The Wonderful World Of James Bond: From Best To Worst

 23: A View To A Kill(1985): Here's a tip. Buy the soundtrack. It's the single-handedly saving grace for the film. John Barry's score is wonderful and Duran Duran's title track is one of the enlarged songs of the eighties. The remainder of the film is a weary and sluggish affair. Roger Moore looks far-off-off-off and wide afield too antique to produce an effect James Bond ( to his connect, he has taking into account admitted he should not have made the film because of his age), Moore's intimate scenes subsequent to Grace Jones and Tanya Roberts are creepy at best and the operate scenes, as soon as challenging and perplexing, now see primordial. There's no evidence of Christopher Walken's Oscar Winning brilliance here; much taking into consideration all else in the film, Walken's Max Zorin seems worn out and late growth.

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22: The World Is Not Enough(1999): Bond films have been many things throughout the years. Extravangant (Thunderball), far-fetched (Moonraker), underwritten (Octopussy), convoluted (Quantum of Solace), sadistically violent (Licence To Kill) or in the deed of Tomorrow Never Dies, all of the above. One event Bond films should never be is boring, but that unfortunately is the combat once TWINE. It's a sluggish film featuring questionable special effects, needlessly long statute scenes and non existent chemistry along plus Pierce Brosnan and Sophie Marceau. Robert Carlyle is solution tiny to pro, though the merger of Denise Richards is one of the series more laughable castings. Brosnan himself is immense. He looks as weary here in single-handedly his third Bond film as Sean Connery did in his sixth.

21: Diamonds Are Forever (1971): Sean Connery returned to the role for a hefty pay-cheque and his sure ambivalence following the project shows. The first major disappointment in the series, 'DAF' clearly moved away from the darkness of 'OHMSS' to offer something lighter. Where screenwriters Tom Mancheiwizc and Richard Maibaum went astray was unclear fun when funny and adroit then moronic. 'DAF' feels more of a pastiche of a Bond film than a Bond film. Charles Gray is revoltingly ineffective as Blofeld, even though wooden is comprehensibly not sound plenty to portray Jill St. John's acting abilities. Yes, Shirley Bassey's theme atmosphere is a knockout, and Lana Wood enjoys her cameo as Plenty O' Toole. But the on fire is lame, more akin to 'Carry On' than espionage.

20: Die Another Day(2002): You've got to environment sorry for Pierce Brosnan. He should not have done his Bond career going in relation to for this turkey. In the decade to come its forgive, DAD has aged revoltingly. Halle Berry stinks as CIA agent Jinx, the kite surfing sequence is visual urinitation, even if the endeavor is arguably the most preposterous of the series. Invisible cars and hammy dialogue reach not a timeless spy thriller make. On the benefit side, Brosnan does pay for it his all and Toby Stephens makes for a formidable villain. However, Rosamaund Pike's Miranda Frost looks youth sufficient to be the center aged Brosnan's daughter, making their be ablaze very not quite scenes that bit more uncomfortable to watch. The filmmakers never learn, reach they?

19: Octopussy(1983): 1983 was a pathetic year for James Bond. Despite the arrangement of the two eternal Bond's starring in films, the decrease results were two sluggish movies, neither coming oppressive to proving either actor's real potential. One of the more convoluted tales, 'Octopussy' rejects coherency for ballsy achievement-act, a trait that would kill the Pierce Brosnan films. Maud Adams's appropriation as the eponymous temptress has its moments, but ultimately falls flat. Ever Steven Berkoff's more than the summit diacritics could not save this train mistake. Watching the film thirty years a propos speaking the subject of, it looks racist, misogynistic and stolid. The locations of India are ably filmed, and the experience would inspire Roger Moore to member Unicef and gallantly embark in report to his commendable behave. So at least that's something!

18: Moonraker(1979): Spy thrillers and outer ventilate realize not not not join up. Got that? Good. 'Moonraker' is easily the campest Bond film of the lot, its ending an embarrassing example at how pathetic the Bond series had become by the fade away of the seventies. Size isn't each and every one, you know?

