One thoughtless casting decision all but sinks this otherwise enjoyable picture.
The third 'Bond' movie directed by John Glen, this action / spy film earned over five-times
its $30 million dollar budget when it was released in the summer of 1985.
The 131-minute plot, which borrows many elements from "Goldfinger" - follows Bond's inconsistently
focused quest to thwart a mad industrialist who is hell-bent on flooding Silicon Valley
for financial gain.
Perpetual weirdo Christopher Walken portrays the primary antagonist - and is perfect as
the erratic villain, a product of genetic experiments by the Nazis.
His Walken-esque delivery is strangely suited for the role, and he remains a strong highlight
from this otherwise messy production.
Tayna Roberts is frankly annoying as a high-pitched female that needs rescuing, while Grace Jones
is frightening and intriguing as a strong, no-nonsense henchwoman.
The usual array of allies and accomplices float in and of the story, including Lois
Maxwell in her final appearance as "Moneypenny", and Dolph Lundgren's first on-screen role,
as an extra.
Last, and also least is our lead-actor; the 58-year-old Roger Moore who is *badly* miscast
in his record-setting seventh appearance as the suave secret agent.
The fact that he was twenty years older than most of his co-stars should have been a clear
sign to Eon Productions that he was desperately ill-suited to continue.
The producers instead employed the work of multiple stunt-doubles whenever Bond needed
to jump off a bridge, or hang from a fire truck.
So while they may not have asked their aging actor to perform any dangerous physical activity,
they did implicitly ask the audience to go along with it.
The snowy cold-open - in which Bond inadvertently invents snowboarding while a knock-off version
of the Beach Boy's "California Girls" plays - was shot entirely with body-doubles.
Moore never even visited Iceland, he instead filmed his portion on an obvious soundstage.
Ultimately, the heavy reliance on much younger and athletic stunt doubles is distracting
and embarrassing.
I've always enjoyed Roger's outings more for their humor and levity - but even there, this
PG-rated film falls flat.
Commenting on a morning-time horse ride, he quips, "Well, I'm an early riser myself."
It's one of the more groan-inducing quotes in the picture, but truthfully, most of the
dialogue is just as hammy.
With such "excellent" one-liners, it's remarkable that Bond beds a record four separate women
in this picture - but watching Moore seduce females that are half his age is often uncomfortable,
and after establishing a sort of father/daughter relationship with one character, it's also
disturbing.
After learning he was older than his romantic co-star's mother, even Roger himself knew
it was time to end his run.
Now, don't get me wrong, there are plenty of roles in Hollywood for older men (certainly
moreoso than women).
Individuals like Liam Neeson have even proven that smaller-scale action movies are possible
for men in their 60s - but sadly, that is not the case with "A View To A Kill".
Moore's age, and general lack of participation or enthusiasm is the film's death knell.
While we're on the subject of giant mistakes - the first half of this picture, a 45-minute
plot thread about cheating at horse racing goes absolutely nowhere.
Why an international spy is interested in such frivolous crimes is never adequately
explained - nor does this narrative arc ever truly get resolved, or feed into the rest
of the picture.
It just exists - without enjoyment or purpose.
All that being said, there are a few things here that really work, especially the music.
Duran Duran's title theme might be one of the best in the series' catalog, and indeed,
was the only Bond theme to reach #1 on the Billboard charts.
The recycled motifs of this theme sprinkled throughout the film by composer John Barry
also work surprisingly well.
From base-jumping off the Eiffel Tower to splitting a car in half... twice...
this movie also boasts some rather great action sequences.
The biggest set-piece; an explosive flooding of an underground mine feels like an awesome
Universal Studios attraction.
Some of the projection screen work, especially during the high-stakes climax atop the Golden
Gate bridge, isn't particularly convincing, but most of the effects and action remain
believable.
Now, if I'm being honest, this movie is not, objectively, very good.
But for Bond fans, "A View To A Kill" is cheesy 80s entertainment with some really great stunts.
Here's what you had to say about it.
With Christopher Walken cited as the picture's only saving grace, you thought this film was
just MEH.
I still kind of enjoy this one, so I'll score it an ALRIGHT.
That does it for this quick excerpt - but if you'd like to watch full episodes of "Movie
Night", and submit your own reviews to be included on the show, please visit the Jogwheel
YouTube channel.
My name is Jonathan Paula, thanks for watching and have a good Movie Night!