The best of the James Bond adventures starring Roger Moore as tuxedoed Agent 007, this globe-trotting thriller introduced the steel-toothed Jaws (played by seven-foot-two-inch-tall actor Richard Kiel) as one of the most memorable and indestructible Bond villains. Jaws is so tenacious, in fact, that Moore looks genuinely frightened, and that adds to the abundant fun. This time Bond teams up with yet another lovely Russian agent (Barbara Bach) to track a pair of nuclear submarines that the nefarious Stromberg (Curt Jürgens) plans to use in his plot to start World War III. Featuring lavish sets designed by the great Ken Adam (Dr. Strangelove), The Spy Who Loved Me is a galaxy away from the suave Sean Connery exploits of the 1960s, but the film works perfectly as grandiose entertainment. From cavernous undersea lairs to the vast horizons of Egypt, this Bond thriller keeps its tongue firmly in cheek with a plot tailor-made for daredevil escapism. -Jeff Shannon On the DVD: The main extra feature here is another in the excellent series of new "making of" documentaries that adorn these Bond DVDs. Here, everything from the painful and protracted gestation of the movie to the building of the massive 007 Stage at Pinewood is chronicled. Also included is an appreciation of and interview with gifted production designer Ken Adam, the man responsible for the extravagantly grand look of all the Bond movies. The commentary track features Adam alongside director Lewis Gilbert and co-producer Michael Wilson, who is instrumental in encouraging Gilbert and Adam to explain and reminisce as the movie unfolds. [+]

James Bond's fourth adventure takes him to the Bahamas, where a NATO warplane with a nuclear payload has disappeared into the sea. Bond (Sean Connery) travels from a health spa (where he tangles with a mechanised masseuse run amuck) to the casinos of Nassau and soon picks up the trail of SPECTRE's number-two man, Emilio Largo (Adolfo Celi), and his beautiful mistress, Domino (Claudine Auger), whom Bond soon seduces to his side. Equipped with more gadgets than ever, courtesy of the resourceful Q (Desmond Llewellyn), agent 007 escapes an ambush with a personal-size jet pack and takes to the water as he searches for an underwater plane, battles Largo's pet sharks, and finally leads the battle against Largo's scuba-equipped henchmen in a spectacular underwater climax. This thrilling Bond entry became Connery's most successful outing in the series and was remade in 1983 as Never Say Never Again, with Connery returning to the role after a 12-year hiatus. Tom Jones belts out the bold theme song to another classic Maurice Binder title sequence. -Sean Axmaker, Amazon. com-On the DVD: The absence of any new contribution from Sean Connery leaves a hole in the behind-the-scenes selection, but the "making of" documentary still has plenty to talk about, including why Bond wore a crash helmet for the jet-pack flight, and what was for the time the utterly unique situation of having to stage an underwater battle (one of the Bond series' enduring legacies is its pioneering stunt work). A supplemental documentary describes the "Thunderball Phenomenon" that swept the world on the release of what was the most successful Bond movie to date (back in those innocent days when blanket retail saturation of movie merchandise was still a novelty). Two audio commentaries flesh out even more of the background: the first is another edited selection of various interviews, the second has editor Peter Hunt in conversation with the host John Quark of the Ian Fleming Foundation, as well as more sundry interview snippets, notably from screenwriter John Hopkins. Any contribution from series composer John Barry is also sadly absent. [+]

Roger Moore was introduced as James Bond in this 1973 action movie featuring secret agent 007. More self-consciously suave and formal than predecessor Sean Connery, he immediately re-established Bond as an uncomplicated and wooden fellow for the feel-good 70s. Live and let Die also marks a deviation from the more character-driven stories of the Connery years, a deliberate shift to plastic action (multiple chases, bravura stunts) that made the franchise more of a comic book or machine. If that's not depressing enough, there's even a good British director on board, Guy Hamilton (Force 10 from Navarone). The story finds Bond taking on an international drug dealer (Yaphet Kotto), and while that may be superficially relevant, it isn't exactly the same as fighting supervillains on the order of Goldfinger. -Tom Keogh.

