Slow and steady seems to be the pace with Roger Moore’s improvement as James Bond. This marks his third appearance in a Bond film (the 10th in the series) and would be Moore’s point of no return. After The Spy Who Loved Me, Moore would portray Bond as arrogant in his desirability, essentially forcing himself upon women because he knew they subconsciously wanted his pretty-boy man juices, even if they didn’t know it yet and however hard they would resist.
The story has a more serious tone, with Soviet and American subs going missing along with their payload of nuclear missiles (reminiscent of You Only Live Twice). So Bond goes in search of a man claiming to be selling a high tech submarine locating system, where he ultimately teams up with a Soviet spy. Turns out the lovely spy was married to a Soviet agent that Bond killed, and she has sworn to kill 007 once they retrieve the subs. The plot takes a dive as it turns out the villain is another run of the mill “take over the world” type, who thinks he can create a more perfect humanity in an underwater environment.
Some goofy gadgets (a submarine car?) and an over-the-top final battle sequence lighten up the film a bit too much and in the end, 007 warms the cold Siberian heart of his Soviet side kick and they do it in a life raft, only to be discovered by both of their governments in said life raft. Moral of the story- James Bond can bring peace to the world and love to lonely Russian women.
Roger Moore takes over as James Bond in the eighth installment of the 007 franchise. Where Sean Connery was rugged and coarse, Roger Moore creates a more effeminate and campy Bond. Connery was a man’s man, while Moore introduces us to Bond the ladies man (which would largely be parodied in Austin Powers). Moore is a pretty boy (although he was 46 when the film was released) who, in my opinion, doesn’t look like he’s ever killed a man in his life.
The plot of the film seems more like blaxploitation cinema than a Bond flick but it remains to be true that even a bad Bond film is enjoyable on some level. Several MI6 agents and an American agent are found dead in the United States after investigating potential ties between a Caribbean dictator and a massive drug ring. Bond heads to the deep south, where he woos himself some brown sugar and information about the dictator’s nefarious plot to turn half the United States population into heroin addicts. Add to that a very harsh stereotype of southern whites and some slapstick comedy that does not belong anywhere near a James Bond film and you get Live and Let Die.
It’s a thin and quite poor way for Moore to break out of the gate. Granted, at this time the state of affairs in the world was not a happy one, what with Vietnam dragging many spirits down. Perhaps Moore’s incarnation of Bond was meant to provide an escapist delight for those who were down-trodden and looking to check reality at the door of the theater. This is very likely, but it’s simply not a context I can slip into.
Great theme song (perhaps the best of them all), lousy film.
An improvement for Moore, although his second outing as James Bond still comes up short. While it may be one of the more entertaining Moore-helmed Bond flicks, it suffers from being a bit too silly, over the top and even unoriginal.
For once, Bond should be concerned for his well being. While he has always had a death mark on his head from a multitude of bad guys, Bond is being pursued by Francisco Scaramanga, the man with the golden gun. He charges $1 million per hit and never misses, using his own specialized golden bullets. The theme song opening the film actually informs you better than the first 15 minutes of the film as to how dangerous this guy is.
Meanwhile, Bond is trying to find out who stole a very important piece of technology that can harness the energy of the sun and convert it to power. This just so happens to be Scaramanga and his mistress just so happens to tell Bond all about her lover. Bond, of course, repays her kindness by sleeping with her and confronts Scaramanga and his servant (Hervé Villechaize, aka Tattoo from Fantasy Island). Scaramanga has devised a cannon that uses the sun’s energy to create a high-energy blast at any target he likes (think of it as an earth-bound version of the weapon from Diamonds Are Forever).
Bond and Scaramanga play a deadly game of cat and mouse, but I’m sure you can figure out for yourself who wins. While entertaining, The Man with the Golden Gun is a bit too over the top to be taken seriously.
Sean Connery returns as 007 in this film, after swearing of the series two films prior. Supposedly the money was right to get a return performance out of him. His performance is what makes the film worthwhile, although some would argue against my reasoning.
Some say that Connery gives a lackluster performance, only doing it for the money. They’ll argue that he’s careless in his portrayal and makes Bond seem indifferent about his missions. It is true that Connery shows he doesn’t give a flying fart about being Bond anymore but this attitude actually helps sustain the movie. An opening montage features Bond mercilessly beating people to learn the whereabouts of Ernst Blofeld, who was responsible for the death of his wife in the previous movie. He thinks he finally kills Blofeld, but he is mistaken. Bond is out for blood, so Connery’s careless performance only enhances this quality in Bond.
