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James Bond and his American colleague Felix Leiter arrest the drug lord Sanchez who succeeds in escaping and takes revenge on Felix and his wife. Bond knows but just one thing: revenge.
One of my favourite Bond films, this one shook off the Moore-era humour and instead had something far more violent and realistic.
Carey Lowell is a wonderfully sparky girl associate for 007, even if Talisa Soto is a bit of a drip. The basic premise of this one is that Bond goes solo and rogue after witnessing the murder of his friend Felix Leiter's bride on her wedding day, and the mutilation of Leiter.
The bad guys are an international drug cartel led by Robert Davi, and there are lots of cover stories and twists to keep the interest, including a corrupt man of God (Wayne Newton). Benicio del Toro is a monster of a sidekick and there are some…
"I help people with problems."
"More of a problem eliminator."
Bond gets personal.
Licence to Kill opens with a brilliantly cross-cut, two-level conflict: James Bond and Felix Leiter are on a mission to stop dangerous drug lord Franz Sanchez—and Bond has to get Leiter back in time for his wedding. They succeed, of course, but Sanchez escapes and captures Leiter. Assuming the worst, Bond embarks on a quest for vengeance.
The motivation in almost every single James Bond film up until this point (with the possible but questionable exception of On Her Majesty’s Secret Service) has been to save the world and have as much fun doing so as possible. Some Bad Guy gets his hands on some…
”I’ll do anything for a woman with a knife.”
Back in 80s many critics slammed Timothy Dalton’s portrayal of James Bond and even called him a hopeless actor but personally I adore his style, he is not as lusty as Roger Moore and unlike Sean Connery – who was acting like a man enjoying his vacations – he approaches Bond’s character in a more serious way, he is not a superhero, there are numerous occasions where he is beaten and bloody and fortunately there’s no sign of Roger Moore’s bland humor. What I really like about both Licence to Kill and Living Daylights is that they are darker and more serious films, Bond is no longer the humorous and charming…
Like all Bonds, this film is a product of its time. Right at the the end of the 80's, the influence was harder, darker action films filled with baddies pushing drugs. Enter an okay script and Timothy Dalton as a pretty good Bond you have a mediocre film. But the hardness of the direction, the rogue agent spin, Davi's cool performance, and the truly awesome action set pieces and stunts make this a fun watch.
Two other random highlights:
- Lowell ordering a shaken martini by making the jerk off action
- Del Toro really hamming up a line about... rape
HE DISAGREED WITH SOMETHING THAT ATE HIM
Licence to Kill feels the least ‘Bond' of all the Bond films. It’s a much harder film to the previous films in the series, all of which were a PG until this 15-rated film came along. This is due to much gorier death scenes (the air pressure chamber, for one) and a huge emphasis on narcotics. And not forgetting Bond’s potty-mouth. I think this is the first film in which 007 swears. This is a Bond film for adults!
Licence to Kill is a much more realistic film. The gadgetry is kept to a minimum and, instead of tracking down a megalomaniac hell bent on world domination, Bond is on a highly personal…
Marking the final James Bond outing for director, John Glen, and two-time 007, Timothy Dalton, "License to Kill" is a sturdy entry in the famed franchise. Reflecting its era and dispensing with the series' sillier touches, the film is a timely piece of work that boasts a serious tone. While it may lack the personality of the series' best films, "License to Kill" is an engaging and sharp member of the Bond canon.
Refreshingly, "License to Kill" does not find its hero saving the world. Here, Bond is focused on vengeance when Felix Leiter, long-time Bond associate, and his wife are caught in a drug lord's line of fire. Turning his back on MI6, Bond strikes out on his own…
|- Actionszenen sehr aufwändig produziert; sprich tolle Sets, fantastische Aufnahmen, sensationelle Explosionen
|- Leider kämpft der Film doch noch mit zu vielen Bösewicht-Klischees (Haibecken, Laufbänder in den Tod etc.)
|- Dalton ist erstaunlich "unbondig"
License to Kill er min ynglings James Bond sang, og jeg har glædet mig til at høre den lige siden jeg startede denne umulige mission, så det var dejligt endelig at få den hørt!
Det er dog kun 5 min. af filmen, resten håbede jeg på kunne følge op på den gode fornyede stil fra The Living Daylights.
Det kunne den sådan set godt, og mere til. Dette er nemlig første gang det bliver rigtig personligt for James Bond, skurken er nemlig ikke en der er ved at overtage verdensherredømmet, men en forstyrret narkoboss der dræber James Bond's bedste ven, og hans nye kone, på hans bryllupsnat. Nu er det så op til Bond at få hævn! Dvs. det er…
Untypischer Bond, nähmlich relativ clever. Unfassbar schlechte deutsche Synchronisation
Probably the most underrated of the franchise, Timothy Dalton's 007 swan song is a failure as a Bond film, but a terrific action/adventure.
Full review at Johnny LaRue's Crane Shot:
Mad James: Fury Road
After all these years, I never realised that Special Agents Johnson and Johnson (no relation) from Die Hard are both in this.
In my humble opinion, Licence To Kill is the most underrated and forgotten Bond film of them all, and that's probably because, and to its credit, that it mostly abandons the pre-established formula for making a Bond film. It combines the dark grittiness of a revenge story that has become synonymous with Craig's Bond with the super spy sleuthing of the Connery era, and it also abandons the eyebrow-raising, eye rolling humour of the Moore era.
The same goes for Dalton too. He doesn't entirely convince in the smooth-talking spy aspects of the character, but he does as…
Ridiculous in places, but a more serious and deadly Bond film - one that was perfect in its era of mainstream cinema.
Still the best Bond film of all, with the best Bond actor of all.
Help me out with this one guys.
"It's Mission Impossible!" is the true peak of cinéma.
Movies spanning from the 1920s to the 1990s, exploring a variety of genres: horror, sci-fi, fantasy, action, exploitation, experimental, art,…