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Agreed, and the same is true for yours. Looking forward to reading more.
Thanks @Thunderfinger. I shall probably continue later.
Enjoyed your write-ups as well @Roadphill!
And in all honesty, it's almost impossible to agree on 20+ films anyway. That being said, one of the great aspects of being a Bond fan, is that there is always room for everyone's opinion :)
@GoldenGun of course. The only ones that seem to be universally agreed on are OHMSS and FRWL, the rest are topsy turvy...
It’s not so much the silliness of Die Another Day that bothers me — as my list will show, I enjoy plenty of silly Bond movies — but how un-Bond like this feels to me in both content and execution. Despite its Fleming core, using Moonraker as a base, DAD warps that very good story into something closer to a sci-fi original movie and slathers it under a layer of shoddy digital effects to complete the picture. This is probably the only Bond movie I don’t even get a modicum of enjoyment from. Everything from the power armor and genetic wackiness to Jynx just feels utterly out of place.
24. A View to a Kill
This final Moore entry jettisons even the spy-chic and colorful travelogue elements that made even his weaker entries more enjoyable, and replaces them with a drab setting and low-brow humor (Bond gets whipped in the groin by an antenna, how amusing!). Add on subpar action scenes and Moore’s far to advanced age and this one is a stinker for me, mostly propped up by Walken and Jones, and of course on of Barry’s strongest scores.
23. Tomorrow Never Dies
I shouldn’t dislike this one as much as I do. It’s a technically competent Bond movie, I just find it extremely lacking in any sort of identity. Brosnan’s amalgamation portrayal of Bond and the plot being the three-times reheated leftovers of YOLT don’t help at all.
22. Spectre
Spectre is the longest James Bond movie and it certainly feels it. Despite trying to inject some of the humor and tropes of classic Bond back into the franchise, this feels like a stodgy and tired entry. Craig seems either bored by the material, or ill-suited to the Connery style unflappable portrayal of Bond. The story gets mired in stupid twists that try way too hard to make things personal. The action scenes, train fight aside, feel lifeless. The beautiful scenery is all slathered in a beige filter that makes every location feel identical. There are still things to enjoy here, mostly in the first half, and I appreciate them trying to bring a 60's flair to this, but overall it's a dud.
21. Moonraker
This one is only twice reheated leftovers of YOLT! Extremely silly, often in a grating way, but there's still quite a bit to like. The locations are vibrant and colorful, Ken Adam's sets are amazing, and Hugo Drax is a very solid villain. It's bloated and dumb, but hard not to enjoy on some level.
20. Octopussy
John Glen is a great action director but often struggles with the visuals. Much like View to a Kill he was saddled with a too-old Moore so the action isn't all it could be (though the third act is pretty wonderful) and he makes beautiful locations like India look as though they've been filmed outside a strip-mall. The plot is also just about incomprehensible, but I appreciate it as a relatively more grounded Moore entry, and the third act is quite a bit of fun with some amazing stunts.
19. Never Say Never Again
A lesser Thunderball and it lacks all the iconic Eon Bond elements, but it's hard not to have fun with Connery back in the role and seemingly more eager and fit than he was in his last appearance. Largely dull, but I do really like Klaus Maria Brandauer as Largo (more so than the kind of bland original), who plays the role seething with psychosis and insecurities.
18. The World is Not Enough
A pretty uneven entry with some of both the weakest and strongest elements of Brosnan's run. It tries to add more psychological complexity and personal stakes to the film compared to Tomorrow Never Dies, and hits some real highs among all the lows. Most of the setpieces are pretty forgettable but the PTS is really fantastic.
17. Diamonds are Forever
Easily Connery's weakest entry. Connery didn't seem to care one iota, and the movie is beyond silly...but the silliness is kind of charming at times making this a fun watch even though it's fairly shoddy. But even amongst the shoddiness there are glimmers of Bond greatness, like the brutal elevator fight and the car chase in downtown Vegas.
16. The Man With the Golden Gun
This blows up the pulp stylings of LALD to buffoonish proportions, but there's still a bit of Bond's edge here that Moore would file down in later entries that I quite like. I have a real soft spot for this one even if it feels scatterbrained and cheap; there's just too much iconography stuffed in here to not have fun with it, and Scaramanga's a great villain.
15. You Only Live Twice
The template for all the really epic Bond's to come, and though it doesn't fully succeed (it's on the wrong side of Connery's Bond tenure and the hairbrained Japanese disguise stuff or Kissy Suzuki's superfluous role really drag it down) it's a solid Bond epic that was the final codification of Bond's iconography. Love the Japanese setting and the cinematography, music, and sets gently carry me through even the weaker moments.
14. Licence to Kill
This one has been a real grower for me and I suspect it will continue to do so. Though it feels a bit cheap compared to TLD's and I think some of humorous elements feel way too incongruous (especially the sluggish middle with the ninjas), I really love this as a stripped down, and gritty take on Bond that pushes him into unfamiliar territory. Yet it never doesn't feel like Bond, thanks to the pure Fleming touches brought from the LALD novel. It's got a great villain, one of the better non-Barry scores, and the truck chase finale is one of the series' best climactic setpieces.
13. Goldfinger
This has long been in my top 5 and it was only my most recent viewing that pushed it down here. Perhaps I was too tired when I watched it, or wasn't in the mood, but Hamilton's directorial style compared to Young's really put me off what is otherwise a fun and iconic film. I love all the scenes with Goldfinger, he's a top tier villain and this series in general usually sparks when Bond is in "polite" situations with the baddies, and there are so many fun "moments" like the PTS, but it's a drab and comparatively silly come down compared to the Young's Bond films which have more visual flair and better tonal balance. Goldfinger is too iconic and fun to really hold that against it though.
12. Thunderball
Another grower for me. This feels like one of the best compromises between Fleming-esque intrigue and seriousness, with the epic and formulaic elements still to come. The Caribbean setting is perfect and I love the way the film ramps up from spycraft to full on underwater battles. I think with a more charismatic and interesting lead villain, and a better opening act (all the silliest, most contrived, and sexual coercion stuff comes in the first act) this would be a top tier Bond for me. Who knows, maybe it'll get there yet?