The Living Daylights, new boy Timothy Dalton's first Bond outing, gets off to a rocking start with a pre-credits sequence on Gibraltar, and culminates in a witty final showdown with Joe Don Baker's arms dealer, set on a model battlefield full of toy soldiers. While the Aston Martin model whizzing through the car chase has been updated for the late 1980s-including lethal lasers and other deadly gizmos-the plot is pretty standard issue, maybe a little more cluttered and unfocused than usual, involving arms, drugs and diamond smuggling. Nevertheless, the action-formula firmly in place, this one rehearses the moves with ease and throws in some fine acting. Maryam d'Abo, playing a cellist-cum-spy, is the classy main squeeze for 007 (uncharacteristically chaste for once). Dalton, with his wolfish, intelligent features, was a perfectly serviceable secret agent, but never caught on with the viewers, perhaps because everyone was hoping for a presence as charismatic as Sean Connery's in the franchise's glory days. -Leslie Felperin On the DVD: Casting the new Bond takes up much of the "making-of" documentary: first Sam Neill was in the running, but vetoed by Cubby Broccoli, who wanted Timothy Dalton and had considered him as far back as On Her Majesty's Secret Service (but Dalton felt he was just too young at the time). When Dalton proved unavailable, Pierce Brosnan was hired. Then, at the last minute, Brosnan's Remington Steele contract was renewed and he had to drop out. Dalton came back in, on the proviso that he could give Bond a harder, more realistic edge after the action-lite of the Roger Moore years. The second documentary attempts to profile the enigmatic Ian Fleming, who was apparently as mysterious and chameleon-like as his alter ego. [+]

The Living Daylights, new boy Timothy Dalton's first Bond outing, gets off to a rocking start with a pre-credits sequence on Gibraltar, and culminates in a witty final showdown with Joe Don Baker's arms dealer, set on a model battlefield full of toy soldiers. While the Aston Martin model whizzing through the car chase has been updated for the late 1980s-including lethal lasers and other deadly gizmos-the plot is pretty standard issue, maybe a little more cluttered and unfocused than usual, involving arms, drugs and diamond smuggling. Nevertheless, the action-formula firmly in place, this one rehearses the moves with ease and throws in some fine acting. Maryam d'Abo, playing a cellist-cum-spy, is the classy main squeeze for 007 (uncharacteristically chaste for once). Dalton, with his wolfish, intelligent features, was a perfectly serviceable secret agent, but never caught on with the viewers, perhaps because everyone was hoping for a presence as charismatic as Sean Connery's in the franchise's glory days. -Leslie Felperin On the DVD: Casting the new Bond takes up much of the "making-of" documentary: first Sam Neill was in the running, but vetoed by Cubby Broccoli, who wanted Timothy Dalton and had considered him as far back as On Her Majesty's Secret Service (but Dalton felt he was just too young at the time). When Dalton proved unavailable, Pierce Brosnan was hired. Then, at the last minute, Brosnan's Remington Steele contract was renewed and he had to drop out. Dalton came back in, on the proviso that he could give Bond a harder, more realistic edge after the action-lite of the Roger Moore years. The second documentary attempts to profile the enigmatic Ian Fleming, who was apparently as mysterious and chameleon-like as his alter ego. [+]

You Only Live Twice film boasts the best of the Bond title songs (this one sung on a dreamy track by Nancy Sinatra), but the movie itself is one of the weaker ones of the Sean Connery phase of the 007 franchise. The story concerns an effort by the evil organisation SPECTRE to start a world war, but the not-so-super villain behind the plot is the awfully civilised Donald Pleasence. The thin script is by Roald Dahl (shouldn't we have expected a better Bond nemesis from the creator of mad genius Willy Wonka?), and direction is by British veteran Lewis Gilbert (Alfie). But the movie can't hold a candle to Dr. No, From Russia with Love, or Goldfinger. -Tom Keogh.

