Film Review: Live and Let Die (1973)

Release Date: June 27th, 1973 (US release)
Directed by: Guy Hamilton
Written by: Tom Mankiewicz
Based on: the James Bond novels by Ian Fleming
Music by: George Martin, Paul McCartney, Linda McCartney
Cast: Roger Moore, Yaphet Kotto, Jane Seymour, Julius Harris, David Hedison, Gloria Hendry, Clifton James, Geoffrey Holder, Madeline Smith, Bernard Lee, Lois Maxwell

Eon Productions, United Artists, 121 Minutes

Review:

“Tee-Hee, on the first wrong answer from Miss Solitaire, you will snip the little finger of Mr. Bond’s right hand. Starting with the second wrong answer, you will proceed to the more… vital… areas.” – Kananga

I’ve worked my way through most of the James Bond movies and only have a few left after this one. Granted, I’ve seen them all before but I didn’t review any of them until last year. And since I’ve been doing these out of order, I should note that this is not my first Roger Moore Bond film but it is his first outing as the iconic character.

I know that this one gets a pretty bad rap but it’s one of my favorites. But I’ll explain why.

To start, it came out at the height of the blaxploitation era in American filmmaking and it utilizes that to great advantage. The film has a lot of blaxploitation actors in this from Julius Harris to Gloria Hendry. And while it taps into that vibe well, this isn’t Bond trying to be blaxploitation, it just meshes well with that genre’s style where it needs to.

Additionally, I love the voodoo and magical elements to the film. They may feel out of place and hokey but by the 1970s, Bond movies had started to drive towards cheese. Honestly, this is the most ’70s-esque of all the Bond films and while it feels dated because of that, it still works really well for me. I love the voodoo stuff, especially Baron Samedi, who was brought to life by the always awesome Geoffrey Holder. No lie, Samedi is one of my all-time favorite Bond villains.

The setting of this film was also great. It went from New York City to New Orleans to the Caribbean and in doing that, married the urban blaxploitation vibe with the Caribbean beauty of Dr. No, the first Bond film. In a way this brings things full circle, as Roger Moore’s first outing as Bond had a strong geographic similarity to Sean Connery’s first outing as the character. And both filmed those sequences on location in Jamaica.

I also enjoyed Yaphet Koto in this as the evil Kananga. He was a new kind of Bond villain for a new era where the franchise couldn’t keep relying on SPECTRE as its premier threat. Koto’s work here, really set the stage for some of the other solid villains from the Moore era.

We also get the debut of Sheriff Pepper of Louisiana, who is probably more iconic than the size of his actual role in the series. He’s synonymous with the Moore era but he was actually only in two of Moore’s Bond pictures and fairly briefly. Still, he is a fan favorite and it’s been argued that he was a template for the cops in The Dukes of Hazzard, as well as Jackie Gleason’s Buford T. Justice from Smokey and the Bandit.

Now there are some cringe moments in this like when Kananga blows up like a balloon, floats and explodes. However, those moments are balanced out by the hokey stuff that worked better like the scene where Samedi gets a chunk blown out of his head and he just looks up at it before he shatters like a broken pot.

I love this movie. I get that it is frowned upon by more serious Bond fans but they miss the point. This series should be about fun escapism. This is exactly that.

Rating: 8.75/10
Pairs well with: The other Roger Moore James Bond movies.

Film Review: Diamonds Are Forever (1971)

Release Date: December 14th, 1971 (West Germany)
Directed by: Guy Hamilton
Written by: Richard Maibaum, Tom Mankiewicz
Based on: the James Bond novels by Ian Fleming
Music by: John Barry
Cast: Sean Connery, Jill St. John, Charles Gray, Lana Wood, Jimmy Dean, Bruce Cabot, Bernard Lee, Lois Maxwell, Desmond Llewelyn, Bruce Glover, Putter Smith, Norman Burton, Sid Haig

Eon Productions, United Artists, 120 Minutes

Review:

“If at first you don’t succeed Mr. Kidd…?” – Mr. Wint, “Try, try again, Mr. Wint.” – Mr. Kidd

Sadly, Diamonds Are Forever is closer to the tone and style of the Roger Moore era than the Sean Connery era. Maybe the campiness that would be front and center in the early Roger Moore Bond films wasn’t really because of Moore but were because the films were a product of the 1970s. Connery’s pictures were more serious until this one but all the others came out in the ’60s. And then once Moore got into the ’80s, his films weren’t as cheesy. I blame the ’70s.

