| MGM/UA Entertainment Company | Release Date: May 24, 1985 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
4
Mixed:
10
Negative:
6
|
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Critic Reviews
Hard as it is to justify Bond films on intellectual grounds, there's something invigorating -- and strangely reassuring -- about this sort of picture. It is comforting to feel that should a psychopath threaten the stability of the world, our hero will be ready to wipe the grin off his face and shove him into San Francisco Bay.
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Even though Moore sleepwalks his way through the part, making it apparent that he should have departed two films ago, and Tanya Roberts can't act to save her life (although she certainly can scream), we're back to a more conventional, straightforward Bond than the convoluted mess of the previous movie.
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Christopher Walken sleepwalks his way through playing smarmy Nazi geneticist Zorin, where you would think he would have a ball hamming it up as a Bond villain. Indeed, it is a rare moment when Grace Jones makes the biggest impression as an Amazonian (naturally) henchman called May Day.
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A View to a Kill, also like recent Bonds, is long. And though it is crammed with action -- car chase, boat chase, blimp chase, you lose track -- it begins, by the second hour, to seem quite long indeed. [24 May 1985, p.D5]
Directed by John Glen (For Your Eyes Only), this movie has all the standard Bond components--beautiful women, picturesque locales, thrilling chases--but the time-tested formula is more than a little threadbare here. Moreover, Walken doesn't have the lines, the strength, the presence, or the dastardliness required to be a top-notch Bond adversary.
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In his seventh movie as James Bond, Rog is looking less like a chap with a license to kill than a gent with an application to retire. [27 May 1985, p.74]
A View to a Kill is much too long (nearly 2 1/4 hours); it cheats (a subplot involving the KGB comes and goes at leisure); and it has yet another extended section full of dumb cops and smashed cars. [24 May 1985]
There is some magnificent stunt work, which only underscores how inadequate Moore has become. Moore isn't just long in the tooth -- he's got tusks, and what looks like an eye job has given him the pie-eyed blankness of a zombie. He's not believable anymore in the action sequences, even less so in the romantic scenes.
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The James Bond series has had its bummers, but nothing before in the class of this one.
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