A View to a Kill (1985)
Directed by John Glen
A newly-developed microchip designed by Zorin Industries for the British Government that can survive the electromagnetic radiation caused by a nuclear explosion has landed in the hands of the KGB. James Bond must find out how and why. His suspicions soon lead him to big industry leader Max Zorin who forms a plan to destroy his only competition in Silicon Valley by triggering a massive earthquake in the San Francisco Bay.
6 connections found
View:
6 connections, in both directions
What critics compared A View to a Kill to
Tonally, the fundamental seriousness of the film places Skyfall at the other end of the Bond spectrum from the monkeyshines of some of the silliest Roger Moore entries, such as Moonraker and A View to A Kill.
Thomas Newman (Skyfall) and Michael Kamen (Licence to Kill) do respectable jobs as composers on their respective Bond films, but Barry does something that goes the extra mile.
He also appears to have borrowed Christopher Walken's bad-boy blond locks from "A View to a Kill."
The first American to direct a Bond film, he is a fan of the franchise dating to when he saw 1985’s Roger Moore-starring “A View to a Kill” in the theater.
The animated title sequence and theme song is actually the best 007 opening sequence since A View to a Kill.
The villain of the film, Julianne Moore as Poppy, is an equally enjoyable weirdo antagonist as Samuel L. Jackson’s Valentine, even though her ultimate plan of world annihilation is one of the most half-baked spy film scheme since Christopher Walken played Zorin in A View to a Kill.
Advertisement
…the self-awareness that Roger Moore exhibited in the wake of A View to a Kill (1985)…
Certainly Roger Moore was a comparatively lightweight Bond with his seven appearances in the series: Live and Let Die (1973), The Man with the Golden Gun (1974), The Spy Who Loved Me (1977), Moonraker (1979), For Your Eyes Only (1981), Octopussy (1983) and A View to a Kill (1985).
His music gives Bond his character and persona and the only composer that comes even close to Barry’s work on the Bond films today is David Arnold (Casino Royale).