11. Quantum of Solace
I totally get the complaints about the cinematography and editing, which in its worst moments really hamper the film, but I think Craig's Bond is really suited to these more stripped down and Brutal stylings. I also really appreciate that in a series of 2+ hour runtimes, QoS clocks in not much longer than 90 minutes and is packed to gills with awesome action setpieces and surprisingly sharp character moments considering the script troubles.
10. The Spy Who Loved Me
The first retread of YOLT! But this one is actually better than the original, and in general is just a sterling production that gives it a really premium and cinematic feel, and is one of the most fun and pure distillations of the Bond "formula". There are certainly negatives: XXX is hamstrung by both Bach's uhhhh not so good performance and a script that turns her and her vendetta against Bond into a joke, as well as a villain who is basically just Blofeld with webbed fingers. But I honestly don't care because this movie is just so fun. The first two thirds in particular just fly by with wonderful moments (nearly everything in Egypt in particular is so good).
9. Live and Let Die
I'm always a sucker for Bond in the Caribbean and LALD delivers the goods. Once again I appreciate the early Moore entries having a bit of a harder edge than he would soften them to, and despite the silliness present in the movie this film is the closest we've come to Bond getting into horror movie territory which gives it a uniquely enjoyable vibe. Beyond that this movie moves very quickly and is filled with awesome action setpieces, and I like Kananga a lot even though the Mr. Big fakery was a braindead decision.
8. For Your Eyes Only
After sending Bond up to space EON brought him back down to earth for his Moore's most grounded entry of his run to spectacular results. Some of the comedic beats feel particularly out of place here and out of every non-Barry scored film I think this one hurts the most, but overall Moore really sells a serious Bond when he wants to. Pound for pound this has some of the best action, and probably my favorite stunts, of the whole series. It's a shame this one seems to be one of the less memorable entries of the series for a lot of people, but for me it's a strong reminder of how good the series can be at blending "realism" with spectacular blockbuster action.
7. Skyfall
Despite moving Craig's Bond into a tonal area I don't think he's quite as well suited for, it's hard to deny Skyfall's appeal. With its exceedingly beautiful compositions, a meaty standalone story for Bond that feels rife with Fleming-esque touches, and is packed with memorable moments. It feels at once unique and very Bondian to its core to me. Some daft choices hold it back from the absolute upper echelon for me, like the too tongue in cheek Komodo dragon bit and Silva's escape with the hacking nonsense, but Skfyall has weathered the years and its outsized acclaim to prove to be a stalwart entry in the series. In some ways this feels like Craig's Goldfinger to me.
6. From Russia With Love
Further evidence that small stakes and scale don't harm a Bond film in the slightest, as this comparatively low-key entry in the series is fraught with suspense. Red Grant, brought to captivating life by the great Robert Shaw, is the highlight here (along with a wonderfully utilized Istanbul) and everything set aboard the Orient Express might be the best Bond has ever been, displaying an acumen for Hitchcockian suspense I wouldn't mind the series using a bit more of. Despite the more grounded and intimate material, it still widens the scope from Dr. No and allows for some wonderfully pulpy material like Blofeld's scenes. Unfortunately the back to back helicopter and boat action scenes following the train sequence are fairly dull both in terms of action direction and dramatic potential. The train sequence was the real climax, and what follows just feels like fillers until Bond takes out Klebb.
5. Dr. No
Connery's first turn as Bond has become my favorite of his lot, with a wondefully bifurcated structure that captures the "dangerous socialite" appeal to the character in the first half, as intrigue and menace are disguised beneath the veneer of polite society, and "pulp hero" in the second half as he adventures across Crab Key island and matches wits and brawn with the wonderfully drawn Dr. No. Though not all the iconography was established, and the lack of a Barry score is regrettable, it feels like such a pure distillation of the character and Connery is at his best. There's a real cold streak to Bond in this one, and his coldhearted killing of Dent is one of his best and most memorable moments.
4. The Living Daylights
Glen's best turn as a director, where he's able to marry a lush and romantic Bondian epic with the hard-hitting action and stunts he excelled at, and fantastic introduction for Dalton's more jaded and weary portrayal of Bond. Neither too over the top nor too realistic, The Living Daylights marries espionage with fantastic action beats, and is all held together by John Barry's most ambitious score that weaves three distinct melodies from three vocal tracks into various leitmotifs throughout the movie, giving each scene and character additional flavor that the script alone doesn't always provide. It loses a bit of steam in the third act and, worse still, the villains (Necros aside) are absolute lightweights, but it's not enough to keep this from being one of my favorites in the series.
3. GoldenEye
Though I'm not terribly fond of Brosnan's Bond portrayal, even I have to admit defeat at the feet of this wonderfully entertaining film. In some ways this feels like a spiritual successor to TLD's -- less romantic in its sweep, but another cold war (or post cold war, in this case) epic that hews a bit closer to action-espionage than sci-fi tinged pulp, and very tonally similar. Like Glen, Martin Campbell is a fantastic action director which is on full display in the PTS, which is just one great and thrilling moment after another. But unlike Glen, Campbell is more adept a director at making non-action sequences visually compelling as well and, unlike TLD, GoldenEye doesn't have a villain deficit problem. All the side villains and henchpeople are fun and vibrant, and Sean Bean's 006 is the most successful "dark mirror" of Bond and provides both a personal angle for the film to latch on to as well as a capable physical foe to let Campbell's action direction shine in the gripping fight in the satellite dish. GoldenEye is proof that no matter that the times, Bond will always be relevant (something I wish the Craig films, as much I enjoy them, would stop relitigating. We already won the case!).
