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4.1 out of 5 stars138
4.1 out of 5 stars
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on 15 January 2004
At the end of his twelve year reign, Moore closes the book and leaves the series with a bang. Although not my favourite Moore film, the plot has its strong points and there are superb performances from Christopher Walken as mad Max Zorin and the Avengers' Patrick Macnee as Sir Godfrey Tibbett. The action scenes vary from sheer thrilling to downright ridiculous such as the out of control Fire Engine in San Fransisco and the Renault taxi chase through Paris. The film however has one of the most exciting and credible climaxes ever in a Bond film whilst 007 and Zorin battle it out atop the Golden Gate Bridge.
The DVD has the usual booklet, special features and an interview with Roger Moore about ending his spectacular performance and proving that Nobody Does it Better.
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on 2 May 2004
I find it astonishing that many people rate Bond movies based on the performance of Bond himself (Witness Lazenby's perpetual drubbing over what is actually a fine performance in an excellent Bond film ('On Her Majesty's Secret Service')). 'A View to a Kill' is victim to the same sort of unfair judgement. Roger Moore does look like he has aged about a decade since 'Octopussy' and the film's particularly youthful Bond girl, matched with a strong focus on athletic stunts, stretches our willingness to accept him in the title role past breaking point (Although, to be fair, Moore wanted to give up the role after 'Octopussy'). However, I find that I prefer this film to 'Octopussy' (I hear the sound of Bond fans choking), and feel that it has been overlooked simply due to the inappropriateness of Moore in the title role.
Okay, it is far from a perfect Bond movie; Stacey Sutton is a forgettable Bond girl, due to no fault of Tanya Roberts, who gives as good a performance as could be given with such a weak character. Despite showing considerable mental and physical muscle in the first half of the film, ahe seems to spend the final climactic three quarters of an hour squealing and occasionally acting as a convenient plot device to explain the science of Zorin's scheme to the audience. The script is also fairly thin, both physically and artistically (but when has that stopped a Bond film?), failing to wring out even a couple of memorable one-liners. Although these criticisms may seem seriously detrimental to the film as a whole, they cannot overcome the serious strengths of the film in other areas.
Christopher Walken is fantastic as the psychotic Max Zorin, being, in my mind, one of the most sinister and memorable villains the series has ever produced (Zorin's twisted laughter as he pointlessly guns down dozens of his own employees is a particularly memorable scene). In a film usually described as farcical, Walken provides a bad guy of unusual depth and credibility. Grace Jones is also a hugely effective presence as the predatory Mayday, successfully banishing all memory of the ineffectual Ms. Sutton from the viewer's mind. Patrick Macnee is also excellent as Sir Godfrey Tibbett, and their are numerous other memorable support performances.
But lets come to the most important reason why this is a good Bond film - It's a very enjoyable piece of cinema. The film moves along at a frenetic pace, especially in the second half, with a series of incredible set-pieces; the climactic scene on the top of the Golden Gate Bridge is, for my money, the most exciting showdown in the series' history, again enhanced by Walken's gripping performance and a truly fantastic incidental score by John Barry.
So, forget the script, if you want a Bond film that consistently entertains (which face it, is what we all want from a Bond film), there are few better than 'A View to a Kill'.
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After 12 years in the role, Roger Moore decided it was time to turn in his double o license after this, his seventh outing as superspy James Bond (and Bond's 14th big screen appearance)

Moore's tenure had seen some of the highs of the series (The Man With The Golden Gun) and some of the lows (Moonraker), where the series slipped towards absurdity. However, his final three films (For Your Eyes Only, Octopussy and View To A Kill) were a consistently strong run, and allowed him to leave the series with his head held high.

As with Octopussy, View To A Kill acknowledges that the world is changing, and the old cold war story lines are no longer relevant. Instead we have a strong tale of a mad genius plotting world domination through control of the supply of microchips. Unfortunately, he has to kill an awful lot of people along the way and it is up to Bond to stop his dastardly plans, saving thousands of lives directly and securing the safe economic future of the world.

It's a great plot, and allows for a lot of fun and a few suitably dramatic set pieces and big stunts along the way. Patrick McNee makes a welcome appearance as Bond's assistance, and the easy banter between the two is a particular pleasure. Roger Moore breezes his way through with a great deal of charm and grace. He does appear a little too old for the part on occasion, but he has so much style and élan that you can forgive him. The ever reliable Christopher Walken makes a very memorable psychopathic villain; ably assisted by Grace Jones as one of the most memorable and unusual Bond girls.

This is an excellently paced film which delivers big stunts (such as the Eiffel Tower jump or the fire engine chase through San Francisco) regularly enough to keep you interested and on the edge of the seat, but not at the expense of plot and a little character development. A very strong entry in the series, one that really delivers fun by the bucket load.

This ultimate edition really is the best version of the film I have owned. The picture has been lovingly restored and cleaned up, and looks amazing. Really, I am not just saying that. It looks superb. The sound has been similarly treated and there is an option to listen to it in 5.1 DTS surround, which is truly exceptional.

As well as the superb presentation of the film, there is also a host of extras, original trailers, informative audio commentaries and the such. These are exhaustive and some of them quite interesting. But these really a garnish for the main course, which is the film itself.

