This entry attempts to return Bond to his taciturn, cold-eyed origins
in Ian Fleming's literary character, and Dalton nearly achieves this.
The transition isn’t quite perfect though, because his backdrop is the
same old globe-trotting nonsense; the baddies are still pantomimic
(Jeroen Krabbé the most culpable in this department); while
Maryam d’Abo has to be the most flaccid Bond girl ever. A good Bond in an
okay movie, then - though it does have the best pre-credits intro of the
series...
