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James McMahon --
Moore plays it remarkably straight here (though mostly against his will. Director John Glen made him do it). It's a shame Moore looks too old to be at all believable in the role anymore. The film benefits from a lack of Q gadgetry. The gadgets we do see are not Bond's and refreshingly, most really do exist. This was the first "all action" 007 film; essentially a series of chase/fight scenes linked together with less time taken for mood, plot, character or exposition. It's great to see Fleming source material used (Risico). Gorgeous Carole Bouquet fit's Fleming s physical descriptions for his heroines. Great title song.
Robert Cotton --
Moore's best attempt at the character side of Bond. People cheered when he kicked the car over the cliff, yet that turns out to be Moores least favorite moment in the film. It explains a lot.
Paul Baack --
Night-and-day difference (i.e., improvement) over the previous film, Moonraker. It shows you can never go wrong going back to the Ian Fleming well, as the filmmakers adapt the title story and "Risico" from the same collection, creating a supremely satisfying James Bond movie. Casting is low-key but inspired, with Carole Bouquet's quiet continental beauty and Julian Glover's cheerful menace adding more realistic character dimensions to the proceedings. The Moore films' impulse to fall back on comedy is constrained and compacted into only one scene (the Citroen car chase,) which make it enjoyable fun rather the harbinger of doom for the film. The rest of the show is more or less faithful to the Fleming source material, making it the best Roger Moore vehicle and containing his single best scene as 007 (and we all know which scene I'm talking about.) A breath of fresh air after the stinky decade that preceded it. As a bonus, it's still holds up well to this day.
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Bill Koenig --
Roger Moore's best 007 outing. The opening scene at the cemetery clearly shows this film is going to be different than Moonraker. The quick end for Blofeld didn't bother me that much, but as many fans, the line, "I'll buy you a delicatessen in stainless steel" makes me groan. This is also the last time we see a significant amount of Fleming material (portions of two short stories).
Ed Werner --
I think that somebody in the Bond family woke up after watching the last fiasco and decided
to try to go back to their roots. For the first time in twelve years they released a more serious
movie and it really paid off. Had it not been for this entry, 1973 through 1985 would have
truly been the dark ages. Unfortunately, I have heard that they had to bring Moore into this
kicking and screaming. It figures...
Carole Bouquet is one of the more classical beauties in the series and I could look at her all
day long. Topol playing the role of Milos Columbo portrays the strongest and most likable
allie since Kerim Bey. On the down side, this is the first movie that the producers opted to go
with a love interest that is way too young for Bond, in the guise of Lynn-Holly Johnson as Bibi
Dahl, who looks like she should be studying for her ACT's instead of trying to lure Bond
into bed. Julian Glover gives a credible performance as a Bond villian, but has to be one of
the weakest of them all and the first of what I consider, the oily baddies.
The plot for the first time in many a year, is not outlandish and the story unfolds quite naturally,
allowing one to just sit back and enjoy the ride.
Michael Reed --
Despite some foolish gimmicks and a dreadful score, this is a great spy film. Bond is a human spy again. A very good cast actually has dialoge to speak (excepting the villain Locqe!) and acting to do. A nice, realistic ending (well, before the pigeon) ties up a solid outing.
Tom Zielinski --
Even EON realizes that the previous film was over-the-top, and decides that a return to basics is in order. Good call. Michael G. Wilson shares writing credit with Richard Maibaum, and they took elements from Fleming´s short story of the same title as well as Risico. For the most part it works pretty well, and is easily the best film of the Roger Moore era. A highlight of this film and the entire series is the impressive scene wherein Bond runs up a monastery´s steps, is framed by an arch bridge as he shoots the evil henchman Locque, and then kicks Locque´s over the cliff. Great stuff. THAT is James Bond. John Glen directs, the first of five he goes on to do in the 1980´s. Topol was terrific as Bond´s ally Columbo, and I´m sure he had a firm, dry handshake. John Barry is missed as Bill Conti´s score is middling at best. But Sheena Easton´s For Your Eyes Only is still one of my favorite theme songs.
Blofeld is killed by Bond in the PCS, EON´s final jab at Kevin McClory. As Blofeld begs for his life, he says "I´ll get you a delicatessen…in stainless steel!" A more arcane and nonsensical line of dialogue does not exist in film history.
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