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Editorial Reviews
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After the lavish, effects-heavy splash of Moonraker, the twelfth Bond film and the seventh with Roger Moore concentrates more on core car-chase-and-crumpet values, evoking an almost retro feel that harks back to the first pressings of the Bond vintage in the 1960s. Starting to look a little wrinkly around the edges by this point, Roger Moore toughens his usually smarmy act up here with a gratuitous bit of killing, casually kicking a baddie and his car over a precipice, reviving memories of the ruthless streak with which Sean Connery made his name. Good old-fashioned Cold War politics lie at the heart of the plot, concerning a weapons system hijacked in the Mediterranean Bond must rescue. He's assisted by the exquisite Carole Bouquet, the only actress in history who can claim to have been both a 'Bond girl' and the star of a Luis Buñuel movie ( That Obscure Object of Desire). Sadly, this is the first film to lack Bernard Lee's spymaster M, the actor having died beforehand, although British comedienne Janet Brown is on hand for an amusing Margaret Thatcher impersonation. -- Leslie Felperin
On the DVD: The first audio commentary here is another one of those edited selections of interviews with sundry cast and crew members, tied together by an over-earnest host. Producer Michael G Wilson and others provide a somewhat more illuminating second commentary track. Once again the best extra feature is the "making of" documentary, which gives an almost scene-by-scene breakdown of the movie. The animated storyboard sequences will appeal to filmmaking aficionados. Avoid, if at all possible, the Sheena Easton video of arguably the most forgettable Bond song of all time (both song and score were perpetrated by series newcomer Bill Conti, not the estimable John Barry). --Mark Walker
Customer Reviews
For Your Eyes Only (2006-11-08)  This is probally one of my favorite Bond movies of all-time! I love the adventure of this movie. The car chases, the vilian; and oh yes the bond girl. The scenic view of Greece make this movie of the best locations of any bond movie. Moore does a great job acting like the Bond of old, and there are very few gagets that take away from the real bond sexiest. Even though Connery is my favorite bond actor; this is still on the top of my list of Bond movies. Enjoy, this action packed movie.
The best Moore (2005-01-09)  This is clearly the best Moore version of James Bond. Moore finally takes his role seriously and behaves more like a real secret service agent than he did in his previous, mostly comical, turns as 007. I actually think this is Roger Moore's very best acting turn. Which also makes this is one of the very best Bond films. As usual the scenery is breathtaking, the colors vivid, and the ubiquitous, classic, and certainly cliched by now, ski chases, car chases and underwater encounters are extremely well-done. This film shows much better attention to detail than in any previous Bond film. It feels like everyone involved decided to give it their best and not just make a Bond movie but a good suspense drama. Which is why it's so enjoyable to watch. I guess the best clue that this movie will be different is the opening scene in which Bond gets the better of Blofeld once and for all in an exciting helicopter ride. Let's not forget the believable story that doesn't fall into the ridiculous "taking over the world" category. The characters are well-defined and they're not allowed to fall into the classic Keystone Kops buffoons we've so often seen in Bond films. Another welcome change is the absence of the farcical Bond stalker who pops up everywhere and fails time and again to get his man like the coyote in the Roadrunner cartoons. One of the few negatives is Carole Bouquet who, although certainly more than beautiful enough, is much too taciturn to make a compelling Bond girl looking to avenge the death of her parents at the hands of criminals. This role would have benefited from the presence of a more assertive actress. It would, of course, be possible to nitpick at this film but there are few bad things to say about this enjoyable outing. Check it out; it's watchable without even knowing who James Bond is.
Roger Moore's Best Turn as 007 (2004-07-15) James Bond films can be divided into two camps. Some have over-the-top villains and larger-than-life plots, while others are down to earth, gritty spy adventures. "For Your Eyes Only" falls squarely in the latter camp. This characteristic has earned it praise from those who enjoy Bond movies with a more realistic air, while those who prefer the more fantastic deride it as boring. For my own part, I find "For Your Eyes Only" to be the best Roger Moore film and indeed better than most of the Connery and Brosnan films as well. That is not to say the movie is without flaws. The "heavy" and the "henchman" are a somewhat underwhelming, the score is a little too pop, and Bond's flirtation with a young skater strains credulity. However, these minor complaints are overcome with thrilling chases, superb action, tight storytelling, beautiful locations, and intense suspense that is sorely lacking in most Bond films. On the whole, "For Your Eyes Only" may not be what you expect, but it is one of the best of the series. DVD: Thankfully, MGM gave this one the full 5.1 sound treatment. Unfortunately, the soundtrack has its jarring moments, especially in the rear channels during the pre-title sequence and when Bond gets caught at Gonzales' lair. The extra features are informative and fun, as has been the case with the other Bond films.
