James Bond in review - Licence To Kill (John Glen, 1989)

"I want you to know this is nothing personal. It's purely... business"

Sanchez's chilling words to an ill-fated Leiter couldn't be further from how you would describe the 16th Bond adventure. Daring, provocative and the highest certified film by the BBFC in the series, Licence To Kill harkens back to the roots of the 007 character created 37 years previously by Fleming as Dalton injects a brilliant sense of humanity and a no-nonsense attitude to the British secret agent we've come to love.

Timothy Dalton is the new James Bond

Licence To Kill works on many levels not least of all as an intriguing, intricately detailed and engrossing thriller, but almost as a stand alone film - a rogue agent on a personal revenge mission against the man who murdered and mutilated his friends. In his second and unfortunately final appearance as 007, Dalton shines. He will never be like his predecessors just as Moore never consciously tried to emulate Connery but it is fair to say that our current noughties Bond, Daniel Craig, owes a great deal to Timothy Dalton. Both give very human portrayals of Fleming's character; characters who show emotion, pain, anger, frustration and loss through their detailed, meticulously crafted personifications of James Bond. You can imagine Dalton having to ruthlessly kill if the situation demanded it, which you would never believe of Roger Moore's Bond.

Carey Lowell is beautiful and determined as Pam Bouvier

Not only is this film a chance for Dalton to shine but Desmond Llewellyn's Q gets his longest screen appearance in the series, injecting some well timed and not too blatant comic interludes into the serious proceedings. The stand out character of the film is clearly Robert Davi's sadistic villain Sanchez, a man who rewards loyalty- at a price. Just don't double cross him or you'll end up like Krest. Much like Moonraker I have never given much time to Dalton's second Bond outing perhaps largely because of its critical responses and insistence from ardent Bond aficionados that the film strays too far from the established Bond formula and is too real in its depictions of violence. On closer inspection, this is ironically the finest move made by the Bond producers since they decided to bring Bond back down to Earth in For Your Eyes Only. This and Eyes Only present John Glen at his directing best and whilst The Living Daylights introduces Dalton's Bond to the screen with style, it is not until Licence To Kill that he really does prove his worth.

Robert Davi is one of the series' best villains since Robert Shaw

Had the box office not been populated by Batman, Lethal Weapon and Indiana Jones - incidentally all focussing on heroic protagonists - Bond 16 would have achieved bigger business on general release in the summer of 1989. Regardless of this, the film is one of the best of the later Bond films and arguably the best Bond of the 1980s. It holds up brilliantly after more than 20 years. "How many times can one man leave you breathless?" Well, in answer to the demanding teaser trailer voiceover, lots! Relive one of the grittiest and all out entertaining Bonds of the lot - "bless your hearts!"

James Bond in review - Moonraker (Lewis Gilbert, 1979)

" I'm tempted to say yes immediately!"

After the superb showcase of the Bond formula from the series' newly appointed sole producer, Cubby, for The Spy Who Loved Me, the decision to take Bond "beyond" was met with trepidation by ardent fans of Fleming's gritty novels. Would Bond make a mistake by entering the newly world-popular sci-fi genre? Alternatively, would Moonraker exemplify the big budget, escapist fantasy adventure ethos that audiences have come to expect with each new Bond release? The answer proved to be a little bit of both.

Richard Kiel pops up for another bite as Jaws

Having shown sparing regard for Bond's 11th mission in the past, it was somewhat refreshing to return to 'that one where Bond goes to space and Jaws becomes a goodie!' The film was never going to get awards for Christopher Wood's often disjointed screenplay but it deservedly received an award for the special effects, which, contrary to Associate Producer William Cartlidge's views on the DVD commentary, look tremendously advanced even now over 30 years on. Moore, in his 4th appearance as Bond, is now perfectly at home in the role, providing just the right tongue in cheek comments without going overboard. He is also clearly the best character in Moonraker.

Bond and Miss Goodhead venture into space and dispatch Drax

Bond's conquests total four in this film, space included! The ladies themselves are one of the weakest set in the series. Lois Chiles commits herself fairly well to the role even if her character's persona works completely against her outrageous name, Holly Goodhead. Corinne is played well by French actress Corinne Clery; the death sequence at the mercy of Drax's vicious Dobermans against the dark hues of a forest is one of the most haunting sequences in the Bond series. It is Bond's aide Manuela, played with just the right amount of naivety by the lovely Emily Bolton that remains the film's best Bond girl, even though her screen time is unforgivably limited. Michael Lonsdale's thesping approach to the role of Hugo Drax undermines the character and thus provides Moore's Bond with a fairly easy match as the film's central villain. It is Chang, Drax's bodyguard, that provides far more physical threat to Bond - the centrifuge scene being a standout action sequence and his demise, laced with the wonderful Casablanca reference "play it again Sam" is played nicely by Moore.

Moonraker is one of the most quotable films in the Bond canon and that is all thanks to the level of humour exuded throughout the proceedings. Where else would you get away with unbelievable irony in Moore's line "There's never a 70 year old around when you need one!" Time to look in the mirror mate. You're not the most athletic you've ever been, but then again, you are in your 50s playing a secret agent. To summarise, Moonraker is harmless fun. If, like me, you have your misgivings for Bond's mission in space, put the DVD on and analyse it for what it is: escapist entertainment. Bond is fantasy after all. It is not quite Moore's weakest Bond entry but it is also far from the best. That accolade goes to Spy or For Your Eyes Only, the two films incidentally either side of this. Regardless of this, 30 years on, Moonraker is far from a disaster and it still holds up fairly well. Let Bond "take [you] around the world one more time" - you may just enjoy it!