The Last Mission for Roger Moore's Bond I must confess frankly. Bond films starring Roger Moore have always been an order of magnitude weaker for me than projects with other actors. It seems that Moore does not fall into this role, making the hero from film to film some kind of funny guy and a kind of lucky guy who succeeds. Although some projects arouse sympathy, but in general, seven films with this Bond sometimes even get confused with each other in their memories. The sign is not very good for me personally. The last picture "A View to a Kill" released in 1985 turned out to be a fairly strong action movie, but fades against the background of previous projects with Moore. The film already feels the era of the 1980s, but the picture lacks what Timothy Dalton and his brand new and modern Bond will later give the viewer. Roger Moore still shines on the screen with his smile and Bond charisma, but some scenes and plot twists are conspicuous by their secondariness and predictability. This time, the English agent with two zeros is opposed by the rather colorful character Max Zorin, played by the excellent actor Christopher Walken. Here he is remembered for his penetrating gaze. It is never completely clear what is on the mind of this villain. He is cunning, calculating and really dangerous, although what is happening on the screen, even with all the attempts of the creators of the picture, does not look large-scale. And this is a clear loss of the director, the average script and the delayed timing. A notable character in the duet with the main antagonist is Mayday, performed by the colorful Grace Jones. The singer, model and actress has made her heroine an extraordinary person who is bursting with murderous power. Bond's last such memorable opponent was probably Jaws. Now, this heroine of the film takes over the baton of eccentricity. The creators are trying, though in vain, to take the scale. Here you have a jump from the Eiffel Tower in Paris and a fight on the Golden Gate Bridge in San Francisco and even an attempt to destroy Silicon Valley. All this looks a little convincing if you look at the project as a series of films specifically with Roger Moore. The franchise clearly lacks freshness and modernity. Moore is almost 60 years old. For some reason, I associate my negative attitude to the project with another reason. It's the middle of the 1980s. The world is already completely different, but the Bond picture seems to be stuck in the past. What looked tolerable in the 1970s seems somehow archaic and even lagging in the next decade. We need a new Bond and a fresh look at the character, which will definitely come to the viewer, but only in the next picture. Roger Moore, on the other hand, confidently says goodbye to Bond, does it in the usual cool and large-scale way. His Bond was still not bad: radiant, charming, sometimes funny enough, but still outdated. The era is passing away, changes are required, because even the most daring attempts and the scale of events that the viewer sees on the screens are no longer able to chain to the screens those interesting solutions that were before. And it seems that everyone understands this. Roger Moore, thank you for your Bond, but it's time to make way for a younger hero who will perfectly fit into the new era of espionage battles. 8 out of 10