the sexual politics, while always dicey, are here beginning to show as such... In any event, though, Bond traipsing through the mean streets of Manhattan and the maze of New Orleans and beyond is good globe-trotting action, and Yaphet Kotto is a highly credible villain. And while Moore’s relatively callow next to Connery, here he’s comfortable enough not to overdo the arched eyebrows and so on. The introduction of J.W. Pepper remains highly regrettable.
Another story of fusty British values fighting against the tide of a changing world, it expresses a mix of awe and confusion at the culture of black America, while desperately struggling for modern relevance alongside it, making a clown out of a racist Southern sheriff, even as it vaunts the exploits of a hero who’s just as regressive.
It became perhaps the purest pop-art moment the Bond film has had to date and also the instalment that seems most in thrall to the series’ deep roots in Feuillade and Lang-style thrillers.