Guy-Hamilton Movie Reviews

I have a very old, scratchy, taped-off-the-tv video of this movie that I watch every Christmas and any other time that I desire. I've periodically tried to find another new one fearing that some day this old tape of mine will self-destruct. This is the sweetest, funniest, most heartfelt movie, and I have enjoyed it along with my family for many, many years. Jason Robards is exquisite as usual and Eva Marie Saint is truly a saint, putting up with this old curmudgeon. Bryan Englund is superb, bringing a touching and sympathetic portrayal of Rusty, the boy who has no choice but to be shipped off to his grandparents in Minnesota during the depression. A young boy helps his Grandad's heart to heal. You will laugh heartily, but you will also cry.....you won't be able to help it.

I spent about 45 mins writing a very passionate review of his movie in this space about 2 months ago. I submitted it too! You don't seem to recieve it. Really was a heart felt review too. Sorry, Don't have any copis of it--unless you do?

a good old time. this one has great moments including the fight between Bond and OddJob in Fort Knox place, where goldfinger tortures Bond with the laser and where Goldfinger gets sucked out of the airplane window. a fun and memorable film. a winner baby. Connery's 3rd or 4th Bond film I beleive

I was born in the 70's and grew up in the 80's and 90's so one would think I would prefer Roger Moore or maybe Dalton or Brosnan. But when I think Bond/007, I only think of Sean Connery and the films from the 60's. I guess it's because the decade was perfect for the character(sexism/persona/fashion), the look and feel(tux/bowler hat/suave sophistication/martini in hand/cig. in mouth/exotic locales), and the music(twangy guitar theme/big brassy numbers). And GOLDFINGER was arguably the definitive representation of all this:

*Shirley Bassey's great rendition of the title song.
*the classic Aston-Martin DB5 with all the gadgets.
*the strong female lead with that name: Pussy Galore!
*one of the coolest and most beloved henchman/sidekicks in the series: Odd Job(love the grin and hat).
*one of the most ambitious, greedy, resourceful villains ever(well played by Gert Frobe-hard to believe he was dubbed in the movie as the audio commentary pointed out).
*classic scenes like Shirley Eaton covered in gold, the "laser beam" scene, the rumpus room, and the end fight.
*good plotline, and good plot to break in to Fort Knox...with a slight twist(love the scene where 007 is figuring out the plot and Goldfinger seems genuinely pleased that someone recognizes his 'genius')
*ok, so Kentucky ain't too exotic(unless you're from Switzerland I guess), but the Swiss Alps and inside a 'pretend' Fort Knox? You don't see that everyday.

All great stuff. The other guys had some good movies in their reign as Bond, but I think Connery was on a roll with From Russia With Love, Goldfinger, and Thunderball. There was so much style and a special aura that defined what Bond/spy/adventure films should be during that 3-film stint. And after all the praise I have for Goldfinger(just recently got the dvd), for the record, it's not even my all-time favorite. That belongs to THUNDERBALL: #1, Largo with the eye patch, the Spectre organization, Claudine Auger in shades on the beach, the jet pack, the underwater fight, etc....oh man. Sorry, back to Goldfinger. Buy the dvd, lots of great extras(2 commentaries, 2 documentaries, etc). If you're a fan, you're not reading this cause you own it. But to non-fans, the film alone is worth the absurdly low price and the loads of extras are what every dvd collector would want. Highly recommended for anyone.

While GOLDFINGER is the third James Bond movie produced, it is, in a way, the first "Bond movie". While DR. NO and FROM RUSSIA WITH LOVE play out closer to Ian Fleming's vision, they are two plot-driven movies with a relatively realistic protagonist. GOLDFINGER, under Guy Hamilton's direction, begins the refusal to let faithfulness to the novel, or even plot and character, interfere with the action and special effects, although it never reaches the level of absurdity that some of the later films would. From Shirely Bassey's title track, through the pre-credits teaser, the introduction of the larger-than-life villain with an extravagantly ambitious scheme, and the beautifully gadget-filled Aston Martin DB5, modern viewers will recognize all of the key elements of a true Bond film. More importantly, it is James Bond who makes a Bond film, and it is the fact that we know James Bond will win against overwhelming odds because he is so unstoppably cool that makes James Bond who he is. The James Bond of GOLDFINGER is that slick; he charms his way to victory, too cool to lose. Sean Connery is at the top of his game in GOLDFINGER, completely owning the role.

