Every James Bond movie ranked from worst to best
To mark No time to die, we’ve categorized every James Bond movie – for your eyes only, of course.
In 2002, Bond fans didn’t realize they were saying goodbye to Pierce Brosnan with Die another day. This week is another story, with fans easily anticipating the chronic and momentous delay. No time to die, Daniel Craig’s last outing in 007. After 15 years in the tuxedo, it’s time to say goodbye.
It was a definitive era for the franchise; not just for his box office movies, but the actor really did evolve Bond for a new generation. He will be remembered as one of the greatest, if not the greatest, in the character’s history.
To celebrate the release of the 25th film in the series, we’ve ranked each film from worst to best. However, we only included the “officials”, so don’t expect to find David Niven’s one. Casino Royale Where Never say never, Sean Connery Thunder clap remake with Taliafilm. Pour yourself a martini – shaken, not stirred, watch out – and sit back.
In the grip of the writer’s strike, the weight of his predecessor’s success and the ugly and faltering leadership, Quantum of Consolation is a frenzied mess of a movie that feels totally at odds with itself. Also, Another way to die is a crisp song, but a terrible Bond theme.
Roger Moore is at the heart of Bond’s story, nurturing a great sense of humor and thrills. Alas, Octopus can be high if we just categorize the names, but it’s too generic, silly, and makes the actor run like a clown – literally.
With Sean Connery making his way through an unexpected and exorbitant return to the role after On Her Majesty’s Secret Service, Diamonds are forever represents Bond at his leanest; an unnecessary and sleepy reset with all the movement and little fun.
21. The world is not enough
As a loyalist and apologist for Brosnan, I have no pleasure in declaring The world is not enough like his worst movie; a handful of dazzling moments (the pursuit of the Thames) are lost in the ether of his post-watch amnesia – seriously, can you perfectly recall what’s going on, except for the gluttony of the double senses? “I thought Christmas only came once a year. “
Perhaps Brosnan’s most notorious outing; although not without its own charms, like the actor’s sultry charisma, the nerve to open up in North Korea and the invisible car (yes, I like it!), it looks a lot like a leap out of time. . Note that even for the time, the CGI was awful – lest we forget the infamous surf tsunami.
Moore’s latest adventure as Bond lacks the usual zing of his run. At 58, her age manifested itself in overuse of stuntmen, and there is only a general lack of life, aside from a compelling climax, an unbalanced Christopher Walken and Grace Jones, and the big theme of Duran Duran.
For critics of Moore, Just for your eyes should have marked the reversal of the tide. With a return to a variation on realism, abandoning outrageous theatricality for a more serious mission, it’s a fascinating, at times thrilling, segment of his tenure. It just wasn’t enough.
The one where James Bond goes into space, basically, and Jaws biting down on the cable car. There is fun to be had in a very familiar and unspectacular way, although the gargantuan runtime really does dampen awe of the massive and impressive sets of its time.
Not just for Bond, but You only live twice – the result of a dubious and no less novel storyline by Roald Dahl – defines for nerdy B-movie (and Austin Powers) cinema: the villain’s lair in a volcano; the crafty spaceship plot for east and west; and Donald Pleasance’s iconic Blofeld, stroking the cat and scoring.
Spectrum is particularly painful. Having crafted one of the best Bond films of all time, Sam Mendes managed to keep all the style without Roger Deakins – seriously, it’s a beautiful film – but fumbled around its muddled plot. Dave Bautista’s henchman is the culmination of an emotionally compelling, but overall disappointing effort.
Early Bond films are products of their time – so try rolling with an uncertain start and enjoy a Bond classic, with its pioneering underwater footage, jet pack, a pool with sharks, and Connery running. at its maximum magnetism 007. It’s all downhill from here.
Roger Moore’s beginnings are distinctive, even if they are equally divisive; a blaxploitation-influenced actor who takes Bond from 1970s Harlem to the Caribbean, crossing alligators and battling voodoo. One thing cannot be denied: this Paul McCartney and Wings theme strikes hard above them all.
