The Spy Who Loved Me

Rotten Tomatoes Critics - Certified Fresh 78%
Rotten Tomatoes Audience - Upright 76%
IMDb Rating 7.1 10 89,463


Downloaded 61,857 times
June 24, 2019



Barbara Bach as Alice Brandt
Bernard Lee as Jack
Richard Kiel as Photographer at Funeral
Roger Moore as Jasper
720p.BLU 1080p.BLU
950.04 MB
23.976 fps
125 min
P/S N/A / N/A
1.80 GB
23.976 fps
125 min
P/S N/A / N/A

Movie Reviews

Reviewed by philipposx-12290 9 / 10 / 10

This is just BOND!

Is "The Spy Who Loved Me" my favorite James Bond Movie? No, it isn't even in my top 5 and although I prefer From Russia With Love (1963), SkyFall (2012), Goldfinger (1964), Goldeneye (1995) and Casino Royale (2006) Roger Moore's third installment just feels like the epitome of a Bond Movie. Fast paced, smoothly executed, with memorable characters, exotic locations, not that complex in plot, sometimes a little bit cheesy or sappy but always entertaining. "The Spy Who Loved Me" is just a charming adventure with so much fun, humor but also action scenes. The supporting actors are all good (especially Jaws) but hey, the real show stealer here is Roger Moore. An actor (playing James Bond) will always get his best performance, NOT his best over all movie, in his third outing. Just like Connery did in Goldfinger, Craig and Brosnan would eventually do in Skyfall and TWINE, Roger Moore found the perfect balance between the obligatory Bond elements, and what he would bring to the table. The Spy Who Loved Me is the best Bond Movie from 1963's Goldfinger to 1995's GoldenEye and definitely the best of Roger Moore: 10/10

Reviewed by Movie_Muse_Reviews 8 / 10 / 10

When Bond is on, indeed, nobody does it better. The most iconic of the Moore era.

The Roger Moore era of "James Bond" finally hit its stride in "The Spy Who Loved Me," easily the best or at least most iconic Bond since the early Sean Connery films. Quick-paced, full of action and laced with clever surprises, the budget poured into the 10th official "Bond" pays off. The previous few films under director Guy Hamilton, writer Tom Mankiewicz and co-produced with Harry Saltzman were particularly uninspired and formulaic. Whether the return of director Lewis Gilbert ("You Only Live Twice"), the addition of Gilbert's writer friend Christopher Wood or the reins being totally in Albert R. Broccoli's hands had anything to do with the refreshed mentality of "The Spy Who Loved Me" is anyone's guess, but it has a spring in its step to be sure. Part of that strength could have been drawn from the outside in. The massive scale of "TSWLM" rivals any "Bond" film. Legendary "Bond" production designer Ken Adam absolutely outdoes himself in this film, which sees Bond among remarkable Egyptian ruins, a dazzling underwater villain's lair and aboard a nuclear submarine. The film spares no expense bringing these set pieces to life, undoubtedly adding a great deal of prestige too. The story has Bond teaming up with KGB Agent Anya Amasova (Barbara Bach) after British and Soviet submarines suddenly disappear. Following a lead that involves blueprints for a submarine tracking system in Cairo, Bond and Amasova - while attempting to outsmart each other - run in with the rich and powerful businessman Karl Stromberg (Curd Jurgens) and his steel-toothed muscle, Jaws (Richard Kiel). The movie definitely lifts elements from "Thunderball" and "From Russian with Love," but it moves like a shark and generally avoids the predictable patterns of its lesser predecessors. Stromberg and Jaws rank among the most quintessential "Bond" villains and henchmen, and though so much about her character disappoints, Bach feels more critical to this entry than most other "Bond" girls do to their respective films. A love story with a Russian spy at least adds some intrigue even if (in the '70s of all eras) she should be able to use physical strength and not just cunning to succeed. She doesn't go nearly as toe-to-toe with Bond as she ought too, especially when considering Bond kills her lover in the opening. The opening ski stunt, the underwater car, the explosive finale - these are all gimmicks to make "TSWLM" more exciting, but they actually hit their mark because of how they're used and some clever touches (like the Union Jack flag parachute). Add in great American composer Marvin Hamlisch's score and original song recorded by Carly Simon and "TSWLM" manages to check off a lot of the boxes of what made the "Bond" movies so iconic in the early '60s. The script also embraces more of Bond's past. Rather than bourbon, 007 is back to drinking vodka martinis, and at one point he's confronted about the lover he lost (specifically, who George Lazenby lost in "On Her Majesty's Secret Service"). It's small, but in doing so the film tips its cap to viewers who have stuck with Bond over these 10 films. Moore is also at his best, revealing, specifically, his underrated talent for spot-on facial reactions to some of the more ridiculous situations and happenings. The script seems to embrace the qualities of James Bond that he does best, namely the charm and guile. "The Spy Who Loved Me" doesn't constitute a brave new direction for Bond by any means, but with all that it has going on and all that it has to look and marvel at, many of the clichés and formulaic bits feel polished and revitalized. And speaking from the perspective of nearly 25 "Bond" films, a great "Bond" simply gets us to fall in love with the series' class trademarks all over again, not grow tired of them. "The Spy Who Love Me" does just that. ~Steven C Thanks for reading! Visit Movie Muse Reviews for more