The evil mastermind resurfaces (Bond killed a look-alike) and causes more anguish for 007. Bond is sent to investigate a diamond theft and he discovers Blofeld is behind it. A secret satellite has been put in orbit which uses the stolen diamonds to fire a concentrated heat beam at any target he likes. Blofeld takes out a few nuclear missile stations but Bond ultimately saves the day.
Without Connery’s attitude this film would have been less appetizing. A muddled script featuring a few oddities, such as a gay couple who are diamond thieves (it’s never known if they were working for Blofeld or not), and some poor editing during a chase scene would have otherwise made the film lackluster. A strong performance saves the day though.
Also, the title song is quite good, making a rare combination of a good Bond theme song and a good Bond film.
I absolutely love Stephen King’s work, and The Stand is no exception. It was one of King’s earliest novels, and yet it is one of his greatest achievements. Sadly, the translation from novel to film would be near impossible. Some of the key events (especially towards the end) would be impossible to convincingly create, which makes me wonder why anyone thought it could be turned into a TV mini-series.
They tried though, they really did. Broken into four parts, The Stand flows like a movie, as it is one complete narrative with a beginning, middle and end. I consider it a film made for TV, and broken up into segments. Maybe I’m wrong to consider it thus, but I do. If you try to watch it all in one sitting, brace yourself- The Stand tops out at just over 6 hours long, which actually isn’t even close to long enough, given King’s lush source material.
The Stand focuses on the aftermath of a highly lethal super-virus outbreak from a government facility. Over 99% of the world’s population is dead, and there are two camps of survivors- good and evil. Both are being called to specific places for specific purposes. The mini-series does a decent job of covering the many faces and personalities from the book, with only a few omissions (one of which is actually fairly major).
The acting is as good as it can be for a made-for-TV cast. Some choices are truly inspired, such as Rob Lowe as a deaf mute struggling to find purpose. The real show stealer though is Randall Flagg, the embodiment of evil in this devastated world. Ultimately, the two camps, good and evil, are drawn together for a final conflict that will determine the fate of humanity.
If you don’t love Stephen King’s work, I don’t recommend trying to tackle this beast. Fans will be able to tolerate its shortcomings and appreciate the effort.
Sean Connery had had enough of James Bond and did not accept the offer to play the suave super spy in this, the sixth installment of the James Bond series. Filling in for Connery is Australian model George Lazenby. Often times this film is cited as one of the most inferior in the series. I actually quite enjoyed it.
Bond nearly quits MI6 after being told to quit searching for mastermind Ernst Blofeld. However, through chance encounters and a few lucky breaks, 007 finds himself hot on his nemesis’ trail while wooing the lovely daughter of a crime boss at the same time.
Different from the previous three entries, On Her Majesty’s Secret Service is more straight-laced, including minimal gadgetry and camp. Sure, Bond still makes the ladies swoon and never passes up a chance to partake in the forbidden pleasures of a more proper life, but the film has a seriousness to it that has been absent from 007’s adventures since From Russia With Love.
It’s a back-to-basics move for the series (though it didn’t last) and it is one of the better non-Connery portrayals of James Bond. The film is supposed to be very true to the Ian Fleming story, which is a bonus for those fans who have read the book. For the rest of us though, it’s a bit too long. At 2 and a half hours, it’s the longest Bond film ever made, and while the story itself is good, there are too many points where we seem to be dragging our feet. Perhaps this comes from an ambitious true-to-the-story attitude, or perhaps it’s because previous entries in the series have dumbed us down a to the point where we’re expecting gadgets and wit to carry us from one explosive scene to the next.
Either way, it’s not bad and by far not the worst. It also features two theme songs. The first is an instrumental piece used during escape and chase sequences, and the other is a charming song called “We Have All the Time in the World” which plays during Bond’s wedding- that's right, 007 straightens up and ties the knot (though the day is spoiled shortly thereafter, setting up future adventures).
Featuring exotic locations and a terrific score, You Only Live Twice is one of the better humorous Bond films, which is saying a lot. The series still maintained its dignity to this point, while splashing in enough wit and gadgetry to satisfy a majority of modern day Bond fans.
After faking his death to provide more maneuverability, Bond heads to Japan in an attempt to uncover the powers behind the abduction of both a US and a Soviet space capsule. The clock is ticking though, as both the USSR and the USA blame each other for the disappearance of their respective capsules, pushing them (and the world) to the brink of a nuclear war.
Sure enough, the evil S.P.E.C.T.R.E. is behind it all, and Bond faces off against the evil mastermind Ernst Blofeld. Partnering up with Japanese secret agents, Bond faces certain death with a grain of salt and his classic charm, both saving the day and getting the girl.
