Moore is the one with the most Bond films in his collection and he stole the worst ones too, that seems a bit selfish.
Glen is shooting all over the places. He is on a strike. He keeps breaking record and this time he has managed to pull out the worst chapter in this franchise. And he doesn’t hold back to make sure it stays that way. It is almost admirable that John Glen, the director, has decided to go with an avant-garde structure. Don’t get too excited, it is worse than your typical one. What has been so dull about the franchise is how linear and dogmatic the track and views are, but also in layman terms, it has meant that people would be engaged into the storytelling against all odds.
At least, it would be entertaining, is what box office has whispered over the years. But now with no zip and flow in the narration, the old method that was shucked out with such arrogance is regretted painfully by the makers. For often or not, familiarity makes things easy to adapt, easy to criticize too, but at least they will accept it and won’t ignore it. Also, since we are down this lane, the ridiculous set pieces that the entire film is brimmed of, is obviously advised to ignore before the film even starts like some cautionary certificate.
But you know what, I’d happily gulp down the ludicracy but what aches you to see is then later on they want you at the edge of your seat when the pin down a stunt or antic following some bizarre logistics; that entire sequence not only annoys you but enrages you. As the poster suggests, Roger Moore has got his match, not that the bar was high enough but I would still request you to not raise your expectations, for this view is new in the town and not in a good way, ironically it was supposed to be groundbreaking with higher stakes especially with A View To A Kill.