Every James Bond film ranked
With 'Bond 25' finally shooting, here's my personal ranking of all 24 films in the official EON series
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(CREDIT: Photo by Slaven Vlasic/Getty Images for Metro Goldwyn Mayer Pictures)
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by Jack Linsdell
Three weeks ago nearly, I was one of 10,000 die-hard fans to tune into the livestream of the 'Bond 25' press release on YouTube in which details of the plot, cast, crew and shooting locations were announced. Indeed, although the last year has been rife with rumours surrounding Daniel Craig's supposed last outing as 007 (too which most of them were declared accurate at the announcement streamed from Ian Fleming's Goldeneye Jamaican home), it was fantastic to be given a taste of what to expect in cinemas less than a year from now. However, as one of the many fans who've trawled through countless headlines for any small clues surrounding the upcoming film and navigated the degrading stories documenting the troubled production of 'Bond 25' from Craig's adamant "no" in response to returning, to Danny Boyle's swift departure, it was just great to hear filming has commenced at long last. They do say "Patience is a Virtue" folks.
In celebration of this news, I decided to work my way back through all 24 films in EON's official Bond franchise, obviously discounting the spoofy David Niven-starring 'Casino Royale' and Sean Connery's underrated return to the 007 'Never Say Never Again' (which isn't a bad Bond flick really). But, I digress. The most interesting thing about re-watching the franchise was re-visiting some of the Bond flicks I perceived to be the worst in the series, and I'm pleased to announce whilst some of those ones have remained low down the tables, others have drastically leaped up in my ratings. So, without further ado, here's my ranking of all of 007's 24 adventures to date...
24. THE MAN WITH THE GOLDEN GUN
Starring: Roger Moore
Release date: 1975
Directed by: Guy Hamilton
Moore's second outing as 007 does little to justify itself as being any higher than the bottom three. It's reliance on goofy gags (mainly featuring a severely overused Sheriff J.W. Pepper from 'Live and Let Die'), a thinly-told narrative and an unmemorable villain are only the start of this Guy Hamilton- directed flick's problems. Indeed, it's troubled production coming at the time when long-time producing partnership 'Cubby' Broccoli and Harry Saltzman decided to split amidst creative differences for the franchises future is the reason why this is so poor. However, there is very little in this to remotely engage me, the only highlight is the incredible one-take car stunt across a river which remains one of Bond's finest onscreen moments. But, otherwise the franchise took a golden bullet for this one I'm afraid.
Moore's second outing as 007 does little to justify itself as being any higher than the bottom three. It's reliance on goofy gags (mainly featuring a severely overused Sheriff J.W. Pepper from 'Live and Let Die'), a thinly-told narrative and an unmemorable villain are only the start of this Guy Hamilton- directed flick's problems. Indeed, it's troubled production coming at the time when long-time producing partnership 'Cubby' Broccoli and Harry Saltzman decided to split amidst creative differences for the franchises future is the reason why this is so poor. However, there is very little in this to remotely engage me, the only highlight is the incredible one-take car stunt across a river which remains one of Bond's finest onscreen moments. But, otherwise the franchise took a golden bullet for this one I'm afraid.
23. GOLDFINGER
Starring: Sean Connery
Release date: 1964
Directed by: Guy Hamilton
As controversial as this choice may seem, I went into the recent re-watch with an open mind having never really thought highly of it anyway. And, I was still left disappointed. Yes, I get the film is iconic (Goldfinger, the naked women covered in gold, the Bassey theme song, the DB5 etc.) and it's due credit for helping point the franchise in the direction it went (especially during Moore's tenure). However, this movie just isn't very well made. Even though it was 1964, the editing is actually really poor, with characters being heard speaking when their mouths aren't moving, jump cuts that aren't deliberate and a narrative that entirely relies on Goldfinger having the slightest reason to keep Bond from being cut in half by a laser - which by the way he doesn't. Yes folks, even though Bond mentions 'Operation Grandslam' in a desperate last attempt, it would be easier for Goldfinger to kill him and not have to worry - let alone invite him to your base to divulge your plan to him! With all respect Connery fans, the two films either side of this are of far greater superiority folks.
As controversial as this choice may seem, I went into the recent re-watch with an open mind having never really thought highly of it anyway. And, I was still left disappointed. Yes, I get the film is iconic (Goldfinger, the naked women covered in gold, the Bassey theme song, the DB5 etc.) and it's due credit for helping point the franchise in the direction it went (especially during Moore's tenure). However, this movie just isn't very well made. Even though it was 1964, the editing is actually really poor, with characters being heard speaking when their mouths aren't moving, jump cuts that aren't deliberate and a narrative that entirely relies on Goldfinger having the slightest reason to keep Bond from being cut in half by a laser - which by the way he doesn't. Yes folks, even though Bond mentions 'Operation Grandslam' in a desperate last attempt, it would be easier for Goldfinger to kill him and not have to worry - let alone invite him to your base to divulge your plan to him! With all respect Connery fans, the two films either side of this are of far greater superiority folks.
22. DIE ANOTHER DAY
Starring: Pierce Brosnan
Release date: 2002
Directed by: Lee Tamhori
Brosnan's last outing as the infamous British spy was a film I've only seen once before and until recently not for a few years. And, I was immensely surprised in that there is more to like here than just writing it off as a "What the hell were they thinking, this is awful!" film. Yes, the second half completely disengages, with needless and too-frequently action reliant on over-the-top visuals than character, ridiculous scenes like Bond surfing a tsunami wave and silly gadgets like the invisible car. Say it with me folks, an invisible car! And, yes these all mean this film will always remain right down at the bottom. However, what I've discovered on a re-watch is that the opening 20 minutes, pushing to 40 minutes is actually relatively faultless, with a gritty and engaging opening scene resulting in Bond getting captured and then interrogated. MI6 disowns him and with the help of Chinese intelligence, he flies to Cuba on a mission. It's a decent opening that promises a much better and darker film had the screenwriters not given their script over to a child to finish. However, it turns out Daniel Craig was needed afterwards to make sure the franchise did indeed die another day.
