80 replies to this topic

[sharpshooter]

I recently watched AVTAK again and you know, the PTS is actually one of the series best. Some of that skiing and snowboarding work is quite impressive indeed. The rest of the film is so-so though.

[solace]

Gave it five. It could have been great, but RM's age let it down for me.

Have to agree with skudor. I think this would have been a good start for Dalton with the right treatment.

[Mr. Osato]

Sequentially speaking, this film was a bit of a letdown. On the heels of "Octopussy" this is one of those "throw in the kitchen sink" adventures that instead of a different direction, Cubby and company trotted out the same model of Bond movie... With less punch.

Yes, Roger Moore is very old for Bond but had this been produced in the vein of "TLD" or simply less "Americanized" -- AVTAK probably would have been the perfect exit for Rog.

Still you've gotta love classic Moore -- as he took on the mansion attack with his "salt shooting rifle."

A Classic Roger Moore scene.

[AngryPolarBear]

Despite his age, Moore beds four women in this film. That's impressive. And I don't think AVTAK is horrible. It's fairly entertaining, has some great locations and Walken/Jones are decent villains.

I also agree that the PTS is very good untill the Beach Boys scene and the iceberg.

[DaveBond21]

Despite his age, Moore beds four women in this film. That's impressive

Indeed, the joint most number of women, along with FRWL.

[Aris007]

Despite his age, Moore beds four women in this film. That's impressive

Indeed, the joint most number of women, along with FRWL.

That's because of Bond and not of Moore, right?
Anyway, the film is quite good!

[DamnCoffee]

I gave this a 6/10. The only real problem I have with it is Tanya Roberts, the plot and Moores age. There are many good things about the film though. The Score, Walken, Grace Jones... the writing is intelligent it still need s a re-write though. The Plot needs to be more exciting aswell.

[sthgilyadgnivileht]

Saw this in the cinema when I was nine and loved it!

[dogmanstar]

I gave it an 8. Yes, it's uneven. Yes, it has some slow bits. But, yes, too, it's Bond! I mean, what other film could have two stunning action sequences on both the Eiffel Tower and the Golden Gate Bridge? The PTS is beautiful and amazing; John Barry's score is especially good here. The crazed Zorin and a neat turn on the Jaws/Oddjob henchman in Grace Jones. As for Moore being too old, I don't really see that at all. I think he pulls it off quite well.

[DaveBond21]

I gave it an 8. Yes, it's uneven. Yes, it has some slow bits. But, yes, too, it's Bond! I mean, what other film could have two stunning action sequences on both the Eiffel Tower and the Golden Gate Bridge? The PTS is beautiful and amazing; John Barry's score is especially good here. The crazed Zorin and a neat turn on the Jaws/Oddjob henchman in Grace Jones. As for Moore being too old, I don't really see that at all. I think he pulls it off quite well.

You make me want to watch it now....

[Vanish]

I'm always on the fence with AVTAK. I break the film down like this:

The Good!
- Moore, even in his late '50s, turns in a charming performance as Bond.
- Walken and Jones are terrific villains, two of the series' quirkiest..
- John Barry's score, love the electric guitar squeals.
- The PTS is fantastic... save for the Beach Boys.
- All of the scenes at Zorin's chateau are wonderful.
- The Golden Gate finale is spectacular, one of the series' most memorable fight sequences.
- Interesting (if familiar) scheme.

The Bad!
- Tanya Roberts.
- General disinterest on the part of the filmmakers.
- Terrible pacing in an already overlong film.
- Generally weak action. The fire engine chase in particular is just dire.

[AngryPolarBear]

Nice sum up Vanish. I was suprised that the PTS was well done when I rewatched it the other day. All I could remember before was that Beach Boys crap.

[Red Barchetta]

All in all, not the worst- at least for me DAF was worse than AVTAK.

Zorin is one of the best villains, though I could do without him and MayDay rolling around on the floor!


Rog does look older in this movie for obvious reasons- he seems tired, and/or worn out from playing Bond.


Tanya Roberts is the worst part of this movie- sheer bad casting (ala Denise Richards).

Favorite moment: the gunning down of Zorin's men in the mine- he seems to really be enjoying himself as he changes magazine clips.

I rate it a 6 (lose Tanya, and I'll give it a 7).

Edited by Red Barchetta, 10 July 2008 - 06:49 PM.