2. On Her Majesty's Secret Service
The only real black mark I have on OHMSS is that its pace is quite baggy, even for a Bond film at times. Okay, got that out of the way. Now to gush about what is otherwise nearly the best of the whole series. But where even to start? People credit Skyfall with being the most beautiful Bond film but for my money it's OHMSS, with a carefully controlled color palette, stunning location filmmaking, and a slightly more avant-garde approach to visuals than the series was used to at this time. The visual experimentation extends to director Peter Hunt's treatment of the action scenes, which blend a chaotic rapid cutting-style with Lazenby's undeniable physicality to create the most brutal and energetic hand to hand combat scenes in the series (and there are a lot of them here too!). But Hunt handles the grander action scenes with aplomb too; I've always been a big fan of ski sequences in the Bond films and they're at their best here with not one, but two big ski chases that are strung together in one long, tense, and geographically coherent escape from Piz Gloria. Speaking of which, Piz Gloria represents the great balance of realism (it was a functional place after all) with the campy 60's pop aesthetic that OHMSS never abandoned despite its more emotionally vulnerable narrative. Within it, Blofeld's angles of death, trippy hypnosis effects, and Blofeld himself (in by far his best portrayal) provide a deliciously pulp backbone to this spy thriller. What's left to mention? Barry's synth inflected score, perhaps his best if not neck-and-neck with TLD, reimagines the classic Bond sounds with a new edge, and adds some terrific action melodies that feel nearly as iconic as the main theme itself. Tracy is the most complex and well realized Bond girl of the series, and is fully respected by the narrative; she's both vulnerable and can hold her own and is excellently portrayed by Diana Rigg. The ending is heartbreaking and perfectly realized, and still remains shocking today. In many ways I wish Lazenby had continued the series, as it was reimagined and revitalized to suit his more physical but slightly naïve Bond. I actually quite like him in the role, and think he could have grown more confident in his acting abilities if he were given more stellar material like this.
1. Casino Royale
Hardly an original favorite entry, but after proving his bonafides with GoldenEye, Campbell returns to reinvent another new Bond in yet another fantastic entry in the series. This time around the team goes back to the Fleming well in a bigger way than they have in a long time and perfectly situates an adaptation of Casino Royale in a larger contemporary thriller. Many of the things I love about OHMSS apply here as well: the action is brutal and exciting (the crane chase sequence has yet to be topped in Craig's era), the romance is layered and believable, and there's a wonderful balance between more grounded spycraft and emotional reality with some of the pulpier elements. What really elevates Casino Royale among the other top tier Bond films is that this time all the excellent craftsmanship, action, directing, and acting is bolstered by the finest script in the series. Much of the dialogue crackles it only has in the past at its very best, and every scene is fraught with tension, themes, and character dynamics that aren't quite so in your face. I particularly like Le Chiffre and Bond's game of one-upsmanship directly targeting one another's ideals of masculinity (which Le Chriffre literally targets in the excruciating but brilliant torture scene, yet even if he had died there Bond comes out the victor in a way only he could). I have extremely fond memories of seeing this in the theater when it came out (it was my second theatrical Bond after DAD, but my first time being involved in the excitement of a new Bond era) but none of the sheen of nostalgia has clouded my enjoyment of the film; each time I revisit it, it feels fresh and vital and a beacon to what James Bond can achieve on the silver screen.
You mean I’m not the only one with good taste??
Unfortunately not. I'm not very talented in writing longer texts in english. But I can sum up that our biggest discrepancies are AVTAK (around #13 for me: I have a weakness for blonde beauties, Moore and Macnee are perfect together, Zorin is crazy, smart and brutal: a very good villain) and TB: while it grows on you it falls more behind in my list with every new watch. It's the only movie that bores me in a few scenes (apart from SP).
8. TLD: A terrific debut from Dalton. He may be the best actor to have portrayed Bond, and the sour, world weary demeanor he lands at the beginning is great. Fantastic action from start to finish, I know John Glen doesn't get a lot of love from Bond fans, but he was really terrific at that. The cargo plane battle with Necros is one of the best stunts in the series, for my money. The only thing that prevents this being higher are the weak trio of villains. Koskov is about as threatening as a Field Mouse, Necros barely speaks, and Whittaker most memorable moment is eating Lobster.
9. YOLT: It's the most parodied Bond of them all, but I still love it. The local feel of Japan is captured fantastically. The locations are lovely. There is some truly epic cinematography. John Barry's soundtrack is second only to OHMSS as his best. And, good grief, Ken Adam was really worth his weight in gold to EON, his work here is some of the best production design in cinema history. Slight downsides, Blofeld's big reveal is something of a disappointment. And, truth be told, Connery is starting to look a little jaded after his tour de force in Thunderball. Overall excellent stuff, still.
10. DN: It looks a touch raw and rough around the edges compared to preceding entries, but it's a classic in its own right. Obviously an iconic first scene with Ursula Andress is a highlight. The locale is used beautifully, Dr No is a memorable villain and although not fully formed, a lot of the tropes we came to know and love are established here.
11. SF: One of the most divisive amongst the fan base, I rather like SF, but I don't believe it's the earth shattering classic, some do. The first half is stunning, And I absolutely adore the cinematography and editing in the Shanghai and Macau scenes, some of the best work, in that respect, of the wholes series. It does lose me somewhat in the second half, though, a lot of the stuff in London and Scotland drags. I do find a little too much of TDK's Joker in Silva. Still a good entry for sure.
12. LTK: Another, like SF that is divisive. Dalton is fantastic again here, and the material really works for his version of Bond. Sanchez is probably in the top 5 villains of the whole series, for me, and Robert Davi is terrific in the role. Some standout direction in the chase/action scenes from John Glen, again. There are a few things to mention that I feel work against it. It's a little far from the mothership, if you will, from what we expect from a Bond film. The violence feels a little gratuitous at times, and it has a bit of a made for TV look. All in all, though I like it, I thinks it a great film, but not necessarily a great Bond film, if that makes sense.
