A View to a Kill

Hard as it is to justify Bond films on intellectual grounds, there's something invigorating -- and strangely reassuring -- about this sort of picture. It is comforting to feel that should a psychopath threaten the stability of the world, our hero will be ready to wipe the grin off his face and shove him into San Francisco Bay.

Even though Moore sleepwalks his way through the part, making it apparent that he should have departed two films ago, and Tanya Roberts can't act to save her life (although she certainly can scream), we're back to a more conventional, straightforward Bond than the convoluted mess of the previous movie.

A View to a Kill plods along dutifully, observing the rules of the series with dull consistency.

Just follows the numbers, plodding from one unimaginative set piece to the next. Even the tony cast of villains—Christopher Walken, Patrick Bauchau, and Grace Jones—can't add any flavor to the grindingly predictable proceedings.

As lavishly escapist as they are, the latest James Bond films have become strenuous to watch, now that the business of maintaining Bond's casual savoir-faire looks like such a monumental chore.

What's good? A mesmeric, bottle-blond Christopher Walken as Max Zorin, hellbent on global domination as a product of Nazi experiments, Grace Jones' zowie star at his henchman, and Duran Duran's title song. Otherwise, I'm out.

There is some magnificent stunt work, which only underscores how inadequate Moore has become. Moore isn't just long in the tooth -- he's got tusks, and what looks like an eye job has given him the pie-eyed blankness of a zombie. He's not believable anymore in the action sequences, even less so in the romantic scenes.

The fourteenth James Bond movie and last one staring Roger Moore. It is a weaker one but with a very good cast. The story starts when James Bond is send to Siberia to recover a microchip that can withstand an electromagnetic impulse (Immunity to EMP). A clue leads to Zorin Industries with its owner Max Zorin who is a respected man but under suspicion as his race horses win often against other seemingly better ones. So starts the story and I am divided. It is enjoyable but also weak. The menace is not that impressive but that can be just my opinion. However the humor and actors improve this movie a lot. The action and climax is really good. We have Rooger Moore in his final performance as James Bond (In movies as he will always remain James Bond;-). A mayor complaint was that he has gotten to old for he role. After rewatching I say that the critique is a bit stretched out but I will not completely disagree. Just as remark: He was born 1927 and for his age he performed really good. With Christopher Walken as Max Zorin we get an interesting villain. I like both the character and actor but thing they could have done more with both. Grace Jones as May Day is the first female lieutenant and has a good presence on the screen and is remarkable. I must also mention Patrick Macnee who is famous for The Avengers TV series (Not Marvel). Shorter role but fully delivers. Again Q is a fan favorite and we got good gadgets. Soundtrack wise we get a better performance than the last movies. A view to kill is in the lower tops for me. The sets and optics look good and it seems they took a lot of care. Overall this is the end of the age of Roger Moore as James Bond. It is a solid last performance. There is the age old question of Sean Connery or Roger Moore which is hard to answer. I like both actors and favor Roger Moore but think that I do Sean Connery injustice with this. Back to the verdict: I say I is worthwhile and I give a bonus for the actors and their performance.

Although I really like Roger Moore as James Bond and I liked him in this movie as well, it's very obvious that he was getting too old. The blatant stunt doubles in A View to a Kill have drawn a lot of criticism, and after a time, they can get a little irritating. Another issue is that I didn't find the plot to be particularly memorable. Even yet, there were enjoyable aspects about it. I enjoyed Stacey Sutton as well as Christopher Walken's and Grace Jones's over-the-top villains, Max Zorin and May Day. However, A View to a Kill is one of Moore's lesser works overall.

Moore is far too old to play Bond, but A View to a Kill perfects the Moore model of campy, absurd fun.

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The climax of Roger Moore's seven-picture run as the world's most notorious gentleman spy. For my money, Moore's rendition of Bond lies at the bottom of the pile, for a variety of reasons. Most of which are on proud display in this clunky, weak climactic chapter. Though his face-off with Christopher Walken and Grace Jones in Silicon Valley isn't quite as relentlessly cheesy and absurdly slapstick as 1979's Moonraker, my candidate for the worst Bond movie of all time, the two do have an awful lot in common thematically. What bothers me most is the dopey attitude: always after the cheap gag or bad punchline, it thankfully stops just short of implementing a rimshot or laugh track. It's not like puns and cracks are strangers to this franchise - in fact, that's always been a part of their charm - but there's a point in the middle of Moore's run where the balance tips and Bond's knowing winks become more important than his spy work and lady-wrangling. A View to a Kill also suffers from a distinct shortage of gadgetry, which makes it feel more generic and even less like a premium Bond adventure. Moore looks positively ancient in many scenes - a 57-year-old man nailing stunts and ladies that would stretch the imagination for a star half his age - and Walken is an appropriately maniacal if not particularly imaginative foil. A drizzling farewell that left me wishing the franchise had moved on to greener pastures much earlier.