12. The man with the golden gun
Three words: Christopher Lee, Scaramanga. The man with the golden gun may be a discreet Leap – despite its pre-Die another day solar powered laser – but it’s one of Moore’s most memorable, pitting 007 against the world’s best assassin, with psychedelic flourishes, martial arts attempts and this car stunt.
Timothy Dalton always deserved better. His Flemish interpretation of Bond is not only the most precise, but also that of a seductive and incisive charisma. It’s a shame his first of the two doesn’t go up as high as it should – despite a blinding opening streak with an all-time revealing shot – but it’s still an underrated introduction to the one of the largest. Also, A-Ha!
Has he aged the worst, or the best? Cries of “fake news” now conjure up a toupee-tinted eye roll, but Jonathan Pryce’s Elliot Carver is an evil villain for today’s age of dice / disinformation. That, and it’s an exciting Bond adventure with Brosnan at the height of his powers and one of my favorite openings in the franchise.
The crème de la crème of Moore’s era, featuring a mind-blowing ski jump, a Lotus Esprit S1 submarine, Richard Kiel as Jaws and the actor at his highest purr level. For a moment, I felt like no one was doing better.
Who needs an opening song when you have the eternal and cool John Barry theme? With a dragging Scottish signature and just enough ruthless tact to be mean and hot, Connery’s movie-changing debut as the world’s favorite spy would never be reproduced; only imitated and remodeled.
From Russia with love opens like a Impossible mission film, apparently killing Bond in his first few minutes, before revealing he was a masked henchman. As an adaptation, it emotionally captures Fleming’s original novel, with an elegant and exhilarating grip on its brash and thrills and Connery arguably at its most serious, before more silliness sets in.
6. On Her Majesty’s Secret Service
George Lazenby was not the best Bond; handsome, yes, but without Connery’s mind. Yet in his one shot for the role, he landed one of the best films to honor the series; romantically resonant, heartbreaking and in terms of pure craftsmanship, almost unmatched. This shouldn’t be just for “purists” – it’s just plain good. Don’t worry, we have plenty of time for people to catch up.
Dalton was definitely ahead of his time. Before Quantum of Consolation sloppy Bond in revenge mode, License to kill sees him become a thug in pursuit of Robert Davi’s electric drug lord, Franz Sanchez. With the franchise’s first and only 15 rating, it’s deliciously shabby, violent, and sharp. It’s still the lowest grossing movie in the series – aren’t people just the worst?
You can focus on moments and components, but The golden finger is the reason for Bond’s cultural ubiquity. This is the 007 we know by heart: the first appearance of the Aston Martin DB5; ordering martini; the first major theme of Shirley Bassey; a henchman called Pussy Galore; and arguably the best line, “Do you expect me to speak?” “” No, Mr. Bond, I expect you to die. “
Craig’s third outing is the box office king of the franchise, the first to surpass one billion. It’s the finest Bond film ever made, thanks to the devastating cinematography of Roger Deakins, but even with the conveniences of the plot, you desperately need to exile yourself from any consideration, Fall from the sky makes his thematically epic and slyly radical tale seem classic.
Four years after Brosnan rode a sea of CGI waves, Casino Royale opened with not one, but two grim black and white assassinations. Craig challenged the naysayers with a barnstorming start that feels just as fresh and exciting on your 100th watch as it did on your first; this will remain the benchmark by which all first year obligations are measured. There is always a palpable sense of event cinema, from the cannon shot to “The name’s Bond, James Bond”.
In Golden eye, Brosnan chases a car through Moscow in a tank, drifting around street corners and demolishing walls, vehicles and buildings in its wake. After a fall, he pulls himself together, adjusts his tie and continues his run. This golden moment is the very essence of James Bond.
The Irishman brought in a bit of everything: Connery’s feminization, Moore’s gadgets, Dalton’s manhood, all while adding his own signature charm. He’s not the bully we’d see later in Craig, but a more sophisticated, suave commander. From that jaw-dropping bungee jump to “For England, James?” ‘No, for me’, a legend was born.
No Time To Die hits UK cinemas tomorrow, September 30th.