Brosnan's last outing as the infamous British spy was a film I've only seen once before and until recently not for a few years. And, I was immensely surprised in that there is more to like here than just writing it off as a "What the hell were they thinking, this is awful!" film. Yes, the second half completely disengages, with needless and too-frequently action reliant on over-the-top visuals than character, ridiculous scenes like Bond surfing a tsunami wave and silly gadgets like the invisible car. Say it with me folks, an invisible car! And, yes these all mean this film will always remain right down at the bottom. However, what I've discovered on a re-watch is that the opening 20 minutes, pushing to 40 minutes is actually relatively faultless, with a gritty and engaging opening scene resulting in Bond getting captured and then interrogated. MI6 disowns him and with the help of Chinese intelligence, he flies to Cuba on a mission. It's a decent opening that promises a much better and darker film had the screenwriters not given their script over to a child to finish. However, it turns out Daniel Craig was needed afterwards to make sure the franchise did indeed die another day.
21. SPECTRE
Starring: Daniel Craig
Release date: 2015
Directed by: Sam Mendes
Yes, this is the most recent Bond film and featuring on of the better Bond actors. However, for the high standard of films Craig pulled out (Casino Royale, Quantum of Solace, and the first half of Skyfall are faultless), this is a terrible disappointment. It suffers from a terrible screenplay, poorly paced, with gaping plot holes and a reliance on silly gags reminiscent of the Moore era to which Craig's Bond has established he is completely different from in the previous films. Mendes direction is boring, and the film is just so slow (even the action feels like a drag) that two and half hours feels like 5 hours. I still stand by the idea that the whole third act in London (which is the poorest bit of the franchise since Die Another Day) should have been scrapped with Bond ending at Blofield's desert base. This would have given more time to be spent on Bond's investigation and developing his romance with Swann, to which Bond 25 will have to do all the hard work now in convincing us the two are really that much in love. There are highlights including an awesome fight with Mr. Hinx on the train and the opening 'one-take' shot. But, considering Craig and co. had the rights to play with SPECTRE and all involved for the first time in over 30 years for the franchise it's a shame this film was so poor. Indeed, it really is a case of a missed opportunity.
22. YOU ONLY LIVE TWICE
Connery's fifth 007 adventure isn't a franchise high-point either, with it's campy gadgets, slow pace and Connery's performance which is so worn and blasé that it's clear he'd given up by 1967. Donald Pleasance's Blofield is a delight, the opening scene in which Bond is killed is masterful and unique and although a little over-the-top, the final showdown of the battle in the Volcano lair is engaging and entertaining. Japan as a backdrop makes a nice change too but isn't exploited in the way it should have done. However, this a point where the series once again shows signs of having lost it's gritty, realistic and narrative based routes as a cold-war spy thriller, and this is indeed a shame.
Yes, this is the most recent Bond film and featuring on of the better Bond actors. However, for the high standard of films Craig pulled out (Casino Royale, Quantum of Solace, and the first half of Skyfall are faultless), this is a terrible disappointment. It suffers from a terrible screenplay, poorly paced, with gaping plot holes and a reliance on silly gags reminiscent of the Moore era to which Craig's Bond has established he is completely different from in the previous films. Mendes direction is boring, and the film is just so slow (even the action feels like a drag) that two and half hours feels like 5 hours. I still stand by the idea that the whole third act in London (which is the poorest bit of the franchise since Die Another Day) should have been scrapped with Bond ending at Blofield's desert base. This would have given more time to be spent on Bond's investigation and developing his romance with Swann, to which Bond 25 will have to do all the hard work now in convincing us the two are really that much in love. There are highlights including an awesome fight with Mr. Hinx on the train and the opening 'one-take' shot. But, considering Craig and co. had the rights to play with SPECTRE and all involved for the first time in over 30 years for the franchise it's a shame this film was so poor. Indeed, it really is a case of a missed opportunity.
22. YOU ONLY LIVE TWICE
Starring: Sean Connery
Release date: 1967
Directed by: Lewis Gilbert
Connery's fifth 007 adventure isn't a franchise high-point either, with it's campy gadgets, slow pace and Connery's performance which is so worn and blasé that it's clear he'd given up by 1967. Donald Pleasance's Blofield is a delight, the opening scene in which Bond is killed is masterful and unique and although a little over-the-top, the final showdown of the battle in the Volcano lair is engaging and entertaining. Japan as a backdrop makes a nice change too but isn't exploited in the way it should have done. However, this a point where the series once again shows signs of having lost it's gritty, realistic and narrative based routes as a cold-war spy thriller, and this is indeed a shame.
19. DIAMONDS ARE FOREVER
Starring: Sean Connery
Release date: 1971
Directed by: Guy Hamilton
Another Connery flick towards the bottom, but nothing really to do with the man himself as he's responsible for some caulkers too. However, it's clear that of the four film's Guy Hamilton directed in the series, I don't appreciate his campy and over-the-top style which puts all four right at the bottom. But, much like You Only Live Twice this is another waste of what is actually a decent narrative, filled with an excellent car chase through Las Vegas, a tense sequence of Bond breaking into Blofield's skyscraper and a gritty elevator fight scene. But, Connery has truly passed his sell-by date (especially playing Bond) and following the gritty, personal and emotional On Her Majesty's Secret Service, this film's choice of taking Bond to the depths of humour at all costs means it's lacklustre in comparison. Not even a Bassey theme song (full of innuendo if you listen carefully) can save this one, even if Connery did use his fee to give to charity.
Another Connery flick towards the bottom, but nothing really to do with the man himself as he's responsible for some caulkers too. However, it's clear that of the four film's Guy Hamilton directed in the series, I don't appreciate his campy and over-the-top style which puts all four right at the bottom. But, much like You Only Live Twice this is another waste of what is actually a decent narrative, filled with an excellent car chase through Las Vegas, a tense sequence of Bond breaking into Blofield's skyscraper and a gritty elevator fight scene. But, Connery has truly passed his sell-by date (especially playing Bond) and following the gritty, personal and emotional On Her Majesty's Secret Service, this film's choice of taking Bond to the depths of humour at all costs means it's lacklustre in comparison. Not even a Bassey theme song (full of innuendo if you listen carefully) can save this one, even if Connery did use his fee to give to charity.
