Rating: 
Summary: Bond Grows Up
Review: "The Living Daylights", loosely based on the short story, was certainly the turning point in the Bond movies and broke away from the film series' usual traditions. Dalton plays Bond ruthlessly and seriously, an agent no one should mess with. Moore and Brosnan pale in comparison. This is a performance not seen since the first two Connery films and "OHMSS". He leans toward the style from the novels of the character's creator and the results are great. This was the way Ian Fleming intended Bond to be.The action and dialogue scenes make it clear that Bond has matured and we will never look back at the lighthearted nature of the previous films. Kara is the only Bond girl in the entire movie, but her relationship with 007 is the most realistic in the whole series. The villians are very dull and not interesting at all, but isn't it about time they stop making comic book-like bad guys like Hugo Drax? The only problem is that the story tends to drag at some points. The movie also has the best Bond score, John Barry's last with a great main theme sung by a-ha, a nice love song and a cool upbeat version of the James Bond theme. "The Living Daylights" is probably not going to go down in history as one of the best of the Bond movies (mainly because audiences have been brainwashed by Moore's humorous outings), but it's worth checking out.
Rating:
Summary: Bond Grows Up
Review: "The Living Daylights", loosely based on the short story, was certainly the turning point in the Bond movies and broke away from the film series' usual traditions. Dalton plays Bond ruthlessly and seriously, an agent no one should mess with. Moore and Brosnan pale in comparison. This is a performance not seen since the first two Connery films and "OHMSS". He leans toward the style from the novels of the character's creator and the results are great. This was the way Ian Fleming intended Bond to be. The action and dialogue scenes make it clear that Bond has matured and we will never look back at the lighthearted nature of the previous films. Kara is the only Bond girl in the entire movie, but her relationship with 007 is the most realistic in the whole series. The villians are very dull and not interesting at all, but isn't it about time they stop making comic book-like bad guys like Hugo Drax? The only problem is that the story tends to drag at some points. The movie also has the best Bond score, John Barry's last with a great main theme sung by a-ha, a nice love song and a cool upbeat version of the James Bond theme. "The Living Daylights" is probably not going to go down in history as one of the best of the Bond movies (mainly because audiences have been brainwashed by Moore's humorous outings), but it's worth checking out.
Rating:
Summary: Fleming's Bond returns to the screen
Review: 12 years of Roger Moore's version of James Bond had desensitized movie-goers to what James Bond really was by 1987. Bond is a hired killer employed by his government, a man with a larger-than-life job and an incredible amount of ingenuity that enabled him to stay alive in a job that pushed him to his emotional limit. This is the Bond that Ian Fleming created, and Timothy Dalton was the first actor to portray 007 that had the depth to play Bond the way Fleming designed him. For a fan of the books, this makes The Living Daylights one of the better Bond films. It features a relatively believable plot, some real romance, and some real tension and drama. And the prerequisite action and gadgets that are such a part of the films are still there. All in all, this is an extremely enjoyable thriller that takes Bond back to his roots, and reminds viewers that 007, while he is an exciting, dangerous, and gifted man, is still just a man.
Rating:
Summary: Truely One of the Better Bond Films!
Review: After a decade and a half of Rodger More's humorous and often cartoonish antics as 007, Timothy Dalton steps in to bring back the sense of rugged realism in witch Connery conveyed in the earlyer films fourty years ago. The plot is much more sophisticated and believable, as opposed to Bond's last few ventures. Action is plentiful in this film, but the plot is much more thought out and concentrated on. The villians are menacing, but a bit more lack-luster than what we have seen in the past. (no one with metal teeth or a decapitating hat.) Bond has much more heart in this one, and seems a bit more human. His jokes are more scarce, but they are there. The gadgets and Q remain the same, and the New Aston Martin rocks. They did not need to replace Money Penny, Caroline Bliss is attractive, but I still prefere the original cause it was tradition. We are treated to a climatic battle about five thousand feet above Moroco, a deadly drop for which one of Bond's nemesis's will have to meet. Truely entertaining, in the style of Ian Flemming's original character that appeared in LICENSE TO KILL as well, except this one is a little more humorous and Bond like. LICENSE TO KILL was drastically serious, and, although entertaining, it was a tough film to watch without a joke in sight. However, DAYLIGHTS is a perfect blend of all the bond elements. Based upon Flemming's novelete of the same name, it promotes the safe sex concept of the late 80's. Bond is a one woman man this time around, but it does not contract from the plot. Enough action and a refreshing plot make this film one of my favorites. HIGHLY RECCOMMENDED!!