13. GF: I'm sure I will probably be alone in having GF this low, but despite its iconic status, there are a few problems with it. The location use and direction is lacking any flair( a critique I find with all of Guy Hamilton's Bond films) the second half drags till we get to Fort Knox, and how long do we really need to see Bond either get led around as a captive, or in a cell. That being said, there are some moments that stand the test of time, the laser scene, the climax on the plane, the tux under the wet suit. And of course, Goldfinger and Oddjob are as memorable a duo of foes as you could ask for. I certainly don't dislike it, but just feel it's bettered by its immediate predecessor and successor.
14. LALD: What a strange film this is. It looks relatively cheap, the villainy is very, very racially insensitive, it has a couple of the most ridiculous side characters the series has ever given us, yet...I still rather like it. Roger Moore in Harlem is an amusing juxtaposition, and his hilarious non reaction to all the Voodoo nonsense around him, always gets me. The crocodile scene is a fun standout, and Tee-hee is an underrated henchman. The less said about Kananga, and the way he is despatched, the better, mind.
my most recent watch of it. It had been top 5 for me before.
Thanks @GoldenGun . I still really like all these. The only ones I'm not a fan of are my bottom 4/5 so it will probably be a deeper dive on them.
@SomethingThatAteHim Im glad there are more of us than I thought! I still like the film, of course. The issues often get overlooked by some Bond fans, though.
Still, loving these posts!
1. Goldfinger: After the almost Hitchcockian vibes of FRWL, GF subverts it’s predecessor’s compelling plot with an almost blockbuster follow up. Aside from the dull Kentucky stud farm scenes that tend to stick out like a sore thumb and drag the pace of the plot, Connery’s charisma and presence drives proceedings forward. Add two of Connery’s memorable one liners ("Shocking" and "Oh, he blew a fuse"), the iconic Aston Martin DB5, Oddjob and his steel rimmed hat, and Shirley Bassey’s bombastic (and, arguably, her best) theme, and you have the quintessential Bond film.
2. Casino Royale: Picture the opening PTS: A murky noir-style setting sees Daniel Craig’s Bond earn his 00 status. One innovative gun-barrel shot later and Chris Cornell’s theme kicks in. In short; 007 is reborn. And how. The perfect antithesis to the over the top and bloated carnival of Die Another Day, the franchise returns to the Fleming novels and eschews one liners and outlandish plots for gritty realism and exhilarating action. Beautiful locations, excellent screenplay, Martin Campbell’s solid cinematography, a sinister Mads Mikkelsen, a wince-inducing torture scene, and a career best Bond girl performance from Eva Green. Her chemistry with Craig is magnetic and electric. And, at times, their romance feels believable. Not many Bond girls since Diana Rigg in OHMSS can say they won 007’s heart. Craig, for all the criticism he received when he got the role, reinvigorates the character with stunning intensity. CR does for Bond what Batman Begins did for Batman - brings the franchise back to basics for a new generation.
3. GoldenEye: The most modern of Bond films. Bringing 007 into a post Cold War Era may have been challenging in the hands of a lesser known man, but Brosnan does more than enough on his debut to make 007 feel relevant and charismatic in an ever changing world. Sean Bean provides dark charisma as 006, Famke Janssen oozes sociopathic and sadistic femme fatale menace, the tank chase (Originally a horseback chase) is one of the most insane action set pieces that rivals the adrenaline soaked antenna cradle punch-up between Bond and Trevelyan, and Eric Serra’s unique electronic score divides opinion. Overall, GE is a brilliant return to form after the franchise went away for 6 long years.
4. The Living Daylights: Part espionage thriller, part romantic adventure, this is a solid debut for Dalton. His cold, intense, stern, and brooding demeanour are a stark contrast to the fun-loving and tongue in cheek antics of the Roger Moore era, but his portrayal is a much needed breath of fresh air. An intriguing and labyrinthine plot, an excellent opening PTS scene, a slick looking Aston Martin, a fantastic score (the Chrissie Hynde track played over the closing credits is classy), and top notch cinematography and locations give way to a third act that loses a lot of steam, Maryam d’Abo is a weak Bond girl, and the villains - Koskov is about as intimidating as a house cat and Whitaker feels like a background character - are equally disappointing. That doesn’t stop TLD from being an entertaining entry in the series.
5. From Russia With Love: This was were Connery really started to hit his stride. Razor-sharp, and gimmick free, with a plot that is backed up, by arguably, the best fight in the film series between 007 and Red Grant aboard the Orient Express. As well as a beautiful Bond girl in Daniela Bianchi, who provides the perfect feminine Yin to Connery’s charismatic Yang. To some people, the plot seems a little slow in places, but that really shouldn’t distract from the suspense and drama that unfolds as Connery turns in his best performance as 007.
Next 5 coming up tomorrow - hopefully!
15. TND: A decent second outing for Broz. I think, with this one, they tried to make a 90's action film melded with the traditional Bond elements. By and large, it succeeded at that. The finale goes a bit far into gun toting Jon Woo territory, mind. Fantastic stunts throughout. I'm probably in the minority, but I very much enjoy Jonathan Pryce's scenery chewing as Carver, even if his motivation is somewhat ridiculous. My only real gripes with the film are Teri Hatcher's sleepwalk of a performance and the aforementioned final action scene. Decent but far from spectacular.
16. MR: It's a fun film, but good lord is it daft. Took everything that was great about TSWLM and dialled the notch up to 11, which was too far, for me. Bond in space was always going to happen at some point, I suppose. The sly humour of Sir Rog almost makes it work. I love the opening scene, and the cinematography, as in all of Lewis Gilbert's films, was fantastic. Ditto Ken Adam, who to this day may be the greatest production designer in cinema history. I could have done without the second appearance of Jaws here, as he is little more than comic relief. It would also be remiss of me not to mention the 'dial a henchman' scene. It was Austin Powers before it was cool! Seriously though, what on earth where the producers thinking with this scene? And who was Drax actually on the phone to?
