By this point, Moore doesn’t care, he is on the run, shooting blanks, it might go really good or really bad; quantity will boil down to quality. is his motto.
Glen is new to the town. And so is his method. This breath of fresh air may not hold up against time, but for now, this is as good as entertainment gets. The script isn’t breaking any ground here, but it is the director John Glen whose mano-y-mano approach to this franchise fabricates it with new color. And with fast gritty action that may not particularly be the smartest of all, the time slides by like melting butter, and just like it, it is unhealthy yet gestating a fun time for us, where often before reaching the climactic point, the film drops down all its weapons and reveals all its cards, this time with a nail biting tensed environment created around the set, it cuts deep and it cuts good.
Finally, they leave the film as they should, at its peak point; no pun intended. Not to say that the rest of the time is spent upon building this grand finale, there are plenty of antics to drool over. From the classic humorous chase sequence- another major scoffed off limitation is the humor that is more subtle, of course, compared to the chapters in this franchise- to a well choreographed and equally flawed escapism from the jaws of the death.
Even the Bond girl gets a more emotionally driven and less tempted towards the materialistic aspects of the world, arc to fill, it is still corny though. Roger Moore’s performance seems a bit rushed over, almost like a runny ingredient in one big meal that was supposed to amplify the taste and instead undermines them. For Your Eyes Only, claims our lead actress, and is exactly how dogmatic the film travels, there is only so much a stuntman can do, please breathe some life on both paper and screen.