This is an excellent release, and does the film justice. This series of `Ultimate editions' really sets the standard for film releases. It really does not get any better.
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Roger Moore and Lois Maxwell's last Bond film, A View to a Kill, was the commercial lowpoint of Moore's Bond tenure (only Licence To Kill would sell fewer tickets), but it's not the worst of his films even if it is probably the dullest. Almost entirely gadget-free, there's a pleasing return to a self-reliant Bond - trapped in a sunken car, in an oil pipeline or in a burning lift, he uses his wits and what is immediately to hand to extricate himself, which at least puts him, not the toys, firmly at the centre of the action. Although, like so much of the film, a bit on the lacklustre side, the horse-doping subplot is also a nice change of pace that feels more like genuine Fleming than EON, and Patrick MacNee makes a good foil for Moore as one of Bond's many ill-fated sidekicks.

Unfortunately some of the action scenes seem to lose energy rather than gain momentum, the Parisian car chase in particular despite some impressive stuntwork from Remy Julienne, while others - especially the firetruck chase - suffer from lousy back-projection even by Bond film standards. The opening pre-title sequence is nearly very good but shoots itself in the foot with dull scoring, a horrible overlong jokey burst of the Beach Boys on the soundtrack and a terrible joke submarine feeling like an unwelcome sharp elbow in the ribs from a very loud and very unfunny warmup comedian who keeps on asking you if you got the joke because you haven't laughed. It's not the film's only cringeworthy moment - as if Bond making quiche for Tanya Roberts wasn't bad enough (forget Denise Richards, Roberts has to be the worst Bond girl ever), the poor old boy is practically raped by Grace Jones!

Then there are the villains. Christopher Walken, a man who can turn battle-hardened Marines to quivering masses of jelly just by looking in their general direction, makes a surprisingly weak and unmenacing psychopathic mastermind (whodda thunk it?) and his Nazi war criminal mentor who looks like a cross between British astronomer Patrick Moore and eccentric Tory MP Boris Johnson cuts a particularly laughable figure fighting with a past-his-prime but still game Roger Moore on the Golden Gate Bridge. That the villain's big scheme is a melting pot rehash of Superman's engineered earthquake, Gold's mine flood and Goldfinger's monopolising the market scam doesn't help the feeling of the series just going through the motions, and while John Glen's direction shows some improvement, he's still horribly lazy with any scene that doesn't take his fancy. Throughout there's a feeling that this is a film that's been made by too many people who've just been doing the job too long and are starting to think about the size of their pension funds: it seems to have been made more out of habit than genuine desire. In many ways the worst that can be said of it is that it's rather dull, while the best that can be said is that there are worse Bond films.

The gem among the new extras on the two-disc Ultimate Edition is Roger Moore's audio commentary - just as well, since there's not a huge amount of additional material otherwise: 4 additional deleted scenes, expanded multi-angle scenes, some outtakes of the firetruck chase and test footage of the butterfly act, with all the extras from the original release carried over.
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on 15 December 2013
One of the most maligned Bond films, but in my opinion unjustifiably so. For a start let's start with Walken's Zorin, one of the best Bond villains to yet schmooze across the screen. It's rare that a Bond villain appears genuinely unhinged, most of the time they're time to extort money, or have a political axe to grind. Max Zorin mows down miners and laughs while he does so, as well as blowing away anyone who has outlived their usefulness ("You're being used Mr Howe...")

He is memorable and mad, and owns a Zeppelin with his own name emblazoned on the side. What's not to love?
throw in a henchwoman like Mayday (who is a damn sight better than Rosa Klebb) and a great theme song, and tonnes of quotable dialogue, and you have yourself a brilliant Bond film.

Yes I appreciate Stacey Sutton is pretty bland, and is clearly too young for a creaky Roger Moore, but hell, suspend that disbelief for the sake of a great Bond film. At least Zorin doesn't ask JB is he's been with other men and start sliding a hand up his thigh.

"-...so. Anyone else wanna drop out?"
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on 13 December 2008
Although not an amazing bond it's not one of the worst and it has some great set pieces including bond hanging from tyhe rope over san francisco and the mine sequence. Aften said by critics as the worst of the whole bond series( who clearly haven't seen die another day or quantum of solace) I personaly love the film and would recommend it to anyone.
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on 22 June 2000
This is Roger Moore's last outing as 007 and he goes out in style. Superb film, superb cast, superb plot. Set in exoctic locations such as Paris and Silicon Valley this film is visually superb. In addition to this the stunts, particularly the car chase through the streets of Paris is superb. Bond at his best, a must see.
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on 13 May 2012
It would be very easy to slate this film, Roger Moore to old yada yada yada but his Bond years were about escapism,gadgets and humour. When you know what you're getting you can settle in for an entertaining film, not liking this would be like complaining about the realism of Spiderman
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VINE VOICEon 30 June 2006
A great addition to the Bond saga, and a fitting farewell to the greatest Bond of all, Roger Moore. The story tells about how psycotic industrialist Max Zorin(Christopher Walken) and his glamarous sidekick May Day (Grace Jones) plan to cause global destruction to the environment and economy by way of microchips and large explosions! The gadgets are fun, the stunt work is great (Eiffel Tower jump anyone?) and the supporting cast are on fine form, with a juciy role for Mr.Walken as always. With a rousing theme tune edging into the 1980s, Bond is back and still packing the punches!
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on 24 November 2002
I don't see why everyone does not like this chapter in the James Bond saga. Roger Moore is an amazing 007, and the fact that he is looking a little dated does not tarnish this film at all. The action scenes are classy, a great plotline and Christopher Walkne is superb as mad Max Zorin, a wealthy industrialist hell-bent on flooding Silicon Valley in order to increase the price of his new microchips.
The ending is the best part of the film (not because it's over, no) with Bond and Zorin battling it out on top of the Golden Gate Bridge. The final massive explosion marks the end of an era, with Roger Moore bidding farewell to the role which gave him worldwide success.
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