[Zorin Industries]

As my moniker testifies, A VIEW TO A KILL is my favourite entry in the series. I do not think it is the best Bond film but it was always my favourite. I saw it when I was ten years old at the local monoplex and was bowled over by it. I'd seen OCTOPUSSY but was perhaps too young to take in what was probably my first 'adult' film at the pictures.

A VIEW TO A KILL demonstrates everything I want and love in a Bond film. There are the obvious elements - the superb and never bettered title track (where can I sign the petition to get Duran Duran and Mark Ronson to produce 2008's musical efforts?), the fresh take on an old villain (Walken is the ONLY antagonist who is both one creepy er yet just as cool and slick as 007 himself) and a film that really taps into the zeitgeist around it in a way Bond films don't always achieve.

A VIEW TO A KILL is the only Bond film of the 1980's that was produced in that decade but does not now suffer from it in hindsight. Parts of LICENCE TO KILL are all a bit late 80's Miami and OCTOPUSSY (to its credit) doesn't seem to be set in any decade. Yes, the microchip plot is gleamed from the Atari headlines of the day, but casting Grace Jones and making that work and not caring too much that a leading actor is technically too old (I think it lends Moore's interpretation great experience and he is so clearly in love with the part and its circus in every frame of his swansong).

Some people have noted that A VIEW TO A KILL has a flagging pace. I would totally disagree. It holds up as one of the better paced Bond films with a driving plot that doesn't stumble apart midway through in a way that damaged Pierce Brosnan's entries (apart from maybe TOMORROW NEVER DIES). A VIEW TO A KILL is also bloody cool. There is an elegance and grandeur to the film - its production design, its supporting actors, its costumes and use of classical music - that I don't think the series has attained since - apart from CASINO ROYALE, but none of us saw that curveball coming. A VIEW TO A KILL feels like it was shot in the locations it features. It doesn't all feel like things were lensed at Pinewood's second unit car park - something that dogged the Brosnan years. It features the familiar world domination motif but where are the underground bunkers?

Yes - Tanya Roberts is a bit blonde, but since when was that a crime against Fleming? At least she's not been written with some horrible post-1970's notion of female equality. I actually believe she is a geologist. I never felt CHRISTMAS JONES could even spell 'nuclear' let alone be an expert in it. I like the vague backstory about Sutton's father and the oil fields he once owned. It seemed to be a device of some of the 1980's Moore films to feature female characters defending their father's legacy (FOR YOUR EYES ONLY, OCTOPUSSY and A VIEW TO A KILL). And ZORIN's parentage is well handled. As is the visualisation of a villain bound by some dark Aryan ethic.

A VIEW TO A KILL was also a key John Glen film that showed how much impact M and Universal Exports can make on the narrative without having Bond's boss march angrily down every hotel corridor on location to do so. Yes the film is clearly the product of a well-oiled Eon machine, but I'd rather we have a film like A VIEW TO A KILL than DIE ANOTHER DAY or GOLDENEYE (both well-oiled cinematic machines but somehow soulless entries which become more so as the years pass).

A VIEW TO A KILL has a narrative ambition deeply culled from the year it was made. How many other Bond films since can say that? Brosnan's films - for good or bad - were more nervous nods to Bond's cinematic Cold War past than the new Millenium. A VIEW TO A KILL is one of the films that has aged least. It has a crisp pace and a pounding John Barry score with his best 'action' orchestrations since OHMSS and a lush violin instrumental (WINE WITH STACEY is a beautiful track - though you've not heard it until you've heard the London Philharmonic perform it live, believe me).

And none of you are going to support me on these thoughts, are you? (!)

[Judo chop]

Wrong again, Zorin! I thought it was a fine and very fair review. <clap, clap>

Here is your support: AVTAK is an underrated Bond film.

It feels a bit tired over the entire course, Zorin is a missed opportunity, Jones is ugly, Sutton is stereotyping (though as you said, comes nowhere near the incompetence of Christmas) and Roger is too too old… but at no point does the film totally fail, which makes it particularly special among the Glen-helmed Bond films. It may have the largest supply of ‘classic’ moments of any film in the Glen library.

It’s a 5 for me.

[ACE]

I saw it when I was ten years old at the local monoplex and was bowled over by it.

LOL!

A VIEW TO A KILL demonstrates everything I want and love in a Bond film. There are the obvious elements - the superb and never bettered title track (where can I sign the petition to get Duran Duran and Mark Ronson to produce 2008's musical efforts?),

Next door to those seeking to get Burly Chassis back!

the fresh take on an old villain (Walken is the ONLY antagonist who is both one creepy er yet just as cool and slick as 007 himself) and a film that really taps into the zeitgeist around it in a way Bond films don't always achieve.

