Moonraker

It's unbelievable how much Bond utilizes pop culture references this time. There are tones that you may recognize from listening to classical music or watching movies like "The Magnificent Seven," "2001: A Space Odyssey," or "Close Encounters of the Third Kind." Roger Moore is in excellent form here, and you simply enjoy his position, not to mention that this is science fiction. It reminds me a bit of a Tintin episode, I mean the comic book, where Hergé also went a bit more into sci-fi and I immediately liked it more. The same goes for Moonraker, which pleasantly surprised me a lot. Although, truth be told, it's mostly as a modern, pop culture work. (03/07/2014)

Call me a conservative and a traditionalist, but Her Majesty's agent with a license to kill does not belong in orbit. Moonraker is the embodiment of a desperate screenwriter. As long as he's on Earth, it’s a decent Bond film with some excellent action (the gondola chase, the duel with the Kendo warrior at the Glass Museum) and typical Moore self-parody, which drags on like a cat with a broken back over time, but it can be endured. As soon as 007 goes to the stars, it becomes pure awkwardness with no perspective and very forced humor (Bond's bon mots lose their bite and the parody inserts their aptness). I endured the final Star Wars-style battle with the persistent feeling that this might hold up as a B-Bond parody, but as an official Bond movie, it's more of a disgrace than anything else. Moore is able to do Bond two classes better, and the same goes for director Gilbert in pale blue... (10/31/2004)

A second trip to space, this time with Roger Moore and a space shuttle. More of a comedy sci-fi than a spy film, but of a very decent quality. Richard Kiel bit off what he could chew and did a great job of it. Roger Moore was hilarious, and the writing didn’t fall behind. (08/03/2016)

Three and a half stars. I'll say right from the start that my main problem with Moonraker is Richard Kiel. His Jaws is completely unnecessary here, and - let's face it - awkward. I literally hate the scenes with the braided busty blonde, whether it's their meeting or what happens to them at the end of the film. Brrr. Jaws just wasn't supposed to be here, but you know how it goes - once the audience likes a character, why not put them back in, right, filmmakers? Nevermind. I have absolutely no qualms regarding the rest of the film. It's an exaggerated Bond film (like Brosnan's Die Another Day), it comes closest to parodying itself, and is all the more entertaining for it. A ride in Venice, a river chase in Rio... However, director Gilbert and composer Barry deserve absolute praise for the scene of the escape of the beautiful pilot from the Dobermans. Although it is one of the crueler scenes, it is incredibly beautifully filmed. And Lois Chiles is one of the most beautiful Bond girls ever.__P.S. Music blaring during launch and space flight... Simply divine. (03/20/2010)

A visually extremely attractive Bond film, where the impulse of form over content is clearly visible. Script-wise, it's the same thing over and over again, but Bond slowly starts to become self-aware of his importance in the pop culture machinery, sticking to traditional things that fans love, while also starting something new. There is a strong theme song, Roger Moore's quips, this time accompanied by interesting musical composition (John Barry) and scenes conspicuously filmed in Corsica, luxury hotels, and expensive cars. Let's not dwell over the crazy space shenanigans, those are just echoes of Star Wars. (05/07/2014)