Roger Moore's back again, after a bit of uncertainty about reclaiming the role, for his sixth turn as the British super-agent. Following in the trajectory of the preceding For Your Eyes Only, Octopussy is far more grounded and human than some of the franchise's more eccentric entries, more focused on technique, cunning and intellect over wild risks, dated special effects and bravado. It's a suspenseful spy movie that doesn't also yearn to be a wacky, winking blockbuster. Apart from one vine-swinging jungle scene, that is, in which producers couldn't help but superimpose an embarrassing stock Tarzan scream.

It's the next step in a slow transition for the Bond films, from the slapstick silliness of the '70s to the grim tone of the '80s, and as such it endures a few growing pains. The more restrained action scenes work very well - a pair of intense chase sequences atop a moving train and mid-flight aircraft, respectively, are excellent - but they're too few and far between, and the requisite story-building chapters are dull, convoluted and drawn-out. Octopussy herself has the makings of a deeply interesting character, an in-betweener with a personal connection to the hero, but Maud Adams is too subdued in the role and doesn't have much chemistry with Moore.

I like where the franchise is headed, appreciate the motivation, but caught myself staring at the clock almost as much as the movie.