Every film that has ever been nominated for an Academy Award in any category. Enjoy!
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 American submarines with nuclear missiles on board both vanish from sight without a trace. America 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…
”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…
The Spy Who Loved Me was the first James Bond film that really caught my imagination as a kid - and my first viewing of it in over a decade shows most of the reasons why.
This was Roger Moore's third Bond outing and by now he was completely comfortable and identifiable as 007 - but in a strange twist, this film sees the series moving back into slightly more serious territory and does away with much of the knockabout comedy of The Man With The Golden Gun, and is an improvement over that still underrated instalment in many different ways.
Its main improvement is regarding its main Bond girl. After poor Britt Eklund was royally crapped on for the…
There hadn't been a James Bond movie like The Spy Who Loved Me for almost a decade, the previous three had veered far too into Americanisation to suit the period and lost that epic sense of scope that characterised the franchise in the 1960's. A master stroke getting director Lewis Gilbert back behind the helm then, who brings that grandeur and gravitas he displayed in You Only Live Twice back to the series, to greater effect. It's the first (perhaps only) great Roger Moore 007 film and easily one of the series' best outings to this day.
Where Guy Hamilton was more interested in sleek style and greater loyalty to Fleming's tomes in his previous movies, Gilbert veers closer to…
After the lukewarm reception given to The Man With The Golden gun by the audience and the critics, Cubby Broccoli was determined to prove that the 007 franchise was not on life-support. And what a way to do it.
The Spy Who Loved Me is, for me at least, a success on almost every level. The humour is more controlled and mature (no girls called Pussy, Plenty O'Toole or Chu-Mi here) and there are sequences featuring genuine suspense, something long absent from the series.
This film also features two memorable components which rank among the most iconic images from the series: the introduction of the man-mountain Jaws, and the Lotus Espirit which while not being quite the vision of beauty…
The Journey to Skyfall continues with the 10th James Bond film, The Spy Who Loved Me!
What's remarkable about this film is rather just how unremarkable it is. There's absolutely nothing special about it really. Unlike other best Bond films, it doesn't do anything different. But what makes The Spy Who Loved Me great is that it follows the typical Bond formula perfectly. This is a sign to everyone out there who makes a Bond film. You don't have to be a From Russia with Love or an On Her Majesty's Secret Service, or even Casino Royale. Just follow the formula perfectly, maybe put a slight twist on it. Have the ingredients just right, and you have a great fun…
Rewatched in conjunction with the James Bonding podcast—trying to stay a couple of films ahead even as their pace has slowed.
The first thing that comes to mind here is: how on Earth did this movie take a villain whose stated intention is to destroy our civilization and start a new one underwater and make him super boring? It's like they realized during filming that Jaws was far more interesting and entertaining and kept Stromberg out of the way.
Otherwise, this is a upper-middle sort of James Bond film, not anywhere near as good as the series' best entries, nor quite as bad as the worst (though with many elements that point the way down, so to speak). Some of…
After watching all these Bond films over the past several months, I think I finally found one that is in on the joke - at least enough to make it a bit more fun. They all seemed a bit silly to me, but what made it worse is that they were taking themselves seriously. Here, the bad puns and Bond's sluttiness are used as much for their humor as they are anything else.
The twist at the beginning was a fun nod at the usual Bond trope of him being with a woman at the start of every film. I enjoyed that, and it got the humor of this film off to a good start. I also thought Jaws and…
This James Bond endeavor is extremely puzzling. It's lovingly directed and edited, yet feels disjointed at the script. It's thoughtful about it's characters, and progressive with them as well, and yet the dialogue often feels like a bystander to the action. It's choreographed thoughtfully, and yet made incredibly dry, and slow, killing off any lust I might have for more. The Spy Who Loved Me definitely suffers from 70's culture filming - it's sets are built out of whatever the crew were feeling that day, with no consideration for whether the audience understands why we're in Egypt, the French Alps, or the middle of the Pacific. But simultaneously I can't help from admiring it, because it lives inside the boundary…
After submarines carrying nuclear warheads are hijacked by a super villain, so Bond teams up with the lover of a deceased KGB agent to save the world.
Sweet henchmen, sweet ride, sweet leading actress.
"Progressive," but still condescending to Agent XXX. (The camera pushes in every time we're expected to be surprised that a woman is doing something.) And yet, this is a remarkably breathless picture, because the rush to Anglo-Soviet one-upsmanship doesn't leave time for questions. Q doesn't even get the chance to explain his gadgetry before Bond wrecks it. So the suspense is built on dread, and the implications are sly: notice, for example, how it introduces Stromberg's henchmen with more or less equal weight... then immediately kills one, declares the other to be unkillable, and devotes the rest of the film (and the film that comes after it!) to him. The final half-hour is propelled by the ugliness of vengeance and apocalypse--a vicious goddamn war, and you can't declare victory just because the bombs didn't go off.
After the inanity of THE MAN WITH THE GOLDEN GUN, the Bond films could have gone in two directions: take the series back to its more sombre, spy thriller routes or become even more camp and over the top. With Roger Moore the incumbent Bond, it's perhaps not surprising that they went for the latter. However, while GOLDEN GUN and Connery's last two outings had me rolling my eyes and itching to reach for the fast-forward button, somehow Moore's third film, THE SPY WHO LOVED ME, makes the grandiose, campy theatrics work in its favour, delivering a vastly superior film to everything since ON HER MAJESTY'S SECRET SERVICE. Indeed, I'd go as far as to say that, while GOLDFINGER provided…
This may actually be an underrated Bond Film, though it is saddled with by far the single worst score of the series. The disco-tinged music was grotesque, especially in the well done ski scene. Then to add on the nod to composer Marvin Hamlisch's A Chorus Line at the end was pathetic.
But what The Spy Who Loved Me had was a very good story even if there were shades of You Only Live Twice and a very capable Barbara Bach as Russian Agent XXX. Stromberg was good villian and Jaws wasn't even half a bad henchman... yet.
There were a few eyerollers in the film, but overall it was an improvement on the previous entry and birdie for Roger Moore's course.
One of my favourite Bond movies. It's pretty much got it all. Stunts, action, one liners, lavish sets and Russians. What makes this one special though is the appearance of Jaws. A henchman that out villains the villain. Also there's the best Bond girl of the whole series. The incredibly lovely Barbara Bach.
Plus, it's got a great title song too.
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