The Man with the Golden Gun
United Artists | Release Date: December 20, 1974 CRITIC SCORE DISTRIBUTION
43
METASCORE
Mixed or average reviews based on 11 Critic Reviews
Positive:
2
Mixed:
8
Negative:
1
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Critic Reviews

Critic scorePublicationBy date
60
EmpireIan Freer
Whilst this takes itself a little too lightly it has a lot going for it. Read full review
60
VarietyPeter Debruge
Enjoyment requires denying the increasingly problematic truth about Bond: As heroes go, 007 represents a bygone notion of the privileged white man taking what’s his and leaving destruction in his wake. Read full review
40
The New York TimesNora Sayre
Mr. Moore functions like a vast garden ornament. Pedantic, sluggish on the uptake, incapable of even swaggering, he's also clumsy at innuendo. If you enjoyed the early Bond films as much as I did, you'd better skip this one. Read full review
50
Rolling StonePeter Travers
Roger Moore already seems winded in his second outing as Bond. And the film's comedic approach to martial arts justly rankles true 007 afficionados. Compensation comes in the form of Christopher Lee's delicious take on evil as Scaramanga and Herve Villechaize's verve as Nick Nack, Scaramanga's dwarf manservant. Read full review
40
Time Out LondonStaff (Not Credited)
Roger Moore's interpretation of Bond is blandness personified. It is left to Christopher Lee, playing a kind of Westernised, Dracula-esque Fu Manchu, to lend some semblance of style and suavity as Scaramanga, the man with a hideout in Red China and a hankering after the status of gentleman. Read full review
40
Chicago ReaderDave Kehr
Roger Moore is a pastry chef's idea of James Bond; but Christopher Lee as the archetype of the evil antagonist makes this 007 outing just about bearable. Read full review
40
TV Guide MagazineStaff (Not Credited)
Screenwriters Maibaum and Mankiewicz attempted to downplay the gadgetry this time around, but their attempts at adding more humor hinder plot development. The film's pace lags until the climactic finale. Read full review
40
The New YorkerPauline Kael
Script lacks satiric insolence, and the picture grinds on humorlessly. The villain Christopher Lee's fanged smile is the only attraction.
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