Great conversation starters! I'll probably get back to reviewing the other films at some point, but in the meantime there's plenty here to chew over: I'm not sure Timothy Dalton (or Pierce Brosnan) would have improved A View To A Kill - the problem wasn't a close-to-elderly Roger Moore (not that he helped) but a creative team that had run dry and had nothing left to give the series. Dalton's two subsequent Bonds would have some fine moments, but on balance they suffer under the workman-like creative abilities of John Glen, Richard Maibaum, and Michael G. Wilson (to list a few prime offenders...). Speaking of Brosnan, that he filled the role so effortlessly - and was universally accepted as Bond from the get-go - is the root of our "collective shrug" over the Brosnan Era. GoldenEye was a massive comeback for Bond and proof the character - and the movies - could thrive in the all-too-brief post-Cold War era. Cubby Broccoli's last executive decision for EON was approving the casting of Pierce Brosnan (How sweet that call must have been for Brosnan, right?) I'm sure neither Michael G. Wilson or Barbara Broccoli had any desire to mess with their newly regained success - the soft box office of the Dalton years undoubtedly still stung, as did losing their once-prestigious spot in the summer marketplace to Batman, various Lethal Weapons, and the Die Hards. Everything's working, right? Post-GoldenEye, the movies hit a comfortable stride - Brosnan's Bonds were reliably entertaining spectacles with stand out set pieces (the motorcycle chase in Tomorrow Never Dies, the spectacular boat chase down the Thames teaser of The World Is Not Enough, the sword fight in Die Another Day) and solid supporting casts (particularly the inspired choice of Judi Dench as M). They even took a few measured risks - the twisted relationship between Renard and main villainess Electra King, Bond's hirsute imprisonment in a North Korean jail, a hint of social commentary about the media's role in international affairs, etc. If the results - and by extension Brosnan - seem slightly generic, it's because EON focused their efforts on making Bond movies that lived up to everyone's idea of "James Bond", regardless if they're fans of Ian Fleming, Sean Connery, or Roger Moore. Of Moonraker, let me just say that the movie commits - Albert R. Broccoli decided exactly the kind of Bond movie he was going to make and ran with it, balls out, full speed ahead. Outlandish? Outrageous? Moonraker is those things and then some from the first 10 minutes - and never stops upping the ante. Yes, it's ridiculous - but spectacularly so with Ken Adam's amazing sets, Derek Meddings terrific visual effects, and John Barry's lush score. I get the antipathy towards Moonraker and even share it...but like a bowl of ice cream on a hot day, I only feel guilty for enjoying Moonraker afterwards - never during.