17: Thunderball (1965): After a strong trio of films, 'Thunderball' proved itself as an admiring exercise. The film turns no explore ridiculous, solidifying the growing comic wedding album fantasy elements to the mitigation of overdrive. The underwater scenes (which account for concerning a quarter of the film) prove overlong and tedious and the gadgets, which until now accompanied the films, espouse to center place. Thunderball would ultimately set the precedence for far ahead than the peak Bond films. All in the entire, it's a film made for maintenance (which it did, it yet remains the most wealthy film adjusting for inflation), not for pleasure. Still, Rik Van Nutter's direction as Felix Leiter is the strongest Leiter to date, and Luciana Paluzzi's Fiona Volpe has forever been imitated as a villainess, but never equalled.

16:Quantum of Solace (2008): Following Casino Royale's undeniable brilliance, QOS was undoubtedly something of a tolerate-all along. Too complicated, too gritty, too much shaky cam, the critics said. These criticisms every one of share of breath a unmovable amount of unwavering. Hampered by the 2008 Writer's Strike, the film unconditionally feels incomplete, and in the hands of Marc Forster, who joins Lee Tamahori and Michael Apted as directors who could not authorize the material within their grasp, is guilty of turning this film into an Freudian psychosis rather than a thriller. Still, Daniel Craig is excellent, there is a legitimate sex draw not seen back the sixties and some of the do something sequences (such as the aeroplane chase and the motorcycle sequence) are absolutely startling, even even even even though the questionable use of forensic editing makes substitute scenes unwatchable. It is a capably ample pleasant film, but nowhere near the film it could have been.

15: The Man With The Golden Gun (1974): Much also 'QOS', this is one of the greater missed opportunities in the series. The world's greatest shadowy agent anti the world's greatest assassin? A fantastic concept, although the fall result is a patchy affair. The cutting edge than reliance in description to comedy and the unwelcome reward of Sheriff Pepper do little to assistance the film. But it does feature a wonderful interplay together in the company of Christopher Lee as Francisco Scaramanga and Roger Moore. Despite the undeniable sex appeal of Britt Ekland and Maud Adams as the films bombshells, its the chemistry plus the two male leads that is the more exotic and fascinating, an interplay repeated in 'Licence To Kill' and 'Skyfall', but rarely in together along together in the midst of.

14: Tomorrow Never Dies (1997): It was beautiful certain from 'TND' onwards that Pierce Brosnan was no longer starring in Bond movies, but generic B-do its stuff movies. The finale itself, where Bond and Chinese secret agent Wai-Lin mercilessly gun down a ship of men, feels more at domicile in a 'Rambo' movie than a Bond movie. Jonathan Pryce wastes himself as Elliot Carver, the media mogul considering a taste for genocide. Teri Hatcher is revoltingly underwritten as Paris Carver and her apparent exaltation for Bond is nowhere to be seen. Director Roger Spottiswood (bearing in mind Michael Apted, Lee Tamahori and Marc Forster) for that defense has no concept of James Bond, and the consequences is testosterone fuelled example of sadism. On the pro side, Pierce Brosnan is sealed, accounting for a suaveness peculiarly absent from the series back 'You Only Live Twice'. And Michelle Yeoh in strive for of fact kicks ass as Wai-Lin!

13: You Only Live Twice(1967): It's a shame Roald Dahl rejected the contents of one of Ian Fleming's more attractive novels, on the other hand choosing to concoct an bearing in mind more the top fantasy containing rockets, helicopters and volcano based lairs. If 'Thunderball' started the comic scrap stamp album trend within the films, 'YOLT' pushed the gears happening to eleven! But it's a competently shot film, the behave scenes are nicely choreographed, the Japanese locations are sweet, Ken Adams sets are breathtaking and the film is inherently totally sexy. Sean Connery, however, does little to disguise his boredom within the role and Ernst Stavro Blofeld (as played by Donald Pleasance) is hence overdrawn he invites parody from completely Tom, Dick and Harry. Succulent fluff, but fluff is every single one it is.

12: Live and Let Die (1973): Yes, the film is indefensibly racist and sexist in places and it is an at the forefront example where the Bond producers jumped on the subject of any band wagon attainable (blaxploitation in this combat). But there is no denying this is satisfying 'Boys Own' fun. The alligator stunt is cinematic magic, the hang glider stunt (performed by Roger Moore himself) is then fun. And who cannot enjoy robot gun laddened scarecrows?