The terrorist organization known as S.P.E.C.T.R.E. hijacks two nuclear warheads and attempt to hold the world for ransom or else they will unleash a nuclear crisis. Enter James Bond. He manages to get mixed up in all this while at a health club, where he is supposed to be improving his body. After important meetings with his boss he sets off to track down one of S.P.E.C.T.R.E.’s top men and the one in possession of the bombs.
Straightforward enough, the film’s plot is easy to follow and falls into what will become a pattern for Bond saving the world from evil megalomaniacs bent on world destruction and getting rich. So, in a way, it’s pretty basic. But the filming techniques make for some delightful experiences. The underwater fights are very well done, although they run too long, and show a commitment to upping the ante for the kind of viewing experience Bond films will be. It attempts to dazzle the eyes with over-the-top gadgets and effects, but the weaker story (in comparison to the previous entries) doesn’t trick the mind into being quite as satisfied with the end result. The score for the film is terrific, but the theme song, by Tom Jones, is forgettable.
Gregory Peck is a man’s man. He’s taken on many challenges in his acting career, and The Omen pits him against the spawn of Satan. Peck’s wife has a complicated pregnancy which results in a still-birth, but his wife in unconscious and has no clue. To cover it up, her husband switches babies with some monks and takes on Damien as his son.
Everything seems fine until 5-year old Damien starts coaxing people to commit suicide telepathically, being followed around by big mean dogs, and freaking out when exposed to anything remotely religious. The child actor is really a cute kid, but nothing is creepier than a cute kid staring blankly off into space with eerie music playing.
Overall, the film is really good. It’s filled with religious symbolism, which shows that the filmmakers did their homework. Granted, there are plenty of convenient twists and turns that now seem cliché, but they are largely excusable because the film excels at creeping you out.
I wouldn’t recommend this to those who are extremely squeamish, overly prone to nightmares, or the overly prudish religious folk who are offended by Satan’s portrayal as a cute little boy. Those who are into religious study or those who just enjoy a good chill will enjoy The Omen.
When a science-fiction film appears to have a lower budget than an Ed Wood film, you know you’re asking for trouble. Although made in 1993, Alien Intruder looks like it was made in the 80s with a B-movie budget from the 50s. This would stain anybody’s resume, so it’s no wonder that Warner Brothers bought out Billy Dee Williams' contract from the original Batman film so the studio wouldn’t have to use him as Harvey Dent/Two Face in Batman Forever.
Deep in the heart of space, an alien life form/virus lures unsuspecting ships and their crews to their doom by taking the form of a seductive and desperate woman, using her sexual energy to turn the men on each other. Williams leads a crew of convicts on a salvage mission to where this evil creature lies in wait. No motive is given for the alien’s behavior and no point is given for this movie’s existence. Stay away from this one.
Slow and steady seems to be the pace with Roger Moore’s improvement as James Bond. This marks his third appearance in a Bond film (the 10th in the series) and would be Moore’s point of no return. After The Spy Who Loved Me, Moore would portray Bond as arrogant in his desirability, essentially forcing himself upon women because he knew they subconsciously wanted his pretty-boy man juices, even if they didn’t know it yet and however hard they would resist.
An improvement for Moore, although his second outing as James Bond still comes up short. While it may be one of the more entertaining Moore-helmed Bond flicks, it suffers from being a bit too silly, over the top and even unoriginal.
Sean Connery returns as 007 in this film, after swearing of the series two films prior. Supposedly the money was right to get a return performance out of him. His performance is what makes the film worthwhile, although some would argue against my reasoning.
I absolutely love Stephen King’s work, and The Stand is no exception. It was one of King’s earliest novels, and yet it is one of his greatest achievements. Sadly, the translation from novel to film would be near impossible. Some of the key events (especially towards the end) would be impossible to convincingly create, which makes me wonder why anyone thought it could be turned into a TV mini-series.
Sean Connery had had enough of James Bond and did not accept the offer to play the suave super spy in this, the sixth installment of the James Bond series. Filling in for Connery is Australian model George Lazenby. Often times this film is cited as one of the most inferior in the series. I actually quite enjoyed it.
Head East, old chap!
The terrorist organization known as S.P.E.C.T.R.E. hijacks two nuclear warheads and attempt to hold the world for ransom or else they will unleash a nuclear crisis. Enter James Bond. He manages to get mixed up in all this while at a health club, where he is supposed to be improving his body. After important meetings with his boss he sets off to track down one of S.P.E.C.T.R.E.’s top men and the one in possession of the bombs.
Gregory Peck is a man’s man. He’s taken on many challenges in his acting career, and The Omen pits him against the spawn of Satan. Peck’s wife has a complicated pregnancy which results in a still-birth, but his wife in unconscious and has no clue. To cover it up, her husband switches babies with some monks and takes on Damien as his son.