Dry as ice, dripping with deadpan witticisms, only Sean Connery's Bond would dare to disparage the Beatles, that other 1964 phenomenon. No one but Connery can believably seduce women so effortlessly, kill with almost as much ease, and then pull another bottle of Dom Perignon 53 out of the fridge. Goldfinger contains many of the most memorable scenes in the Bond series: gorgeous Shirley Eaton (as Jill Masterson) coated in gold paint by evil Auric Goldfinger and deposited in Bond's bed; silent Oddjob, flipping a razor-sharp bowler like a Frisbee to sever heads; our hero spread-eagled on a table while a laser beam moves threateningly toward his crotch. Honor Blackman's Pussy Galore is the prototype for the series' rash of man-hating supermodels. And Desmond Llewelyn reprises his role as Q, giving Bond what is still his most impressive car, a snazzy little number that fires off smoke screens, punctures the tyres of vehicles on the chase, and boasts a handy ejector seat. Goldfinger's two climaxes, inside Fort Knox and aboard a private plane, have to be seen to be believed. -Raphael Shargel, Amazon. com- On the DVD: Featuring interviews with Honor Blackman, Shirley Eaton, the late Desmond Llewelyn and most of the surviving core cast and crew members, great on-set footage (Blackman and Connery look like they clearly had the hots for each other even when the camera weren't rolling) and a strong argument about how this firmed up the gadget-orientated, thrills-and-spills formula for the franchise, John Cork's "making of" featurette for this DVD is one of the most rewarding in this series. The two commentary tracks have moderately interesting observations by director Guy Hamilton, the cast and crew (many of their comments recycled from the documentary), and on both Bond superfan-and-author Lee Pfeiffer filling in blanks and explaining in exhaustive detail the history of the Aston Martin DB5 that first appeared in this film. Also included is an open-ended 1964 interview with Sean Connery, designed so that American radio disc jockeys could pretend they had an exclusive interview with the star, in which he extols the series' "sadism for the family" among other things. [+]

After years of enduring Roger Moore in the role of James Bond, it was good to have Sean Connery back in 1983 for Never Say Never Again, a one-time-only trip down 007's memory lane. Connery's Bond, a bit of a dinosaur in the British secret service at (then) 52, is still in demand during times of crisis. Sadly, the film is not very good. In this rehash of Thunderball, Bond is pitted against a worthy underwater villain (Klaus Maria Brandauer); and while the requisite Bond Girls include beauties Kim Basinger and Barbara Carrera, they can't save the movie. The script has several truly dumb passages, among them a (gasp) video-game duel between 007 and his nemesis that now looks utterly anachronistic. For Connery fans, however, this widescreen print of the Irvin Kershner (The Empire Strikes Back) film is a chance to say a final goodbye to a perfect marriage of actor and character. -Tom Keogh.

James Bond's fourth adventure takes him to the Bahamas, where a NATO warplane with a nuclear payload has disappeared into the sea. Bond (Sean Connery) travels from a health spa (where he tangles with a mechanised masseuse run amuck) to the casinos of Nassau and soon picks up the trail of SPECTRE's number-two man, Emilio Largo (Adolfo Celi), and his beautiful mistress, Domino (Claudine Auger), whom Bond soon seduces to his side. Equipped with more gadgets than ever, courtesy of the resourceful Q (Desmond Llewellyn), agent 007 escapes an ambush with a personal-size jet pack and takes to the water as he searches for an underwater plane, battles Largo's pet sharks, and finally leads the battle against Largo's scuba-equipped henchmen in a spectacular underwater climax. This thrilling Bond entry became Connery's most successful outing in the series and was remade in 1983 as Never Say Never Again, with Connery returning to the role after a 12-year hiatus. Tom Jones belts out the bold theme song to another classic Maurice Binder title sequence. -Sean Axmaker, Amazon. com-On the DVD: The absence of any new contribution from Sean Connery leaves a hole in the behind-the-scenes selection, but the "making of" documentary still has plenty to talk about, including why Bond wore a crash helmet for the jet-pack flight, and what was for the time the utterly unique situation of having to stage an underwater battle (one of the Bond series' enduring legacies is its pioneering stunt work). A supplemental documentary describes the "Thunderball Phenomenon" that swept the world on the release of what was the most successful Bond movie to date (back in those innocent days when blanket retail saturation of movie merchandise was still a novelty). Two audio commentaries flesh out even more of the background: the first is another edited selection of various interviews, the second has editor Peter Hunt in conversation with the host John Quark of the Ian Fleming Foundation, as well as more sundry interview snippets, notably from screenwriter John Hopkins. Any contribution from series composer John Barry is also sadly absent. [+]