Anyway, this is the worst of the Sean Connery James Bond pictures. This is even worse than the unofficial sequel Never Say Never Again. Frankly, this is one of the worst Bond films ever made. But this is James Bond and it is still quite enjoyable and certainly better than the worst films of the Brosnan era.

I love the old school Las Vegas setting in this movie, it just fit the time and the James Bond mythos well. Plus, Bond going to Vegas was probably long overdue, by this point. But I’ve also always had a love for old school Vegas, its setting, its culture and its style.

I also really enjoyed Charles Gray’s take on Ernst Stavro Blofeld. This wasn’t Gray’s first Bond movie but he got to ham it up in a key role and he’s one of those actors that is just great as a villain. This is one of my favorite roles that he’s ever played, alongside the fiendish Mocata from The Devil Rides Out, which also starred Bond alum Christopher Lee (a.k.a. Francisco Scaramanga from The Man with the Golden Gun).

In this picture, we also get Jill St. John, who has the distinction of being the first American Bond Girl, and the Jimmy Dean, country music and breakfast sausage king.

My favorite characters in the film though, are the duo of Bruce Glover and Putter Smith as Mr. Wint and Mr. Kidd. They plot, they scheme and they get the better of Bond… twice! Granted, they should have outright killed him quickly in both those moments but Bond escaped death and came back to bite them in the ass. They also had a relationship that probably points to them being gay, which was pretty uncommon for a 1971 film that was made for the mainstream.

On a side note: scorpions don’t usually sting people and they typically don’t kill humans, let alone instantaneously.

This film did do some clever stuff too. I liked how Blofeld had decoys and the movie really points out that he has been surgically altering his face this whole time and that it wasn’t just a case of not being able to get Blofeld actors to return to the part.

The biggest issue with this film though is the scale. Following up On Her Majesty’s Secret Service wasn’t an easy task but this film feels smaller, more confined and cheaper. Maybe this has to do with the big salary that Connery needed to come back to the franchise. It was a record setting fee for an actor at the time and it’s possible that it effected the actual production and that the movie had to be made more frugally.

Still, I do love this motion picture. The classic era of Bond from the ’60s through the ’80s is hard to top. These movies are just magic. Even when things don’t work, the films all still have something cool to take away from them. Diamonds Are Forever is no different.

Rating: 6.5/10
Pairs well with: The other Sean Connery James Bond movies, as well as that George Lazenby one. But this is actually is closer in tone to the Roger Moore films of the ’70s.

Film Review: You Only Live Twice (1967)

Release Date: June 12th, 1967 (London premiere)
Directed by: Lewis GIlbert
Written by: Roald Dahl, Harold Jack Bloom
Based on: the James Bond novels by Ian Fleming
Music by: John Barry
Cast: Sean Connery, Akiko Wakabayashi, Tetsuro Tamba, Mie Hama, Teru Shimada, Karin Dor, Bernard Lee, Lois Maxwell, Desmond Llewelyn, Charles Gray, Donald Pleasence

Toho Co Ltd. (assisted on production in Japan), Eon Productions, United Artists, 117 Minutes

Review:

“I shall look forward personally to exterminating you, Mr. Bond.” – Ernst Stavro Blofeld

Over the years, I’ve heard a lot of people consider this film the one where James Bond movies dipped in quality. I disagree with that, as I love this film and it is one of my favorites in the whole series.

I also connect to this chapter in the series pretty deeply on a nostalgic level, so I may have a bias towards it in that regard.