18. TOMORROW NEVER DIES
Starring: Pierce Brosnan
Release date: 1997
Directed by: Roger Spottiswoode
After Goldeneye and it's lease of new life it sparked into the series, Brosnan loses it for the first time here with this lacklustre follow up. Okay, it's dark, has some engaging sequences and a still game Brosnan in the lead role, but it's reliance on over-the-top action, cheap humour and a poorly constructed narrative do not make this stand up well. It's troubled production is it's best excuse for what is really another missed opportunity, in that had the story been there and the direction right this could have really hit the mark. But, it didn't.
After Goldeneye and it's lease of new life it sparked into the series, Brosnan loses it for the first time here with this lacklustre follow up. Okay, it's dark, has some engaging sequences and a still game Brosnan in the lead role, but it's reliance on over-the-top action, cheap humour and a poorly constructed narrative do not make this stand up well. It's troubled production is it's best excuse for what is really another missed opportunity, in that had the story been there and the direction right this could have really hit the mark. But, it didn't.
17. A VIEW TO A KILL
Starring: Roger Moore
Release date: 1985
Directed by: John Glen
Now, this went up drastically in my ratings on a re-watch as even though as a whole package, Moore's curtain call is still one the weaker entries to the franchise there are many positives which not only make it a better made film that those below, but also worth noting is that it is actually entertaining even when it is falling a little flat. Firstly, Duran Duran's theme is one of the franchise's best and truly something when the credits kick in. Furthermore, Paris and California make interesting and engaging new settings for a well-travelled franchise and it's narrative is actually pretty solid. Yes folks, this film's problem is not story related but it's reliance on over-the-top scenarios (Bond on the fire engine, Bond's car still driving after being cut in half) and silly humour that don't match tonally. Zorin is an excellent villain and one of the only true menaces in the series, and the action is continually gritty, engaging and full of suspense and high-stakes. Highlights here include numerous hand-to-hand fight scenes, Bond's diving escapade at Zorin's oil mine and a thrilling horse riding race/chase. Also worth noting is Barry's incredible score (he never puts a foot wrong in the series).
Now, this went up drastically in my ratings on a re-watch as even though as a whole package, Moore's curtain call is still one the weaker entries to the franchise there are many positives which not only make it a better made film that those below, but also worth noting is that it is actually entertaining even when it is falling a little flat. Firstly, Duran Duran's theme is one of the franchise's best and truly something when the credits kick in. Furthermore, Paris and California make interesting and engaging new settings for a well-travelled franchise and it's narrative is actually pretty solid. Yes folks, this film's problem is not story related but it's reliance on over-the-top scenarios (Bond on the fire engine, Bond's car still driving after being cut in half) and silly humour that don't match tonally. Zorin is an excellent villain and one of the only true menaces in the series, and the action is continually gritty, engaging and full of suspense and high-stakes. Highlights here include numerous hand-to-hand fight scenes, Bond's diving escapade at Zorin's oil mine and a thrilling horse riding race/chase. Also worth noting is Barry's incredible score (he never puts a foot wrong in the series).
16. LIVE AND LET DIE
Starring: Roger Moore
Release date: 1973
Directed by: Guy Hamilton
Moore's debut is by far an improvement on Connery's final comeback in Diamonds Are Forever, and being based on one of Fleming's best 007 stories, this film has some brilliant elements. Highlights include a thrilling boat chase, a very game and funny Sherriff J.W. Pepper, M's visit to 007's apartment and an overall 'refreshing' feel to the franchise. As an advocate for Moore's Bond being up there with the likes of Craig, Dalton and Lazenby (especially from The Spy Who Loved Me onwards), it is always a pleasure to watch his debut entry. And, it is certainly a more pleasurable and entertaining entry than it's successor, although the gender politics and Bond's treatment of the female characters in this one are more than a little uncomfortable to watch as a modern day audience - even more so than some of the earlier Connery's but I digress. Yes, this one works well as a good choice for a Sunday afternoon viewing but not quite worthy enough for that prestigious Friday night spot.
Moore's debut is by far an improvement on Connery's final comeback in Diamonds Are Forever, and being based on one of Fleming's best 007 stories, this film has some brilliant elements. Highlights include a thrilling boat chase, a very game and funny Sherriff J.W. Pepper, M's visit to 007's apartment and an overall 'refreshing' feel to the franchise. As an advocate for Moore's Bond being up there with the likes of Craig, Dalton and Lazenby (especially from The Spy Who Loved Me onwards), it is always a pleasure to watch his debut entry. And, it is certainly a more pleasurable and entertaining entry than it's successor, although the gender politics and Bond's treatment of the female characters in this one are more than a little uncomfortable to watch as a modern day audience - even more so than some of the earlier Connery's but I digress. Yes, this one works well as a good choice for a Sunday afternoon viewing but not quite worthy enough for that prestigious Friday night spot.
15. MOONRAKER
Starring: Roger Moore
Release date: 1979
Directed by: Lewis Gilbert
Okay, this is the one where Bond drives a Gondola through Venice Square and is watched by a double taking pigeon. And yes, this is the one that ends with a Star Wars-esque laser battle in space. However, like Moore's The Spy Who Loved Me, it is actually always entertaining as a Bond flick even if your eyes don't quite believe what your watching - you are captivated for a little over two hours. Firstly, worth noting is the scale of this Lewis Gilbert-helmed flick. It crams so much into it's two-hour runtime that I was left in awe at just how they'd found time to fit it all in, and for that it's worth an amount of credibility. The action sequences in this one are so well constructed and are deeply entertaining - highlights include a thrilling "in-camera" skydive in the opening sequence, Bond's battle with Jaws atop a cable car in Rio and Corinne's gruesome pursuit and death at the hands (or paws) of Drax's hungry dogs (indeed, this sequence is a master and fits tonally into a Dalton entry than an earlier Moore). And, like it's predecessor, Moore's humorous and debonair style is very entertaining to watch and helps us enjoy moments which would otherwise have us going "have they really taken Bond into space?" with a big sigh. The film may have "missed, Mr Bond" on being the perfect entry to quote Drax. But, Bond's reply of "Did I?"certainly stands - give this one another chance folks. It's better than you first thought.