Directed with consummate skill by Terence Young, the second James Bond spy thriller is considered by many fans to be the best of them all. Certainly Sean Connery was never better as the dashing Agent 007, whose latest mission takes him to Istanbul to retrieve a top-secret Russian decoding machine. His efforts are thwarted when he gets romantically distracted by a sexy Russian double agent (Daniela Bianchi), and is tracked by a lovely assassin (Lotte Lenya) with switchblade shoes, and by a crazed killer (Robert Shaw), who clashes with Bond during the film's dazzling climax aboard the Orient Express. From Russia with Love is classic James Bond, before the gadgets, pyrotechnics and Roger Moore steered the movies away from the more realistic tone of the books by Ian Fleming. -Jeff Shannon Directed with consummate skill by Terence Young, From Russia With Love, the second James Bond spy thriller, is considered by many fans to be the best of them all. Certainly Sean Connery was never better as the dashing Agent 007, whose mission takes him to Istanbul to retrieve a top-secret Russian decoding machine. His efforts are thwarted when he gets romantically distracted by a sexy Russian double agent (Daniela Bianchi), and is tracked by an assassin (Lotte Lenya) with switchblade shoes, and by a crazed killer (Robert Shaw), who clashes with Bond during the film's dazzling climax aboard the Orient Express. From Russia with Love is classic James Bond, before the gadgets, pyrotechnics and Roger Moore steered the movies away from the more realistic tone of the books by Ian Fleming. -Jeff ShannonOn the DVD: The "making of" documentary details the many problems that beset this production: actor Pedro Armendariz (Kerim Bey) was diagnosed with terminal cancer halfway through shooting so all his scenes had to be done before he became too ill to work (he died shortly afterwards); a helicopter carrying the director and designer crashed into a lake, but despite being narrowly rescued from drowning Young was shooting half an hour later; and Italian actress-model Daniela Bianchi's car crashed en route to location. Key scenes had to be reshot after the production had wrapped, and because of script problems and rewrites, much of the film's structure was assembled in the editing room. [+]

This incredible collection contains ten top Blu-ray titles from the Action & Adventure and Fantasy genres. This hefty pack includes the following titles (click on the links to see titles' detail pages, watch trailers and read reviews): Spider-Man 3 Casino Royale Layer Cake Ghost Rider Monster House xXx Final Fantasy Hellboy Resident Evil 2 - Apocalypse Ultraviolet.

James Bond Movie starring Piers Brosnan and Robert Carlyle.