GOLDFINGER is a fan favourite; many, in fact, claim it is the best of the film series. It has a couple of elements to recommend it to that honour. It does introduce two of Bond's most memorable characters. Honor Blackman plays Pussy Galore as an antagonistic Bond girl often to be imitated. Harold Sakata's Oddjob is still recognizable as one of the most silently intimidating and scene-stealing henchmen ever filmed. Michael Collins, dubbing over Gert Frobe's acting as the title villain, tosses off now-cliched dialogue with flawless timing, making a line everyone has heard a hundred times still seem fresh and menacing. The movie, however also has its flaws. The dubbing is as problematic as in the earlier two installments. There are a couple of plot details thinly-sketched enough to drive a gold Rolls Royce through. The post-production editing is lacking, with ragged cuts and, in at least one case, inserts footage contradicting the dialogue. Modern viewers may find a number of elements in the movie tired, even while recognizing that they were, in some cases, first used in this film.

The DVD's introductory menu is the most visually-appealing so far, but, unfortunately, the "Making of..." documentary has taken the admirable reserve of the earlier two documentaries into the realm of "simply dull". Along with a number of other goodies, it features a radio interview with Sean Connery.

This GOLDFINGER "Special Edition" package is sure to please Bond fans new and old.

a good old time. this one has great moments including the fight between Bond and OddJob in Fort Knox place, where goldfinger tortures Bond with the laser and where Goldfinger gets sucked out of the airplane window. a fun and memorable film. a winner baby. Connery's 3rd or 4th Bond film I beleive

I was born in the 70's and grew up in the 80's and 90's so one would think I would prefer Roger Moore or maybe Dalton or Brosnan. But when I think Bond/007, I only think of Sean Connery and the films from the 60's. I guess it's because the decade was perfect for the character(sexism/persona/fashion), the look and feel(tux/bowler hat/suave sophistication/martini in hand/cig. in mouth/exotic locales), and the music(twangy guitar theme/big brassy numbers). And GOLDFINGER was arguably the definitive representation of all this:

*Shirley Bassey's great rendition of the title song.
*the classic Aston-Martin DB5 with all the gadgets.
*the strong female lead with that name: Pussy Galore!
*one of the coolest and most beloved henchman/sidekicks in the series: Odd Job(love the grin and hat).
*one of the most ambitious, greedy, resourceful villains ever(well played by Gert Frobe-hard to believe he was dubbed in the movie as the audio commentary pointed out).
*classic scenes like Shirley Eaton covered in gold, the "laser beam" scene, the rumpus room, and the end fight.
*good plotline, and good plot to break in to Fort Knox...with a slight twist(love the scene where 007 is figuring out the plot and Goldfinger seems genuinely pleased that someone recognizes his 'genius')
*ok, so Kentucky ain't too exotic(unless you're from Switzerland I guess), but the Swiss Alps and inside a 'pretend' Fort Knox? You don't see that everyday.

All great stuff. The other guys had some good movies in their reign as Bond, but I think Connery was on a roll with From Russia With Love, Goldfinger, and Thunderball. There was so much style and a special aura that defined what Bond/spy/adventure films should be during that 3-film stint. And after all the praise I have for Goldfinger(just recently got the dvd), for the record, it's not even my all-time favorite. That belongs to THUNDERBALL: #1, Largo with the eye patch, the Spectre organization, Claudine Auger in shades on the beach, the jet pack, the underwater fight, etc....oh man. Sorry, back to Goldfinger. Buy the dvd, lots of great extras(2 commentaries, 2 documentaries, etc). If you're a fan, you're not reading this cause you own it. But to non-fans, the film alone is worth the absurdly low price and the loads of extras are what every dvd collector would want. Highly recommended for anyone.

While GOLDFINGER is the third James Bond movie produced, it is, in a way, the first "Bond movie". While DR. NO and FROM RUSSIA WITH LOVE play out closer to Ian Fleming's vision, they are two plot-driven movies with a relatively realistic protagonist. GOLDFINGER, under Guy Hamilton's direction, begins the refusal to let faithfulness to the novel, or even plot and character, interfere with the action and special effects, although it never reaches the level of absurdity that some of the later films would. From Shirely Bassey's title track, through the pre-credits teaser, the introduction of the larger-than-life villain with an extravagantly ambitious scheme, and the beautifully gadget-filled Aston Martin DB5, modern viewers will recognize all of the key elements of a true Bond film. More importantly, it is James Bond who makes a Bond film, and it is the fact that we know James Bond will win against overwhelming odds because he is so unstoppably cool that makes James Bond who he is. The James Bond of GOLDFINGER is that slick; he charms his way to victory, too cool to lose. Sean Connery is at the top of his game in GOLDFINGER, completely owning the role.