The thing is, this is where Bond and Blofeld come face to face. I am a huge fan of SPECTRE and their long story arc in the Connery and Lazenby films. I am also a huge fan of Donald Pleasence and he’s f’n great as Blofeld and is my favorite version of the character. This is also the version that would inspire Dr. Evil in the Austin Powers movies.

Additionally, I love the Japan elements, especially the ninja army. The scene where the ninjas storm Blofeld’s volcano lair and are dropping from the ceiling with machine guns and swords still looks absolutely incredible. It’s one of my favorite sequences from any James Bond movie.

Being that I am a fan of kaiju movies, especially those put out by Toho Co. Ltd., I love that they were involved in the production of this picture and lent some of their acting talent to Eon. Mie Hama and Akiko Wakabayashi, the two Japanese Bond Girls in this film, have been in several Toho productions between Godzilla films and other sci-fi epics put out by Toho. Sadly, no cameo by Godzilla himself.

Another thing I love in this film is the big helicopter battle in the middle of the picture. For the 1960s, it was well shot, the special effects looked good and it was pretty exciting. It still plays well today.

Now the film does have some cheese and I think that’s what seems to be some people’s issue with it.

The whole sequence where Bond has to get a wig and prosthetics to look Japanese is laughably bad and so is the final result, as it just looks like Sean Connery with a bad haircut. I don’t really understand the point of the wig either, as most of the real Japanese men in the film have hairstyles closer to Connery’s natural look. This whole cringe fest is one of those things that would severely upset the overly sensitive audiences of today.

This is the last of the great Sean Connery James Bond films though. He would quit after this picture but come back later, two more times. One for Eon with the film Diamonds Are Forever and once more for another studio for Never Say Never Again, which isn’t an official Bond picture and is really just a shoddy remake of Thunderball.

Rating: 8.25/10
Pairs well with: The other Sean Connery James Bond movies, as well as that George Lazenby one.

Film Review: A View to a Kill (1985)

Release Date: May 22nd, 1985 (San Francisco premiere)
Directed by: John Glen
Written by: Michael G. Wilson, Richard Maibaum
Based on: the James Bond novels by Ian Fleming
Music by: John Barry
Cast: Roger Moore, Tanya Roberts, Grace Jones, Christopher Walken, Patrick Macnee, David Yip, Alison Doody, Dolph Lundgren, Maud Adams (cameo), Desmond Llewelyn, Lois Maxwell, Robert Brown

Eon Productions, United Artists, 1.. Minutes

Review:

“You slept well?” – Max Zorin, “A little restless but I got off eventually.” – James Bond

From memory, this is a cheesy, goofy James Bond film. Having now revisited it for the first time in nearly a decade, this may actually be one of my favorites of the Moore era and of all-time. Quite simply, this is really f’n fun!

But then Moore’s films have always been fun and I am being reminded of that, as I have recently rewatched all of his ’80s era stuff. Something about this movie puts it ahead of the other two ’80s Bond pictures he did though.

This is a really good cocktail that also features the always fantastic Christopher Walken, as the villain, as well as Grace Jones, who commands everyone’s attention whenever she appears in anything. I friggin’ love the duo of Walken and Jones in this and they are one of the best villain tandems in Bond history. They have a strange but amusing relationship that is accented by both actors’ unique personalities. I almost wish they would have survived and been around in more than one movie but unless you’re Blofeld or Jaws, that just doesn’t happen in classic Bond-lore.

Tanya Roberts was far from the most memorable Bond Girl ever but she was really good here. She just fit in well with everyone and did her job, quite solidly. She wasn’t a complete damsel in distress but she also wasn’t some KGB badass either, she just felt more like a real, normal woman when compared to most of the other Bond Girls.

It’s also worth mentioning that this has one of my favrotie title sequences in the franchise. I have just always loved Duran Duran though, probably because I was a kid of the ’80s and heavily under the influence of the pop culture of the time.

