A fake Fabergé egg, and a fellow Agent's death, lead James Bond to uncover an international jewel-smuggling operation, headed by the mysterious Octopussy, being used to disguise a nuclear attack on N.A.T.O. forces.
An investigation of a horse-racing scam leads 007 to a mad industrialist who plans to create a worldwide microchip monopoly by destroying California's Silicon Valley.
Director:
John Glen
Stars:
Roger Moore,
Christopher Walken,
Tanya Roberts
James Bond is living on the edge to stop an evil arms dealer from starting another world war. Bond crosses all seven continents in order to stop the evil Whitaker and General Koskov.
James Bond investigates the hijacking of British and Russian submarines carrying nuclear warheads, with the help of a K.G.B. Agent, whose lover he killed.
James Bond is led to believe that he is targeted by the world's most expensive assassin while he attempts to recover sensitive solar cell technology that is being sold to the highest bidder.
James Bond goes rogue and sets off to unleash vengeance on a drug lord who tortured his best friend, a C.I.A. Agent, and left him for dead and murdered his bride after he helped capture him.
S.P.E.C.T.R.E. Agents under the command of Ernst Blofeld infiltrate a U.S. Air Force base situated in the U.K. and steal two Tomahawk cruise missiles. When N.A.T.O. is held ransom, the British re-activate their "00" Agents and send James Bond to recapture the warheads and kill Blofeld.Written by
Dave Jenkins <david.jenkins@smallworld.co.uk>
This Bond movie was not part of the franchise produced by MGM and Danjaq. Executive Producer Kevin McClory, who was Producer and co-Writer of Thunderball (1965), won a legal battle against Ian Fleming to make his own Bond movie. The settlement stipulated that it had to effectively be a remake of Thunderball (1965). See more »
Goofs
In the opening where the guards are playing chess the board is set up backwards - white or the lighter color square is always placed in the right hand corner. See more »
First DVD release by Warner Home Video, did not include Bond's second encounter with Domino as well as his first meeting with Largo at the charity party. The scene was restored in later DVD prints. See more »
Yes, it's Sean Connery playing Bond again, looking more alive and into his part than any time since the first time they made this film, in 1965 when it was called "Thunderball". But the tongue is so firmly in cheek one wonders if Connery isn't employing a few observed tricks from his friend and more humorous successor, Roger Moore.
Moore is my favorite Bond, but Connery makes a strong case for himself in this unusual outing. The only serious Bond film not made under the aegis of the classic Eon Bond series, "Never Say Never Again" is an irreverent return to the well. Soft on action, it's nevertheless strong on character and clever dialogue.
Bond, it's made clear right away, is a man in disfavor. No matter how many times he has saved the world, his new boss thinks little of his fat lifestyle. "Too many free radicals, that's your problem...Caused by eating too much red meat, white bread, too many martinis." "Then I shall cut out the white bread, sir," Bond smartly replies.
An early fight sequence in a spa represents the movie's high point action-wise, with Bond and an attacker fighting their way through a kitchen, a bedroom, and a laboratory before Bond finally douses his opponent, ironically with no small help from those free radicals. Humor is liberally applied in the film, rather more cleverly than most of Moore's outings, though Connery seems to be having more fun sending himself up as a result of Moore's less egotistic example.
Was it because he was making a good chunk of the gross? Or was it working for less stingy producers? Whatever it is, the screenplay serves his laid-back style well, and the result is richer and more entertaining than Connery's prior two Eon Bond outings, "You Only Live Twice" and "Diamonds Are Forever".
The 1980s were not a good decade for Bond, whether it was Connery, Moore, or Timothy Dalton. Leg warmers, video games, and ugly sports cars are all in evidence, and the Bianca Jagger sunglasses Klaus Maria Brandauer is seen wearing in his first scene do him no favors. Forget first impressions. Brandauer's role as the chief villain, Maximilian Largo, is one of the best in any Bond film, with Brandauer enjoyably playing up his character's menace and mania. At one point, he allows Bond free roam of his situation room, with a martini to boot, and his dancing eyes and mad, engaging grin make for compelling company throughout.