Okay, this is the one where Bond drives a Gondola through Venice Square and is watched by a double taking pigeon. And yes, this is the one that ends with a Star Wars-esque laser battle in space. However, like Moore's The Spy Who Loved Me, it is actually always entertaining as a Bond flick even if your eyes don't quite believe what your watching - you are captivated for a little over two hours. Firstly, worth noting is the scale of this Lewis Gilbert-helmed flick. It crams so much into it's two-hour runtime that I was left in awe at just how they'd found time to fit it all in, and for that it's worth an amount of credibility. The action sequences in this one are so well constructed and are deeply entertaining - highlights include a thrilling "in-camera" skydive in the opening sequence, Bond's battle with Jaws atop a cable car in Rio and Corinne's gruesome pursuit and death at the hands (or paws) of Drax's hungry dogs (indeed, this sequence is a master and fits tonally into a Dalton entry than an earlier Moore). And, like it's predecessor, Moore's humorous and debonair style is very entertaining to watch and helps us enjoy moments which would otherwise have us going "have they really taken Bond into space?" with a big sigh. The film may have "missed, Mr Bond" on being the perfect entry to quote Drax. But, Bond's reply of "Did I?"certainly stands - give this one another chance folks. It's better than you first thought.
14. THE WORLD IS NOT ENOUGH
Starring: Pierce Brosnan
Release date: 1999
Directed by: Michael Apted
This is probably one of the most forgotten and underrated Bond flicks of the entire series and yes one that's grown on me with every new watch. Here's the thing. This film is solidly "good", with no "absolutely corking" moments or "absolutely s**t" low points either which means that it has no real flaws to find, and passes as an entertaining 007 adventure. It's Asian setting and political themes surrounding oil which form the basis of the villain's plans not only feel very topical for the turn of the 21st century but also refreshingly different from anything else at this point in the series. Despite being one of my least favourite Bond's, Brosnan does well with the material given to him which constitutes to a sturdy performance. And, it's nice to see a 007 flick with Brosnan which is less reliant on gadgets, and this one does that allowing Bond to weasel his way out of scenarios using his skill and stamina which is excellent. Other highlights include an incredible 15-minute opening sequence, a refreshing narrative expansion with M's role and a brilliant three-dimensional character in Elektra King whose performance by Sophie Marceau is a knockout. Yes, the theme song is Garbage (pun very much intended) but hey, this one is better than you remember.
13. THUNDERBALL
Starring: Sean Connery
Release date: 1964
Directed by: Terence Young
Here's one I didn't really appreciate too much before a recent viewing. But, I will tell you that upon somewhat hesitantly removing myself from the sofa as the credits played I was suitably impressed. This is one, much like The World Is Not Enough just below on the list, is actually pretty flawless. Yes, there was nothing narrative, performance or comedic wise I could really identify as a black mark to it's name. I think the fact that Dr. No and From Russia With Love director Terence Young returned to the series is a big factor, merging his gritter and more realistic Bond style with a bigger budget now afforded to him. The result is a truly entertaining 007 entry, with a brilliant story (one of the closer one's to Fleming's original), a gritter and less gadget reliant Bond and one of the best 'puns' of the series; Largo challenges Bond to a shootout competition and upon making a remark about the choice of gun presented to him Largo states "You know a lot about guns, Mr. Bond", only for Bond to reply "No, but I know a lot about women". Highlights include a tense sequence of SPECTRE stealing two Nuclear bombs from a plane, Bond's escape through the junkanoo and an amazing underwater set piece (which is very impressive considering it's production in 1964). I would be more than happy to watch this along with a handful of entertaining entries in the series as something to unwind too. Folks, this one is worth your time.
Here's one I didn't really appreciate too much before a recent viewing. But, I will tell you that upon somewhat hesitantly removing myself from the sofa as the credits played I was suitably impressed. This is one, much like The World Is Not Enough just below on the list, is actually pretty flawless. Yes, there was nothing narrative, performance or comedic wise I could really identify as a black mark to it's name. I think the fact that Dr. No and From Russia With Love director Terence Young returned to the series is a big factor, merging his gritter and more realistic Bond style with a bigger budget now afforded to him. The result is a truly entertaining 007 entry, with a brilliant story (one of the closer one's to Fleming's original), a gritter and less gadget reliant Bond and one of the best 'puns' of the series; Largo challenges Bond to a shootout competition and upon making a remark about the choice of gun presented to him Largo states "You know a lot about guns, Mr. Bond", only for Bond to reply "No, but I know a lot about women". Highlights include a tense sequence of SPECTRE stealing two Nuclear bombs from a plane, Bond's escape through the junkanoo and an amazing underwater set piece (which is very impressive considering it's production in 1964). I would be more than happy to watch this along with a handful of entertaining entries in the series as something to unwind too. Folks, this one is worth your time.
12. OCTOPUSSY
Starring: Roger Moore
Release date: 1983
Directed by: John Glen
Hardly Moore's all time high, this penultimate outing for Moore's 007 incarnation has worked it's way up the list every time I've re-watched it. Indeed, although it contains cringeworthy and blatant racism, becomes a little too goofy in it's comedy and self-mockery and loses it's largely coherent narrative by the mid-act climax (third act), this isn't a bad entry all things considered. Glen continues the gritty action and cold-hearted nature of Bond from 'For Your Eyes Only' and Wilson and Maibaum's unique script does adapt Fleming's short of the same name in a clever way by linking Cold War politics with Indian culture and a Faberge egg. Highlights include the opening plane chase in Cuba, 009's pursuit by the knife-wielding brothers-turned-assassins and the auction house scene. Overall, an entertaining and gritty Bond adventure that should have been Moore's swan-song.