Reviewed by cinemajesty 8 / 10 / 10

Bond Ten

Movie Review: "007: The Spy Who Loved Me" (1977) After pay-off and departure of producer Harry Saltzman (1915-1994) in 1975 at Eon Productions, former partner and now sole copyright owner Albert R. Broccoli (1909-1996) produces on his own for the 10th Bond production, which gets finally every future-cherishing production value into place as reprising, third "007" actor in history, Roger Moore (1927-2017), who finds his signature beats with agile action moves, punchlining humor and sense of understatement with a furthter female pendant cast in shapes of character Russian spy Anya Amasova, performed by actress Barbara Bach in knowledgable and active manners, yet not as convincing contra-given actress Diana Rigg in the 1969 "On Her Majesty's Secret Service". Director Lewis Gilbert returns for the second of total three "007" directing assignments and improves over the first directing job for "You Only Live Twice" (1967) in shapes of a lean directorial vision in steady-conceived cinematography by Claude Renoir (1913-1993), nephew to famous French art-house director Jean Renoir (1894-1978), in multiple changing exterior locations from Austria, London, Bahamas to Egypt before utilizing the world-biggest sound stage at Pinewood Studios, Buckinghamshire, England. The action scenes are the most accomplished since low-budget beginnings with "Dr. No" fiveteen years ealier in 1962. The charms as ruthlessness of actor Roger Moore to become his own interpretation of the character James Bond carries "The Spy Who Loved Me" all the way in an 120 Minutes editorial by talented, first-time-hired editor John Glen, who gives the picture an taste of elegance back in combining advanced pyro-technical shoot-outs, grenade-throwings and major explosions on a giant-submarine-swallowing marin tanker under control by another off the "Spectre" grid operating all too passivlely-written Bond Nemesis Stromberg, portrayed by Curd Jürgens (1915-1982), who even by just sitting on a chair in a dining room of a metal mid-Atlantic isle-like station delivers striking beats toward the suspenseful final confrontation with James Bond. Meanwhile the iconic character of "Jaws", protrayed in a complete mute state by 7.2 foot-tall-actor Richard Kiel (1939-2014), who makes constant hunt on "007", which leads to well-choreographed full frontal action scenes between being hard-boiled serious and slight-winking comic. This 1977 summer release just two months after the worldwide phenomenon of the science-fiction action movie "Star Wars" directed by George Lucas, which shifted the attention of audiences weakening the "007" picture's performance at the U.S. domestic box office with just $ 47 Million in revenues against the still most successfull "Thunderball" from 1965 with earning $ 64 Million at the box office, which would equal an up to $ 300 Million inflation-clarified revenue in 2015. Nevertheless "The Spy Who Loved Me" marks the most successfull Bond movie to that day in 1977 with the highest attandence worldwide since "Goldfinger" in 1964, establishing upscaled production values, clear-structured screenwriting by newcomer Christopher Wood (1935-2015) and entertainment-bringing gadget performances skillfully interweaved into the romance-enhanced story-line, which steps away from the equally-titled ninth novel by author Ian Fleming (1908-1964) to succeed as fully accomplished two hour action-thriller motion picture entertainment. © 2017 Felix Alexander Dausend (Cinemajesty Entertainments LLC)

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