Rating: 
Summary: Dalton impressive, film less so
Review: After seven films as agent 007 (one film more than Connery in the official series), Roger Moore left bondage but the series needed time to recover from his smirking, lightweight reign. "The Living Daylights," written before Moore's forced abdication, found his replacement haunted by his ghost.
As James Bond, Timothy Dalton has it all: dark, brooding looks and a theatrical background that makes even big Sean look like an amateur. What he lacked, and what seems to have done him in after only two films, is the humor that had wearingly become the series' trademark during Moore's twelve year stint in the role. Dalton, despite having made his film debut in 1968's "The Lion in Winter," was also a complete unknown to most filmgoers, so his name meant nothing on the marquee. As was the case with George Lazenby in "On Her Majesty's Secret Service," James Bond was the sole selling point with this film, and after Moore's last gasp in the dreadful "A View to a Kill," the fabled spy's name had lost much of its luster.
"The Living Daylights" did decent business in the U.S. (and much better in the U.K.), but proved a less than sterling showcase for Dalton's dirtier, more realistic 007. The villains are a big stepdown from both the glory days of Goldinger and even Christopher Walken's Max Zorin, the one redeeming element of Moore's swansong. Joe Don Baker, who would return to the series twice as an ally to Pierce Brosnan's Bond, lacks the menace he brought to his hitman role in Don Siegel's "Charlie Varrick," and Jereon Krabbe would have to wait six years before making much of an impression in a mainstream film (which he did in "The Fugitive"). Not only is Maryam d'Abo the dullest Bondgirl in memory, but even the maestro himself, John Barry, misses the mark with a less than memorable score. As for the title song performed by Aha, one of the less pleasant flavors of the month from 1987, it strains to be catchy but only succeeds in being forgettable.
On the plus side, the action is well-staged, there's some great scenery, and Dalton is so perfectly cast that he is the only Bond who might have displaced Connery as the favorite of Bond fans. His next film, "Licence To Kill," would be tailor-made for his more introspective, dangerous Bond, and that film represents a considerable improvement over his debut effort. "The Living Daylights" is worth seeing to gauge his considerable potential.
Brian W. Fairbanks
Rating:
Summary: Lackluster 007
Review: After seven films as agent 007 (one film more than Connery in the official series), Roger Moore left bondage but the series needed time to recover from his smirking, lightweight reign. "The Living Daylights," written before Moore's forced abdication, found his replacement haunted by his ghost. As James Bond, Timothy Dalton almost has it all: dark, brooding looks and a theatrical background that makes even big Sean look like an amateur, but what he lacked, and what seems to have done him in after only two films, is the humor that had wearingly become the series' trademark during Moore's twelve year stint in the role. Dalton, despite having made his film debut in 1968's "The Lion in Winter," was also a complete unknown to most filmgoers, so his name meant nothing on the marquee. As was the case with George Lazenby in "On Her Majesty's Secret Service," James Bond was the sole selling point with this film, and after Moore's last gasp in the dreadful "A View to a Kill," the fabled spy's name had lost much of its luster. "The Living Daylights" did decent business in the U.S. (and much better in the U.K.), but proved a less than sterling showcase for Dalton's dirtier, more realistic 007. The villains are a big stepdown from both the glory days of Goldinger and even Christopher Walken's Max Zorin, the one redeeming element of Moore's swansong. Joe Don Baker, who would return to the series twice as an ally to Pierce Brosnan's Bond, lacks the menace he brought to his hitman role in Don Siegel's "Charlie Varrick," and Jereon Krabbe would have to wait six years before making much of an impression in a mainstream film (which he did in "The Fugitive"). Not only is Maryam d'Abo the dullest Bondgirl in memory, but even the maestro himself, John Barry, misses the mark with a less than memorable score. As for the title song performed by Aha, one of the less pleasant flavors of the month from 1987, it strains to be catchy but only succeeds in being forgettable. On the plus side, the action is well-staged. If only the rest of the film were better, the climax might have been exciting.
