Timothy-Dalton Movie Reviews

salt water moose is a truly wonderful family film!! there's no violence, no bad language or no sex. it's just a film that can be enjoyed by children and people of all ages without worrying about those things. 2 nights ago, i was babysitting 3 little girls that i always babysitt. i brought over 4 videos. by my surprise, they wanted to see salt water moose. when the movie was over, the children did not stop talking about it! it's great!they were even hoping that they'd make a sequel to the film. and i myself really loved the film. i bought a copy the day after we watched it. and, i'm 15 years old:) so, this film is for any age. its for people who want to enjoy a good movie. the movie is about a boy named bobby whose parents have just divorced. he's going from toronto to nova scotia to spend the summer with his mother,eva, who is writing a novel and with his grandmother. at first, he's miserable and always being picked on by 3 neighborhood boys. but all thast changes when he meets jo, an adventurous tomboy girl. together, they sail off to rock island to visit a lonely bull moose named charlie. together, they decide to try to capture a female moose to sail her accross to the island to live with charlie. as the movie progresses, they do catch a female moose that they decide to call beatrice. the rest of the movie that follows is filled with fun, laughter and excitement for the whole family.it deals with family issues such as divorce and children who have lost one of their parents and are being raised by only one.so, this film makes us see the things that happen in life everyday.all in all, its an excellent film that your family will want to watch over and over again. it gets a 10/10 from me!

NO SEX, NO VIOLENCE, NO DIRTY WORDS! Bobby, visiting his Grandmother for the summer (in beautiful Nova Scotia) is the new kid on the block. And he is being picked on by the local kids, until he is "adopted" by Jo, a girl his age who has a different view of life. She is obsessed with the desire to find a mate for a lone bull moose stranded on a small island. The friendship that develops between Bobby and Jo, aided and abetted by her tolerant father Lester, (played by Timothy Dalton, in a really different role for him), the conflicts of loyalty that occur, and the final dramatic (and traumatic) delivery of the female moose to the island make for exciting and fun viewing. If you are looking for something you can let your children watch without worrying (or if you are an adult looking for something gentle and refreshing) ,I highly recommend Saltwater Moose! (You guys at Amazon should be pushing this movie actively, along with all the other children's fare--it's a lot better than most!)

This is what family entertainment should be. This film deals with issues that are important to all members of the family and it deals with them without foul language. Mr. Dalton's rapport with the children is fun to watch and the moose family is a delight. I gave a copy to all my grandchildren and I recommend it to all families for a fun evening.

In 1926 acclaimed English mystery writer Agatha Christie disappeared after her car was found in the countryside. She later reappeared at the Harrogate Spa claiming "amnesia" and unable to explain what had taken place. The screenplay by Kathleen Tynan and Arthur Hopcraft constructs a solution to Christie's real life mystery by suggesting that she followed her husband's mistress to Harrogate Spa. What is intriguing about this idea is the way the treatment has Christie use the skills she presumably used to create her novels, to investigate the potentially lethal electrical apparatus used at the Spa as slimming devices. However outweighing the thriller elements of the film is the romantic approach by director Michael Apted, represented by the casting of Vanessa Redgrave as Christie, Dustin Hoffman as an American journalist following her, the lighting by Vittorio Storaro and the production design by Shirley Russell. Redgrave encapsulates the shy genius Christie who hides in her clothes and her partnership with the dandy played by Hoffman is both the coming together of two oddballs, and the excitement of seeing two great actors complement each other. Hoffman is as aware that Redgrave is Christie though she uses a false name as much as Redgrave is as aware of his awareness. Apted uses this double act of voyeurism of Hoffman spying on Redgrave and Redgrave's Christie spying on her husband's mistress as a demonstration of the public's fascination with celebrity, even celebrity as unwilling as Christie is - at a launch of her book at the film's opening, Christie can barely speak to say thank you for the attention. Redgrave and Hoffman have a delicious moment when she stoops to kiss him in profile, and Redgrave's tear as she half sings They Didn't Believe Me is memorable. Also good are Timothy Dalton as Mr Christie - a role drenched in irony given Dalton's then real life relationship with Redgrave - and Australian actress Helen Morse, radiant as someone who befriends Redgrave at the Spa. As Pauline Kael points out in the review in her collection, When the Lights Go Down, there can be no substance to the mystery theory since it is known Christie was found and her days accounted for - therefore she cannot be seen to harm anyone and particularly not herself. The plot then is about a death scheme that is foiled. And though we know Christie will divorce the husband she returns to, giving him what he wanted all along, and we know that she will not rush to Hoffman because his role is fictional, we question Redgrave's final gift to Hoffman because there is no way it can be used other than as a personal rememberance. Perhaps, as Kael, suggested it would make more sense if Hoffman's role were more the yellow journalist or envious writer, but then that would be a different movie. As it is, it appears merely the parting gesture of people that we don't want to see part.