17. AVTAK: This film would probably be lower on the list, where it not for the incredibly off putting performance of Christopher Walken as Zorin. He really is spectacular in this, and belongs at the summit of Bond villains. Unusually for Moore's Bond, he seems to truly detest Zorin. This provides some real crackle to their scenes together, and despite his advanced years, I think Sir Rog really brings it when he is opposite Walken. Aside from the finale atop the Golden Gate, the action is pretty weak. I still think the sight of Bond cooking a quiche and getting manhandled between the sheets by Mayday are some of the most bizzare of the series.
18. OP: I like it, but not as much as some. The location work in India is nice, and Maud Adams second appearance in Bond as the titular character, is far more effective than her first. Her and Moore have great chemistry, too. Louis Jordan is amusing foil, but so completely non threatening he should probably have been despatched earlier in the film. To think this film sets the record for worst Bond disguise ever (Crocodile) then immediately breaks it 30 minutes later (Clown).
19. TMWTGG: We are getting towards the Bond films I have a hard time enjoying, now. This film feels so much like a missed opportunity. If they jettisoned the guff about the Solex, and simply had a game of cat and mouse between Scaramanga and Bond across the world, it would have been far more interesting, and unique. Scaramanga is, of course, a great villain, and there is genuine mention in the finale at his lair. The problem is much of the lead up is average, at best. The karate school scenes are embarrassing ( apart from kicking the 'boss' in the face while he's bowing, that cracks me up). The return of JW Pepper is about as welcome as prostate exam from Captain Hook. Thumbs slightly down.
20. SP: How did this go so wrong? The return of Blofeld is completely botched by the nonsensical 'foster brother' stuff. The tone is constantly veering from left to right. Sam Mendes seems incapable of directing action here, too. Surely it's harder to fail generating any excitement from a scene with a wingless plane careering down a mountain after Spectre villains than it is to get it right? Somehow he cracked it. The cinematography was at equal points beautiful and ugly. I will concede that Hinxs was a nice throwback henchman, and the fight with him and Bond on the train is excellent. Still a big disappointment, especially after the buzz of SF.
25. Never Say Never Again (1983)
There's just something that feels cheap and off and wrong about this one. Nothing particularly memorable. I don't like Basinger. I appreciate Connery's commitment to the role, but by and large this just has always played to me as a sort of "revenge movie" for McClory and nothing more and it really shows. I don't really know where else to put this. It's neck-and-neck with some others down here at the bottom.
24. Spectre (2015)
Cinematographically quite pretty if you can ignore some of the color grading issues. Hoytema shoots this really well. Craig is good in some spots and lackluster in others. The cast is fantastic. So what went wrong? I think this is just the classic issue of wanting to check the boxes of the formula but not really realizing what it is about the formula that is so successful/entertaining/rewarding for audiences. If that makes sense? Also, as good as the cast is, many do not give particularly good performances (I absolutely despise Waltz's Blofeld and I know a big part of that is the horrible plot/script's fault re: his character but at least some of the blame has to fall on his shoulders). Even worse is the movie falls apart before the third act, which is probably the single most embarassing third act in franchise history. The whole thing just feels rote, tired, uninspired, and like it doesn't have a clue why it is doing a "classic" Bond film (and even then, they can't help themselves with the shoehorned "it's personal!" angle). The action is also pretty lame. Just a boring film. Period.
23. The World Is Not Enough (1999)
For years this ranked dead last. And it's less my growing dislike of SP and more my newfound (minimal) appreciation for this one. On the viewing before last I couldn't find anything redeemable here. On this most recent viewing, while my issues remain, I could at least appreciate elements. Overall though this is a soggy non-committal and cowardly film that has almost the exact opposite problem that SP does: they're trying to do something new, but they can't help falling back on formulaic crutches, and weak ones at that. Look no further than them feeling the need to include Denise Richards' "Bond girl" rather than developing the Bond Elektra dynamic more and going all-in on the Bond girl that turns out to be the villain. I see that as a microcosm of the film's issues at-large. If you want more explanation I'll be happy to give it. There are upsides (Renard / Elektra dynamic, aspects Bond / Elektra dynamic in theory without the soggy soap opera stuff, the wardrobe, cinematography isn't bad).
22. Die Another Day (2002)
I'm always surprised when I end up putting this one so low. Unlike the previous two, this one is at least never boring, even if its reasons for not being boring aren't particularly good ones. I genuinely think the first half is borderline great (don't shoot me). I think Brosnan is as good as he ever got in the role here. I adore Rosamund Pike and she makes the latter half intermittently watchable. Tamahori brings a lot more energy than Apted did, and I honestly don't blame him for taking a gonzo and juvenile script and amplifying it up to 11. At least it is playing to the screenplay (which, my god, does it get bad). DAD embraces its absurdity and camp whereas TWINE attempts to play it off as an adult drama which just results in unintentional comedy. All this is to say the gap between 22 and 23 is a lot larger than the numbering would suggest. Oh and btw, all the stuff people usually talk about with this one: Halle Berry, dialogue, the last half, the villain swap, the CGI, the tidal wave, the robo-cop stuff, the lasers -- yes, it is all that bad. Which is why it lands here.
21. Licence to Kill (1989)
Again, considerably better than the one before it on this list in terms of having no *egregious* issues. But, as I've gone on record saying many times before, this just doesn't feel like a Bond film to me more often than not, and so it loses a lot of points. I really want to love this one, because there are so many amazing elements and momeents here. Dalton is great. The action is *superb.* I like Sanchez if I distance myself a bit from him. This is a movie I am open to growing on me. It just feels way, way too American. And Bond films have a standard to live up to in terms of production value and this just isn't anywhere near that. The cinematography and lighting are frequently abysmal, and it takes way too much influence from its American "peers" in the action genre. Incredible supporting cast, though. This one could grow on me, and I hope it does, if I can overlook the stuff that really weighs it down.