GOLDFINGER is a fan favourite; many, in fact, claim it is the best of the film series. It has a couple of elements to recommend it to that honour. It does introduce two of Bond's most memorable characters. Honor Blackman plays Pussy Galore as an antagonistic Bond girl often to be imitated. Harold Sakata's Oddjob is still recognizable as one of the most silently intimidating and scene-stealing henchmen ever filmed. Michael Collins, dubbing over Gert Frobe's acting as the title villain, tosses off now-cliched dialogue with flawless timing, making a line everyone has heard a hundred times still seem fresh and menacing. The movie, however also has its flaws. The dubbing is as problematic as in the earlier two installments. There are a couple of plot details thinly-sketched enough to drive a gold Rolls Royce through. The post-production editing is lacking, with ragged cuts and, in at least one case, inserts footage contradicting the dialogue. Modern viewers may find a number of elements in the movie tired, even while recognizing that they were, in some cases, first used in this film.

The DVD's introductory menu is the most visually-appealing so far, but, unfortunately, the "Making of..." documentary has taken the admirable reserve of the earlier two documentaries into the realm of "simply dull". Along with a number of other goodies, it features a radio interview with Sean Connery.

This GOLDFINGER "Special Edition" package is sure to please Bond fans new and old.

It's a melodrama, but it's so well-played that you won't mind the plethora of misfortunes that befall the family of women (Teresa Wright as an adolescent, Shirley Temple as a "tween", and Claudette Cobert as their mother)left alone when the father has to go off to war. This movie was meant as a reminder of just what the men were fighting for, and sentimental as it is, was a good snapshot of peoples' concerns and hopes and travails during WWII. This movie has myriad characters and various story lines to give it a rich, textured feel, like an old family quilt made up of many old, beloved clothes. It's a wonderful winter afternoon movie, or to watch when it's raining. Enjoy it for it's representation of any era, and in remembrance of the bravery of our parents and grandparents.

Gone with the Wind will always be David O. Selznick's supreme masterpiece. But right behind GWTW is this ravishing, tear-jerker concerning a mother and her two daughters during World War II. The gorgeous black and white photography, creating shadows and drama, the fireplaces always crackling cozily, the snow outside, the by-gone lifestyle of the early l940s, these are just one layer of this classic to enjoy. Claudette Colbert is perfect as the heroic mother-wife of the Hilton clan. The last scenes, where she finds a gift from her husband whose off somewhere around the world fighting the enemy, is heart-breaking.And it takes place beneath a Christmas tree! Even the yule-tide wrapping is endearing since it's another relic from a long-gone era. I watch this movie several times a year, but especially during the Christmas holidays, because its scenes of snows and warm hearths really do belong to an era when we once enjoyed something called a White Christmas. This movie should have swept all the Oscars, especially the redoutable Max Steiner for his stunning musical score. An even better way to spend a wintry weekend is to curl up with both Gone With the Wind and Since You Went Away and you'll be one happy viewer!

I respectfully disagree that this is a film for women only. I've loved this film since I first saw it as a teenager. Claudette Colbert was never better than in her role as Ann Hilton; she manages to balance passion and dignity in her own unique manner. Joseph Cotton is unmatched as the family's best friend, so suave and yet sensitive. I've always been a great admirer of the underrated Agnes Moorhead, and she rivals her part in "Dark Passage" with her role as a flighty and selfish man-chaser here. Monty Wooley was every bit as memorable here as in "The Man Who Came to Dinner". Shirley Temple's part was somewhat limited but she proved herself well.

I found it awkward when the immigrant co-worker of Colbert recited the Lazarus poem off the Statue of Liberty, particularly in view of the segregation of American society and the military. That couldn't be helped in this production, of course.

The entire production is typical of the best of Hollywood then--in other words, yet to be matched by today's filmmakers. The richness of the black-and-white, the basic camera work, the perfect sets. It's why I love these old films.