Don't pass this beauty up--Timothy Dalton gives a knockout performance.

I just discovered this gem and I am really glad I did. The show has plenty of laughs and also some tears. I especially enjoyed the performance of Timothy Dalton, as a terminally ill patient, who as a member of the "Hawks" finds the strength needed to help his friend, played by Anthony Edwards, who has the same condition realize his wish to visit the brothels in Amsterdam.
The story comes from the ideas of Barry Gibb and David English and is wonderfully written. And Barry Gibb has again proven his musical ability with the selection of material for the movie score, as well as his vocal ability as he does the vocals for the songs.

Director Robert Ellis Miller ("The Heart Is A Lonely Hunter", "Sweet November") has crafter a film of exquisite comedy and bittersweet drama. Anthony Edwards shows a new side contrary to James Bond and Anthony Edwards is more vulnerable and funny than in any previous showings.

Based on a short story by David English and Barry Gibb, two terminaly ill men decide to live life to the fullest instead of waiting for the end. What ensues is a marvelous road trip full of unexpected comedy, antics and wonderfully touching loyalty and love. The story is fully believable and the ending is so bittersweet, you'll be in tears - but happy ones.

All music written and performed by Barry Gibb (of the Bee Gees) including some large UK hits, "Childhood Days", "Moonlight Madness".

From the haunting opening chants to the unforgettable final shots, this is one of the few films in the history of Hollywood that has kept me glued to the screen for the entire 134 minutes of running time. The story is what drew me in: a dysfunctional family that just happens to be royal. But it was the star power that was the real star...

As King Henry VII, Peter O'Toole has never been better. His pompous, cackling portrayal of the 12th century monarch was perhaps the best of his career. Katharine Hepburn is even better as the sheltered and ignored Eleanor of Aquitane, who was forced to SHARE the 1968 Best Actress Academy Award with Barbra Streisand(Funny Girl). Why??? A young Anthony Hopkins(as Prince Richard) and Timothy Dalton(as the King of Spain) are also quite good, and the two share the most interesting(to say the least) scene in the film. John Barry cranks out the best and most electrifying musical score of his career, and Anothony Harvey's detailed direction is perfect. The script is as quick, clever, and witty as the play it was based on(and won a much deserved Academy Award). Who could ask for more? Why this film was cheated out of the Best Picture Oscar(see my review of "Oliver!", the winner that year) is beyond me.

One of my Top 50 Films of All Time(website address to be published on other reviews when the page is completed).

This is such a great film, with a fantastic cast, fine script and spectacular premise. Peter O'Toole and Katherine Hepburn put the "fun" in "dysfunctional family" as they flex their chops, and Anthony Hopkins and Timothy Dalton debut in James Goldman's adaptation of his play.

For the Christmas holidays Henry II has released his wife, Eleanor of Aquitane, from the prison in which he has held her for 10 years, since she led an uprising against him. The heir, Prince Henry, is dead, and the three remaining sons are vying for the title of heir apparent as their parents negotiate, manipulate and deceive each other. A lifetime of memory and bitterness is always ready to burst from them, and sparks fly in the many interactions that transpire between the characters. This movie will help anyone feel better about their own weird family!

Special features are a mediocre -- a trailer and audio commentary by director Anthony Harvey. Subtitles are available in French or Spanish. (I wish English captions had been included as well.)

This is an incredible film that deserves a better dvd edition, but I can't bring myself to give it anything but 5 stars anyway. Terrific.