A leaner, meaner, Moore, Roger Moore. (2004-04-27) In 1979, the James Bond series had officially "jumped the shark (i.e. reached a turning point which signaled a downward spiral.)" with the campy, over-the-top, sci-fi MOONRAKER. Although he had a blockbuster on his hands, producer Cubby Broccoli had the forsight to see that the Bond series would crash under the weight of huge sets and bad puns. Thus, a back- to-basic approach was in order for the harder-edged 1980's with FOR YOUR EYES ONLY. FOR YOUR EYES ONLY, from the title of Ian Fleming's collection of Bond short stories, is noted by Bond fans as the first from the "Michael G. Wilson Era" of the series. Wilson, a writer, co-producer, and Broccoli's son-in-law had sighted the darker, more realistic espinage thriller FROM RUSSIA WITH LOVE as his personal favorite. Along with first time director John Glen (an editor from the series), FOR YOUR EYES ONLY's recipe of grittier action sequences, amid exotic locations would be a template for the series that would extend into Pierce Brosnan's epics. Although I don't consider FOR YOUR EYES ONLY in the panthanon of, say, GOLDFINGER, (and despite what you read here, the high adventure plot line is closer to the botboilers of Alistair McClain then it is to Ian Fleming's), the movie is a fun ride. It is also, perhaps the first time many began to stop worrying and like Roger Moore as 007. I don't know if it was Moore's advancing age or his fuller hair style, but here he's clearly not the same twit who waltzed through MOONRAKER. His Bond, for once, has to huff and puff is way out of a situation instead of a raised eyebrow. He still a charmer who rather use his wits than his fists, but when the going gets tough he'll use a full clip of his Walter PPK without hesitation. That's James Bond! Years ago I was floored by the old CBS-FOX laserdisc version of this movie. Although panned and scanned, the disc's stereo sound mix was thunderous. This new DVD is sharper despite some flaws due to the film stock's age, but retains the surround sound theatrics that keeps 007's 12th outing state of the art in a constantly improving digital landscape.
This could be an opportunity...or a trap! (2004-03-12) The 12th James Bond movie. After a science-fiction epic with MOONRAKER, producer Albert R. Broccoli brings 007 back to Earth in a well crafted thriller closely echoing the vein of earlier Bond films as FROM RUSSIA WITH LOVE and ON HER MAJESTY'S SECRET SERVICE. Yet FOR YOUR EYES ONLY would appropriately emphasize such fantasy elements in a more grittier and realistic adventure filled with the usual beautiful women and non-stop action. This time a greater emphasis began with the idea of 007 as a more polished Super Agent who survives off his physical wits and prowess rather than the aide of gadgets. This would be a trademark well established in John Glen's debut as director for this film. Glen would continue to direct from this film all the way to LICENCE TO KILL. Equally credible is a tough, determind Bond girl in Carole Bouquet as revenge obsessed Melina Havelock, and a collection of the usual nasty villains out to silence her. As Bernard Lee who had played M passed away during production, Broccoli in refusal to replace him filled in with the Bill Tanner character. For the next film, OCTOPUSSY, Robert Brown would take over the role. THE ASSIGNMENT: The ST. GEORGES, a British electronic submarine disguised as a fishing boat, has been blown up in the Ionian Sea. On board is the valuable ATAC machine, which is a coded transmittor using ultra-low frequencies to order British submarines to launch ballistic missiles. If fallen into the wrong hands, submarines could be ordered to attack British cities leaving no chance of being manually countermanded. Bond's only lead: marine biologist Sir Timothy Havelock and his wife Iona were murdered while searching for the ATAC on behalf of the British. His killer, a Cuban hitman Hector Gonzales lives in Madrid. Bond pays his villa a visit, but before he can interrogate, Gonzales himself is killed by a crossbow bolt - from the Havelocks' daughter Milena who is on a revenge vendetta for their deaths. Bond and Milena quickly join forces, but not before Bond noticed Gonzales being paid for the job by a bespectacled man. If Bond can identify the man, he may still have a glimmer of hope. THE VILLAINS: Julian Glover as Aristotle Kristatos, Michael Gothard as Emile Leopold Locque, John Wyman as muscular Eric Kriegler, (a very young) Charles Dance as Claus, Jack Klaff as Apostis, and Stefan Kalipha as Hector Gonzales. HIGHLY RECOMMENDED! BUY IT!
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