The Spy Who Loved Me is Roger Moore’s statement piece. After two films trying to figure out exactly what kind of Bond he was, this is the movie that locks it in—quippy, polished, and entirely unbothered by reality. The sets are bigger, the villains are loonier, the stunts are louder, and somehow, Moore manages to surf this cinematic wave with a smile that says, “Yeah, I know this is ridiculous. You love it anyway.”
This one’s a 3.5 out of 5 for me. I liked it. It’s got serious swagger, some great action, and one of the most iconic Bond moments ever put on screen. But it’s also bloated, deeply silly in parts, and doesn’t quite deliver on its emotional potential. Still, it’s an undeniable high point in Moore’s run.
Submarines, Supervillains, and Global Domination (Again)
British and Soviet submarines carrying nuclear missiles have mysteriously disappeared, and Bond is sent to investigate. Meanwhile, Soviet agent Anya Amasova (aka Agent XXX, because of course she is) is on the same case. Their paths collide, and they eventually team up to stop Karl Stromberg, a webbed-fingered billionaire who wants to nuke the world and start a new society under the sea.
Yes, that’s the plot. It’s nonsense, but the good kind. It’s Bond-by-the-numbers, but elevated by sheer commitment to the spectacle. Giant supertanker? Check. Secret underwater city? Check. Henchman with metal teeth who bites through steel cables? Double check.
Roger Moore: The Perfect Fit (Finally)
This is Moore fully owning the role. He’s charming without trying too hard, dangerous when he needs to be, and unfazed by every increasingly bonkers situation he finds himself in. He’s not trying to be Connery anymore—he’s the Bond who drops one-liners while skiing off cliffs, not the one punching thugs in back alleys.
Moore’s Bond doesn’t smolder, he sparkles. And for this version of the franchise, that works.
Anya Amasova: Better Than Most Bond Girls
Barbara Bach’s Anya Amasova starts out as one of the more promising Bond women—a rival spy with her own mission, skills, and motivations. She’s smart, competent, and has actual screen presence. The dynamic between her and Bond is sharp early on. She’s not afraid to push back, and their rivalry-turned-romance has some tension to it.
The film fumbles a bit in the final stretch by having her fall too neatly into the “damsel” role, but even then, she holds more ground than most. Also, the scene where she reminds Bond that he killed her lover? Genuinely strong stuff—too bad the movie doesn’t dig deeper into it.
Karl Stromberg: Great Lair, Meh Villain
Let’s be honest: Stromberg is not a great Bond villain. His plan is recycled Blofeld nonsense with a saltwater twist, and he delivers every line like he’s about to fall asleep. The most interesting thing about him is his lair, Atlantis—a giant floating spider fortress with elevators, shark tanks, and questionable acoustics.
He lacks the charisma or menace of Scaramanga or Goldfinger, and by the time the final confrontation happens, you’re not exactly biting your nails. He’s more of a Bond plot enabler than a true nemesis.
Jaws: Pure Nightmare Fuel
Jaws, on the other hand, is unforgettable. Richard Kiel plays the towering, metal-mouthed henchman like a horror movie monster trapped in a Bond film. He doesn’t speak, he doesn’t run, and he doesn’t need to. He just appears, crushes, bites, and survives every ridiculous fate the movie throws at him.
He’s one of the few henchmen who actually feels dangerous. You can understand why he became a fan favorite—and why he comes back in Moonraker (though we won’t talk about that version just yet).
Action and Spectacle: The Series at Full Volume
The stunts in this movie are wild. The pre-title ski jump, with Bond flying off a cliff and opening a Union Jack parachute, is iconic. It’s still one of the best stunts in movie history. The underwater Lotus Esprit car chase is pure Bond fantasy—a moment so outrageous and cool that it basically dares you to roll your eyes.
The supertanker battle at the end, though? A little too long. It turns into a shootout orgy that just keeps going. It’s impressive on a technical level, but not particularly tense. You start wondering how many more orange jumpsuits they’re going to mow down before someone yells “wrap.”
The Music: Nobody Does It Better (Literally)
Carly Simon’s title song is one of the franchise’s best. It’s romantic, sleek, and perfectly in sync with the film’s tone. The score itself mixes disco-era strings with classic Bond brass, and while it occasionally veers into cheese, it never loses its cool.
Final Verdict: Smooth, Stylish, Slightly Stretched
The Spy Who Loved Me is a polished, high-gloss version of Bond that knows exactly what it’s doing. It’s fun, it’s flashy, and it feels like a big-budget party. Not every element hits—Stromberg is weak, and the pacing drags at times—but the energy, the stunts, and Moore’s performance carry it through.
It’s Bond blockbuster mode, done right.