OCTOPUSSY features the usual array of fine stunt work and special effects, and Adams' appearance marks the first time that a Bond woman was allowed an encore performance, but little is added that departs from the Bond formula.
What are people saying?
What are critics saying?
Glen's willingness to give the action sequences a certain weight and seriousness produces some genuinely exciting moments, yet his work is everywhere undermined by the flatness of the characterizations and the uncertain architecture of the plot. Still, Maud Adams makes a nice impression and Roger Moore has shed some of his smarminess.
Christian Science Monitor by David Sterritt
Directed by John Glen, who keeps the excitement level high for an hour or so, then lets the show slip into the doldrums.
Washington Post by Gary Arnold
One of the snazziest, wittiest productions in the history of the serial.
One for the die hards. The saving grace here is a knowing sense of humour so lacking in its predecessor, For Your Eyes Only.
ReelViews by James Berardinelli
There's a fine line between wit and absurdity, and this particular movie too often falls on the wrong side.
When he had started playing this game of Save the Planet—when he was roguish Sean Connery and the world was so much younger—Bond had been a kind of role model for people of a certain class and ambition. Savoir-faire meant the aristocracy of style: which wine to decant, which brand of cigarette to smoke, which automatic weapon to carry under the armpit. Now that he was Roger Moore, 20 years later, Bond had degenerated into a male model, and something of a genial anachronism.
The New York Times by Vincent Canby
George MacDonald Fraser, Richard Maibaum and Michael G. Wilson are responsible for the story and screenplay, which was directed by John Glen, who does much better than he did with "For Your Eyes Only." However, the material is markedly better, and the budget seems noticeably larger. Peter Lamont's production design is both extravagant and funny.