The Living Daylights makes for a striking introduction to Timothy Dalton's iteration of James Bond (particularly after the Roger Moore era), not to mention a charming and exciting throwback to classical espionage adventures and the Ian Fleming novels themselves. It is, however, also held back by the sensibilities of the time, antiquated pacing (even for when it was released), and an apparent desire to not stray too far from the campier and leerier vibes of the films that preceded it.
The aim of this edit was to bring the standard of the film up to that of the central performance. I wanted to bring out the exciting, thrilling and romantic qualities of the film whilst downplaying its flaws, all while giving the technical execution of the film a more modern edge.

James Bond changed in the 1980s. With the retirement of Roger Moore and introduction of Timothy Dalton, we transition from action movie with-a-wink to spy thriller. Well... mostly.
Dalton, inspired by the novels, presents a colder, more cynical Bond. His approach to win the confidence of a beautiful woman behind the Cold War's Iron Curtain, reminds of Richard Burton's performance in the Spy Who Came In From The Cold.
Perhaps the filmmakers feared that changing Bond overnight from the suave, cheery gentleman to a cynical smoking alcoholic, would feel as jarring to the audience as dislocating your shoulder. Perhaps they were right to fill Dalton's first adventure with comedic moments. In hindsight, however, we know the audience responded just fine to the comparable transition from suave and jocular Pierce Brosnan to steely-eyed and cynical Daniel Craig.

The Living Daylights stands out in the Bond series for its mix of Cold War espionage and escapist adventure, its tender romance, and Timothy Dalton’s vulnerable 007 – but it’s got problems, including ineffective villains, unnecessary comedy, and an overcomplicated plot. The Living Daylights: Recut aims to eliminate these problems.