11. SKYFALL
Starring: Daniel Craig
Release date: 2012
Directed by: Sam Mendes
Just missing out on a spot in the top ten is Craig's third outing as 007, which still holds the place as the first Bond I saw at the cinema (the first one I was old enough to see at the cinema) and one I have a soft spot for. On the positive side, Mendes' created one of the most beautiful and cinematic-looking entries in the franchise and a bigger role of Judi Dench's 'M' allows the series to make use of one Britian's finest actresses. Standouts include a pulse-pounding opening ten minute chase through Istanbul on foot, cars, bikes and trains and Bond stalking an assassin through the neon-lit darkness of Shanghai. Also worth a shout out is the courtroom shoot-out and the original re-introductions of 'Q' and Moneypenny, especially Q's disclaimer to Bond that all the crazy gadgets have been replaced by a "gun and a radio". However, what prevents this film climbing higher up the list is the gapping plot hole at heart of it's narrative - namely Silva's plan is so unrealistic and based on miracle worthy luck that it unhinges what is a very decent first 45 minutes. It's a shame, but sometimes the sky does fall.
10. DR. NO
Starring: Sean Connery
Release date: 1962
Directed by: Terence Young
Who can make a top ten Bond list without including where the soon to be 25 film saga first began? Well, certainly not me! This 1962 classic is one of the more faithful adaptions to Fleming's original books of the whole series, and it's depiction of Bond as a "00" with a licence to kill and no regrets is truly refreshing to watch as a modern day audience considering some of the out of this world (literally) scenarios Bond's been put into since. Highlights include obviously Honey Ryder's emergence from the sea (and her original depiction of the classic Bond woman) and Bond setting up and then executing Professor Dent in a realistic hitman manor. Okay, the plot and pacing becomes a bit too slow and unmoving during the second/third act, especially for a modern day audience used to a little more in our action/adventures, however at the time this would have been the bee's knees of action and for that it's worth appreciating it. Iconic, yes. Known by name, yes. Remembered well, no. That's why this one should always be up there for Bond fans. It's where Bond, became, well...Bond.
Who can make a top ten Bond list without including where the soon to be 25 film saga first began? Well, certainly not me! This 1962 classic is one of the more faithful adaptions to Fleming's original books of the whole series, and it's depiction of Bond as a "00" with a licence to kill and no regrets is truly refreshing to watch as a modern day audience considering some of the out of this world (literally) scenarios Bond's been put into since. Highlights include obviously Honey Ryder's emergence from the sea (and her original depiction of the classic Bond woman) and Bond setting up and then executing Professor Dent in a realistic hitman manor. Okay, the plot and pacing becomes a bit too slow and unmoving during the second/third act, especially for a modern day audience used to a little more in our action/adventures, however at the time this would have been the bee's knees of action and for that it's worth appreciating it. Iconic, yes. Known by name, yes. Remembered well, no. That's why this one should always be up there for Bond fans. It's where Bond, became, well...Bond.
9. THE SPY WHO LOVED ME
Starring: Roger Moore
Release date: 1977
Directed by: Lewis Gilbert
Moore finds his feet in his third outing and gives us the best entry since Lazenby's On Her Majesty's Secret Service at this point in the series. Indeed, Moore's performance is one of his better ones here, combining his youthfulness (although he was about 50), with style, elegance and that infectious comedic personality that he brings to 007. The introduction of Jaws, the infamous Lotus 'swimming' car, a hate/love relationship with Barbara Bach's Soviet agent, a thrilling ski chase culminating with that jump from the cliff and some of the best lines like "When one's in Egypt, one must delve deeply into it's treasures" are some of the many entertaining highlights from this entry. Again, it's quite flawless actually and never ceases to be anything but entertaining, which is the bar for any new Bond film to meet, right? Although this is one of the most loved Bond's of the series and it's due credit for getting the franchise back into the critical good books after it's...well, appalling predecessor...do believe the hype surrounding this one. Indeed, it shows that nobody can do it better than a Bond flick.
Moore finds his feet in his third outing and gives us the best entry since Lazenby's On Her Majesty's Secret Service at this point in the series. Indeed, Moore's performance is one of his better ones here, combining his youthfulness (although he was about 50), with style, elegance and that infectious comedic personality that he brings to 007. The introduction of Jaws, the infamous Lotus 'swimming' car, a hate/love relationship with Barbara Bach's Soviet agent, a thrilling ski chase culminating with that jump from the cliff and some of the best lines like "When one's in Egypt, one must delve deeply into it's treasures" are some of the many entertaining highlights from this entry. Again, it's quite flawless actually and never ceases to be anything but entertaining, which is the bar for any new Bond film to meet, right? Although this is one of the most loved Bond's of the series and it's due credit for getting the franchise back into the critical good books after it's...well, appalling predecessor...do believe the hype surrounding this one. Indeed, it shows that nobody can do it better than a Bond flick.
8. GOLDENEYE
Starring: Pierce Brosnan
Release date: 1995
Directed by: Martin Campbell
Now, I don't rate Brosnan's incarnation as Bond and would actually deem it the worst portrayal of the British spy out of them all (although not through any fault of his own per say). And, until a re-watch recently I would have given you a funny look if you told me this was a "good" 007 entry which many Bond fans do argue. But, I can say I agree with you. Following the gritty outing of Licence to Kill this one does keep along those lines - it is surprisingly very dark with a mass shooting of innocent Russian control workers and a brutal assassination of an interrogator to name a few sequences. And, it's nice to see Bond being kept within Fleming's darker roots for the character as he is actually a hitman and killing people isn't really a fun or pleasant thing to do or witness. Also, worth noting is Campbell's direction. In simple terms, he directs the hell out of this movie and it truly is one of the best directed entries in the series - just see the car chase between Bond's DB5 and Onatopp's Ferrari F355 towards the beginning. Bond is more reliant on his skills than gadgets again which is always makes him more heroic, it's narrative is relatively original and solidly told, and Bond is actually shown investigating, spying and doing more than just jumping off helicopters. Also, his relationship with Isabella Scorupco's Natalya is actually really well told - to the point that it gives time to set up their chemistry which invests us in their 'true' love relationship which leaves us wanting to see more of the pair of them when they fly away at the end - it's a shame they didn't continue developing that over Brosnan's era. Also, the scene on the beach where Bond is showing anxiety (yes, anxiety!) over his final mission to kill Trevelyan is our first glimpse of a personal and emotionally-vulnerable Bond to which Craig would go further with in Campbell's Casino Royale - it is great to see. This one works well folks and is well worth the love it's given.