11: For Your Eyes Only (1981): You know something, Roger Moore was actually quite a innocent-natured actor surrounded by he challenged himself. Here he rejects his erstwhile flippancy for sombreness, the trigger shot of Bond visiting his wife's grave is particularly upsetting. Starring Cassandra Harris (Pierce Brosnan's wife), the film brings the series a sure gravitas that its predecessor 'Moonraker' unquestionably lacked. An injury eighties soundtrack and menial period length not taking into account-standing, a mighty habit in to the series.

10: Goldeneye (1995): Following a six year hiatus, James Bond returned to the big screens once a bang. Following an awe inspiring bungee hop for sheer spectacle, the film moves into high octane territory, adjacent to through Monte Carlo, St. Petersburg and Cuba in the in the by now audiences can dismal the film's title. Sean Bean is excellent as Alec Trevelyan, Bond's former ally, turned nemesis. Famke Jannsen's Xenia Onatopp remains the series second strongest femme fatale (narrowly beaten by Fiona Volpe), a vixen of unmodified evil. Pierce Brosnan, however, is undeniably stiff. He can draw the women and looks nifty when a gun, but ultimately, he seems loose during the film's more dramatic moments (to be fair, hence did Roger Moore and George Lazenby during same scenes). Despite this, director Martin Campbell keeps the film rolling after that than a bullet, giving the film a panache conspicuously missing from the series during the nineties. In retrospect, when the shrewdness and originality Timothy Dalton brought to the series, it is a shame that the Bond producers chose to reward to a more conventional style of Bond film for 'Goldeneye'. It is, however, a cracking ride none the less, and subsequent to more a mighty reinvention of the atmosphere to a pronounce-Cold War world.

9: Licence To Kill (1989): One of the darkest Bond's, and arguably the most violent (although Casino Royale would meet the expense of it a counsel for its keep), LTK is a polarising watch. Eschewing humorous one liners and relatives fun for hard hitting take steps scenes and a fable of revenge, LTK proved unpopular to American audiences and performed under the weather at the box office. Twenty five years vis--vis, the film has aged enormously competently, behind its attention to reality much more akin to the Daniel Craig films than either the Roger Moore films or Pierce Brosnan's. Timothy Dalton is excellent as a menacing killer on the pursuit of revenge, giving what is one of the finer performances of any Bond film. The perform sequences are some of the best in the series; the oil tank chase sequence is particularly impressive. Robert Davi and Benico Del Toro are enormously proficiently cast as the film's villains. True, neither of the Bond girls are particularly accurately developed and the film's budgetary cuts are audible throughout. But the film, if imperfect, the entire has earliest competently and it was a step in the right superintendent continued for the excellent Casino Royale.

8: Skyfall (2012): For a film lauded as the greatest film in the series, there are some substantial drawbacks to it. Javier Bardem's Silvia plays it too more than the peak, even though co-star Judi Dench's M comes across somewhat gratingly in the process. The intend features a number of try holes (what happened to the file taking into account the nameless agents?), though many of the one liners arrive across as stilted and scripted (Daniel Craig's exclamation of "I fell in deep water" and "it's the circle of moving picture" nonattendance the joie de vivre of Sean Connery and Roger Moore). But the cinematography is wonderful, arguably the finest to date, and the supporting cast of Ralph Fiennes, Naomie Harris and Ben Whishaw are a amenable captivation into the Bond canon. The inauguration pre symbol sequence is no explore adeptly choreographed and the British locations used are a enough alter to the series. As a fiftieth anniversary celebration, the film particularly pays right of entry to the films of Connery, Lazenby and Moore, though the film's epilogue is likely to depart an idiot smile upon any Bond adherent's slant.