This is where I fell in love with the written word. More importantly, it's where I recognized that acting gave life to these words. James Goldstone's brilliant screenplay and the sharp direction of Anthony Harvey (a long time editor for Stanley Kubrick with Dr. Strangelove and Lolita to his credit)brought these characters to life for me. The film (like the original play)centers around Christmas. Henry, King of England, is being circled by his vulturous children Richard The Lion Hearted (Anthony Hopkins in his first film role), Jeffrey and John. During the holidays Henry always trots out his Queen (Katherine Hepburn) for show. They despise each other almost as much as they love one another. Queen Elenanor is pushing for the brutal Richard to be king while King Henry has been grooming his sniveling pouting son John. Everybody over looks the manipulative Jeffrey (who, ironically enough is the most like both his parents).

Peter O'Toole and Katherine Hepburn light up and burn the screen with their powerful and withering performances. Hopkins plays Richard as a stiff, stoic individual which is perfect for the character. His best scenes include the interaction between O'Toole and Hepburn. Nigel Terry (who later starred as King Arthur in John Boorman's Excalibur)displays a spoiled and petulant character to John. Lord knows why Henry wants him to be King. Timothy Dalton (also in his first role and a long way from James Bond)brings a cat like grace to King Philip of France. He's hardly recognizable to those who know him from the Bond films.

What transpires is the Who's Afraid of Virginia Woolfe of the 12 century (yes, amazon says this, too but they're not the only ones to realize it). The witty, barbed dialog does occasionally crowd the little bit of action in the film but the dialog is so witty and well delivered that it doesn't matter.

Very little has been said by John Barry's uncharacteristic score. Best known for his Bond film scores, Barry delivers a musical score rich with the traditional music of the time but also oddly contemporary given the music that inspired him. It's a brilliant score that, sadly, was not recognized as such when the film was first released.

Given that Harvey got his start as film editor for Kubrick, I would have expected a film that was rich in the use of montage; instead Harvey's unobtrusive use of editing only enriches the scenes. Douglas Slocombe's cinematography demonstrates why he's the master that Spielberg and other contemporary directors have used over the years. His natural use of light and shadow enriches the drama adding an additional subtext to the project.

The DVD transfer has a fair amount of analog artifacts in the way of scratches and spots on the film this despite the fact that this is a fresh print drawn from the original negative. Still, the colors are vibrant and dance across the screen capturing your attention. The mono sound is very good although there is a considerable amount of tape hiss and other analog artifacts. That's not a problem though as the use of No Noise or one of the other digital filter systems might have robbed the music and dialog of some of its vitality.

There isn't an insert card nor is there much in the way of extras. Harvey provides an enlightening commentary on the film and the original theatrical trailer is included as well. There really didn't need to be many extras to make this film an essential addition to a DVD collection.

From the haunting opening chants to the unforgettable final shots, this is one of the few films in the history of Hollywood that has kept me glued to the screen for the entire 134 minutes of running time. The story is what drew me in: a dysfunctional family that just happens to be royal. But it was the star power that was the real star...

As King Henry VII, Peter O'Toole has never been better. His pompous, cackling portrayal of the 12th century monarch was perhaps the best of his career. Katharine Hepburn is even better as the sheltered and ignored Eleanor of Aquitane, who was forced to SHARE the 1968 Best Actress Academy Award with Barbra Streisand(Funny Girl). Why??? A young Anthony Hopkins(as Prince Richard) and Timothy Dalton(as the King of Spain) are also quite good, and the two share the most interesting(to say the least) scene in the film. John Barry cranks out the best and most electrifying musical score of his career, and Anothony Harvey's detailed direction is perfect. The script is as quick, clever, and witty as the play it was based on(and won a much deserved Academy Award). Who could ask for more? Why this film was cheated out of the Best Picture Oscar(see my review of "Oliver!", the winner that year) is beyond me.

One of my Top 50 Films of All Time(website address to be published on other reviews when the page is completed).

This is such a great film, with a fantastic cast, fine script and spectacular premise. Peter O'Toole and Katherine Hepburn put the "fun" in "dysfunctional family" as they flex their chops, and Anthony Hopkins and Timothy Dalton debut in James Goldman's adaptation of his play.

For the Christmas holidays Henry II has released his wife, Eleanor of Aquitane, from the prison in which he has held her for 10 years, since she led an uprising against him. The heir, Prince Henry, is dead, and the three remaining sons are vying for the title of heir apparent as their parents negotiate, manipulate and deceive each other. A lifetime of memory and bitterness is always ready to burst from them, and sparks fly in the many interactions that transpire between the characters. This movie will help anyone feel better about their own weird family!