Now, I don't rate Brosnan's incarnation as Bond and would actually deem it the worst portrayal of the British spy out of them all (although not through any fault of his own per say). And, until a re-watch recently I would have given you a funny look if you told me this was a "good" 007 entry which many Bond fans do argue. But, I can say I agree with you. Following the gritty outing of Licence to Kill this one does keep along those lines - it is surprisingly very dark with a mass shooting of innocent Russian control workers and a brutal assassination of an interrogator to name a few sequences. And, it's nice to see Bond being kept within Fleming's darker roots for the character as he is actually a hitman and killing people isn't really a fun or pleasant thing to do or witness. Also, worth noting is Campbell's direction. In simple terms, he directs the hell out of this movie and it truly is one of the best directed entries in the series - just see the car chase between Bond's DB5 and Onatopp's Ferrari F355 towards the beginning. Bond is more reliant on his skills than gadgets again which is always makes him more heroic, it's narrative is relatively original and solidly told, and Bond is actually shown investigating, spying and doing more than just jumping off helicopters. Also, his relationship with Isabella Scorupco's Natalya is actually really well told - to the point that it gives time to set up their chemistry which invests us in their 'true' love relationship which leaves us wanting to see more of the pair of them when they fly away at the end - it's a shame they didn't continue developing that over Brosnan's era. Also, the scene on the beach where Bond is showing anxiety (yes, anxiety!) over his final mission to kill Trevelyan is our first glimpse of a personal and emotionally-vulnerable Bond to which Craig would go further with in Campbell's Casino Royale - it is great to see. This one works well folks and is well worth the love it's given.
7. FROM RUSSIA WITH LOVE
Starring: Sean Connery
Release date: 1963
Directed by: Terence Young
Any film that opens with 007 being killed is worth a spot in the top 10, right? Well, Connery's second outing as 007 is a caulker folks! Mixing cold war politics, with a typical 60's Hollywood romance, well staged action and true old-fashioned spy stuff makes this one of the series' stronger entries. For a modern day audience, this one is probably a little more entertaining as it's bigger budget allows room for greater visual spectacle and more thrilling, expansive action sequences than it's predecessor Dr. No (like that boat chase), and thus why this one makes it's way a little further up the list. We start to see a little more of SPECTRE in this one and that's always a welcome treat. Highlights include Bond's fight with Grant on the train (one of best fights in the series) and several great sequences combining slower, spying-like activities with thrilling action (Bond's plan and execution to blow up the embassy and then their escape is truly full of stakes, spectacle and suspense which makes it very engaging). Bond's portrayal as a cold-blooded agent and spy amongst an era of heightened tensions with Russia makes this a classic and a little treasure in the series. Just remember what type of wine you have with white fish though!
Any film that opens with 007 being killed is worth a spot in the top 10, right? Well, Connery's second outing as 007 is a caulker folks! Mixing cold war politics, with a typical 60's Hollywood romance, well staged action and true old-fashioned spy stuff makes this one of the series' stronger entries. For a modern day audience, this one is probably a little more entertaining as it's bigger budget allows room for greater visual spectacle and more thrilling, expansive action sequences than it's predecessor Dr. No (like that boat chase), and thus why this one makes it's way a little further up the list. We start to see a little more of SPECTRE in this one and that's always a welcome treat. Highlights include Bond's fight with Grant on the train (one of best fights in the series) and several great sequences combining slower, spying-like activities with thrilling action (Bond's plan and execution to blow up the embassy and then their escape is truly full of stakes, spectacle and suspense which makes it very engaging). Bond's portrayal as a cold-blooded agent and spy amongst an era of heightened tensions with Russia makes this a classic and a little treasure in the series. Just remember what type of wine you have with white fish though!
6. LICENCE TO KILL
Starring: Timothy Dalton
Release date: 1989
Directed by: John Glen
Timothy Dalton's two Bond entries are two of the best and most underrated in the series, and no disrespect to all the other actors, but his Shakespearian roots really do show in the details of his performance of 007 which put him in different league to all as a purely, top quality actor. His second and sadly last outing is about on par with The Living Daylights and the only reason why it's at six and not any higher is that everything above is pure perfection in that they have no faults and provide the highest quality entertainment with the more realistic, personal Bond depictions. This one's narrative by Maibaum and Wilson, is exceptional, adult, pacey and unique, with Bond's pretence of growing close to the villain an unusual and excellent story for the series, and the backdrop of Mexico and a truly "rogue" Bond being new territory too. The death of Leiter's wife Stella and the harm that comes to him from "something that disagreed with him" is really potently handled and Dalton's portrayal of how this effects Bond is truly mesmerising. The darker aspects of this flick do bring to series the closest to Fleming's books in terms of tone than anything else in the series and it's nice to actually see people die and get hurt the way they actually do in real life. Robert Davi's villain is one of the best in the series, Robert Brown's short but deeply impactful final appearance as M is a delight, and the action including that amazing tanker set piece in the third act exceed the mark every time. I cannot really put into words how good this film is, but seriously folks if you like Craig's gritter and darker entries, then you'll absolutely enjoy this one. And, who can forget that amazing theme song!
Timothy Dalton's two Bond entries are two of the best and most underrated in the series, and no disrespect to all the other actors, but his Shakespearian roots really do show in the details of his performance of 007 which put him in different league to all as a purely, top quality actor. His second and sadly last outing is about on par with The Living Daylights and the only reason why it's at six and not any higher is that everything above is pure perfection in that they have no faults and provide the highest quality entertainment with the more realistic, personal Bond depictions. This one's narrative by Maibaum and Wilson, is exceptional, adult, pacey and unique, with Bond's pretence of growing close to the villain an unusual and excellent story for the series, and the backdrop of Mexico and a truly "rogue" Bond being new territory too. The death of Leiter's wife Stella and the harm that comes to him from "something that disagreed with him" is really potently handled and Dalton's portrayal of how this effects Bond is truly mesmerising. The darker aspects of this flick do bring to series the closest to Fleming's books in terms of tone than anything else in the series and it's nice to actually see people die and get hurt the way they actually do in real life. Robert Davi's villain is one of the best in the series, Robert Brown's short but deeply impactful final appearance as M is a delight, and the action including that amazing tanker set piece in the third act exceed the mark every time. I cannot really put into words how good this film is, but seriously folks if you like Craig's gritter and darker entries, then you'll absolutely enjoy this one. And, who can forget that amazing theme song!