S'pose.

A VIEW TO A KILL is the only Bond film of the 1980's that was produced in that decade but does not now suffer from it in hindsight. ... Yes, the microchip plot is gleamed from the Atari headlines of the day, but casting Grace Jones and making that work...

Yes, it has classical elements but it surely is the Bond film most of its time. Which can be good too. The more fantastical plots tend to age better.

... a leading actor is technically too old (I think it lends Moore's interpretation great experience and he is so clearly in love with the part and its circus in every frame of his swansong)..

Well, whilst I love Roger Moore as Bond, I did feel he was far too old in this film. However, to agree with you, he never seemed so obviously bored with the role (like Connery in Thunderbore and YOLT). His take as 007 in LALD was consistent with his take as 0070 in AVTAK.

Some people have noted that A VIEW TO A KILL has a flagging pace. I would totally disagree...

Come along, Tibbet

A VIEW TO A KILL is also bloody cool. There is an elegance and grandeur to the film - its production design, its supporting actors, its costumes and use of classical music ... A VIEW TO A KILL feels like it was shot in the locations it features. It doesn't all feel like things were lensed at Pinewood's second unit car park - something that dogged the Brosnan years.

Yup, it is classic Bond and sumptuous to look at.

It features the familiar world domination motif but where are the underground bunkers?

Mainstrike Mine? Just joshing, I get your point.

Yes - Tanya Roberts is a bit blonde, but since when was that a crime against Fleming? At least she's not been written with some horrible post-1970's notion of female equality. I actually believe she is a geologist. .. I like the vague backstory about Sutton's father and the oil fields he once owned.

I like her backstory and role within the film but I really believe Tanya Robers limbo danced under even the lowest standards at The Daniela Bianchi School of Thespianismery. And gosh, she looks better now than she did in that over-madeup, big-haired era!

It seemed to be a device of some of the 1980's Moore films to feature female characters defending their father's legacy (FOR YOUR EYES ONLY, OCTOPUSSY and A VIEW TO A KILL).

Nice observation. Hadn't thought of that.

And ZORIN's parentage is well handled. As is the visualisation of a villain bound by some dark Aryan ethic.

Agree. Zorin's backstory was fascinating.

A VIEW TO A KILL was also a key John Glen film that showed how much impact M and Universal Exports can make on the narrative without having Bond's boss march angrily down every hotel corridor on location to do so.

LOL

A VIEW TO A KILL has a narrative ambition deeply culled from the year it was made.

Agree. Within the flab of AVTAK, there is a great Bond film trying to get out.

A VIEW TO A KILL is one of the films that has aged least.

True, but it was ancient in 1985.

It has a crisp pace and a pounding John Barry score with his best 'action' orchestrations since OHMSS and a lush violin instrumental (WINE WITH STACEY is a beautiful track - though you've not heard it until you've heard the London Philharmonic perform it live, believe me).

I believe you, kid. I've heard them too. Yes, John Barry* of AVTAK is symbolic of the fun and failings of the film. When he scored TLD, it was with renewed energy, vigour and power. AVTAK is stately, portly fayre.

^{*though less good John Barry is still miles better than other composers' best work.}

And none of you are going to support me on these thoughts, are you? (!)

Amongst civilians, it's one of the most popular movies. There's a bunch of AVTAKers out there.

[Safari Suit]

And none of you are going to support me on these thoughts, are you? (!)

I actually agree with you pretty much across the board! Its in my Top 5, certainly.

[Zorin Industries]

Wrong again, Zorin! I thought it was a fine and very fair review. <clap, clap>

Here is your support: AVTAK is an underrated Bond film.

It feels a bit tired over the entire course, Zorin is a missed opportunity, Jones is ugly, Sutton is stereotyping (though as you said, comes nowhere near the incompetence of Christmas) and Roger is too too old… but at no point does the film totally fail, which makes it particularly special among the Glen-helmed Bond films. It may have the largest supply of ‘classic’ moments of any film in the Glen library.

It’s a 5 for me.

Then that's good enough for me.

I've always felt Walken was brilliant. He is easily my villain of choice. If his part had been any broader then it would have detracted from what was Moore's swansong.

