By Brett Blake It’s been one week since the release of SPECTRE, the latest entry in the James Bond franchise, and the reaction to that film has continued to grow more and more polarized. Admittedly, it’s even taken me some time to fully work out my feelings about it, but that process led me to ponder its placement in the overall series. And that, in turn, led to this article, which hopes to definitively rank the entire 007 saga. All 24 official entries, as well as the 2 “unofficial” movies to feature the character from rival studios. Hardcore Bond fans may disagree with elements of this ranking, but hey, it’s my list and I’ll rank ‘em where I want to. I have tried to embrace brevity as much as possible, so in-depth dissections of each film will not be found here; rather, I’ve tried to sum up (as concisely as possible) why the film ranks where it does in my opinion. It’s also worth noting that, aside from the first 3 films I’ll be talking about, I genuinely like all of these movies quite a bit, despite the criticisms I will level at them. With that said, shake up those martinis and let’s dive in! #26. DIE ANOTHER DAY (2002) The worst of the worst. While it has a legitimately great and unique first act (dealing with Bond being captured and held by North Korea for 14 months), it soon devolves into cartoonishness of the worst sort, including invisible cars, horrifying CGI, a villainous superweapon ripped off from an earlier Bond film, and the worst title song ever courtesy of Madonna; nothing could make your ears bleed faster than that rubbish. #25. A VIEW TO A KILL (1985) To be fair, there are good elements in this one, particularly Christopher Walken’s delightfully unhinged villain and the top notch title song from Duran Duran. But it really all comes down to this: Roger Moore is just too old to still be playing James Bond at this point, and all of the romantic and seduction scenes are simply cringe-worthy. The villain’s plot being a straight rehash of GOLDFINGER doesn’t help, either. #24. CASINO ROYALE (1967) This first adaptation of Ian Fleming’s original Bond novel is a pure spoof, and though it boasts a truly incredible cast (headlined by the likes of Peter Sellers, David Niven, Orson Welles, and Woody Allen), the screenplay is an incomprehensible mess, with a plotline that is nearly impossible to follow, a result of the script essentially being written on the fly (by no less than 10 writers) to accommodate the rapidly-changing whims of the movie’s 5 (!) directors. It does have an entertaining score from Burt Bacharach, and a superb song in the form of Dusty Springfield’s “The Look of Love.” #23. TOMORROW NEVER DIES (1997) Pierce Brosnan’s second outing as 007 is in no way offensively bad, nor is the storyline a mess. Instead, it’s just kind of boring. The action doesn’t have much vitality, the editing is sluggish and doesn’t enhance the excitement, and Jonathan Pryce’s villain - though entertainingly hammy in fits and starts - feels incredibly low stakes and silly. #22. THE MAN WITH THE GOLDEN GUN (1974) This adaptation of Fleming’s final Bond novel bears little resemblance to it, and while Christopher Lee is easily a “Top 10” Bond villain, his character is not well-served by the screenplay, which tries - and fails - to balance a harder edge with moments of extreme camp. Roger Moore is also curiously inert here, playing a version of 007 markedly different from the one he played in his first attempt the previous year. #21. OCTOPUSSY (1983) One of the guilty pleasure installments, OCTOPUSSY has some great moments (the pre-title action scene is a ton of silly fun), and it wisely gives Roger Moore a more age-appropriate leading lady in Maude Adams’ title character, but the plot is pure nonsense: a rogue Soviet general, in cahoots with an Indian nobleman and an all-female troupe of circus performers (you read that right), plots to detonate a nuclear weapon on a NATO base, while also selling fake works of art on the side to finance the operation. Not only do those various strands NOT really line up in the final film, the labyrinthine scheme is too clever by half. #20. THE WORLD IS NOT ENOUGH (1999) The movie is undeniably entertaining and lushly photographed, but the storyline - which is supposed to see Bond letting his guard down with a woman and getting burned in the process - doesn’t land. It also squanders Robert Carlyle as the villain; despite having a great gimmick (he can’t feel any pain!), the movie barely makes use of this, and instead turns the character into something of a lovesick dupe by the end. THE WORLD IS NOT ENOUGH also has one of the series’ worst female leads in the form of Denise Richards’ Christmas Jones character. #19. DIAMONDS ARE FOREVER (1971) Though DIAMONDS ARE FOREVER, for whatever reason, has a vaguely low-rent, sleazy sort of vibe (a side effect of being mostly set in Las Vegas, perhaps?), the movie features perhaps the funniest, wittiest screenplay of the entire series, with one-liners and throwaway gags that are genuinely hilarious. It undercuts the menace of series archvillain Blofeld in ways that might not sit right with fans of the novels or the earlier movies, and it completely drops the ball in exploring the ramifications of the climax of the previous film, but it’s still a grand old time. #18. THUNDERBALL (1965) Connery’s fourth film in the series was hyped as “The Biggest Bond Of All!” and it certainly was up to that point. This was the film that truly established the franchise as a huge cultural phenomenon. The