Special features are a mediocre -- a trailer and audio commentary by director Anthony Harvey. Subtitles are available in French or Spanish. (I wish English captions had been included as well.)

This is an incredible film that deserves a better dvd edition, but I can't bring myself to give it anything but 5 stars anyway. Terrific.

This is where I fell in love with the written word. More importantly, it's where I recognized that acting gave life to these words. James Goldstone's brilliant screenplay and the sharp direction of Anthony Harvey (a long time editor for Stanley Kubrick with Dr. Strangelove and Lolita to his credit)brought these characters to life for me. The film (like the original play)centers around Christmas. Henry, King of England, is being circled by his vulturous children Richard The Lion Hearted (Anthony Hopkins in his first film role), Jeffrey and John. During the holidays Henry always trots out his Queen (Katherine Hepburn) for show. They despise each other almost as much as they love one another. Queen Elenanor is pushing for the brutal Richard to be king while King Henry has been grooming his sniveling pouting son John. Everybody over looks the manipulative Jeffrey (who, ironically enough is the most like both his parents).

Peter O'Toole and Katherine Hepburn light up and burn the screen with their powerful and withering performances. Hopkins plays Richard as a stiff, stoic individual which is perfect for the character. His best scenes include the interaction between O'Toole and Hepburn. Nigel Terry (who later starred as King Arthur in John Boorman's Excalibur)displays a spoiled and petulant character to John. Lord knows why Henry wants him to be King. Timothy Dalton (also in his first role and a long way from James Bond)brings a cat like grace to King Philip of France. He's hardly recognizable to those who know him from the Bond films.

What transpires is the Who's Afraid of Virginia Woolfe of the 12 century (yes, amazon says this, too but they're not the only ones to realize it). The witty, barbed dialog does occasionally crowd the little bit of action in the film but the dialog is so witty and well delivered that it doesn't matter.

Very little has been said by John Barry's uncharacteristic score. Best known for his Bond film scores, Barry delivers a musical score rich with the traditional music of the time but also oddly contemporary given the music that inspired him. It's a brilliant score that, sadly, was not recognized as such when the film was first released.

Given that Harvey got his start as film editor for Kubrick, I would have expected a film that was rich in the use of montage; instead Harvey's unobtrusive use of editing only enriches the scenes. Douglas Slocombe's cinematography demonstrates why he's the master that Spielberg and other contemporary directors have used over the years. His natural use of light and shadow enriches the drama adding an additional subtext to the project.

The DVD transfer has a fair amount of analog artifacts in the way of scratches and spots on the film this despite the fact that this is a fresh print drawn from the original negative. Still, the colors are vibrant and dance across the screen capturing your attention. The mono sound is very good although there is a considerable amount of tape hiss and other analog artifacts. That's not a problem though as the use of No Noise or one of the other digital filter systems might have robbed the music and dialog of some of its vitality.

There isn't an insert card nor is there much in the way of extras. Harvey provides an enlightening commentary on the film and the original theatrical trailer is included as well. There really didn't need to be many extras to make this film an essential addition to a DVD collection.

"Where has everybody gone?" That's the song bad guy Necros plays in his walkman whenever he kills some unfortunate soul. We might as well ask the same question, since, being this film one of the best Bond movies ever, none of its actors made it Big Time afterwards (except villain Krabbé, who was already famous at the time).

The movie has a great new Bond (Dalton, second only to Connery in the role), a new Aston Martin that does all sorts of wicked tricks, a new Moneypenny who has to wear eyeglasses to hide her beauty, a great soundtrack by John Barry, a more interesting plot than most in the series and the greatest stunt I've seen in any movie to date: a fight to the death dangling in midair from a plane with loose cargo (no computer graphics here)! Plus, Bond gets to fight (at last!) his original villains from the novels: THE COMMIES! Bond kills more Soviets here than all the Soviets he's ever killed in all precedent movies combined!

But the movie belongs to the best Bond girl ever Maryam D'Abo! Not only she's gorgeous-beyond-compare, she's intelligent, talented, funny, brave, elegant and tender. No wonder Bond remains monogamous through the entire movie!