Additionally, I really like the scheme in this picture. It’s nutty and ambitious but it just works for a Bond film of the classic era and it was probably the perfect plot on paper in the mid-’80s when the tech industry was blossoming and booming.

Another highlight was the San Francisco setting in the latter half of the film. The Golden Gate Bridge finale was top notch and a high point of the Roger Moore era.

The only thing that really bothered me about the film was that incredibly cheesy moment in the opening sequence, when Bond is trying to evade the Soviet enemies on skis and “California Girls” starts blaring. It’s a jarring moment that pulls you out of the movie and the gag wasn’t that funny.

I know that a lot of people look down on this chapter in the Bond franchise and see it as a low point. I don’t. This movie has a special place in my heart but it also might be that it is hard to push down nostalgia and see things more clearly. This was the second Bond film I ever saw in its entirety and I rented it a lot as a kid.

Rating: 8.25/10
Pairs well with: The other Roger Moore James Bond movies.

Film Review: Octopussy (1983)

Release Date: June 6th, 1983 (London premiere)
Directed by: John Glen
Written by: George MacDonald Fraser, Michael G. Wilson, Richard Maibaum
Based on: the James Bond novels by Ian Fleming
Music by: John Barry
Cast: Roger Moore, Maud Adams, Louis Jourdan, Kristina Wayborn, Kabir Bedi, Steven Berkoff, Desmond Llewelyn, Lois Maxwell, Robert Brown

Eon Productions, United Artists, 131 Minutes

Review:

“You must be joking! 007 on an island populated exclusively by women? We won’t see him till dawn!” – Q

This is a James Bond film that I hadn’t watched for several years. While I love Roger Moore, his era was the cheesiest of the Bond franchise. I’ve never held most of his films in the same regard as I do Connery’s or Dalton’s or the one that Lazenby was in. However, Octopussy, while cheesy, is still a pretty good chapter in the franchise. And like other Moore Bond movies that I’ve revisited recently, it’s better than I remembered.

A lot of this film takes place in India, which is really cool. The series has gone to different parts of Asia but the Indian element enhanced the film. Also, the country felt like a character in this movie. There are a lot of cultural jabs, however, which may seem weird and cringy in modern times, where we live in an overly politically correct society, but it’s not anymore offensive than Indiana Jones and the Temple of Doom. But the beauty of the environment and the architecture really gave this film a cool visual aesthetic.

Speaking of which, I absolutely love the set design in this picture. It may have the best set design and attention to detail of any James Bond film before the modern Daniel Craig era. Everything in this film looks great from the villain’s war room, the villain’s palace and every other prominent interior set.

This chapter in the series also has one of my favorite opening sequences in the franchise. The plane through the hangar scene still looks great today.

I also like the Bond Girls in this film. Maud Adams was spectacular and Kristina Wayborn blew me away with her beauty. I was crushing on her hard when I was a kid in the ’80s.

Octopussy may have been a name I was afraid to say in front of my parents in the mid-’80s but it was a film I liked and one of the first James Bond experiences I ever had. My uncle used to rent this thing on VHS constantly.

It is also worth mentioning that 1983 saw the release of two James Bond movies, this one and an unofficial remake of Thunderball, which starred former Bond, Sean Connery. This film is the better of the two and the public and critics agreed at the time.

Rating: 7.75/10
Pairs well with: The other Roger Moore James Bond movies.

Film Review: Never Say Never Again (1983)

Also known as: Bond No. 1 (India), Warhead (working title)
Release Date: October 6th, 1983 (Los Angeles premiere)
Directed by: Irvin Kershner
Written by: Lorenzo Semple Jr., Dick Clement (uncredited), Ian La Frenais (uncredited)
Based on: Thuderball by Ian Fleming
Music by: Michel Legrand
Cast: Sean Connery, Klaus Maria Brandauer, Max von Sydow, Barbara Carrera, Kim Basinger, Bernie Casey, Alec McCowen, Edward Fox, Rowan Atkinson, Pat Roach, Anthony Sharp, Gavan O’Herlihy

Taliafilm, Producers Sales Organization, Warner Bros., 134 Minutes (original), 121 Minutes (edited)

Review:

“Still here, Moneypenny? You should be in bed.” – James Bond, “James, we both should be!” – Miss Moneypenny

Never Say Never Again is probably the James Bond movie that I’ve seen the least. It actually isn’t canon and doesn’t fit in with the overall franchise like the other pictures that starred Connery.