filmmaking is very strong, and it features one of the prototypical espionage plots of the era: a terrorist group (SPECTRE, in this case) holding the world ransom. The only thing keeping THUNDERBALL from being ranked a bit better is that some of the underwater action sequences go on too long and border on monotony. #17. NEVER SAY NEVER AGAIN (1983) Connery returned to the James Bond character after a 12-year hiatus with this “unofficial” movie, made possible by some very complicated rights issues surrounding the storyline of THUNDERBALL. As such, this is basically a remake of that film, and it’s about equally as good, getting only a slight edge because Connery, despite his age, seems to be having a bit more fun here than in THUNDERBALL, and because Klaus Maria Brandauer’s villain is one of the very best Bond antagonists. #16. QUANTUM OF SOLACE (2008) A much-maligned film, this second Daniel Craig entry works best when viewed as an extended epilogue to his first. The action is edited to within an inch of its life, and the plot - involving a threat to Bolivia’s water supply (good heavens!) - is almost comically small and inconsequential. However, as a thorough examination of Bond’s mental state following the events of CASINO ROYALE, it’s a very worthwhile entry. #15. YOU ONLY LIVE TWICE (1967) This is the film where Sean Connery’s growing disinterest with the character starts to show in his performance, which is pretty much the only thing holding this one back from being a top tier entry. Outside of that, it’s got incredible sets and locations, an absolutely lovely title song from Nancy Sinatra, and Donald Pleasence doing iconic work as Ernst Stavro Blofeld in that character’s first full appearance in the franchise (he’d been only seen, literally, in the shadows up to that point). #14. MOONRAKER (1979) The James Bond series fully embraced camp with MOONRAKER, without a doubt the silliest installment to date; I mean, it features a finale set on a space station and involving a laser-gun shootout between floating fleets of astronauts! Few movies in the series embody the idea of “Go big or go home” more than this one. It is gleefully entertaining, and makes no apology for how goofy it is. An acquired taste, to be sure, but MOONRAKER is an essential example of the series’ versatility in terms of tone. #13. LIVE AND LET DIE (1973) Roger Moore’s first installment is one of his best, with a fairly low-key drug smuggling plotline that strikes a nice balance between humor and serious stakes. Moore is still finding his footing a bit, but he’s a confident and charming presence, and the undercurrent of voodoo mythos gives LIVE AND LET DIE a unique flavor. The title song, courtesy of Paul McCartney and Wings, is killer, too. #12. LICENCE TO KILL (1989) Until the arrival of Daniel Craig, LICENCE TO KILL was by far the darkest and most hard-edged Bond film, seeing Timothy Dalton’s 007 out for revenge after his close friend, Felix Leiter, is maimed by a ruthless drug kingpin (played incredibly well by Robert Davi). Some criticize the movie for trying to ape typical ‘80s action flicks, but Dalton’s determination to take down the villain is thoroughly compelling, Davi is one of the best heavies of the series, and series stalwart Q figures into the plot in a bigger way than he ever had before, which adds some needed moments of humor. This is one of the most underrated of the whole franchise. #11. SPECTRE (2015) Here it is! Time will, I think, be fairly kind to SPECTRE once those with higher expectations come to grips with what the movie really is. In many respects, this is Daniel Craig’s first “traditional” Bond entry, and on that level it really succeeds. Craig is clearly having a blast as a looser version of 007, and it’s great to see the SPECTRE organization return to the series (after a 44-year absence!), despite some misgivings about how that comes about. #10. FOR YOUR EYES ONLY (1981) This is, by far, the most Ian Fleming inspired film of Roger Moore’s tenure. Coming immediately after the excesses and camp of MOONRAKER, the decision was made to literally return to the ground with a nifty (and fairly plausible) espionage tale about a race between British Intelligence and the Soviets to track down a missing missile command system. There’s still a lot of humor, certainly, but the stakes are high, both on personal and geopolitical levels, and the action is great and varied, with car chases, shootouts, tense mountain climbing sequences, and an extended section of snow-based action that is alternately suspenseful and rousing. #9. DR. NO (1962) The one that started it all. From Sean Connery’s first moment onscreen, he IS James Bond. Fully formed. Dangerous, charming, roguish. The plotline unfolds at first as a mystery, one which builds up the titular Dr. No as a deeply sinister individual, which pays off totally when we meet him in the third act. Joseph Wiseman doesn’t get much screentime as No, but he’s instantly memorable and chilling. Equally memorable is Ursula Andress as Honey Ryder, the prototype for many of Bond’s leading ladies to come. #8. GOLDENEYE (1995) Pierce Brosnan ushers James Bond into the 1990s with this, his first and best time in the driver’s seat. The storyline is clever in the way it incorporates real global events (in this case, the collapse of the Soviet Union) into the plot, and it fully makes the case for Bond’s relevance in a post-Cold War world. As good as Brosnan is here (and he certainly is), he’s equally matched by Sean Bean’s villain, a