20. Quantum of Solace (2008)
Some similar issues here. It frequently doesn't feel like a Bond film. It feels inessential in a way that is aggravating (it purports to continue the Vesper narrative and then proceeds to add absolutely nothing to it in my eyes). I know a lot of that is due to the writer's strike. The editing is... a less-skilled attempt to replicate what the American films of the time were doing (namely Greengrass' Bourne films). If you compare the two side-by-side you can see the Greengrass and his group actually understood how to make that editing and shooting style work for action sequences, whereas the QoS group just sort of cuts and edits arbitrarily. I have praised it for, intentionally or not, achieving an aesthetic that sort of mirrors Bond's internal psyche during this film since he is clearly tormented and probably his least mentally stable here. For that reason, it gets the nod over LTK. I like how this film, in its "unBond-ness" at least deconstructs elements of the character, and sort of aesthetically depicts emotions and atmosphere, even if the editing is headache inducing.
19. The Man with the Golden Gun )1974)
Used to rank this at the bottom of the pile. I appreciate it more now. Still the worst action in the series, overall, but that isn't as big of a deal when the intrigue with the Bond v Scaramanga plot is as strong as it is for the majority of the runtime. The lows here are really pretty low (Pepper should've stayed in LALD, the karate diversion, the boat chase, the sumo clamp, it's all really subpar). But I do think there is a lot of really interesting subtext in terms of the sexual dynamics between Bond, Scaramanga, Anders, Goodnight. Obviously in 74 suggesting homosexuality outright wasn't really going to happen, but there is a LOT of homosexual subtext in the film (and the book) which makes it interesting from an academic standpoint. Also, I really like Moore's performance.
18. Diamonds are Forever (1971)
Hard to see this one so low. Seeing a trend yet? To be honest, the next... 5 or so are relatively interchangeable depending on whatever I've seen most recently. I'm a Bond fan after all, which means I actually love these things! What helped me see DAF as not a "dumpster" Bond film was looking at it for what it is: a near-slapstick blackly dark comedy. That's what it is. The script is razor sharp. Connery is having a blast. His delivery is so deadpan and perfect. Wint & Kidd are delightful. I actually like Gray's Blofeld within the tone/context of the film (obviously he would be horrible in OHMSS or TB, etc). The action here is hit and miss, but honestly this movie is just hilarious and fun. I like Tiffany Case, too. Underrated movie (even though it's 18th lol).
17. A View to a Kill (1985)
I love this movie for similar reasons to DAF, except this movie is a little less self-aware of its weirdness and absurdity, but that's okay. Old Man Bond and decrepit MI6 face off against the youthful, virile Zorin and MayDay (my favorite villain-henchman duo of the series). That is quite the statement, considering the franchise's storied history of colorful supporting characters, and single handedly justifies this ranking. I think it's funny how old Bond is. The entire film has this autumnal feel to it. Even Barry's score is really sort of autumnal. I like the color of the film. The tone. I think Moore's performance is good. I pretend he and Stacey never have that shower scene, and otherwise he has this really nice fatherly presence toward her in the film. The action is frequently hilarious because of how unconvincing the stunt people are, but otherwise I just really love this one.
16. On Her Majesty's Secret Service (1969)
I'm throwing it here, I have no idea where this goes. This should have an asterisk next to it. I think this is a top 5 Bond film, easy, but I struggle to reconcile Lazenby (who I find ranges from unconvincing to laughably terrible) with that fact. So I'm putting it here. Absolutely great film. Wish Hunt had gotten to direct more.
15. Tomorrow Never Dies (1997)
Yeah, I actually like this. I think it has aged quite well, thematically. Pryce is delicious. The wardrobe is phenomenal. I like Wai Lin. I think Brosnan matures into the role nicely, and his performance here is considerably better than it was in GE. The cinematography is frequently stunning. The movie does not have any pretensions, which is funny because it is more artistically compelling than the movie that followed it which *did* have a lot of artistic ambition and pretension. This movie just moves like a bullet. It is fast, sleek, sexy, and fun.
14. Live and Let Die (1973)
This was once top 10 for me, and while it has slipped a bit, it's mostly because others have risen in my esteem. This is still an amazing introduction to Moore as Bond. The blaxploitation stuff works pretty well, and actually hasn't aged that badly compared to other aspects of the series (which is frankly hilarious/sad depending on your perspective). Martin's score is awesome. The movie has a really rich sense of place and time, I think, and the supporting cast is *maybe* the best of the series? It's definitely up there. I love Tee-Hee a LOT. The boat chase that some consider "too much" or "slow" is just a marvel in my book. A true all-timer of a set piece.
13. You Only Live Twice (1967)
The budget, the spectacle, the sense of place, all of that stuff outweighs the ridiculousness and the fact that Connery looks half-asleep throughout the majority of the film. The money is on the screen here. A mind blowing film over 50 years later, this thing holds all the way up in terms of size, scope, and the realization of that scope. It loses points for Little Nellie, which is super out of place, and that darn yellow face stuff is *awful*. It also loses points for being Connery's worst performance by a very, very wide margin. An engaged Connery w/ a slightly retuned Script would probably put this in my top 3.
12. For Your Eyes Only (1981)
This one used to rank way low for me, for reasons I can barely remember now? I saw this one on the big screen, and that really changed everything for me. The action here is some of the best in the series, hands down. Moore's performance is great. Lots of Fleming here. I like Conti's score. This movie just plays much more like a thriller without abandoning the aspects that make Moore's Bond Moore's Bond. I will always go to back for how stripped back this is, even though I am on board with Moore's more bombastic and outlandish outings (as you'll see).
11. Moonraker (1979)
Arguably the biggest and definitely one of the most beautiful Bond films. MR is just luxurious. Gigantic size and scope. Moore coasting along delivering his sort of impossibly cool performance. He seems invincible. He is. This is not a movie about human beings, but rather these figures. MR is so, so gorgeous, I think it is so often overlooked because it is "silly," which is really sad. This is also arguably John Barry's best work. Some day this will crack my top 10. Pure spectacle. They don't make them like this anymore. Every single penny on the screen. The locations. The sets. Just beautiful.