5. CASINO ROYALE
Starring: Daniel Craig
Release date: 2006
Directed by: Martin Campbell
This is one of the best written Bond scripts ever written (and I've read it so I should know as a screenwriter myself) and of course we all know that the action sequences, love story with Vesper, comedic yet serious tone and Craig's darker, more physical and personal performance are all highlights. Campbell's direction is stylistic when it needs to be (the poker scenes for example, with fancy camera moves, smooth framing and a slower editing rhythm), but also freer and grittier during the action scenes/disturbing moments (like the stairwell fight, which are brutal, well-paced and immersive). He's combined the rough style of Forster in Quantum of Solace (fast-paced) with Mendes' polished and stylistic style of Skyfall and Spectre (slow and drawn-out), and this allows the film to get the best of both worlds, whilst retaining a sense of pace. I don't need to sell this one to you, and it's ranking of five doesn't mean it's worse than those above. Rather, that all in the top five are about as good as one another.
This is one of the best written Bond scripts ever written (and I've read it so I should know as a screenwriter myself) and of course we all know that the action sequences, love story with Vesper, comedic yet serious tone and Craig's darker, more physical and personal performance are all highlights. Campbell's direction is stylistic when it needs to be (the poker scenes for example, with fancy camera moves, smooth framing and a slower editing rhythm), but also freer and grittier during the action scenes/disturbing moments (like the stairwell fight, which are brutal, well-paced and immersive). He's combined the rough style of Forster in Quantum of Solace (fast-paced) with Mendes' polished and stylistic style of Skyfall and Spectre (slow and drawn-out), and this allows the film to get the best of both worlds, whilst retaining a sense of pace. I don't need to sell this one to you, and it's ranking of five doesn't mean it's worse than those above. Rather, that all in the top five are about as good as one another.
4. ON HER MAJESTY'S SECRET SERVICE
Starring: George Lazenby
Release date: 1969
Directed by: Peter Hunt
Again, one of the most loved yet underrated entries in the series. Yes, the screenplay is solid and Bond and Tracey's sincere yet complex love relationship is refreshing and well-handled. Bond is shown going undercover, investigating and actually being a proper spy/hitman. It's darker, grittier aspects may have gained it greater respect since Craig made the style popular, but I've always treasured this one as one of the better ones. The action is thrilling, engaging but kept in check - it's focus of stunt work, characterisation and editing to achieve immiscibility (rather than larger than life spectacle) make this one of the better entries (just see that amazing ski chase from the Piz Gloria). Lazenby gets a lot of stick for his once and done portrayal of Bond, but he's underrated, handling himself well during the action whilst having a vulnerability to his performance when the drama (or love) gets serious. The fact that Bond's relationship with a girl actually ends in sincere marriage (albeit in Tracey's death) rather than a one night stand to extract information makes this a truly unique 007 film and one that should gain a lot of credit for that alone. So much to mention and little time, but if for nothing else appreciate this one for Barry's amazing theme at the very least folks!
Again, one of the most loved yet underrated entries in the series. Yes, the screenplay is solid and Bond and Tracey's sincere yet complex love relationship is refreshing and well-handled. Bond is shown going undercover, investigating and actually being a proper spy/hitman. It's darker, grittier aspects may have gained it greater respect since Craig made the style popular, but I've always treasured this one as one of the better ones. The action is thrilling, engaging but kept in check - it's focus of stunt work, characterisation and editing to achieve immiscibility (rather than larger than life spectacle) make this one of the better entries (just see that amazing ski chase from the Piz Gloria). Lazenby gets a lot of stick for his once and done portrayal of Bond, but he's underrated, handling himself well during the action whilst having a vulnerability to his performance when the drama (or love) gets serious. The fact that Bond's relationship with a girl actually ends in sincere marriage (albeit in Tracey's death) rather than a one night stand to extract information makes this a truly unique 007 film and one that should gain a lot of credit for that alone. So much to mention and little time, but if for nothing else appreciate this one for Barry's amazing theme at the very least folks!
3. QUANTUM OF SOLACE
Starring: Daniel Craig
Release date: 2008
Directed by: Marc Forster
This will seem like a very controversial choice for third place, but as mentioned the top five are all on par with each other really (the order is just to compile a ranking list). Forster is an outstanding filmmaker, having appreciated his storytelling eye in many of his incredibly works and the fact that he's made such a good Craig Bond adventure despite the numerous problems in production should give him the most credit really. When taken as a 1970's-style, revenge thriller this hits the mark, showing a broken and tormented Bond in-line with Dalton and Fleming's depictions of the agent and offering us that darker, grittier and realistic angle on a 007 adventure that I most enjoy. We get a hell of a ride with action (a foot, boat, plane, car chase taking place on earth, water, fire and air) and Craig's adamance to do his own stunts elevates this as every time he hits a wall it makes me wince as it looks like it hurt. The story, and yes, there is a story there, works well, even if it isn't the most extensive and combines the political issues of 2008 of water, oil and the environment, with a personal vendetta reminiscent of Licence to Kill. Okay, it's the least traditional of the Bond flicks but that's what makes it so unique to the series, and works especially well as the sequel and concluding chapter to Casino Royale. It's pace is excellent and Olga Kurylenko's Camille is one of the best Bond women of the series - she's independent, proactive, strong, yet emotionally vulnerable and she relies on Bond for support as much as he does to her which is great to see. This is a rare case where what many see as a troubled production dooming it, actually made it a quality film for a reason. Okay, yes it does owe its style to Bourne and okay the unused theme song by Ava Almer is far superior to Jack White's theme used in the film, but hey get of this film's back people and actually appreciate this for what it is.