Maryam, if you read this, you're the kind of girl I'd be more than willing to marry, divorce and pay alimony to without complaining, till death do us part!!!

Timothy Dalton takes over the reigns of the James Bond franchise in this 16th installment. First the bad. The film is devoid of any real malicious villain. The Russian General Koskov is just too nice, he practically hugs everyone he meets. The arms dealer Brad Whittaker isn't given enough screen-time to develop any true maliciousness. Then there's Whittaker's lackey, Necros. He's probably the closest thing to a real villain, but even he has his sympathetic moments at times. Other than that, the movie is great. Timothy Dalton is very convincing as Bond. His seriousness is a refreshing change from Roger Moore's giddy portrayal. Maryam d' Abo makes a very sweet Bond girl, and the film allows them enough screen-time to form a believable relationship. There is no shortage of Bond gadgets in this film, his car is just awesome. The title song "The Living Daylights" was sung by the band A-Ha. It's great. The lyrics aren't anything special, but the beat is lively, and that saves the song. Overall a great movie. Check it out.

A LOT OF PEOPLE DON'T GIVE TIMOTHY DALTON CREDIT FOR HIS ROLE AS JAMES BOND BECAUSE THEY ONLY ATTRIBUTE HIM TO LICENCE TO KILL, BUT THEY ARE DEAD WRONG, BECAUSE THE LIVING DAYLIGHTS IS THE BEST BOND FILM OF THE 80'S. THIS ONE HAS IT ALL, GREAT SCENERY, GREAT CHARACTERS, GREAT BABES, AND GREAT GADGETS. THIS ONE IS SURELY A MUST SEE AND I ASSURE YOU THAT YOU WILL NOT WASTE YOUR VALUABLE TIME OR MONEY. BUY IT!!!

I've seen every version available (even the Scott/York one), and the Dalton/Clarke version is light years ahead of them all.

Timothy Dalton IS Rochester....passionate and vulnerable, flawed and ALIVE, his very existence tainted by that one "fatal error" that wrecked his past and threatens his future (with Jane). He drew me in completely, making me feel all of Rochester's conflicting emotions, aided by a delightful script that was faithful to Charlotte's great book. Whole passages of dialogue appear to have been excerpted, and oh! did those words ring true when filtered through Dalton's resonant, warm, perfectly-accented voice. His performance was so magnificent, I was able to suspend disbelief over the one flaw in casting him--he really *is* too good-looking (technically speaking) to play Rochester.

As for Zelah Clarke, she simply made Jane Eyre come to life, straight from the pages of Bronté's book, and there is no better compliment I can give her. I've heard some say that she was too "old" to play Jane, but she had such a grasp of the character, embodying Jane's very mannerisms, that honestly, this point never even occurred to me while watching the video. Now THAT's the mark of a great performance!

This video is a definite "must-buy"---one to be watched and savored over and over again. Enjoy!

I have seen them all, from Joan Fontaine as the far too pretty Jane, to some of the newer made for A&E versions. Even the George C. Scott one has some value if only for the scenery.
Zelah Clark is Jane Eyre, she starts out as homely as Charlotte describes her, but as she falls in love with Rochester, and he with her, she blossoms, and becomes beautiful...but she always was. Timothy Dalton is the BEST Rochester, he IS dark and brooding, he is imperious and mysterious, he fits Bronte's Rochester description to a T. I think that this version makes the underlying story come to light. Two broken betrayed people find each other, understand each other's pain and make the other beautiful if only to each other. They are willing to defy the expectations of society, and follow love, a sincere and wholesome, deep love. He doesnt marry the "beautiful" Blanche Ingram, he marries the deeply beautiful Jane...she does not care about his money as a matter of fact it makes her uncomfortable.
Jane does not follow StJohn Rivers, He is played well as a priggish young Brocklehurst, something about him resonates with Jane as well as repels her, she is striving to do the right thing, and pay a penance for falling in love with a married man.
Dont forget to watch Timothy Dalton beg Jane not to go after the failed wedding...still gives me the shivers...boy did she have will power!

