Action / Adventure / Sci-Fi / Thriller

Rotten Tomatoes Critics - Certified Fresh 62%
Rotten Tomatoes Audience - Spilled 43%
IMDb Rating 6.3 10 78924


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December 11, 2012 at 02:35 PM



Roger Moore as James Bond
Richard Kiel as Jaws
Lois Chiles as Holly Goodhead
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950.38 MB
23.976 fps
2hr 6 min
P/S 1 / 22
1.79 GB
23.976 fps
2hr 6 min
P/S 3 / 12

Movie Reviews

Reviewed by Movie_Muse_Reviews 6 / 10

"Bond" literally shoots for the moon

The late '60s and '70s launched the outer space/alien science-fiction sub-genre, so of course James Bond had to strap on his spacesuit for 1979's "Moonraker." An extravagant production with the highest budget ever for a "Bond" film (costing more than twice the price of 1977's "The Spy Who Loved Me"), the film's ambition appropriately matches its title.

With "Spy Who Loved Me" director Lewis Gilbert and writer Christopher Wood back on board for this film, they each try to outdo the strengths of their previous work. Bigger sets and locales and more creative stunts seem to be the name of the game, and such goals usually lead to a franchise movie like this becoming too formulaic. "Moonraker" doesn't have a story that flows with nearly the same energy of "TSWLM;" rather, it's a necklace strung with death traps that Bond (Roger Moore) must continuously escape.

When a Moonraker space shuttle goes missing, Bond travels to California and meets its manufacturer, the extravagant and wealthy Hugo Drax (Michael Lonsdale) along with one of his scientists, Holly Goodhead (Lois Chiles). After thwarting a number of plots against his life, Bond flees Drax's estate and heads to Venice to find out what Drax is up to and ultimately follows his sinister plot to Rio de Janeiro and the Amazon before literally launching into space.

It so happens Drax enjoys the sport of trying to kill Bond rather than plotting something that will actually succeed, allowing at least a dozen opportunities for Bond to save his skin. With "Spy Who Loved Me" henchman Jaws (Richard Kiel) now conveniently in Drax's employ, there's plenty room for hilarity too. Ultimately, this exercise in "trying to kill Bond" grows exhaustive and the spectacle that elevated "TSWLM" loses luster in "Moonraker."

That said, even if the stunts and big action sequences aren't anchored by a compelling plot, Wood and Gilbert manage to make good on the promise of making them even more amazing. The skydiving opening is completely thrilling, the Rio cable car sequence has a unique and memorable spectacle to it and famed "Bond" production designer Ken Adam's space station offers a lot to marvel at. Perhaps Gilbert and Wood could have planned "Moonraker" in such a way that would keep it a little grounded and not simply rip the ceiling off "Bond," but the film does go to outer space after all.

For all the points "Moonraker" scores on spectacle and innovation, it loses in intrigue and espionage. In other words, "Bond" drifts a little too far away from its roots and plays up the caricature elements. In this effort to go where no "Bond" has gone before, it feels a bit detached and hollow. Still, the thrills and spectacle it does shoot for at least hit the mark in terms of entertainment value-the big bucks are put to sufficient use.

~Steven C

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Reviewed by Mrbrown43 3 / 10


The family and I have watched all the James Bond films way too many times. They always were mindless fun films that we could watch in a state of dumb happiness. The trouble with this mindset is when we ever question anything the film just falls apart. Moonraker might be one the worst examples of this in the Bond series, it is mindless fun but when you pay attention you realize that this is bad, really bad.

After a Drax industries space shuttle "Moonraker" is hijacked from the US in midflight James Bond (Roger Moore) is sent to find out why it was hijacked and what happened to it, this sends Bond on a worldwide race against time to stop a power hungry mad man (Michael Lonsdale) from killing the entire human race.

The first of the big problems with this movie is the writing, Bond as usual never really is in any danger as there is always some sort of invention from Q (Desmond Llewelyn) that saves him or just by the villains taking their time killing him or use such convoluted means to kill Bond that are and not limited to: placing him under a space shuttle to fry time, throw him into a pool with Python or send a Asian stereotype in Ninja dress up to beat up Bond. All of these could have been solved by just shooting Bond. The sheer stupidly of the villains is really frustrating because if they were just competent enough all their problems would have been fixed. But no, the film is always on Bond's side and as of a result there is not really much tension as nothing is able to truly harm him. The film is boring as a result if you want to pay attention. Another example would be the after Bond discovers a lethal drug that the villain is going to use to destroy the world. He returns to the factory with his superiors only to find it gone as embarrass himself and the superiors and only then gives them the lethal drug after the humiliation instead of before when it would have helped convince the higher ups that something is up.