10. Skyfall (2012)
Deakins kills it, although I think this would have been better as like Craig's 4th or 5th Bond film, I like the themes of it. It calls back without being lazy or juvenile the way that DAD is in its references. Craig's best performance I think, from the gruff half-dead man to the slow return of "James Bond." There's also a LOT of Fleming in here, I think, not so much in terms of plot or narrative but in the tone and the texture and the characters. I really, really appreciate that particularly when there isn't any "Fleming" in the movie. The level of humor here from Craig's Bond is just about perfect, whereas they totally screwed it up by and large in SP. Interesting themes at play here, too.
9. The Living Daylights (1987)
Speaking of Fleming, Dalton's performance here has bunches of it. A lot of what people praise about this film I echo, so I won't write about that. I don't think as many people appreciate Maryam D'abo as much as I do. I really consider this one of, if not the, most romantic Bond films. Not necessarily in terms of how relevant the romance is to the plot (OHMSS and CR obviously beat it out here), but in terms of the overall atmosphere and tone of the film and of course the chemistry between Bond and Kara. I'll go to bat for her. The action here is amazing. Maybe the best in the series? Top 3, easy. This one really just feels like Fleming's prose at times in a way no Bond film did since FRWL and parts of TB. And for that, it gets a lot of points.
8. Octopussy (1983)
I love it. I love the juxtaposition of "Cold War thriller" with "exotic India adventure" (exotic of course being used from a Western-centric perspective that Bond would have and the audiences, including me). I can understand why some may cite this as a negative, I just think the two intertwining plots really work really well together, and that juxtaposition gives the film its identity. Moore's performance is great, and again there is more Fleming here than he is often given credit for. Kudos to the bomb defusing moment, in which the Bond that many decry as a clown defuses a nuclear bomb -- perhaps the most suspenseful and dead serious moment in his tenure -- dressed as a clown. Brilliant. Also, this gets bonus points because Adams' Octopussy remains the only Bond girl that Moore had any considerably chemistry with, something that holds down some of his other films from being more impactful. The supporting cast here, as well, I really love.
7. Goldfinger(1964)
No real exclamation necessary. Iconic. It loses points for dragging a bit and feeling a bit anticlimactic with regards to how integral Bond is to the actual plot towards the end. But that's really it. This movie is firing on all cylinders. Everything that needs to be said has been said, and this movie deserves it. Stunning. That first half is actually perfect, in my opinion.
6. The Spy Who Loved Me (1977)
Edges out GF currently because it doesn't ever lag, and it is nearly as iconic at this point. Gilbert is the perfect director for this, too, and this is really the apex of "world ending apocalypse" Bond films. Sleek, sexy, phenomenal action. Truly a beautiful movie. I know I'm being redundant, but I'm trying to say as much as I can without going overboard and writing TOO much, since each film is deserving at least of an entire essay.
5. Dr. No (1962)
Sean Connery and Ian Fleming and Terence Young. They make DN what it is. Young and Connery got it right from the word "go" and the tone of this film is absolutely nothing short of perfect. Every single scene, lowkey and restrained as they often are (for budgetary reasons) just sings with intrigue and tension. Connery is straight up on fire in this film. Of course, the supporting cast is incredible as well and they bolster the film tremendously.
4. GoldenEye (1995)
Without exaggeration this movie saved the franchise, and there's a reason for that. This boasts arguably the best supporting cast in the series. Brosnan is surprisingly maybe the weakest link here, as I think everything else around him is actually firing better than he is. He certainly isn't bad, though, so it doesn't really hurt the film in any way. Campbell's direction is incredibly lively, the cinematography is pitch-perfect, and I actually like Serra's score quite a bit with the exception of a couple cues. I have tried to look at this film with a critical eye to see what the naysayers see, but I really think it stands the test of time and it'll continue to be seen as a classic. Even the dialogue of the Brosnan era doesn't start to get really embarrassing until later on.
3. From Russia With Love (1963)
The ultimate realization of Fleming's prose on screen. If for no other reason than that it'd crack the top 10, even though I am *far* from a Fleming purist. But beyond that, again, as is a trend high up on this list, the supporting cast is absolutely incredible. Connery once again inhabits the role to perfection. That twinkle in his eye. The sexual magnetism. The charisma emanating from him on screen. He commands the viewer's eye in a way no other Bond since him has, or likely ever will (and that isn't a slight to any of those that followed him, his gift isn't so much a skill as just a natural fact). It's kind of sad, though, that FRWL remains (arguably? maybe?) the only true *spy* *thriller* in the series so far. There are a few movies that really flirt with it, or come really close, but FRWL is probably the only one that fully commits from wire-to-wire. And that makes it special in a good way, but also makes me yearn that we'd get a few more. I'm okay with whiffs here and there, I suppose. Also, Connery, more so than any other Bond actor thus far, has always managed to have such an incredible amount of chemistry with the leading lady, and that is perhaps at its peak in FRWL.
2. Casino Royale (2006)
While some of the earlier stuff has weakened a bit in my estimation over the years, and does drag a bit, once the film cuts to the train it's a stone-cold-classic. This isn't to say the earlier parts of the film don't have their moments -- they certainly do -- it's just that everything that comes after the initial Vesper/Bond scene is pure gold. I'm not really much for qualitative judgments, but gun to my head this is probably the "best" film in the series. Craig's performance has been given a lot of attention for good reason. It was new and raw and completely in new territory for the series. He misses the mark maybe once or twice in the film, but for the vast majority of it he absolutely nails this new incarnation, which is incredibly impressive. It can't really be overstated how difficult a task he had coming in literally reinventing the character every step of the way. CR is suspenseful and thrilling (impressive how the best "action" comes at a card table), romantic, tragic, beautiful, and also does an amazing job of painting a picture to show audiences how the Bond we know became the Bond we know.