So far I've seen the Willam Hurt, George C. Scott and Cirian Hinds's versions besides this one, but by far this is my favorite! The one with WH rushed through almost too fast for even a taste of the story, Scott was the most bearish Rochester I've ever seen (besides the shock of Jane with grayish hair and wrinkles!), and Cirain Hinds was TOO volatile. Timothy Dalton was just wonderful though. It was different enough from the other actors' interpretations of the role to keep me literally on the edge of my seat, but not so wild that the character was ruined for me (like in Scott's version). Jane is perhaps a little under done, and the series was obviously filmed on a low-budget, but this one still reigns number one!

I've seen every version available (even the Scott/York one), and the Dalton/Clarke version is light years ahead of them all.

Timothy Dalton IS Rochester....passionate and vulnerable, flawed and ALIVE, his very existence tainted by that one "fatal error" that wrecked his past and threatens his future (with Jane). He drew me in completely, making me feel all of Rochester's conflicting emotions, aided by a delightful script that was faithful to Charlotte's great book. Whole passages of dialogue appear to have been excerpted, and oh! did those words ring true when filtered through Dalton's resonant, warm, perfectly-accented voice. His performance was so magnificent, I was able to suspend disbelief over the one flaw in casting him--he really *is* too good-looking (technically speaking) to play Rochester.

As for Zelah Clarke, she simply made Jane Eyre come to life, straight from the pages of Bronté's book, and there is no better compliment I can give her. I've heard some say that she was too "old" to play Jane, but she had such a grasp of the character, embodying Jane's very mannerisms, that honestly, this point never even occurred to me while watching the video. Now THAT's the mark of a great performance!

This video is a definite "must-buy"---one to be watched and savored over and over again. Enjoy!

I have seen them all, from Joan Fontaine as the far too pretty Jane, to some of the newer made for A&E versions. Even the George C. Scott one has some value if only for the scenery.
Zelah Clark is Jane Eyre, she starts out as homely as Charlotte describes her, but as she falls in love with Rochester, and he with her, she blossoms, and becomes beautiful...but she always was. Timothy Dalton is the BEST Rochester, he IS dark and brooding, he is imperious and mysterious, he fits Bronte's Rochester description to a T. I think that this version makes the underlying story come to light. Two broken betrayed people find each other, understand each other's pain and make the other beautiful if only to each other. They are willing to defy the expectations of society, and follow love, a sincere and wholesome, deep love. He doesnt marry the "beautiful" Blanche Ingram, he marries the deeply beautiful Jane...she does not care about his money as a matter of fact it makes her uncomfortable.
Jane does not follow StJohn Rivers, He is played well as a priggish young Brocklehurst, something about him resonates with Jane as well as repels her, she is striving to do the right thing, and pay a penance for falling in love with a married man.
Dont forget to watch Timothy Dalton beg Jane not to go after the failed wedding...still gives me the shivers...boy did she have will power!

So far I've seen the Willam Hurt, George C. Scott and Cirian Hinds's versions besides this one, but by far this is my favorite! The one with WH rushed through almost too fast for even a taste of the story, Scott was the most bearish Rochester I've ever seen (besides the shock of Jane with grayish hair and wrinkles!), and Cirain Hinds was TOO volatile. Timothy Dalton was just wonderful though. It was different enough from the other actors' interpretations of the role to keep me literally on the edge of my seat, but not so wild that the character was ruined for me (like in Scott's version). Jane is perhaps a little under done, and the series was obviously filmed on a low-budget, but this one still reigns number one!

This movie clearly departed from the trend of the James Bond series and took a stand of its own. "The Living Daylights" biggest asset is that it has a plot, and that's more than many other Bond movies can say. (Most notably the latest Bond film, "The World is Not Enough", which I enjoyed, but which had no plot).

Joe Don Baker plays a great Brad Whitaker, a weapons and war obsessed arms dealer involved with a russian general selling arms to Afghanistan. And the final showdown in Whitaker's weapons gallery is memorable. Jeroen Krabbe as Georgi Koskov is well cast, and Maryam d'Abo gives a great performance as Koskov's girlfriend, whom Bond falls in love with, another unusual thing, considering he usually "loves em' and leaves em'."

Dalton brings an unusually harsh tone to the James Bond character, but Ian Fleming never meant for Bond to be a "friendly" kind of guy. If you like great action movies with some guts, then this one's for you.