I've also always believed that - out of many villains - MAX ZORIN could easily return. Whilst that is a naff idea in the wrong hands there is something very apt now about a narled and twisted Christopher Walken returning in the Craig era and laying seige to BOND. ZORIN fell from a bridge into water. He's a genetic experiment ("a physiological freak" I believe). Surely he could survive a dip in the Bay.

[DR76]

AVTAK isn't a bad film. It seemed like a slightly better version of GF. But its real assets were the villains. Christopher Walken, who was his more than competent self, created an interesting and self-absorbed character. Grace Jones was fabulous. She's probably one of those types that men usually find intimidating, which is why they tend to put her down a lot. I think some women do that as well. Another thing I liked about AVTAK were the French and Californian locations. Tasteful, yet atmospheric.

[broadshoulder]

I have a soft spot for AVTAK

Whatever its faults, it is pure Bond.

Thats what we wanted in 1985. Rog was so established we just wanted a villain, chases, explosians and a John Barry score - all mixed together with charm and Mooreisms. Thats what what we got. And, somehow, the whole thing is more enjoyable then the four Brosnan films all together.

The first criticism is Roger - too old they all cry! Well, spies dont get pensioned off at 30 they go on spying into their sixties. Some of the best undercover work is done by old men as they are more inconspicuous. Why isnt it possible for someone in their sixties to hang from an airship. There are stuntmen who can do it. And there is an old pros grace about Rog in this one as if he's seen it all before and is going along for the ride. He's got an easy rapport with Tanya, a double-act with Patrick McNee and of course the famous "killing Tibbet was a mistake" with Walken spat with pure venom.

The action flags and the Amerian locations wernt exotic enough. For Americans perhaps - but San Francisco is shot stunningly. The film opens up with the cityscape and the image in the minds eye about AVTAK is the white airship against the red Golden Gate Bridge. I've never thought the action flags and welcome the gentle pace when Rog finds Stacys house - it adds to the tension before the big action begins.

Rog always had bizarre villains and Zorin has a gang of rotters. Mayday is an underratted henchwoman with perhaps her infamy as a celebrity overshadowing her here. Certainly she can throw more menace into a glare then any gang of Renards or Gustav Graves' ever can. But I like the mini-villains - his mad Nazi father, the two girls in riding costumes and Patrick Bachau as Scarpine who I have never worked out what he does.

Tanya Roberts as Stacy Sutton gets flack and all she seems to do is dangle from high places and shout "James!" but I prefer her to obnoxious Jinx and naggy Natalya. The John Barry score is sublime and the flute solo in Chantilly absolutely sumptuous. The title tune is a classic and what a title A View To A Kill

They dont make 'em like that any more...

Edited by broadshoulder, 11 July 2008 - 05:54 PM.

[The Richmond Spy]

Got off work early today and decided to give AVTAK another watch. I must say that I really enjoyed it. I think that is partly because of being able to look past Moore's age and see the film for what it is...a truly underrated Bond film.

[Johnboy007]

5/10.

As a former Silicon Valley area resident I find the plot oddly appealing. The fight on the Golden Gate always appealed to me for that reason, too. Christopher Walken is great as always; only he can says some of those lines. I'd also give recognition to Patrick McNee... seems odd they waited so long to give him a role. Beyond all that there isn't much to love in this one. Tanya Roberts is irritating, Mayday is terrifying, and Roger Moore is beyond the "so old it's kind of loveable" stage. I'd even be fine with the snowboarding if that cover of "California Girls" wasn't playing in the background.

It's clear they had run out of gas at this point, but they took the appropriate steps to correct it with The Living Daylights.

[danielcraigisjamesbond007]

Gave this film a 2. The only things that I liked about it were that 1) it was Moore's last (nothing against Moore except his age) and 2) John Barry's score.

[Bondgator87]

I gave it a 6 because it, unfortunately, followed OP and could not possibly top the standards set in that movie. OP is one of my favorites.

[Zorin Industries]

I've written my defence for the jury.....i.e. my A VIEW TO A KILL review...

http://debrief.comma...mp;#entry984580

[DAN LIGHTER]

Why was Moore to old in A View to a Kill? I have said he was to old before. I know Ian Flemings Bond is in his mid thirtys, but cant he age? I watched it again today and enjoyed it. And thought its just an older Bond. No?

[Daddy Bond]

I've written my defence for the jury.....i.e. my A VIEW TO A KILL review...

http://debrief.comma...mp;#entry984580

How can you possibly like this terrible film?! Personally, I consistently ranked it near the bottom of the Bond films - down there with NSNA...UNTIL...

