Jaws. Of course, that's irrelevant because Jaws kills Jaws. G-get it?! Because his name is Jaws...b...but he fights a shark, which could also be Jaws. Like that Spielberg film. Wi-with the shark.
- Ciao, Atlantis! Oh no, Anya's all soaked and wet in that incredibly revealing dress. Shame shame. Well, when she's looking like that and you're in a sub-bed, mission over and champagne at the ready, you're not going to not have sex with her.
- Well, I must say, I thought I liked this film, but I don't recall liking it as much as I did with this viewing. A truly great Bond film, minus a few irritating bits in the action sequences and that horrendous score.
Now on to MR.
Me? Oh thank you. I find writing about a film like that as I go along is really entertaining, and helps me look back on what I did or didn't love about it, especially the smaller bits and scenes. Takes a while to do, though, with me pausing so much and whatnot, so I'm just watching MR straight through now.
Same here. I idolize those that hear a Bond quote and know exactly what film it is from and who says it in seconds. I just don't watch the Bond films that much beyond the Connery and Craig films to have that knowledge yet. It's definitely something to strive towards, though.
It has quite a lot of cheesy, campy moments, but honestly, it really isn't as bad as I thought it was. It's like DAD: if you go into it expecting a hardcore, realistic thriller, you'll be disappointed. But if you sit down, grab a snack, and enjoy it for what it is, it can be very fun. It's most certainly not up there with my favorites, that's for sure, but it's still entertaining. Plus, cheesy finale or not, you really cannot get more dangerous than battling a man whose plan is to literally kill everyone on Earth. He isn't robbing a bank or destroying a major city, he wants to take out every single person on the planet.
Also, this is a very small tidbit, but I absolutely love that little smile Bond gives to Goodhead after they cooperatively take out the man in the control room during the finale.
What about the three globes hurling towards earth? The other 47 weren't released, but one globe = 100,000,000 deaths, correct? They still would've killed 300,000,000 people had Bond and Goodhead not caught up to them and destroyed them.
The point is that the plot is so outlandish and surreal that it's hard to take seriously, and as a result you don't feel any real suspense. Like you said yourself, MR is enjoyable in the right mood on the right day, but as far as suspense goes, it scores pretty low...
Even given that, it's a Bond movie, and you know that nothing that bad would happen. Sure, we'll lose allies big and small, but if a main villain wants to nuke this country or destroy this airplane or assassinate all of these world leaders, you know that 007 is going to step in and save the world.
Moonraker is all spectacle and little substance. Though in fairness some of the spectacle is good.
1. Is there ever really any doubt that Bond will win? In the end, has any primary villain ever bested Bond?
2. Spectacle is substance.
I understand what you're saying though, @BAIN123, that even though you know Bond will save the day once again, you didn't feel the suspense or worry or fear.
Of course.
And as for #2, spectacle can lack depth which makes it of no substance at all.
Say what you will about Roger Moore's age and the fact that his stunt double nearly plays more of the role than he does, but AVTAK is one of the classics! It has always been a personal favorite of mine, whether for sentimental reasons (being one of the first I watched) or just the fact that it is a very entertaining Bond movie.
Although the plot is essentially a recycled "Goldfinger plot", there is so much more to it than that- I find myself intrigued by all the Soviet connections weaving their way in and out of the plot; there's Dr. Mortner, who has one of the best Bond villain stories, Zorin being a KGB agent under General Gogol, and the Siberian research center that started the mission in the first place. These little things add another layer of significance to an otherwise already used plot, so I've always appreciated that.
On a separate note, I do realize that Stacey has the tendency to scream and holler way too much throughout the movie, but is she all that bad? I actually quite enjoy her part in the movie, especially in the scenes at her house. I've always thought Tanya Roberts did a much better job than fans seem to give her credit for.
The only truly glaring aspects of AVTAK that fans would have an undisputed reason to bash are the action sequences and the cinematography. Neither live up to their predecessor (OP) or their successor (TLD). As far as the action sequences go, it's really all about Roger Moore being too old to do his own stunts- those scenes suffer greatly as a result. Also, the editing in these scenes is pretty rough, to say the least- the fight in the warehouse with Tibbett and the fight at Stacey's house both provide very obvious evidence of this. And, call me crazy, but I've never enjoyed the firetruck chase around San Francisco. It just feels like something you have to get through, rather than something to enjoy. The only action sequences I truly can enjoy are the PTS, the chase with May Day around the Eiffel Tower, the mine flood, and the Golden Gate Bridge finale. Since the first two come at the start of the movie and the last two come at the end, that leaves an enormous chunk of time where the movie's action is basically non-existant. In regard to the cinematography, I'm not sure what the deal is, but nothing really "pops", except perhaps some shots of San Francisco from Zorin's blimp. Otherwise it's a fairly drab movie, visually speaking.
All things considered, I still love AVTAK. It's difficult for me to bash it for any negatives, because in my opinion, the positives outweigh it big time!
Spring 2014 Bondathon Ranking
1. GoldenEye
2. License to Kill
3. A View to a Kill
4. SkyFall
5. Diamonds Are Forever
6. The Man with the Golden Gun
7. The World is not Enough
8. Dr. No
9. You Only Live Twice
10. Thunderball
11. The Living Daylights
12. Live and Let Die
13. Die Another Day
14. Moonraker
15. On Her Majesty's Secret Service
Really. You've actually watched a Bond film believing the villain might win? Okaaaaay.
Spectacle without "depth" (however you define that) is still substance. What you are saying is that it is inferior substance. Well, perhaps it is, but if by spectacle we mean aesthetic grandeur, I would say MR's is of a rather high order indeed. The revelation of Drax's space station and many of the Brazilian jungle shots are superb filmic images.
That's music to my ears, @00Beast!
Am I the only who thinks he looks like Matt Smith?
That said I do like the cinematography and the music.