The Living Daylights

After guarding the escape of defecting Soviet General (Jeroen Krabbé), British agent James Bond (Timothy Dalton), gradually uncovers a plot to start World War III.

The Living Daylights is the fifteenth film in the long-running James Bond series, and the first for star Timothy Dalton. For his introduction, the filmmakers toned down the camp and instead sought deliver a globe trotting adventure.

Dalton is good in the role, providing something of a middle ground between the rugged, driven Sean Connery and the suave, polished Roger Moore. In many ways he feels like and older, more-seasoned version of George Lazenby, and that’s a good thing.

Unfortunately, the film itself is overlong and far too talky. Relying on a lot of exposition to move from set-piece to set-piece, it fails to maintain a steady level of tension throughout the proceedings. While it’s easily the best-shot Bond film since For Your Eyes Only, it feels a good twenty minutes longer than its 130, and that’s not a good thing.

The real loser here, of course, is Dalton, whose solid performance is lost in the film’s meandering. The same with John Rhys-Davies’ turn as a Soviet General. It’s a shame, as the budget and talent involved are clearly capable of producing something much tighter.