First of all, this is about 10 times better than Timothy Dalton's second flick as 007, Licence to Kill, which was a good movie, but didn't quite make it into my list of fantastic Bonds. The Living Daylights is a charming, romantic, fast-paced adventure, which, in my opinion can hold a candle to movies as historic as Goldfinger and From Russia With Love. Dalton is on top of his career as Bond, and proves right away that he needed no time to adapt to the character as Moore did (3 movies in fact).This film starts off with a bang as an unknown madman, part of an international conspiracy called "smiert spionem" (kill spies), ruins a routine MI6 training session as he kills off several 00 agents, until getting outrun by 007. The movie itself is centered around an important KGB defector who doublecrosses the secret service after promising loyalty, and hooks up with a dirty dealing American arms dealer named Brad Whitaker (played by Joe Don Baker), who wants to help the KGB defector finance his "smiert spionem" conspiracy. Along with a ruthless KGB henchman named Necros, Georgi Koskov (the KGB defector, played by Jeroen Krabbe) fights time and 007 to carry out his whimsical plans. The movie is equipped with fantastic action sequences such as a chase down an Austrian ski slope in a cello case, a fantastic mid-air brawl with Necros and Koskov, and a climatic thriller in Whitaker's villa, where the insane arms dealer tries to fry Bond in his battle room.

This is a fantastic movie not only because it has a great plot, great actors, and a great bond, but because it also has a bond girl who bond seems really attracted to. Kara Milovy, a Slovakian cellist, seems to have a real romance with Bond, which is a nice refresher since most Bond fans are used to the classic "love 'em and leave 'em" plot line. All in all, a great movie!!!! Just for the sake of it, here is my Bond "gold collection" list of 5:

-from russia, with love -goldfinger -the spy who loved me -the living daylights -for your eyes only

The Living Daylights is my favorite bond. This is Timothy Dalton's first bond. There's a lot of action (and not to mention a cool car chase!). They finally brought back an Aston Martin for the first time since OHMSS. The girl could have been better though. But I guess there were a lot of things I would have changed in the film but still my fav.

"Flash Gordon" has more in common with 1968's "Barbarella" than the comic strip hero of the same name, but still manages to deliver many of the goods expected of campy adult fantasy. Sam Jones is a dopey version of Buster Crabbe's dashing serial hero--fittingly, an over-hormoned football star with a heart that works faster than his brain. Lovely Melody Anderson embodies Dale Arden as a spunky 1930's girl-next-door transplated into the plastic, "modern" 1980s, while sultry Ornella Muti, as Princess Aura, is every adolescent boy's imagining of sex. International stars Topol and Max Von Sydow chew up the scenery as astrophysicist Zarkhov and evil Emperor Ming, respectively, and Peter Wyngarde and ex-James Bond Timothy Dalton do dark turns in secondary roles. The story, laced with PG-rated violence and sexual innuendo, is a tongue-in-cheek rehash of the serials, as Ming ravages Earth until our intrepid heroes rocket to his kingdom to set things straight. This time, they find worlds created with the most elaborate visual effects of the day, some convincing, many not, but all strangely beautiful. If you liked the original, you'll see that most of the swipes are gentle and that as juvenile as the script is, the movie is really aimed at grown-ups. A spirited performance by British TV veteran Brian Blessed and a thumping soundtrack by rock supergroup Queen help make this one memorable.

This is one of the greatest early 80's flicks of all time. A real comic book fantasy come to life on the big screen. It's is filled with wonderful performances, from the energetic Sam J. Jones as Flash, the beautiful Melody Anderson as a very convincing Dale Arden, the young Timolthy Dalton (one of the James Bonds) as the Baron, and the unforgettable Max Von Sydow as the pure evil Ming the Merciless. The special effects, even in this day of computer animation, still blow me away. There is a wonderful score by Queen which keeps the movie in full motion. This movie is from my youth and my friends and I always seem to come up with some great quotes from this movie. "Klytus, I'm bored. What play thing can you offer me today?" "Prepare her for our pleasure! " One quick question: Why on earth did they pick Flash to be the quarterback of the NEW YORK JETS?

This is a totally goofball fun movie. There is no high dramatic moment such as "Luke I am your father". It needs to be available on DVD and not for the arm and a leg that some of the people are charging for their OOP copies. Please release this on DVD again THX or a Super-Bit Digital transfer would be nice and some features on cast and crew, Where are they now? kind of stuff.