True, this film is a tearjerker. Nothing wrong with that. True, it might be viewed as a form of propoganda. Nothing wrong with that, either. It remains an eloquent testament to a nation and a time when the 'bad guys' were easy to identify. At the least, I hope viewing this will remind all of us to contribute to the WW II Memorial in Washington!

BTW when is this coming out on DVD?

It's a melodrama, but it's so well-played that you won't mind the plethora of misfortunes that befall the family of women (Teresa Wright as an adolescent, Shirley Temple as a "tween", and Claudette Cobert as their mother)left alone when the father has to go off to war. This movie was meant as a reminder of just what the men were fighting for, and sentimental as it is, was a good snapshot of peoples' concerns and hopes and travails during WWII. This movie has myriad characters and various story lines to give it a rich, textured feel, like an old family quilt made up of many old, beloved clothes. It's a wonderful winter afternoon movie, or to watch when it's raining. Enjoy it for it's representation of any era, and in remembrance of the bravery of our parents and grandparents.

Gone with the Wind will always be David O. Selznick's supreme masterpiece. But right behind GWTW is this ravishing, tear-jerker concerning a mother and her two daughters during World War II. The gorgeous black and white photography, creating shadows and drama, the fireplaces always crackling cozily, the snow outside, the by-gone lifestyle of the early l940s, these are just one layer of this classic to enjoy. Claudette Colbert is perfect as the heroic mother-wife of the Hilton clan. The last scenes, where she finds a gift from her husband whose off somewhere around the world fighting the enemy, is heart-breaking.And it takes place beneath a Christmas tree! Even the yule-tide wrapping is endearing since it's another relic from a long-gone era. I watch this movie several times a year, but especially during the Christmas holidays, because its scenes of snows and warm hearths really do belong to an era when we once enjoyed something called a White Christmas. This movie should have swept all the Oscars, especially the redoutable Max Steiner for his stunning musical score. An even better way to spend a wintry weekend is to curl up with both Gone With the Wind and Since You Went Away and you'll be one happy viewer!

I respectfully disagree that this is a film for women only. I've loved this film since I first saw it as a teenager. Claudette Colbert was never better than in her role as Ann Hilton; she manages to balance passion and dignity in her own unique manner. Joseph Cotton is unmatched as the family's best friend, so suave and yet sensitive. I've always been a great admirer of the underrated Agnes Moorhead, and she rivals her part in "Dark Passage" with her role as a flighty and selfish man-chaser here. Monty Wooley was every bit as memorable here as in "The Man Who Came to Dinner". Shirley Temple's part was somewhat limited but she proved herself well.

I found it awkward when the immigrant co-worker of Colbert recited the Lazarus poem off the Statue of Liberty, particularly in view of the segregation of American society and the military. That couldn't be helped in this production, of course.

The entire production is typical of the best of Hollywood then--in other words, yet to be matched by today's filmmakers. The richness of the black-and-white, the basic camera work, the perfect sets. It's why I love these old films.

True, this film is a tearjerker. Nothing wrong with that. True, it might be viewed as a form of propoganda. Nothing wrong with that, either. It remains an eloquent testament to a nation and a time when the 'bad guys' were easy to identify. At the least, I hope viewing this will remind all of us to contribute to the WW II Memorial in Washington!

BTW when is this coming out on DVD?

I am the biggest fan on the TV show, and they cancelled it on Nick at Night, so I have to reminisce with this movie. I really actually enjoyed the plot line. It had its great moments, like when Jack Webb fights, which is hilarious even though it's not supposed to be. I recommend this movie highly if you're a fan of the TV show, as the 1980s spoof with Tom Hanks just ruins the whole seriousness of the show.

This full lengh Dragnet film was made in 1954. The actors included Jack Webb as Sgt Friday, Ben Alexander as Frank Smith and Richard Boone as the captain. I have always believed that the original series which aired in the 1950's was the better of the Dragnet films. In this film, Friday and Smith are up against the mob. The acting is superb and the plot is well done. The story moves along quite well and there is some great character performances. The viewer will be intrigued by the settings in 1950's Los Angeles. The old cars, the trolley cars moving along Wilshire Boulivard and ever prominent tough LA cops. It is a great trip down memory lane. The film has a great ending. I would recomend this film for anyone who is a fan of Jack Webb and Dragnet.