Roger Moore's last outing as James Bond is evidence enough that it was time to pass the torch to another actor. Beset by crummy action (an out-of-control fire engine?) and featuring a fading Moore still trying to prop up his mannered idea of style, the Film is largely interesting for Christopher Walken's quirky performance as a sort-of supervillain who wants to take out California's Silicon Valley. Grace Jones has a spookily interesting presence as a lethal associate of Walken's (in the best Bond tradition, she has sex with 007 before trying to kill him later) and Patrick Macnee (Steed!) has a warm if brief bit. Even directed by John Glen, who brought some crackle to the Moore years in the Bond franchise, A View to a Kill is a very slight effort. -Tom Keogh A View to a Kill, Roger Moore's last outing as James Bond, is evidence enough that it was time to pass the torch to another actor. Beset by crummy action (an out-of-control fire engine?) and featuring a fading Moore still trying to prop up his mannered idea of style, A View to a Kill is largely interesting for Christopher Walken's quirky performance as a sort-of super-villain who wants to take out California's Silicon Valley. Grace Jones has a spookily interesting presence as a lethal associate of Walken's (and who, in the best Bond tradition, has sex with 007 before trying to kill him later), and Patrick Macnee (Steed!) has a warm if brief bit. Even directed by John Glen, who brought some crackle to the Moore years in the Bond franchise, this is a very slight effort. -Tom Keogh, Amazon. com On the DVD: For Roger Moore's final Bond outing the production crew faced the usual quota of difficulties and disasters, the "making-of" documentary reveals: from base jumpers off the Eiffel tower whose antics threatened to jeopardise fragile relations with the Parisian authorities, to Ridley Scott thoughtlessly burning down the 007 at Pinewood right before production was due to start. [+]

Roger Moore's last outing as James Bond is evidence enough that it was time to pass the torch to another actor. Beset by crummy action (an out-of-control fire engine?) and featuring a fading Moore still trying to prop up his mannered idea of style, the Film is largely interesting for Christopher Walken's quirky performance as a sort-of supervillain who wants to take out California's Silicon Valley. Grace Jones has a spookily interesting presence as a lethal associate of Walken's (in the best Bond tradition, she has sex with 007 before trying to kill him later) and Patrick Macnee (Steed!) has a warm if brief bit. Even directed by John Glen, who brought some crackle to the Moore years in the Bond franchise, A View to a Kill is a very slight effort. -Tom Keogh A View to a Kill, Roger Moore's last outing as James Bond, is evidence enough that it was time to pass the torch to another actor. Beset by crummy action (an out-of-control fire engine?) and featuring a fading Moore still trying to prop up his mannered idea of style, A View to a Kill is largely interesting for Christopher Walken's quirky performance as a sort-of super-villain who wants to take out California's Silicon Valley. Grace Jones has a spookily interesting presence as a lethal associate of Walken's (and who, in the best Bond tradition, has sex with 007 before trying to kill him later), and Patrick Macnee (Steed!) has a warm if brief bit. Even directed by John Glen, who brought some crackle to the Moore years in the Bond franchise, this is a very slight effort. -Tom Keogh, Amazon. com On the DVD: For Roger Moore's final Bond outing the production crew faced the usual quota of difficulties and disasters, the "making-of" documentary reveals: from base jumpers off the Eiffel tower whose antics threatened to jeopardise fragile relations with the Parisian authorities, to Ridley Scott thoughtlessly burning down the 007 at Pinewood right before production was due to start. [+]

DVD Region: ALL; 2 DVD Set; DVD release: 2004; Play time: 120 min; Sound format(s): Dolby Digital 5. 1, Dolby Digital 2. 0, DTS; Language(s): Russian; Subtitles: No Subtitles; Format: 4:3, Full Screen, Color; Genre(s): Music. Koncert v GKCZ "Rossija" Disk 1. 01. Vezi menja, izvozchik (introdukcija) 02. V Ekaterinburge 03. Vstupitel'noe slovo A. Novikova 04. Ulica Vostochnaja 05. [+]