UNTIL...I watched it last week with my wife and you know what know what Zorin? I actually enjoyed watching it - quite a bit. For some reason, it just worked for me this time. I still have a few quibles:

1. Not fond of May Day's clothing and style.
2. Stacy's screams still irritate me a bit.
3. The Beach Boys tune during the PTS should have been left out.
4. The car chase in San Francisco seemed a bit pedestrian and common. I don't hate it, it's just not the best.
5. Bond and Moneypenny were a bit old for the parts.

HOWEVER!

I never once found myself bored. In fact, there were several points that I really liked:

1. Great PTS. With the exception of the Beach Boys song, this PTS is really top notch.
2. Duran Duran's theme is one of my favorite in the Bond series (perhaps even my favorite).
3. The action sequence in Paris is excellent.
4. I enjoyed the action sequence with Zorin's blimp and the Golden Gate bridge. I'm not too fond of heights, so there was a real sense of peril as I watched it.
5. I enjoyed the overall plot (albeit a bit unbelievable) and the development of the story. In the past the movie has just dragged, this time I enjoyed the pacing much more.
6. I found Zorin's character (who used to irritate me) to be an excellent villain. Perhaps one of the more maniacal in the Bond series.
7. I liked Stacy. Not the best Bond girl ever, and her acting is sub par, but I found I liked her more than disliked her this time (even with the screams).
8. The mine sequence was generally enjoyable and I appreciated the work that the set must have taken to build.
9. At the end, I somewhat liked May Day - for her sacrifice.
10. The music score is excellent. I especially enjoy the orchestrated versions of Duran Duran's song.
11. Rather than view Moore as too old, I preferred to see this as his swan song - Bond had one more left in him - and this was it.

There are more points that I enjoyed, but these stood out.

To sum up, AVTAK has moved WAY up in my estimation, from one of the worst, to overall enjoyable. While it is not nearly as enjoyable to me as say, TSWLM, it has now secured a much more favorable stand in my personal ranking of the Bond films.

Way to go, AVTAK!

[Judo chop]

AVTAK is not without its moments. Oddly, I’d have to admit it has many ‘moments’. On the whole, however, it runs flat. It never seems to register a pulse or find a way to distinguish itself.

But then it’s far from being the worst Bond film ever, even if it might be #21 on the list. Which it isn’t. Usually. Personally, I have a hard time organizing films #16 through #21 on my list. They consist of:

The Man with the Golden Gun
License to Kill
A View to a Kill
Tomorrow Never Dies
Diamonds are Forever
You Only Live Twice

That happnes to be the order in which I have them at this moment, but there are times when AVTAK beats out LTK, and there are times when it tempts me to station it as the final warning between the 21 True Bond Films and that thing called THE WORLD IS NOT ENOUGH.

[Daddy Bond]

AVTAK is not without its moments. Oddly, I’d have to admit it has many ‘moments’. On the whole, however, it runs flat. It never seems to register a pulse or find a way to distinguish itself.

But then it’s far from being the worst Bond film ever, even if it might be #21 on the list. Which it isn’t. Usually. Personally, I have a hard time organizing films #16 through #21 on my list. They consist of:

The Man with the Golden Gun
License to Kill
A View to a Kill
Tomorrow Never Dies
Diamonds are Forever
You Only Live Twice

That happnes to be the order in which I have them at this moment, but there are times when AVTAK beats out LTK, and there are times when it tempts me to station it as the final warning between the 21 True Bond Films and that thing called THE WORLD IS NOT ENOUGH.

Do I gather that you're not a big fan of TWINE?

[Mr. Blofeld]

AVTAK is not without its moments. Oddly, I’d have to admit it has many ‘moments’. On the whole, however, it runs flat. It never seems to register a pulse or find a way to distinguish itself.

But then it’s far from being the worst Bond film ever, even if it might be #21 on the list. Which it isn’t. Usually. Personally, I have a hard time organizing films #16 through #21 on my list. They consist of:

The Man with the Golden Gun
License to Kill
A View to a Kill
Tomorrow Never Dies
Diamonds are Forever
You Only Live Twice

That happnes to be the order in which I have them at this moment, but there are times when AVTAK beats out LTK, and there are times when it tempts me to station it as the final warning between the 21 True Bond Films and that thing called THE WORLD IS NOT ENOUGH.

Do I gather that you're not a big fan of TWINE?

Oh, I think we've all gathered it...