Rating: 
Summary: Dalton's first Bond film is one of the best!
Review: After the awful A View to a Kill, The Living Daylights is a welcome return to the sure-fire formula of action, stunts, cool cars and witty humour. Timothy Dalton is great as Bond, and adds a nice touch to the film with dry wit and charm. And the action is great, with car chases reminiscent of Moore's early films. There are problems with the film though. There is the lack of a sufficiently meaty villain, but it's made up for with a nice ensemble of other bad guys including John Rhys-Davies. The plot is somewhat over-complicated, but provides some great action and stunts. A solid entry to the franchise, and a great action film to boot.
Rating:
Summary: Classic Bond thriller but has faults
Review: After years of enduring Roger Moore as OO7 comes new life to the series with Timothy Dalton's debut in The Living Daylights.The plot is sophisticated yet muddled and confusing and there are some scenes you just don't understand. Screenplay is weak, and film is overlong. This is partly made up for with a terrific climax at a Russian air base, a thrilling hand duel between Bond and Necros while hanging out of a plane and an entertaining car chase through Ausrtian highways where Bond beats out his pursuers with the help of his Aston Martin. Gadgets include lasers, rockets, machine guns, and skis. Dalton gives a serious, controlled performance as Bond, which helps the film greatly. However, Necros is too bland as a henchman, and D'Abo is dull as a Bond girl. Kuscov is spirited as head villain, yet is not memorable or menacing. Whitaker is also somewhat spirited yet has the same problem as Kuscov. Watch Diamonds Are Forever if you want to see a witty, spirited, and classic villain in Charles Gray's portrayal of Ernst Stavro Blofeld. Love that pre-title where Bond uncovers foul play during a British Secret Service training course on Gibraltar. Stunts are great, especially the car ones and where OO3 goes of the cliff. A-ha's title song is good, and Barry delivers a heart racing score, which is also his last one. However, settings are drab and dull. Overall, good yet Dalton's second and last shot at playing OO7, Licence To Kill, is better overall and more entertaing.
Rating:
Summary: OKAY DEBUT.....BUT JUST A NOVELTY
Review: After YEARS of Roger Moore, Timothy Dalton's The Living Daylights came as a breath of fresh air. But that breath of fresh air quickly turn stale. The Living Daylights had a plot that needs a Rhodes scholar to untangle. Despite Kell Tyler's Linda Collier in the pretitle sequence, Maryam D'Abo's dull and colorless Kara Milovy is the only Bond girl in this romp. As for Tim himself. He gave a good performance, but it is a performance that cannot sustain the Bond series for long. He is way too serious and tries to put Bond back to the way Ian Fleming wrote him...,a mistake considering the series became successful when the movie made a departure from the novels (unless it is a good novel, like On Her Majesty's Secret Service, or Dr. No). Oh, did I mentioned that it is quite boring? Yes, it is also bone dull in parts, especially when the action switch to Afghanistan. Dalton's second Bond, Licence To Kill, is more entertaining.
Rating:
Summary: One of the best in the series
Review: Along with From Russia With Love and For Your Eyes Only, the Living Daylights is one of the best non-comic book Bond films. Aimed at adults, the twisting plot consists of Bond helping a Russian General defect, and then learning that this Russian General is working with an arms dealer to supply guns to Afghanistan. Dalton is fine as Bond, but still can't match the " personality " both Connery and Moore gave to Bond. The great action sequences and good performance by Maryam d'Abo make this a winner. A great title song by A-HA only adds to the whole package. After a travesty like A View To A Kill, this film helped remind me why I love Bond.
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