A View To A Kill had been a step up from much of Roger Moore's inconsistent term as 007, which often lost itself in silliness. The Living Daylights continues this trend with a tight plot, good action, strong romance (as opposed to just sex, as is common in Bond) and solid performances from a cast of both well-known and new faces. The result is a film which is not only good Bond, but good spy-thriller.
Timothy Dalton delivers a performance by turns serious and charismatic; his Bond is a highly-trained government operative trusted with saving both his country and the world, who bears great responsibility in addition to the usual arsenal of gadgets and unlimited budget. He provides a stark contrast to both Roger Moore's buffoonery and Sean Connery's overt masculinity.
The Living Daylights survives as one of the best Bonds, though thanks to his second effort (License to Kill), Dalton is sadly often overlooked for his contribution to the Bond franchise. The fault, however, is with the latter film's dire plot and lack of Bond elements, and Dalton is an essential part of making The Living Daylights a highlight in the Bond series.
Timothy Dalton delivers a performance by turns serious and charismatic; his Bond is a highly-trained government operative trusted with saving both his country and the world, who bears great responsibility in addition to the usual arsenal of gadgets and unlimited budget. He provides a stark contrast to both Roger Moore's buffoonery and Sean Connery's overt masculinity.
The Living Daylights survives as one of the best Bonds, though thanks to his second effort (License to Kill), Dalton is sadly often overlooked for his contribution to the Bond franchise. The fault, however, is with the latter film's dire plot and lack of Bond elements, and Dalton is an essential part of making The Living Daylights a highlight in the Bond series.
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