Roger Moore’s seventh go-round as James Bond doubled as his last, and proof that it was time for him to go occurs almost immediately in A View to a Kill. During the otherwise fine ski-and-snowmobile-chase prologue, Agent 007 knocks out a couple of Russian goons by snowboarding into their faces, at which point the soundtrack blasts a soundalike version of The Beach Boys’ “California Girls.” Never mind this scene takes place half a world away from the Golden State — it’s that anyone thought that joke was a good idea is what we should be worried about.
One Duran Duran title sequence later, the real story begins, with blimp-loving French industrialist Max Zorin (Christopher Walken, awesome as ever) plotting a microchip monopoly by striking Silicon Valley. 007 poses as a reporter to get close to Zorin and his mannish henchwoman, May Day (pop singer Grace Kelly, frightening as ever) — one of Bond’s four sexual conquests within a tedious two hours and 11 minutes, including a hot-tubbing Alison Doody (Indiana Jones and the Last Crusade) and Virginia Slims-voiced blank slate Tanya Roberts (The Beastmaster).
Every time Bond is called upon to do more than throw a punch, workmanlike director John Glen (Octopussy) uses an obvious stunt double for Moore, then nearly 60, and the hair color doesn’t even match. Still, this does not keep the action set pieces from impressing — from a foot pursuit up the Eiffel Tower that becomes a car chase on the ground, to 007 swinging from an errant fire engine ladder through heavy traffic. The climactic Golden Gate Bridge finale is less notable, due to dated effects.
And speaking of dated, that Communism and the KGB loom over the film as big baddies is almost charming in a post-Cold War era. Moore’s inability to even try, however, is not. Look for Maud Adams and Dolph Lundgren in blink-and-miss-’em cameos; I missed ’em. —Rod Lott