The Movie Diorama Timothy Dalton's debut was met with some criticism calling him too serious and lacking the campy fun that its predecessors pioneered. Whilst I agree, I can hardly class it as a negative. In fact I'm all for change which is why The Living Daylights works so well. The plot revolves around the KGB and the illegal shipment of opium. Plenty of assassination attempts and the rescue of a cello playing damsel who holds her own against Bond. There are no volcanic lairs, space stations or megalomaniacs, just a realistic plot that is one of the most plausible in the whole franchise. Timothy Dalton's portrayal of Bond was perfect, I really warmed to him. Fully sophisticated, quick witted and an absurd amount of charm, he was the perfect choice after the questionable Roger Moore. There were moments of emotional breakthrough, particularly scenes involving Kara, that were a step forward for the character. The primary antagonist wasn't particularly memorable, but henchman Necros was a good rival for Bond. The physical prowess of Arnold Schwarzenegger but with the hair of Max Headroom, although the acting chops of Tommy Wiseau. Excitingly inventive action set pieces including sliding down snowy mountains on a cello case and the final explosive cargo plane heist (which is one of my favourites from the franchise). Director John Glen's veteran experience with the series shows, he knows how to work the camera and create thrilling scenes. No quick cuts or innovative camera techniques. It was clinical, which I appreciate in the action genre. Everything felt authentic, including the stunt work and explosions. The gadgetry that Q introduces is innovative as well, shame the "ghetto blaster" wasn't explored further! A-Ha's theme tune is one of the stronger songs, but not a personal favourite of mine. The plot is fairly formulaic, but if you can get passed that and the lack of campiness then you are in for one of the strongest entries in the franchise.

LeonLouisRicci The Longest Continuous Franchise in Movie History did an Abrupt About Face with the Departure of an Aging Roger Moore and the Over the Top Tone, Layered with Comedic Fluff that had been the Formula for a Decade. Abandoning for the 1970's, the Cynicism, "Black" Humor, and the Serious Semi-Realism of the Connery Films.Attempting the Change was a bit Risky since the Bond Films all made Money. Some made a Ton of Money. The Mediocre Box-Office of the Two Timothy Dalton Bonds had Them Second-Guessing. But in Retrospect both of the Dalton Deliveries Deserved, and have Subsequently Received, a Better Reputation. In Fact, after the Pierce Brosnan Films, Daniel Craig and the Producers Picked Up on the Timothy Dalton Take once again.While this, the 15th James Bond Movie, is Not as Good as the Next and Final Dalton, it is Leaps and Bounds Better than most of the Goofy Roger Moore Movies. It Suffers somewhat with a Bloated Plot and a Residue from the Previous Over-Kill that was Part of the Formula. However, Overall it is a Thrilling Cold-War Finale.It's not a Perfect Bond Movie (few are), but it Stands the Test of Time, for those that take Their James Bond Seriously.

Filipe Neto Directed by John Glen and produced by Albert Broccoli, it has script by Richard Maibaum and Michael G. Wilson, and is the fifteenth film in the franchise. In this film, besides the central cast inherited from previous films, Timothy Dalton embodies, for the first time, the role of James Bond, alongside a great cast: Maryam d'Abo plays the Bond- girl Kara Milovy, Jeroen Krabbé gives life to General Koskov, John Rhys-Davies plays General Pushkin and Art Malik plays Kamran Shah.In this film, Bond is tasked to assist in the defection of a Russian general who, as in London, announces the resumption of "Smert Spionam" (Death to Spies) policy by the USSR. However, after several setbacks and after meeting the girlfriend of the fugitive general, Bond discovers that the defection was nothing but theater and there is someone interested in triggering a new world war.For the first time, Timothy Dalton gave body and life to James Bond. and, despite his way was quite different from the polite and courteous Moore, its not difficult for us, after some minutes of film, see Dalton as the new 007. Hard, violent and seductive at the right time, the actor was able to give a new impetus to the spy and bring Bond definitely to the eighties. And, although Maryam d'Abo doesn't fit the usual pattern of Bond-girls (super attractive, fatal, curvaceous and sexy), its impossible don't think that her sweet, gentle and loving ways blends very well with the vigorous and virile Dalton's Bond. The script is very interesting and addresses some issues that are still present in our society: the fear of a new world war or arms trafficking, for example. Some scenes in this film are iconic, such as the escape of Bond and Kara to the border with Austria by skiing inside a cello case, or the incredible fight scenes in the Afghan airport. Also great is the opening theme, sung by A-ha, in my opinion one of the best achieved in the franchise.

mattysouth Dalton shows a serious side that's been missing from the role since Sean Connery's earliest 007 days. And as a whole, the new picture is less of a special-effects affair than most of Roger Moore's Bond films.There's no shortage of action in The Living Daylights, but the movie adds up to a real adventure. Besides, the action scenes even have quiet moments: A lyrical skydiving passage early on suggests that the film will have a bit of texture.Director John Glen and screenwriters Richard Maibaum and Michael G. Wilson are all veterans of the 25-year-old series. Glen and Maibaum go back to the Connery films, and it shows. In The Living Daylights, they tell a tale of arms deals and defections, classical musicians and drug runners, romance and intrigue.It's all a little too complicated to explain here; in fact, it's all a little too complicated, period. But if the plot threads tangle from time to time, if too much depends on coincidence, and if the story runs on about 20 minutes too long, there are more than enough good things in this film to justify a trip to the theater.The look of the movie is bright and vivid -- and the ''credits'' sequence is no exception. As scantily clad women gyrate to the film's theme music, they look strangely wraith-like. Perhaps they are ghosts of earlier Bond girls, reappearing here to cheer on their successor.If so their encouragement seems to have worked: Maryam d'Abo plays the role of Czech cellist Kara Milovy with charm and sensitivity. She matches up well with Dalton, too. (They've both got the same sort of angular profiles.) Even the late Ian Fleming, who started this whole Bond business with his novels, might have approved of her.Other major players in this 15th Bond film (or 17th, depending on whether you include the anomalous Casino Royale and Never Say Never Again) include Joe Don Baker as a half-mad arms dealer, John Rhys- Davies as a KGB boss, Jeroen Krabbe as the double-dealing General Koskov, Andreas Wisniewski as a chameleon-like terrorist and Art Malik as an Afghan leader.The supporting cast features Desmond Llewelyn, returning as gadgeteer Q, and Robert Brown, returning as M, head of the British Secret Service. Caroline Bliss, who assumes the role of the ever- adoring Miss Moneypenny, is amusing in her very brief appearance. When she looks at Bond, she seems to be thinking, ''Let's have a look at the rest of those dimples.''Series-mastermind Albert ''Cubby'' Broccoli would do well to give us more of this Moneypenny in the future. And whatever Broccoli does, let's hope he holds onto his new Bond for a while.Remember the name: Dalton, Timothy Dalton. Accept no substitutes.