1. Thunderball (1965)
Yeah, this still tops the list for now. Maybe some day it will change, because of the editing issues, the swings-and-misses in terms of ambitions not being able to be met by the technological limitations of the day, the confusions in continuity. Make no mistake, just because I put it at #1 does not mean I don't recognize that TB is an incredibly flawed film. However, I still maintain that it represents the apex of what James Bond on screen can be. Terence Young, riding on the heels of Hamilton's blockbuster GF, finds a way to merge his initial depictions of the character (the lethality, the propensity for cruelty, the coldness, the genuine threat of danger that Bond brings) with the over-the-top grandiosity that GF presented. I have always said there are two Bonds -- the cinematic Bond (born largely in Goldfinger), and the literary Bond (born obviously from Fleming). Those two characters are often quite different, and that's fine, and the film series largely has leaned toward the cinematic Bond incarnation post-Goldfinger, occasionally dipping back into the Fleming well for character touches or inspirations. Thunderball remains the film that depicts the synthesis of the two seamlessly to where both worlds feel real at the same time, rather than conflicting with eachother. I can only see it as the pinnacle of what the series has accomplished. It is gorgeous, the cinematography is so evocative, the locations are perfect, the underwater action is suspenseful and thrilling and frankly stunning to this day, there is an extraordinary amount of sexual tension and atmosphere, Connery's performance perfectly merges his playfulness in GF with the panther-like lethality of his early turns. I could go on and on but I've already written a lot. It might not always be my #1, but I still admire Thunderball's ambitions too much to dismiss it from my top spot.
Here’s the thread with the results:
AVTAK has its supporters for sure. And wow, seeing TWINE get a few #1's overall. Only a few films have 0. Always interesting to see the diversity in opinions.
edit: I am referencing the twitter thread, btw. Might this deserve a thread of its own for
discusison?
edit2: Wow, Thunderball was, based on the 800+ votes, the single most polarizing film in the series! And it clocks in at 16. Wow. It hurts but I'm not exactly surprised. I browse twitter occasionally and I see a lot of TB slander. Really interesting.
I don t think so, but it could be reposted in the other ranking thread. Your post and this twitter thread were both interesting, by the way, I meant to say that.
1. CR 7.75 out of 10
2. GF 7.70
3. DN 7.54
4. SF 7.43
5. FRWL 7.39
6. TB 7.32
7. YOLT 7.21
8. DAF 7.13
9. TSWLM 7.13
10. TND 7.12
11. GE 7.06
12. TWINE 7.05
13. DAD 7.01
14. FYEO 6.99
15. TMWTGG 6.98
16. LTK 6.94
17. LALD 6.91
18. OP 6.88
19. AVTAK 6.83
20. TLD 6.77
21. OHMSS 6.70
22. QOS 6.70
23. MR 6.68
24. SP 6.56
It's clear that like Westerners, Russians think highly of the Connery era and Craig's two knockout films, Casino Royale and Skyfall. Then the Brosnan era sticks out as more highly ranked than usual, as that's when Bond was first introduced to Russian audiences. Less love for the Moore films, the Dalton ones, and OHMSS. Spectre is ranked last, but Russian film critics generally praised it so there's some disconnect there.
24. Diamonds Are Forever
Connery's back! Ummm, great, I actually enjoyed Lazenby's performance, he was vulnerable, and he lost someone with lots of emotional depth displayed. Well, we'll just throw that out of the window and pretend that that never happened. The next film is very shallow and just doesn't connect to OHMSS. It works better as a follow-up to YOLT in actual fact (with the beginning of the PTS set in the Far East), but even then, in contrast to the already over-the-top YOLT, this comes off as silly, a cheap TV show.
Of course it's not bad, no Bond film is bad, it's just completely and utterly mediocre. Nothing particularly good, nothing particularly bad. That being said, the opening 25 minutes is noticeably better than the rest of the film (excluding the end of the PTS because the music that plays when Connery introduces himself as Bond is annoying, and the fight in the mud bath is not great in my opinion). I don't like the song but that is simply personal taste. However, showing viewers the mining conditions in South Africa was informative and historically factual. The briefing from M is good. The location of Amsterdam is great, the lift fight was a decent set-piece and the finger-print trick is neat.
After this, the film falls off a cliff. The casino stuff, everything with either of the Bond girls, the gay stereotyping; it's all just silly (and in the last case very embarrassing and weird and unfair (of course)). Water balloons, Fluffy elephants! Brilliant. The special effects are worse than in DN. The oil rig finale was mediocre, but not bad. Blofeld was more charming than intimidating. I don't really have much more to say about this, it's just so middle-of-the-road that it's entirely forgettable.
23. A View To A Kill
Vastly better than DAF, this film has all the essential ingredients for a Bond film, but it just doesn't execute this well. Zorin is a brilliant villain, Moore is still good despite his age, Mayday is a good character, and the Golden Gate Bridge finale is very solid. The pre-title sequence was not exceptional, but decent, Barry's score is as good as ever, and then California Girls comes in, just like that annoying music from DAF that plays as Connery says the famous line.
The title song is brilliant, as is the location of Paris and the stunts (despite their non-existent efforts to try and hide the fact that this is a stunt double). The horse-race is OK, and suits the tone of the film. The relationship between Bond and Stacey actually works when it is a father-daughter relationship and I can look past the massive age gap. The exposition with Chuck Lee is boring and the plot is a bit of a GF knock-off, but it's ok. The chateau fight is a poor set-piece, but is made up for by the fire-truck chase which follows which is goofy, but again, it fits the context of the film. Mayday's redemption arc is the best part of this film, it's believable, and it works, she feels betrayed by this maniac who is killing everyone in the mines (which is violence for violence's sake). The aforementioned action on Golden Gate Bridge is good, and Zorin's demise again fits the tone. However Bond and Stacey's "relationship" is awful.
The difference between this and DAF is that this has some good moments within the mediocrity, whereas DAF does not for the vast majority of the film.
I agree totally with that. The top 2 finales for me. I'm going to try and upload 2 films per day (it's now or never for me, I'll be back to school next month) as often as I can