Roger Moore confiscates the James Bond role with no trace of apology or regret; he is smooth and pretty and unperturbed, and he acts as though always poised for a still photographer to snap his portrait. This Bond escapade — a blithely reactionary tale of British and American intelligence battling against upstart blacks — starts off rather well. The formularized pre-credits sequence, of simultaneous slayings in New York, New Orleans, and the West Indies, is among the catchiest in the entire series. The liquidy, snakey titles and Paul McCartney's theme music are not bad either, although there is a sense of déjà vu, and entendu, about them. On the other hand, the slapstick chase scene is a bloody bore; and Bond's survival continues to depend too heavily on the charity of his adversaries, the laxity of his scriptwriters, and the gullibility of his audience. With Yaphet Kotto and Jane Seymour; directed by Guy Hamilton. (1973) — Duncan Shepherd
This movie is not currently in theaters.