The best thing in this film, other than Connery, are the Bond girls, shot with more attention to personality than normal in Bond films, a testament to cinematographer Douglas Slocombe and director Irvin Kirshner. Barbara Carrera was nominated for a Golden Globe for her role as the villainess Fatima Blush, every bit as crazy as Largo and even nicer to look at. She doesn't last the whole movie; you almost need her gone in order to focus on the others.
Kim Basinger's breasts and buttocks should have had their own agents for the screen time they get in this film, but I'm not complaining. Basinger's a rare beauty who in this early role as Largo's mistress mixes incredible hotitude with a childlike vulnerability that brings out the Bond in me, and many others I suspect. (Her lips and cheekbones are pretty sweet, too.)
It's not a well-constructed film. It's a knockoff of a better Bond movie with a sloppy storyline, a terrible score, and a flat ending. But it does have Connery, proving his was the definitive take on cinema's definitive secret agent, even if he steals a page or two from my 007, Mr. Moore. The end result is entertaining enough, so I'm not complaining.
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Yes, it's Sean Connery playing Bond again, looking more alive and into his part than any time since the first time they made this film, in 1965 when it was called "Thunderball". But the tongue is so firmly in cheek one wonders if Connery isn't employing a few observed tricks from his friend and more humorous successor, Roger Moore.
Moore is my favorite Bond, but Connery makes a strong case for himself in this unusual outing. The only serious Bond film not made under the aegis of the classic Eon Bond series, "Never Say Never Again" is an irreverent return to the well. Soft on action, it's nevertheless strong on character and clever dialogue.
Bond, it's made clear right away, is a man in disfavor. No matter how many times he has saved the world, his new boss thinks little of his fat lifestyle. "Too many free radicals, that's your problem...Caused by eating too much red meat, white bread, too many martinis." "Then I shall cut out the white bread, sir," Bond smartly replies.
An early fight sequence in a spa represents the movie's high point action-wise, with Bond and an attacker fighting their way through a kitchen, a bedroom, and a laboratory before Bond finally douses his opponent, ironically with no small help from those free radicals. Humor is liberally applied in the film, rather more cleverly than most of Moore's outings, though Connery seems to be having more fun sending himself up as a result of Moore's less egotistic example.
Was it because he was making a good chunk of the gross? Or was it working for less stingy producers? Whatever it is, the screenplay serves his laid-back style well, and the result is richer and more entertaining than Connery's prior two Eon Bond outings, "You Only Live Twice" and "Diamonds Are Forever".
The 1980s were not a good decade for Bond, whether it was Connery, Moore, or Timothy Dalton. Leg warmers, video games, and ugly sports cars are all in evidence, and the Bianca Jagger sunglasses Klaus Maria Brandauer is seen wearing in his first scene do him no favors. Forget first impressions. Brandauer's role as the chief villain, Maximilian Largo, is one of the best in any Bond film, with Brandauer enjoyably playing up his character's menace and mania. At one point, he allows Bond free roam of his situation room, with a martini to boot, and his dancing eyes and mad, engaging grin make for compelling company throughout.
The best thing in this film, other than Connery, are the Bond girls, shot with more attention to personality than normal in Bond films, a testament to cinematographer Douglas Slocombe and director Irvin Kirshner. Barbara Carrera was nominated for a Golden Globe for her role as the villainess Fatima Blush, every bit as crazy as Largo and even nicer to look at. She doesn't last the whole movie; you almost need her gone in order to focus on the others.
Kim Basinger's breasts and buttocks should have had their own agents for the screen time they get in this film, but I'm not complaining. Basinger's a rare beauty who in this early role as Largo's mistress mixes incredible hotitude with a childlike vulnerability that brings out the Bond in me, and many others I suspect. (Her lips and cheekbones are pretty sweet, too.)
It's not a well-constructed film. It's a knockoff of a better Bond movie with a sloppy storyline, a terrible score, and a flat ending. But it does have Connery, proving his was the definitive take on cinema's definitive secret agent, even if he steals a page or two from my 007, Mr. Moore. The end result is entertaining enough, so I'm not complaining.