This was the first James Bond adventure produced after the success of Star Wars, so it jumped on the sci-fi bandwagon by combining the suave appeal of Agent 007 (once again played by Roger Moore) with enough high-tech hardware and special effects to make Luke Skywalker want to join Her Majesty's Secret Service. After the razzle-dazzle of The Spy Who Loved Me, this attempt to latch onto a trend proved to be a case of overkill, even though it brought back the steel-toothed villain Jaws (Richard Kiel) and scored a major hit at the box office. This time Bond is up against a criminal industrialist named Drax (Michel Lonsdale) who wants to control the world from his orbiting space station. In keeping with his well-groomed style, Bond thwarts this maniacal Neo-Hitler's scheme with the help of a beautiful, sleek-figured scientist (played by Lois Chiles with all the vitality of a department-store mannequin). There's a grand-scale climax involving space shuttles and ray guns, but despite the film's popular success, this is one Bond adventure that never quite gets off the launching pad. It's as if the caretakers of the James Bond franchise had forgotten that it's Bond-and not a barrage of gizmos and gadgets (including a land-worthy Venetian gondola)-that fuels the series' success. Despite Moore's passive performance (which Pauline Kael described as "like an office manager who is turning into dead wood but hanging on to collect his pension"), Moonraker had no problem attracting an appreciative audience, and there are even a few renegade Bond-philes who consider it one of their favourites. -Jeff Shannon.

After the lavish, effects-heavy splash of Moonraker, the twelfth Bond film and the seventh with Roger Moore concentrates more on core car-chase-and-crumpet values, evoking an almost retro feel that harks back to the first pressings of the Bond vintage in the 1960s. Starting to look a little wrinkly around the edges by this point, Roger Moore toughens his usually smarmy act up here with a gratuitous bit of killing, casually kicking a baddie and his car over a precipice, reviving memories of the ruthless streak with which Sean Connery made his name. Good old-fashioned Cold War politics lie at the heart of the plot, concerning a weapons system hijacked in the Mediterranean Bond must rescue. He's assisted by the exquisite Carole Bouquet, the only actress in history who can claim to have been both a 'Bond girl' and the star of a Luis Buñuel movie (That Obscure Object of Desire). Sadly, this is the first film to lack Bernard Lee's spymaster M, the actor having died beforehand, although British comedienne Janet Brown is on hand for an amusing Margaret Thatcher impersonation. -Leslie FelperinOn the DVD: The first audio commentary here is another one of those edited selections of interviews with sundry cast and crew members, tied together by an over-earnest host. Producer Michael G Wilson and others provide a somewhat more illuminating second commentary track. Once again the best extra feature is the "making of" documentary, which gives an almost scene-by-scene breakdown of the movie. The animated storyboard sequences will appeal to filmmaking aficionados. Avoid, if at all possible, the Sheena Easton video of arguably the most forgettable Bond song of all time (both song and score were perpetrated by series newcomer Bill Conti, not the estimable John Barry). [+]

The Living Daylights, new boy Timothy Dalton's first Bond outing, gets off to a rocking start with a pre-credits sequence on Gibraltar, and culminates in a witty final showdown with Joe Don Baker's arms dealer, set on a model battlefield full of toy soldiers. While the Aston Martin model whizzing through the car chase has been updated for the late 1980s-including lethal lasers and other deadly gizmos-the plot is pretty standard issue, maybe a little more cluttered and unfocused than usual, involving arms, drugs and diamond smuggling. Nevertheless, the action-formula firmly in place, this one rehearses the moves with ease and throws in some fine acting. Maryam d'Abo, playing a cellist-cum-spy, is the classy main squeeze for 007 (uncharacteristically chaste for once). Dalton, with his wolfish, intelligent features, was a perfectly serviceable secret agent, but never caught on with the viewers, perhaps because everyone was hoping for a presence as charismatic as Sean Connery's in the franchise's glory days. -Leslie Felperin On the DVD: Casting the new Bond takes up much of the "making-of" documentary: first Sam Neill was in the running, but vetoed by Cubby Broccoli, who wanted Timothy Dalton and had considered him as far back as On Her Majesty's Secret Service (but Dalton felt he was just too young at the time). When Dalton proved unavailable, Pierce Brosnan was hired. Then, at the last minute, Brosnan's Remington Steele contract was renewed and he had to drop out. Dalton came back in, on the proviso that he could give Bond a harder, more realistic edge after the action-lite of the Roger Moore years. The second documentary attempts to profile the enigmatic Ian Fleming, who was apparently as mysterious and chameleon-like as his alter ego. [+]