A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
The Spy Who Loved Me
It's the BIGGEST. It's the BEST. It's BOND. And B-E-Y-O-N-D.
Russian and British submarines with nuclear missiles on board both vanish from sight without a trace. England and Russia both blame each other as James Bond tries to solve the riddle of the disappearing ships. But the KGB also has an agent on the case.
I'm really glad that me and Jonnie White agreed that films caught on the telly don't count towards any projects (I don't do projects, obviously) or challenges that are going on. Otherwise I wouldn't have been able to rewatch the Best Bond Film Ever™.
I've reviewed this at typical arse-numbing length here so I'm not going to talk the same bollocks again, but a few points of note here:-
1) Why does club owner Max Kalba not have a phone in his office and has to use the punters' phone to take the call that never was? It's his club! Get a second line in, Max!
2) The night-time bit at the pyramids is brilliant. It's a great example of…
"Moneypenny, where's 007?"
"He's on a mission sir. In Austria."
"Well, tell him to pull out. Immediately."
My favorite of the Roger Moore Bonds.
If you ever need proof for the theory that the Bond movies work as time capsules, transforming the formula to fit the tastes of the time, you need look no further than The Spy Who Loved Me. It screams late 70's the same way the tacky special effects of the Brosnan Bonds scream late 90's. The cinematography is dark and stylized, imitating the neo-noir aesthetic of directors like Alan Pakula (The Parallax View). The soundtrack is a blend of funky slide guitar and early synth, marking the height of disco's popularity. There's even an undefeatable character…
”I have the oddest feeling we’ll be meeting again sometime.
Now and with this rewatch my Bond journey finally comes to an end. The Spy Who Loved Me slightly improved in this second viewing, the first two thirds is still pretty charming and adventurous, but like the first time around the movie loses some of its established momentum in the final third, the action is too big, too long and at times the predictability makes it quite boring. But despite that it is definitely the best and most tolerable of Roger Moore films, the story starts pretty well, the character of Anya Asamova is one of the strengths of the film (and like the first time Barbara Bach continues to…
Seemingly composed of parts of other, perhaps better James Bond films, Lewis Gilbert's "The Spy Who Loved Me" entertains despite its slightly derivative, somewhat listless nature. Roger Moore's third outing as the famed secret agent ups the romance, pairing Mr. Bond with Barbara Bach's Agent XXX, and piles on the silliness in the form of, among other things, Richard Kiel's Jaws; but these do not necessarily enhance the film's impact. It is all, in fact, much ado about nothing in 1977's meanderingly paced 007 chapter.
Built around nuclear submarines that have gone missing, the plot of "The Spy Who Loved Me" uses the undersea weapons as a starting point for an allegiance between British and Soviet spies. Moving from Egypt…
Which bullet has my name on it? The first or the last?
Cubby Broccoli deserves some recognition for having guts. Now the sole producer of the franchise he would receive all the blame if the next film failed. Even though The Man with the Golden Gun underperformed at the box office, Broccoli still doubles the budget for The Spy Who Loved Me making it the most expensive Bond Film up to date making it an even bigger risk rather then just keeping the budget at a modest level.
Even though it had twice the money, the film was fighting an up hill…
A surprisingly entertaining mid-period Bond film, which is the 10th proper Bond film, and the third starring Roger Moore.
I was pleasantly surprised at how much I enjoyed this, especially given the execrable Man With the Golden Gun, and the mediocre Live and Let Die. It contains fun set pieces, a solid story based on public's fear of nuclear disaster that was at its height during the late '70s/early '80s, just the right mix of humor, decent gadget/vehicle use, and JAWS!
My 777th film logged on this website.
I couldn't give a flying fuck what anyone else says - this is a legitimately fantastic film. The lighting, the sound, the fight choreography, the pacing - each and every disparate technical element, however minor, forms a great and mighty whole, and the whole thing works like gangbusters.
Also, THE FUCKING CINEMATOGRAPHY. How come there aren't more people talking about the photography in this film? It's 1000/10.
Moore was not the best Bond, but he gives one of the all-time greatest performances in the series here.
(I appreciate the fact that this review sucks ass.)
And to think the film that came before this was Golden Gun.
Sleek, expensive looking and playing to the series greatest strengths, Roger Moore's third outing as James Bond stands as a highly entertaining adventure and vastly better than what was to come.
Roger is suave and sophisticated as he battles Curt Jurgens aquatic based villain Stromberg. Aided by Russian agent XXX -it's that kind of film- portrayed by Barbara Bach, Bond loads up with puns, exotic locales and a submersible Lotus Espirit.
The big difference on this one is ambition and scale. Instead of the vaguely cheap looking 80's outings, this feels genuinely invested in. Sure, the story is formulaic and takes elements from the early Connery movies, but it's fun, loaded with silly humour and finally plays to Roger's natural…
The best Moore? Could be.
This 1977 British spy adventure is directed by Lewis Gilbert and the tenth film in the James Bond series. It stars Roger Moore, Barbara Bach, Curd Jürgens, Richard Kiel, Caroline Munro and Shane Rimmer.
When a British and Russian nuclear submarine vanishes without a trace in the Atlantic, the global intelligence agencies learn that a submarine tracking system has leaked onto the black market which puts national security in the hands of the highest bidder. MI6 and the KGB send their best agents to recover the system.
British agent James Bond (Moore) and Russian agent Anya Amasova (Bach) travel from Egypt to Sardinia and are led to one Karl Stromberg (Jürgens), a marine industrialist whose insignia is discovered on the…
Probably the best of the Moore Bond films, the change of director means it becomes a bit more epic and after a couple of more restrained entries the story goes full gonzo. Excellent production design and theme song too.
There's a lot of large-scale (miniature) destruction and thrills, but it's also beyond the line of corniness for my tastes. Roger Moore is not my favourite Bond. Everyone's trying hard to get in bed with Roger Moore and I just don't get it - I find him a bit repulsive in these things.
Carly Simon sings a middle of the road, radio-friendly Bond song.
Film #28 of my pre 1990 challenge
(Bond #10 of 24)
Have to say, I enjoyed this one! My watching of the old Bonds so far has been mixed but this felt like one of my favourites so far, as we approach the halfway mark.
This is one of my favorite set-ups of the Bond movies I've seen. There's a villain so terrible that the Russians and the Brits have to team up. Bond gets put with a sexy Russian agent played by Barbara Bach, but neither realize that Bond just recently killed the man she loved. How are you going to get out of this one 007?
This movie would be a lot more awesome if we didn't already know from the beginning that Bond is simply going get busy with Agent XXX a few times, and even though she will have the urge to bust a cap in him when she gets the perfect chance, he'll make some quip about a last request…
Roger Moore's best Bond and one of the best of the Bond series, period.
Full review at Johnny LaRue's Crane Shot:
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