Roger Ebert Moonraker review. He's right, this is every plot
"Moonraker" is the 11th installment in the most successful film series in history. It is also, of course, in the grand Bond tradition. The basic form of the James Bond thrillers has been firmly established since the beginning; they're as predictable in style as the kabuki theater. The first shot of Bond must show him in a bizarre predicament that brings him within inches of his life. Surviving it, he must immediately be seen by a sexy girl.
Then … let's see. He's called in by "M," flirts briefly with Miss Moneypenny, is assigned to a case that takes him to exotic foreign locations, crosses tracks with another sex symbol who turns out to be working for a rival intelligence agency, is attacked by the villain's goons, is confronted by the villain himself (in the villain's incredibly elaborate hideaway), and learns of the villain's plan to achieve world mastery. (The villain's obligatory explanation of his plan for global domination led to the definition of The Talking Killer in my Little Movie Glossary.)
The closing sequence of every Bond picture is a set piece, using incredibly expensive special effects to create a vast global control center which is then destroyed. The last shot, of course, again shows Bond with a sexy girl (preferably the rival intelligence agent). Take this formula, plug in the specifics, and you have the new Bond movie. In this case, it's called "Moonraker," and it's so jammed with faraway places and science fiction special effects that Bond has to move at a trot just to make it into all the scenes.