A View to a Kill

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keven q @kevenquinlan Feb 16 Well, recently watch all of Moore's and this is the last- didn't review the others and I probably don't need to. This was good- not great- it shows it's age a little. All of Roger's were pretty good and I thought a step above Connery's. There are enough good ones and the level of how good it is qualifies to keep the whole collection, of course. Onto Dalton's next. See more Alec B @Alec97 Feb 9 Yeah Moore was way too old by this point but the movie is still better than its reputation. Grace Jones is a great henchman and I like the way the central mystery unfolds. Also, John Barry really got a lot of mileage out of the opening song in the score. See more Carlos T @RT67858720 Jan 27 *Na Mira dos Assassinos* marca o fim melancólico da era Roger Moore. Após 7 filmes e 12 anos no papel, Bond se despede em uma trama que carece de urgência e criatividade. O roteiro aposta em uma conspiração tecnológica envolvendo microchips e a destruição de São Francisco, mas a motivação soa frágil e excessivamente conveniente. Subtramas como cavalos geneticamente estimulados parecem deslocadas e pouco relevantes para a narrativa central. A produção é irregular: não há um supercarro memorável nem perseguições realmente eletrizantes. Os efeitos especiais cumprem seu papel, mas sem brilho. As locações ajudam a dar escala ao plano do vilão, culminando em um desfecho visualmente interessante na Ponte Golden Gate. Christopher Walken é excêntrico, mas não chega a intimidar. Grace Jones, com presença magnética, poderia ter sido uma das vilãs mais temíveis da franquia, mas é subaproveitada. Tanya Roberts é belíssima, mas seu papel se resume a ser constantemente resgatada Nota final: 5 See more Craig W. @CJWolfe27 Dec 9 Christopher Walken is a great Bind Villain. See more Oliver J @Ollie1997 Oct 28 Critics Consensus: “A View to a Kill” features Roger Moore’s enduring charm and a memorable villain, but the film’s aging lead, uneven pacing, and outlandish plot prevent it from fully delivering the thrills expected from a Bond adventure. Review: Roger Moore’s final outing as James Bond in A View to a Kill is a mix of style, spectacle, and uneven execution. Christopher Walken’s Max Zorin stands out as an eccentric and menacing villain, providing some of the film’s strongest moments, while Moore’s charisma remains intact, though hints of age begin to show in his action sequences. The plot, involving a scheme to destroy Silicon Valley, combines classic Bond thrills with Cold War-era stakes, yet the story occasionally stretches credibility. Director John Glen stages memorable action set pieces—such as the iconic Golden Gate Bridge finale—but the film is often weighed down by a reliance on stunts over story. Tanya Roberts’ May Day adds energy but can’t fully elevate the narrative. Verdict: A View to a Kill is a visually entertaining and occasionally thrilling Bond adventure, but an aging lead and uneven plot make it a middling entry in the franchise. See more Marco L @decatur555 Aug 27 (CASTELLANO) Hay películas que te marcan por el momento en el que las ves, y Panorama para matar es una de ellas. Con diez años quedé atrapado por la energía de Duran Duran y su tema principal, y quizá por eso siento un apego especial a esta entrega de Bond. Con el tiempo, al revisitarla, sigo viendo sus defectos, pero también su magnetismo ochentero. La película es un desfile de excesos: persecuciones imposibles, un villano histriónico interpretado por Christopher Walken y la siempre fascinante Grace Jones, que se roba cada escena con su presencia salvaje y ambigua. Todo en ella grita “años 80”, desde la estética hasta la música, y eso puede jugar tanto a favor como en contra según los ojos con los que se mire. Es cierto que Roger Moore ya estaba mayor para el papel, y que algunas escenas rozan lo autoparódico, pero aún así logra mantener el tipo con su ironía y estilo característico. Quizá no haya aquí grandes innovaciones narrativas, pero lo compensa con personalidad y un aire de espectáculo total. Vista hoy, Panorama para matar funciona como un cóctel de nostalgia y entretenimiento ligero. Puede que no sea la más sólida de la saga, pero sí una de las más recordadas por su estética pop y su capacidad para condensar toda una época en una sola aventura. Para mí, sigue siendo de las más disfrutables. (ENGLISH) There are films that leave a mark because of when you first saw them, and A View to a Kill is one of those for me. At ten years old, I was captivated by Duran Duran and their theme song, and maybe that explains my fondness for this Bond entry. Rewatching it years later, I still see its flaws, but also its irresistible 80s magnetism. The movie is a parade of excess: impossible chases, a flamboyant villain played by Christopher Walken, and the ever-fascinating Grace Jones, who steals every scene with her wild and ambiguous presence. Everything screams “1980s,” from the aesthetics to the music, which can work both for and against it depending on your perspective. Yes, Roger Moore was clearly too old for the role, and some scenes border on parody, but he still manages to hold his ground with his trademark irony and charm. The story doesn’t reinvent the saga, but it makes up for it with personality and sheer spectacle. Seen today, A View to a Kill works as a cocktail of nostalgia and light entertainment. It may not be the most solid entry, but it’s certainly one of the most memorable, condensing the spirit of an era into one adventure. For me, it remains among the most enjoyable. See more Read all reviews

A View to a Kill

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