In 1983, Roger Moore was James Bond and this was a picture that came out to compete against Roger Moore’s Octopussy. But let me explain the story behind this strange, one-off James Bond flick.

The ownership of the filming rights of the Thunderball novel came under dispute. Kevin McClory was one of the men responsible for getting James Bond on the big screen. He would also be one of the writers of the Thunderball film and produced that film alongside Eon, the studio that has made every official Bond picture. Because of his strong involvement and funding of Thunderball, McClory was able to maintain the filming rights of the Thunderball novel after a legal dispute. So Never Say Never Again is actually a remake of Thunderball with some pretty big changes.

Sean Connery came back to the role of Bond, even though he said he’d never play the character again. The title Never Say Never Again is actually a joke, as it was what his wife said to him when he told her he was going to do the movie. Oddly enough, the producers didn’t think that they could get Connery again and actually intended for this to be a vehicle to bring George Lazenby back to the role, as his sole James Bond film is still one of the very best. But obviously, McClory benefited more from signing on Connery.

The film also landed a top notch director in Irvin Kershner, who had just come off of his magnum opus, The Empire Strikes Back.

However, in regards to the film’s composer, an offer was made to John Barry but he declined out of respect for Eon Productions due to his long tenure creating the music for the real James Bond franchise. Sadly, the music in Never Say Never Again is really weird and nowhere near the quality of what Barry could have orchestrated. The score is like a jazzy disco hybrid that feels like it’s five years too late to the party in 1983.

On the plus side, this film benefited from the performances of Klaus Maria Brandauer, as this film’s Largo, and Max von Sydow, as the most famous Bond baddie, Ernst Stavro Blofeld. Both of these guys were great and McClory did plan to do more films after this one but they never came to be. It would have been great seeing Bond actually come to face to face with Sydow’s Blofeld.

We also get Kim Basinger, as the main Bond girl of the picture, and Bernie Casey as Felix Leiter, Bond’s greatest ally. I liked Basinger in anything back in the ’80s when she was in her prime and frankly, one of the hottest women on the planet. I was crushing on her hard between this, Batman and My Stepmother Is An Alien. As far as Casey, that guy is always a great addition to any cast.

Being that this was an ’80s Bond film, it couldn’t not have some silliness in it.

For instance, the scene where the evil lady pulls up next to a guy driving and throws a snake on him, causing him to crash and die, only for her to go back, collect the snake and then set off a bomb that was already wired to the car is absolutely stupid. She could have just blown up the damn car. It’s one of those things you just laugh off though because it’s James Bond in the ’80s.

Then there is the terrible looking scene where Bond and Kim Basinger are on a horse and they jump off of an extremely high wall at a coastal castle and safely land in the ocean, as the horse, somehow unscathed, swims to safety. Not only was the situation unbelievable but the sequence was incredibly cringe worthy and the effects come off as silly.

They also had to throw in a gratuitous video game scene because apparently Bond is a gamer in the ’80s and because video games were all the rage back then. I’m surprised they didn’t suck Bond into a computer for a TRON-styled sequence.

Apart from cheesy shit, there is also weird stuff that just doesn’t seem to fit the Bond vibe. I already mentioned the terrible score but in addition to that, the opening credits sequence was bizarre and nothing like the beginning of a Bond movie should be. Really, there is supposed to be a cold open, a mission accomplished and then it transitions into super stylized credits with a fantastic song. Never Say Never Again starts and feels like a mid-’80s B-level action flick from Cannon Films.