When a two bit bookie is murdered by his associates, Sgt. Joe Friday and his partner Frank Smith go after the bad guys in a methodic manner that exemplifies "Dragnet". With the help of an undercover policewoman (who, contrary to a lot of reviews I've read, is not killed; Friday comes to her rescue when she finds solid evidence against the bad guys) our detectives are able to solve the crime, only to have the perpretrators die before they can be brought to justice. The ending will be out of the ordinary for you, but still it is a good film. "Dum de dum dum!"

This film has all the old cliches of a 1940s musical. While it does a disservice to the wonderful short story by Marjorie Rawlings (A Mother in Mannville)on which it was based, it is delightfully nostalgic as Jeanette McDonald's last movie. The Lassie part of the film is corny, and the rest is so typical of that era's movies that it is pure fun: the dramatic background music by Andre Previn; the sad,stoic orphan boy; the famous singer aching for her lost child! The best part is the mountain character Williegood played by Percy Kilbride.Don't think; enjoy!

I have been looking for this movie for some time. We rented it when I was under the age of 8 (too young to be interested in the title or actors). I could remember it had "the little boy from The Yearling". Also that Lassie and a red-haired opera singer were in it. Critics may think it slightly corny or mushy, but to an under-8-year-old, it was wonderful, sweet, touching, and exciting. What do they know? It was made for children, and we love it!

My Mom and I saw "The Sun Comes Up", in 1949, when I was three years of age. I insisted on being called "Jerry", because it was the name of the child actor in this film. 50 years later, the name remains the same. This is not actually a review of the movie, as I remember very little about it except for the orphan Jerry and Lassie. This is an attempt to locate someone who might have a copy of this movie, I have not seen the film since I was three years old. If anyone reads this and can help, please e-mail me at wwcarter@hotmail.com. Thanks a lot.

Agatha Christie's murder mystery, 'Evil Under The Sun' is brought gloriously to life, in this movie from the early 80's. It features Peter Ustinov in his second showing as the legendary Belgian detective, Hercule Poirot along with a cast of actors who camp it up for all they are worth.

The plot follows the classic Christie template (see Death on the Nile, Murder on the Orient Express) of a group of people gathered together, with one being particularly nasty and unlikeable and (surprise, surprise!!) is murdered, with all of the remaining characters having a motive for putting this person out of the way. While this movie doesn't move too far away from the template, it rewards the viewer with an intriguing yet fun couple of hours.

The performances from all of the actors on board are excellent - yes they are over the top (especially Roddy McDowell's bitchy Rex Brewster and Sylvia Miles's droning Myra Gardener) but that makes them all the more endearing. Maggie Smith is obviously having loads of fun as the hotel proprieter, Daphne Castle, and her scenes with Ustinov have great energy. However Diana Rigg all but steals the film as the "ageing" actress, Arlena Marshall, a prize and completely ostentatious vamp. Ustinov is again on fine form as Poirot and relishes the chance to add his stamp to a character already memorably portrayed on screen by Albert Finney.

This film offers a great opportunity to actors out of their normal milieu (the aforementioned Smith and Rigg, as well as the luminous Jane Birkin) and is almost worth watching for that alone. Added to that is a great soundtrack of Cole Porter numbers which indelibly places this movie in the 1930's. While it does deviate from the setting and characters of Christie's source novel, that doesn't detract it from being an superb addition to the canon of Christie films.

Although David Suchet's Poirot is, I think, more faithful to Christie's vision of him, I have always enjoyed Ustinov as the famous Belgian sleuth. Evil under the Sun appeals to me because of the quality of the cast, as well as its small size, and the gorgeous location (a small island in the mediterranean). The movie is infused with light and some of the best Cole Porter music. Diana Rigg is an absolutely odious Arlena Marshall, and Maggie Smith's Daphne Castle is wonderful as her erstwhile rival. Roddy McDowell's fruity Rex Brewster is probably my favorite. Jane Birkin is the fragile nagging wife of Arlena's toy boy Patrick Redfern (Nicholas Clay), and is wonderful in the staircase scene at the end of the movie. These and a few other characters congregate on Daphne's Island, for a sunny holiday, that is very quickly interrupted by murder. In order to avoid dealing with the inept local police, Daphne calls on Poirot's 'colossal brain power' to solve the crime for her. Poirot takes on the case, and is soon faced by a seemingly insurmountable problem...(and you'll have to watch the movie to find out what it is).

Agatha Christie's Evil under the sun with it's all star cast keeps your interest to the end. My wife and are especially caught up with Peter Ustinov's character mixing in with all of the rest to make this video a must for all mystery buffs.

