You’ve got to hand it to them, with no motive or a message to spark the battles, their dance is quite engaging.
Gilbert’s sensational space opera is similar to its visual effects, jaw dropping in some sequences while off putting in others. Combining this recipe into one big commercial cinema, Lewis Gilbert, the director, sees this franchise as a gold digger and carves it out accordingly. Fortunately, after a few big fumbles, it is a relief watching these makers finally get what they want, no matter how derailing it might be to its reputation. Almost a continuation to the previous chapter, there is a flow or a familiar thread we can see that help us connect instantly. While the rest of the film, with derivative content and cheap shots convince us, not to invest in it. This tug of war is frankly fun.
Never have I seen any film fluctuate so frequently on screen. And now that I think about it, the good, the entertaining bits are the long action sequences whose ridiculous choreography, against all odds, is enchanting. And as soon as the story is supposed to advance further, the antics and agendas starts sounding like jibber jabber where you get enough time to buy some popcorn and even have some, only to sit back and enjoy as soon as the loud and uncalled-for background score starts drumming.
Personally, I felt for the antagonist more than our alcohol consuming and womanizer Roger Moore. There is innocence in his eyes, as once Javier Bardem, called it out and you sink deep into them and float without gravity and sense watching him survive possibly anything. The Bond girl has her own agency whom she might not work for and the baddie with a world dominating plan, between them lies Moore packed with his boat chase sequence as always, before dropping the curtains with a space fight like it is somehow supposed to justify the title Moonraker.