Digging Double Oh Seven: A View To A Kill (1985)

Wow, Roger Moore really went out of the James Bond game with a bang. It’s kind of funny, because, according to the IMDb Trivia Page, Moore actually really dislikes this flick because he didn’t get along with henchwoman Grace Jones, realized he was older than Bond Girl Tanya Roberts’ mom and villain Max Zorin (played by Christopher Walken in his prime, though not craziest) became a little more bloodthirsty on screen than Moore liked. Well, aside from the age thing–which I think they covered by having Bond himself being less physical, but still taking a role in the action mostly through long shots and whatnot–I disagree with him. And heck, is it such a bad thing that he disliked an actress whose character is trying to kill him (sex scene and ending aside, of course)?

This flick revolves around Zorin’s plan to flood Silicon Valley, killing everyone and wiping out all the microchips so that his microchips will be the only ones in the world. There’s also some stuff about horses and him using microchips implanted in horses and whips making them run faster (I know they explained how this works, but I did not get it). Zorin has Jones’ May Day on his side as both a love interest and bad ass henchwoman (she actually acts kind of like a slasher in the movie as she’s super strong and has a tendency to sneak up on people and kill them from the back seat of their car). There’s also a female Russian spy involved in the story (the KGB trained Zorin) and Donna’s mom from That 70s Show (Roberts) playing a geologist who beds Bond and explains how an earthquake and some pipeline flooding can cause all of Silicon Valley to get flooded. She’s basically one step above Denise Richards as Christmas Jones in The World Is Not Enough.

There’s a lot to love in this movie from the opening ski scene (there’s some fun new tricks in there compared to some of the others, including James Bond snowboarding!), the chase scene that ends with May Day jumping off the Eiffel Tower (insane) and the finale, cave-in climax. I also like that Bond actually used a series of aliases this time around, though he didn’t hide his face which is exactly how Zorin was able to figure out his real identity (on one of those monochromatic green computer screens no less). Zorin also has a pretty rad underground horse lab in a stable where an entire horse stall lowers into it elevator-style. Seems a bit excessive, but looks sick. I think what really makes the movie sing for me, though is the tag team duo of Walken and Jones. They’re both just so strange in just about every aspect of their beings that it’s hard not to stare at them, which is not something I can say about a lot of other Bond characters aside from some of the beautiful women (which this movie does not lack). All in all, A View To A Kill was a great way for Moore to go out as Bond and also to inject even more modern realism into the universe (what with all the microchip talk, even if some of it was a bit outlandish). Now it’s time to see what Mr. Timothy Dalton can do.

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