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Why watch this film?
'The Living Daylights' marks the debut of a new actor as James Bond, Timothy Dalton. With the change, the Eon production company took the opportunity to change the franchise. The camp tone is out and a more serious interpretation of the protagonist comes in, aligned with the action movies of the time, even with some jokes here and there. Still in the times of the Cold War, the story deals with Soviet political favors and the KGB. It is not one of the most remembered films of the character, but it honors the legacy of Sean Connery and is the last chapter of the series to have the soundtrack composed by the iconic John Barry (which, in itself, is already enough reason to watch).
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Plot summary
James Bond is sent to investigate a KGB policy to kill all enemy spies and uncovers an arms deal that potentially has major global ramifications.
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From the same director
Licence to Kill
According to (and, unfortunately, the last) movie of the James Bond franchise with Timothy Dalton as the protagonist, 'Licence to Kill' continues with what was established in '007 Marcado para a Morte', with a younger, more physical and serious James Bond compared to the last times of Roger Moore. In the story, we once again see our beloved secret agent being insubordinate, leading M, the head of MI6, to revoke Bond's licence to kill. Furthermore, the decaying Soviet Union is out of the picture and drug cartels become the main antagonists - which, in a way, makes this the most violent movie of the franchise so far. Very 1980s, the era when action heroes exploded. Unfortunately, even though he had a contract for a third movie, production delays for the following one made Dalton never return to the role of the spy.
For Your Eyes Only
After all the fanfare of '007 Against the Rocket of Death', the producers of the James Bond franchise decided to go back to their roots in 'For Your Eyes Only' - even recreating some sequences and moments from previous films. Thus, Roger Moore goes into action in a story that reminds more of those of Sean Connery's times. That is why it is a solid and interesting adventure, but without adding something new or noteworthy. Perhaps, the biggest highlight is for the sequence that happens before the opening, with Bond facing for the last time (in the classic chronology) the villain Ernst Stavro Blofeld, head of SPECTRE. Due to a legal battle with producer and screenwriter Kevin McClory, co-creator of the character, Eon decided to kill Blofeld in a real anti-climax, and without calling the villain by name.
A View to a Kill
In his seventh movie as James Bond, Roger Moore arrives at his farewell of the character. This time, the secret agent portrayed by the actor gets involved in a very modern plot for the time: he must face a villain who wants to destroy nothing less than Silicon Valley, in California, to have a monopoly on the manufacture of microchips. Unfortunately, the movie loses its hand in the humor that marks Moore's phase, which clearly also no longer had the same gas as before. If you overcome these problems and assimilate well the air of banter, you can find a fun production - which earns points with the great theme music of the band Duran Duran and a Christopher Walken (‘The Deer Hunter’) at ease in the role of the cliché villain (in a good way) Max Zorin.
Octopussy
After trying to hitch a ride on the success of 'Star Wars' with 'Moonraker', Eon was to follow the same path with 'Octopussy' - only this time the "inspiration" was 'Indiana Jones' - curiously, directed by Steven Spielberg after the director couldn't realize his own vision for James Bond. Unfortunately, it's one of the lowest points of the Roger Moore franchise, although it has some interesting action scenes. The problem is that the script drags on too much, in a tiring story. Even Moore was tired of the role, let it be said. Still, it's interesting to see the secret agent having, for the first time, a female main antagonist - the Octopussy of the title.
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