complex character with genuine motivations that are not (entirely) based on megalomania or personal greed. If only Eric Serra’s unique, ultra-synthy score had a bit more of the traditional Bond swagger… #7. THE LIVING DAYLIGHTS (1987) Timothy Dalton’s first crack at James Bond was a welcome breath of fresh air immediately following A VIEW TO A KILL, and right from the first sequence, Dalton establishes his version of 007 as a lethally competent operative with sharp edges. The plot is classic (and complex) spy stuff, and it finds Bond having to navigate several different groups, each with conflicting agendas, and the result is totally engrossing. Like LICENCE TO KILL, this is one of the most underrated entries of the series, and Dalton is certainly the most underrated James Bond. #6. THE SPY WHO LOVED ME (1977) The archetypal Bond film, THE SPY WHO LOVED ME is the one where everything clicks into place for Roger Moore. The result is gloriously entertaining, a huge-scale spectacle involving Bond literally trying to stop the destruction of mankind. Moore is at his wittiest and most charming here, creating a version of James Bond who is absolutely unflappable in any situation. The production design is exceptional, Richard Kiel’s Jaws arrives and becomes one of the best henchmen of the series, and the big moment at the end of the pre-title sequence is one of the most striking stunts in cinema. #5. GOLDFINGER (1964) When asked to name a Bond title, this is probably the one most would jump to. The film is simply packed with a staggering amount of truly iconic stuff, from the title character himself, to Oddjob, the mute and lethal henchman who throws his steel-rimmed hat, to the woman covered in gold paint, to the Aston Martin DB5 that’s tricked out with all sorts of gadgets, including an ejector seat. In many ways, this is the purest example of what a “classic” Bond adventure looks like, and it features Connery at his most cool and badass. It’s a ridiculously engaging and entertaining romp. #4. CASINO ROYALE (2006) Daniel Craig burst onto the scene with this high-powered reboot of the series. Taking the bulk of its plot faithfully from Ian Fleming’s first James Bond novel (something no 007 film since 1969 could really say), the movie updates Bond for the 21st century, imbuing him with a level of pathos not seen before. Craig’s handle on the character is instant and iconic in this movie, and he’s backed up by fantastic performances from Eva Green and Mads Mikkelsen, both of whom bring a complexity of character not often found in standard Bond leading ladies and villains. #3. SKYFALL (2012) This film takes the foundation of character examination that started in Daniel Craig’s first two entries and runs with it, crafting a serious look at James Bond, the man, and how his relationships impact both himself and those around him. The cinematography is jaw-droppingly stunning, the action is a ton of fun, and Javier Bardem’s Silva feels like a classic 007 villain, albeit one with modern and psychologically rich motivations. I’ve heard tell that some fans of the series complain that SKYFALL “tries hard NOT to be a James Bond movie,” but I completely disagree; I think it satisfies on the level that the best of the franchise do, but it also adds a very satisfying human and emotional layer not often present in other Bond films. #2. ON HER MAJESTY’S SECRET SERVICE (1969) This is the big one. The one starring “that other James Bond guy,” George Lazenby, in his only attempt at the role. Based on arguably the strongest of Fleming’s novels, the film is impeccably produced. Gorgeous cinematography, legitimately stunning locales, and - for the time - extraordinary action; the final 40 minutes are stupendous, both for the level of action contained therein (we’ve got two ski chases, a car chase, an aerial assault on Blofeld’s Alpine lair, complete with 007 leading a team of commandos against Blofeld’s SPECTRE thugs, and a bobsled chase/brawl between Bond and Blofeld!), but also for the level of emotion. This is the first time we see Bond actually fall in love, and the implications of that are fully explored. Toss in John Barry’s score (one of the best ever written), and you’ve got a behemoth of a movie. Those who appreciate the Daniel Craig movies should immediately track this one down, because it’s operating on a very similar level, thematically and emotionally. #1. FROM RUSSIA WITH LOVE (1963) A movie that is endlessly rewatchable. Other Bond films are funnier, others are splashier and more glamorous, others are simply “bigger,” others have higher thematic concerns, but none of them quite have the kind of chemical mixture found in this one, which features a delicious espionage plot (SPECTRE tries to pit the Soviets and the British against each other using a high-tech decoding machine as bait, while also attempting to exact personal revenge against 007 for the events of DR. NO), a host of colorful characters (on all sides), and a sense of unfolding mystery that the series never really tried to replicate again. Robert Shaw, as henchman Red Grant, is marvelous, and his scenes with Connery pop with an energy that can’t be matched; their big fight aboard a train is quick, brutal, and tense, and it remains one of the great movie fights of all time. This is one of the few James Bond movies that works first and foremost as a spy thriller, without great reliance on gadgets or gimmicks, and the film is all the stronger for it.
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