Often derided as a Bond movie too far for Roger Moore, "A View to a Kill" is one of his most enjoyable screen outings as the superspy.
The plot features yet another megalomaniac, but is somewhat reasonable in asserting that chaos could be brought to the world if his plan to sweep away Silicon Valley with a giant tidal wave were to succeed.
It's the actor behind this particular world-domination bent lunatic that makes the film so bananas.
Christopher Walken plays the dangerously loopy Max Zorin with a falsetto laugh, dyed blond hair, and camp mannerisms that verge on the psychopathic.
He is also tremendously sporting in observing the obligatory need to keep attempting to kill Bond off without ever seeing the job through properly.
A near relentless stream of action set-pieces thunder through a string of exotic locations, forming a mould that's been aped quite closely in structure by the more recent, if less satisfying, "The World is not Enough".
Roger Moore breezes through each spectacular moment of devastation with such wry aplomb that it's hardly any wonder that Zorin's attempts to kill him off become so fevered and outlandish.
There's no denying that the stunts are impressive - just as the rear projection for Moore's close-ups somehow achieve a new height of incompetence.
What's interesting is that, as certain films in the Bond series have set specific benchmarks for tone, "A View to a Kill" is James Bond in comic book perfection.