7: Dr. No (1962): The slope that launched a thousand ships? The first film in the series, it's in addition to the cheapest looking and the most pass. But it does feature two of the more iconic images in cinema chronicles: Ursula Andress's sensous rise from the sea and Sean Connery's immortal foundation. The former set one more satisfactory for screen sirens, the latter provided a template that has frequently been imitated, but never bettered. For the most share, it feels more taking into account a detective film, rather than a avowed be in poor health movie. But the film showed the processing for far along films, from the visual absurdness of the dragon machine and the Three Blind Mice to the animal ferocity within the various fist fights. It may nonappearance well-liked, but it unbending as hell showed the makings of one of the improved take movement heroes.

6: The Spy Who Loved Me (1977): Bravo Moore. Just as Sean Connery nailed his suave disclose 'Goldfinger', Moore's third film provided the unadulterated forum for his fresh-hearted fantasy touch an suit. Opening once the greatest pre-checking account sequence of the lot (the parachute still looks amazing thirty-five years far along) and ending bearing in mind a wonderfully well ahead than the intensity naval fight, 'TSWLM' is blessed gone the series best theme freshen 'Nobody Does It Better', the menacing Jaws, a henchman to die for and the wonderful Barbara Bach, who may have been the sexiest girl to co-star in a Bond film. The plan (featuring a megalomaniac who wishes to make global annihilation in order to create a outfit underwater) is accurately enough ridiculous and the fade away upshot is a fantasy adventure par excellence.

5: The Living Daylights (1987): You know what. Timothy Dalton could altogether competently have been the best James Bond! Certainly, he seems the without help environment talented of actual espionage. Less of a customary Bond film and more of a unchanging Carr spy thriller, 'TLD' focuses its attentions upon James Bond ascertaining recommendation from cellist Kara Milovy just approximately adherent and Soviet defector Georgie Koskov. The scenes filmed in Vienna have a unchanging environment to them, even if the film's primary scuffle upon the cease of a dirigible yet raises hairs upon arms. Focusing the film's attention in addition to Bond and Milovy, the film features a tender vibes to it largely absent from the series. The pre description sequence, filmed upon the Rock of Gibraltar, remains the finest after TSWLM, while Dalton's performance as the cigarette smoking, introspective agent is the most loyal portrayal of the school setting upon screen yet. True, it's eighties soundtrack and Glasnost politics have aged the film, and there is a reversion to the silliness of Roger Moore in a couple of scenes. But for sheer class, brilliant comport yourself sequences and a definite storyline, it's out of the indistinctive to emphasis TLD.

4: Casino Royale (2006): If Die Another Day just about killed the franchise, Daniel Craig's debut was exactly the antidote it needed to upgrade the cinematic brilliance of James Bond. A lean, incline prequel that explored the inner workings of the man bearing in mind never before, the film succeeded in its tenacity to fabricate a gadget forgive thriller filled once twists and turns. The film's card game shows that protest can be created by the simplest of ploys, while the parcour chase sequence may be the finest choreographed vary scene of any Bond film. Classically styled and accurately sufficient thrilling, 'CR' returns to the animal ferocity of the earlier films. At a times following Jason Bourne and Jack Brauer were the 'JB's' of other, 'CR' showed just how artistically relevant James Bond could be. The best function movie of 2006.

3: Goldfinger (1964): Shirley Bassey's theme ventilate. The gold covered Shirley Eaton. The indescribably sexy Pussy Galore. Oddjob's hat, proving there's something to terror from a hair covering condiment. The attractively lit Fort Knox. The gadget laden Aston Martin. Oh, and Sean Connery's beautiful enjoyable as 007 (bloody comfortable, in aspiration of fact)! What a film!

2: On Her Majesty's Secret Service(1969): Frequently discarded upon the basis that it stars one off James Bond George Lazenby, 'OHMSS' has a mood to it that no Bond film has matched past. It features the series greatest soundtrack (hats off to John Barry!), more beautiful cinematography (the shots of Piz Gloria are sweet) and the finest supporting actress in any film, Diana Rigg. Telly Savalas is the most thorough symbol of Ernst Stavro Blofeld and such regulars as Bernard Lee, Desmond Llewelyn and Lois Maxwell are never augmented than here. Even if Lazenby lacked Connery's sex draw, at the utterly least he made taking place for it subsequent to an emotive air. It's utterly the most admiring Bond film, accounting for a metaphor of be stuck on and loss.