A flawed 007 film but Christopher Walken has a great time as a white-haired neo-nazi with no feelings nor heart that brutally machine-guns his own minions. The Hitchcock-like ending on Golden Gate is one of the greater finales in 007 history as well. Grace Jones is the most SCARY woman 007 has taken to bed though and Tanya Roberts has no emotion in her eyes or face.
An apathetic film. Moore has us questioning why all the dinosaurs aren't extinct, the camp amusement quickly subsides when this hits San Fran. The positives? Well I guess an ep of How Did This Get Made and the pleasure I get imagining Jones sporting the dildo (please be true). Watching this involved my friends (a couple) bickering over this or Live and Let Die, whoever wins I lose.
Aburrida trama que pasa de caballos con esteroides a destruir Silicon Valley. Como un detalle curioso, una enemiga atípica (también con esteroides) la cual originó ciertos comentarios feministas. Lo cierto es que Bond también termina acostándose con esta. Es decir, dónde queda el feminismo en la película.
I really like John Glen's Bond films but this is the obvious exception. The only bright spots here are Christopher Walken's psychopath and the brief interplay between Roger Moore and the great Patrick Macnee. Oh, and the Golden Gate Bridge finale is pretty good. The rest is total arse.
Not as bad as some would argue, but still very weak. The Parisian half is classic Bond; outlandish action, great villains, locations, a sense of intrigue and danger; Bond actually having to work to stay alive! Second half in San-Fran takes a turn for the mundane and becomes a dull conspiracy thriller. One great and surprisingly surreal sequence in an unfurnished house offers a brief glimmer, but the rest is plodding.
Moore ends his run as Bond with a whimper not a bang in this pretty terrible entry in the long running series. Tanya Roberts plays a state geologist (!!!) almost as convincingly as Walken plays a super villain....not at all. Even the stunt work seems lazier in this entry with the differences between cast and stuntmen quite obvious. It was bad when Bond seemed like father to the women he seduced...but grandfather?
Arguably the weakest entry in the Roger Moore era, A View to a Kill is an oxymoron; trying to update the franchise to 1985 while clinging on to the same tropes and aging actors as before. It does have its perks, namely the theme song by Duran Duran, the Golden Gate climax, and the stellar Christopher Walken as Max Zorin. That aside, the film suffers from uneven pacing and a few odd gags.
An utterly ridiculous film and yet that's why part of me loves it. The sight of Christopher Walken gleefully mowing down a bunch of construction workers with a machine gun; Roger Moore's stunt double getting more screentime than Roger himself; Walken's delivery of the line "I'm happiest...in the saddle." And a fantastic score from John Barry!
Low point in the franchise i think. First Roger Moore's Bond at this point is not charming anymore. The pace of the movie drags from the beginning through the end. The only ones that seem to be enjoying themselves are Grace Jones and Christopher Walken, who by the way seems to be acting in another different movie. Actually the whole shootout in the mine belongs to a totally different movie.
I will gladly acknowledge that this film is awful. It is painful to watch for even a Bond fanatic. Yet I am a fan. Walken makes the film watchable and Moore struggles to find some stable ground in this mess. Patrick Macnee is always great. You know things aren't going well when the plot is boring and the leading lady sounds like a squealing pig when she is in danger.
Roger Moore was way past his prime and this brand of Bond was getting tired, resulting in what was the worst Bond movie since DIAMONDS ARE FOREVER. Christopher Walken is fun as the villain, but is wasted in a bad movie. Moore had a good run, but it was time to call it quits before the cameras were even rolling on this one.