This will seem like a very controversial choice for third place, but as mentioned the top five are all on par with each other really (the order is just to compile a ranking list). Forster is an outstanding filmmaker, having appreciated his storytelling eye in many of his incredibly works and the fact that he's made such a good Craig Bond adventure despite the numerous problems in production should give him the most credit really. When taken as a 1970's-style, revenge thriller this hits the mark, showing a broken and tormented Bond in-line with Dalton and Fleming's depictions of the agent and offering us that darker, grittier and realistic angle on a 007 adventure that I most enjoy. We get a hell of a ride with action (a foot, boat, plane, car chase taking place on earth, water, fire and air) and Craig's adamance to do his own stunts elevates this as every time he hits a wall it makes me wince as it looks like it hurt. The story, and yes, there is a story there, works well, even if it isn't the most extensive and combines the political issues of 2008 of water, oil and the environment, with a personal vendetta reminiscent of Licence to Kill. Okay, it's the least traditional of the Bond flicks but that's what makes it so unique to the series, and works especially well as the sequel and concluding chapter to Casino Royale. It's pace is excellent and Olga Kurylenko's Camille is one of the best Bond women of the series - she's independent, proactive, strong, yet emotionally vulnerable and she relies on Bond for support as much as he does to her which is great to see. This is a rare case where what many see as a troubled production dooming it, actually made it a quality film for a reason. Okay, yes it does owe its style to Bourne and okay the unused theme song by Ava Almer is far superior to Jack White's theme used in the film, but hey get of this film's back people and actually appreciate this for what it is.
2. FOR YOUR EYES ONLY
Starring: Roger Moore
Release date: 1981
Directed by: John Glen
Talking of underrated Bond films, most ignore this entry in Moore's tenure and I can't understand why. Like all in the top five, Bond is darker, more realistic and focussed in this outing and Wilson and Maibaum's screenplay greatly adapts the short story and other elements of the Fleming books with masterful skill giving us one of the best told Bond stories in the series. That narrative twist with Bond being made to believe his supposed ally is actually the villain is unexpected, the pace is tight and like Quantum of Solace allows us to whittle through the adventure with no time wasted on unnecessary things - just see Bond skipping a briefing and going straight into the field. Also, the details make this a solid entry - including Bond consulting a map to find out where he's going (making him more human and realistic) and refusing to sleep with Bibi because of her young age (more morally acceptable for our modern day and more forward thinking society). The action is top class (including that impressive mountain climbing climax which truly makes Bond a hero in my eyes) and the time given to develop Melina's motives, character and relationship with Bond (which doesn't start out as sexual, but more professional) is refreshing and laying the ground for Craig and Dalton's first two outings. Highlights include that amazing car chase in that little yellow car, Sheena Easton's incredible theme song and Bill Conti's score (Barry was responsible for so many excellent scores, but in his absence, Conti cements himself up there with Barry's best). Also, this film shows that Moore is actually a good actor - showing a darker Bond, but one still with humour that hits the mark every time. Carol Bouquet is always a delight, as is that damn parrot and it's interaction with Thatcher at the end. Guys, this is unarguable as the second best in my books with the other three below fighting it out for spots three, four and five.
1. THE LIVING DAYLIGHTS
Starring: Timothy Dalton
Release date: 1987
Directed by: John Glen
So, we've made it folks! That's right, Dalton's debut entry is the best - and my favourite - Bond outing ever. Yes, it's one of the first ones I watched as a child and always one I would indulge in from a very young age so it's got some personal favouritism on it's side. But, this one is truly the best in my opinion. Dalton's performance is too die for and the gravitas and integrity he brings to the role puts him in a different league to every one else to have stepped into the tuxedo. He did his own stunts way before Craig did, and it shows. After three amazingly directed films, John Glenn has found his rhythm and delivers on the action front (from one of the best opening sequences to that amazing showdown at the Russian Airbase) but also in showing us a personal, darker Bond and a sincere love relationship that develops with Kara. Wilson and Maibaum are the best screenwriters on Bond, and when they work together (For Your Eyes Only, Octopussy, The Living Daylights and Licence to Kill) they always deliver the best stories in the series. In this one, they show Bond being a true hitman (without the gore of Licence to Kill) and gives time to set-up a serious love he develops with Kara (the Venice sequence at the fair for example) which allow his pursuits of women to be more meaningful than just a pretty face to accompany him. It's political themes and relevance to the era, in terms of soviet defections and the Afghanistan war give it a realism, and it is brave enough the have a whole action scene without Bond present (the safehouse attack) which is truly unique. A-ha's theme is top class, Barry's score is one of his best and his work with the Pretenders is exceptional. A variety of locales from the dark streets of East Europe, to snowy Austria, to the scorching desert provide a true sense of adventure and the darker but not gory and more light hearted tone than it's successor make this a film that all the family can enjoy of the Dalton era. And, to top it all off, this contains the best Bond moment of all time. During the car chase in Austria, Bond says "Time to leave" and accelerates his Aston Martin from the interior of a fishing shed as it explodes behind - truly badass!
So, there you have it guys! My list of Bond films is completed and please leave comments below - I'd be interested to hear where you agree with me (and don't!). As I've mentioned the top five are pretty much as good as one another and minor discrepancy's in ranking throughout the entire list are bound to be expected between my list and yours. However, I believe my ranking is accurate to the quality of Bond I believe in, although I'll admit that I prefer the darker more realistic entries than the campier, larger-than-life outings (if you prefer the latter then the likes of Connery and the ones directed by Guy Hamilton might be higher on your list, but hey we're all entitled to our opinions). But, having revisited the Bond series, I've opened up some instalments I'd have previously knocked-off without a thought to future viewing - and the key I've learnt is to go into every one with an open mind. Go try it for yourself and you never know how much more you might find in the franchise we all love! My key rule has been even if it's not great are you still entertained. If the answer is yes, then it has done it's job and deserves your time in the future.
Let's see how high Craig's (final?) instalment can make it up that list when it comes out in cinemas in April of next year (2020). Will it make it into the top five? Top ten? Will it be better than SPECTRE? For everyone's sake, let's hope f'**king so!!
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