All things considered, good and bad, I do still like this movie. It may have worked better, however, as a Bond style vehicle for Connery and not as an attempt to just cash in on McClory owning the rights to one friggin’ book that already had a movie based on it (and a much better one at that).

McClory planned sequels and more Thunderball remakes at different times but none of them got off the ground and it is probably for the best. The rights have since been given back to Eon and now they own this movie along with the rest of the Bond library.

Rating: 7/10
Pairs well with: ’80s Bond movies, which starred Roger Moore not Connery. But yeah, this pairs better with the later Moore movies than it does the ’60s and early ’70s Connery ones.

Film Review: For Your Eyes Only (1981)

Release Date: June 24th, 1981 (London premiere)
Directed by: John Glen
Written by: Michael G. Wilson, Richard Maibaum
Based on: the James Bond novels by Ian Fleming
Music by: Bill Conti
Cast: Roger Moore, Carole Bouquet, Topol, Lynn Holly Johnson, Julian Glover, Cassandra Harris, Charles Dance, Desmond Llewelyn, Lois Maxwell

Eon Productions, United Artists, 127 Minutes

Review:

“Mr Bond! We can do a deal! I’ll buy you a delicatessen! In stainless steel!” – Blofeld

This used to be my least favorite Roger Moore James Bond movie and because of that, I hadn’t watched it in a really long time. Having revisited it now, I’m not sure why I considered it so low. I actually enjoyed it but maybe that’s also because I hadn’t seen it in over a decade.

I guess what I like about this is that it feels more serious than Moore’s other Bond movies. Don’t get me wrong, I love the Moore era cheese but this showed me what he was capable of had his scripts been a bit more refined and less campy. And while this does have some campiness, it’s not there to greet you with a wide smile every five minutes. This is action heavy and some of the moments in the film have serious consequences. The tone is similar to the more serious Connery pictures or the Timothy Dalton ones that came later.

The big dune buggy battle on the beach is pretty intense and it leaves you with a similar feeling of loss as the painful and emotional ending of On Her Majesty’s Secret Service. Granted, it’s nowhere near as impactful as that but it does parallel that situation in some ways and it shows that this chapter in the Moore era isn’t just a live action cartoon.

This film also calls back to the Connery era with its underwater scenes that feel like they’re straight out of Thunderball. These scenes look a little more polished however, as it’s been over fifteen years since Thunderball was released.

Also, we get Connery’s big bad guy in the opening sequence of this film. We see Ernst Stavro Blofeld return and pretty much get killed off, as he wouldn’t return to the series until the modern Daniel Craig era. This was probably due to the studio losing the rights to SPECTRE after the Connery films. This was Eon’s way of killing SPECTRE and frankly, everyone was clamoring to see Blofeld finally get his just desserts after mysteriously disappearing from the series before Bond was able to get some proper revenge.

One cool thing about For Your Eyes Only is that the villain is Julian Glover a.k.a. Walter Donovan from Indiana Jones and the Last Crusade and General Veers from The Empire Strikes Back. I’ve always been a big fan of Glover and he has been a villain in three of my all-time favorite franchises. He is pretty tame as a Bond villain though and isn’t as memorable or gimmicky as some of the more famous baddies but he had a good presence in the film nonetheless.

I also really like the young ice skater girl. Sure, she was a bit annoying and too young for Bond but I found her charming and entertaining. Kudos to Lynn-Holly Johnson for bringing her to life and making her a character that contrasts her more famous role in Ice Castles. My mum loved Ice Castles, I was tortured by it as a kid. That and The Cutting Edge. My mum loved friggin’ ice skating movies. She said Slap Shot didn’t count though, even though I pointed out the skating skills of the Hanson Bros. on numerous occasions.

Back to the topic at hand, For Your Eyes Only was a Bond film that I wasn’t super fond of. But it’s moved up the mental list stored in my head and maybe I should update the list I posted on this site awhile ago.

Rating: 7.25/10
Pairs well with: The other Roger Moore James Bond movies.