The second big problem is the dialogue, I know that James Bond tends to make quips and puns in a majority of films in movies, the Roger Moore films in particular are guilty of this but Moonraker takes the cake. I would say that 90% of Roger Moore's dialogue is lame stupid puns. Often one after another and not only that but they are not clever; just predicable things that almost anyone would have thought of as the first thing to write down. A door that would save Bond from death blows up "Bang on time!" Bond exclaims. Bond discovers a killer daily diary "Fairly deadly diary" he mutters with attempted droll. I would like to quote some lines from the villain and ask you to try adding the evil laugh to them "Look after Mr Bond, see that some harm comes to him...." "I am sure Mr Bond is cold after his swim; put him in place where he will be assured of warmth...." Most of the bad guy's dialogue is like that, I half expect him to bust out with maniacal laugher as thunder rolls outside. The villain is a cartoon character that the film does not want to admit is a cartoon because it still wants to be somewhat realistic, even when it is trying to be Star Wars and have Sci Fi elements but no. The film still wants to be taken seriously even with all the stupid punning and cartoon baddies.

The third big problem is the acting, Roger Moore sleepwalks though movie, just doing enough to not seem that he is trying but not much more. All the female characters on the other hand give wooden performances. The only one that is on screen for longer than a few minutes is Holly Goodhead(Lois Chiles) who delivers her lines with as much weight and emotion as block of wood in water creates a sizzling chemical compound. Because that is what women are in the pre Daniel Craig (Pierce Brosnan to a lesser extent) they are not so much interesting characters or even allowed to give good performances but rather wooden dolls that Bond leers at and/or sleeps with before throwing them away. The female characters do not need to put in good performances before they are just things that look pretty. This aspect has damaged the films as the years have gone by and Moonraker is one of the worst offenders of this.

The special effects are ok; they have aged alright for the most part even if the films idea of zero gravity is a little bit goofy it still looks impressive for a 1970s movie.

As I write this I wonder why I have watched Moonraker all those times, on one hand this could go into the Hall of Infamy because of all the stupidity and questionable elements that contribute to the film aging badly. But it is still fun, mindless stupid fun. I doubt it is ever going to be better than that. I doubt history will look kindly on Moonraker. But I can recommend it as being a fun movie you can put on if you do not want something too intelligent.

Reviewed by cinemajesty 6 / 10

Bond Eleven

Movie Review: "007: Moonraker" (1979)

The fourth assignment for actor Roger Moore (1927-2017) as MI6 spy James Bond turns out to be another over-thrown comic action film directed by Lewis Gilbert, who already had indesivie "007" picture under his rooster with "You Only Live Twice" (1967). An exorbite budget raise from 14 Million U.S. Dollar for well-accomplished "The Spy Who Loved Me" to 34 Million U.S. Dollar for "Moonraker", which certainly did not help to create suspense to an boring script by screenwriter Christopher Wood (1935-2015).

This Bond movie brings some magnificient stunts from jumping out of planes with no parachute, a boat chase with gadgets as the cars, a Lotus sportscar in 1977 and an Aston Martin in 1964 before, a cable car hand-combat balancing act over the city of Rio De Janeiro with reprising character of "Jaws", portrayed by mute-staying actor Richard Kiel (1939-2014) in constantely more tiresome confrontation of huge destruction scene as circus tents, cable car station or a laser-fight at a space station that throw relationship of balance between the character of James Bond and actress Lois Chiles, given face to the active "007" sidekicking character of Holly Goodhead. Together they bring it up into space of another "Spectre" departed antagonist. This time underminingly performed by actor Michael Lonsdale, who lets voluntarily leading actor Roger Moore win in all the on-screen battles that Lonsdale's interpration of the character Drax stays behind expectations. Director Lewis Gilbert is unable to make use of the major production budget given by producer and film presenter Albert R. Broccoli (1909-1996), who brings in future producer (from 1985 on) Michael G. Wilson as executive support for the company of Eon Productions to handle finance and acquisition.

"Moonraker" has a inbalanced stand with international audiences, even thought it brings in the highest U.S. domestic box office gross in history of the "007" movie series at that point in time. The spectators, who cherish "The Spy Who Loved Me" will be disappointed even so the picture had been produced with almost the same major crew members. The third title by Shirley Bassey is magnificient. But even the returning composer John Barry (1933-2011) after an highly experimental 1970s soundtrack for the predecessor, hardly delivers with further one-dimensional staggered dialogue lines in "Moonraker" to an just overlong editiorial by editor John Glen, especially in center minutes of James Bond walking through a South American jungle as the fight with a too-small water anaconda snake, which takes out the suspense on this "007" movie completely, leaving it to the harcore fans of franchise cinema and pro-speakers of Roger Moore to enjoy.

© 2017 Felix Alexander Dausend (Cinemajesty Entertainments LLC)

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