Agatha Christie's murder mystery, 'Evil Under The Sun' is brought gloriously to life, in this movie from the early 80's. It features Peter Ustinov in his second showing as the legendary Belgian detective, Hercule Poirot along with a cast of actors who camp it up for all they are worth.

The plot follows the classic Christie template (see Death on the Nile, Murder on the Orient Express) of a group of people gathered together, with one being particularly nasty and unlikeable and (surprise, surprise!!) is murdered, with all of the remaining characters having a motive for putting this person out of the way. While this movie doesn't move too far away from the template, it rewards the viewer with an intriguing yet fun couple of hours.

The performances from all of the actors on board are excellent - yes they are over the top (especially Roddy McDowell's bitchy Rex Brewster and Sylvia Miles's droning Myra Gardener) but that makes them all the more endearing. Maggie Smith is obviously having loads of fun as the hotel proprieter, Daphne Castle, and her scenes with Ustinov have great energy. However Diana Rigg all but steals the film as the "ageing" actress, Arlena Marshall, a prize and completely ostentatious vamp. Ustinov is again on fine form as Poirot and relishes the chance to add his stamp to a character already memorably portrayed on screen by Albert Finney.

This film offers a great opportunity to actors out of their normal milieu (the aforementioned Smith and Rigg, as well as the luminous Jane Birkin) and is almost worth watching for that alone. Added to that is a great soundtrack of Cole Porter numbers which indelibly places this movie in the 1930's. While it does deviate from the setting and characters of Christie's source novel, that doesn't detract it from being an superb addition to the canon of Christie films.

Although David Suchet's Poirot is, I think, more faithful to Christie's vision of him, I have always enjoyed Ustinov as the famous Belgian sleuth. Evil under the Sun appeals to me because of the quality of the cast, as well as its small size, and the gorgeous location (a small island in the mediterranean). The movie is infused with light and some of the best Cole Porter music. Diana Rigg is an absolutely odious Arlena Marshall, and Maggie Smith's Daphne Castle is wonderful as her erstwhile rival. Roddy McDowell's fruity Rex Brewster is probably my favorite. Jane Birkin is the fragile nagging wife of Arlena's toy boy Patrick Redfern (Nicholas Clay), and is wonderful in the staircase scene at the end of the movie. These and a few other characters congregate on Daphne's Island, for a sunny holiday, that is very quickly interrupted by murder. In order to avoid dealing with the inept local police, Daphne calls on Poirot's 'colossal brain power' to solve the crime for her. Poirot takes on the case, and is soon faced by a seemingly insurmountable problem...(and you'll have to watch the movie to find out what it is).

Agatha Christie's Evil under the sun with it's all star cast keeps your interest to the end. My wife and are especially caught up with Peter Ustinov's character mixing in with all of the rest to make this video a must for all mystery buffs.

Roger Moore's first turn as James Bond is an interesting film that showcases James Bond trying to stop an island dictator from creating a massive drug problem in the world. The film features a large element of voodoo, a largely black cast, and the absence of Q, who was excused as part of a plan to make the series more current - these elements make this a unique Bond adventure. For some reason, this feels like a holdover from the more intimate, stylish Sean Connery era, probably due to veteran Guy Hamilton's direction (he directed Goldfinger and Diamonds are Forever), and the more down-to-earth sets, which lean toward the more realistic ones of movies like From Russia With Love.

The movie is a fun adventure, with a so-so villain, an interesting Bond girl (Jane Seymour, practically the only one who had a career afterwards), and a boat chase that goes on WAY too long. It also features Bond's first (and so far only) movie trip to New York City. The movie has a nice pace (aside from the chase), good changes of location, and it's just fun. Not a series highlight, but one that sits firmly in the middle of Bond's adventures.

Personally I consider Moore the best Bond, though others are sure to disagree. I grew up on the Moore flicks and they were always fun and campy. Here we see Moore's first efforts as he travels to exotic locales such as Haiti and downtown Harlem. The title song is fab and the action is fun. Jane Seyour is the main Bond babe, Solitaire, who has a hip connection to the Tarot. You can't lose with this! It has alligators, a wacky hillbilly sheriff and a Voodoo priest!

Very good film! Roger Moore really shows he is James Bond in this movie. He acts spectacularly and I think that the island Saint Monique in the Carribean made this movie a lot of fun.