I like Bond films and, much as they try to change them, I hope they never succeed. I hope they stay as vulgar, as politically incorrect, loud, artless, bereft of exposition and improbable as have always been. That’s not to say that the extreme of anyone of those things is not a bad thing, and we’ll find that out as we rate the Bond films, from worst to best, based on how well they meet the above criteria or how much they skirt over the margins of them….
24. Octopussy It was no great shakes when it came out and it hasn’t aged well at all. In fact, even by my low standards I find this repellingly racist and creepy-rapey-sexist. Some bits are good, especially the opening sequences with 009 and Vijay Amritraj comes out of the muddle with some genuinely funny lines, but the rest of it is a confused, aimless waste of time, ill flavoured with the above mentioned racist vibe, coercive sex, terrible mugging from Moore and a stupid Tarzan scream. Also, the mad Russian general is the most forgettable Bond villain there ever was (I can’t even remember his name) and the theme song is shit.
23. Die Another Day If Diamonds are Forever was a half arsed remake of Goldfinger, and this is a half arsed remake of Diamonds are Forever, does that make this a quarter arsed remake of Goldfinger? Hardly – this isn’t 1/20th the film Goldfinger was. Pound for pound the worst of the films – Octopussy sits lower because of the nasty vibe about the film rather than the sheer ineptitude of the direction, garbage special effects and long-windedness of the waffle that it trots out. Rosamund Pike is a pleasant distraction (but utterly wasted), I rather like Madonna’s salty five seconds in it and I don’t dislike the theme song (million would disagree), but the movie is basically the soundtrack of one long scraping of the bottom of the barrell.
22. Diamonds Are Forever Connery is back, but his performance here reeks of ennui and even evinces a half-hearted Lazenby impersonation rather than the return of the magnificent beast that once he was. The whole set up seems cheap and hokey- Charles Grey and Jill St John are silly, the plot is stupidly convoluted and the gags, apart from Mr Wint and Mr Kidd’s dry observations on the follies of human mortality, are flat and tiresome. Great theme song, Connery wears some nice suits (but then he also wears that appalling pink tie) and although it is wasted, Las Vegas is a promising location for the film. All in all, a waste of Connery and a film Lazenby’s light and dark style would have been much better suited to.
21. Moonraker Much maligned, there’s actually some good stuff in Moonraker, which is just really let down by an awful ending. Hugo Drax is a great villain, especially when damning Bond by saying he appears with “the tedious inevitability of an unwelcome season”, the scenes at Drax’s manor are for the most part tense and sharp, especially the death of Corinne and Bond dispatching his would be assassin at the grouse hunt. Ken Adams’ sets are amazing and the theme song is a classic (warning, though, the disco verizon over the closing credits is abominable). the two obvious failings of the film are Lois Chiles as the Bond Girl – she can’t damn act and stinks up every scene she’s in and, of course, the ending, which is moronic (and not helped by Lois Chiles, well, stinking the whole thing up). The best that might be said for Moonraker is that it is the kind of film where the good gets better every time you see it and the bad, at very least, doesn’t get any worse.
20. The Man with the Golden Gun The only thing keeping this one off the bottom of the heap is the bravura performance of Christopher Lee as Scaramanga, who may just be the best Bond Villain of all time and the scene between Moore and the gunmaker in Macao. Crap theme song, Britt Ekland looking very nice but doing nothing else, a stupid sound effect ruining one of the best stunts ever in the franchise and a very, very predictable ending keep this one fluctuating between the tedious and the painful. But Lee is magnificent, every line delivered with deadly precision and projected just so as to make you feel he is a distinctly uncomfortable human being. Moore himself does reasonably well with what he is given, but you can’t help but think he has squandered the good start Live ad Let Die gave him. One of the Bond films where the book (unlike most people, I tend to like Fleming’s novels more as they go along, as opposed to thinking he went downhill after Goldfinger) was much better than the movie.
19. You Only Live Twice Iconic and emblematic of Bond films in general, a lot of You Only Live twice is, however, tedious travelogue and wildly improbable tommyrot. Which is not to say that wildly improbable tommyrot isn’t grand fun, Goldfinger was wildly improbable tommyrot, but snatching capsules in orbit and Bond passing as Japanese, not 10 minutes after it has been amply pointed out how vastly different he is from Japanese men is just dumb. But the worst misstep with YOLT is that the producers made YOLT and On Her Majesty’s Secret Service out of order (YOLT being OHMSS’s sequel in the books) – it makes a mockery of the Blofeld reveal and would have made much more sense to have given Connery the more dramatically challenging OHMSS and Lazenby the more action oriented YOLT to cut his teeth on. That notwithstanding, we get a classic pre-title sequence, a good theme song, little Nellie, brilliant Ken Adam sets and a Volcano Lair to balance out dull Bond Girls, dull Bond Cars and a Sean Connery who is patently bored with the role and rushing his lines out like he has a pressing engagement elsewhere. Dumb fun, but more the former than the latter.
18. A View to A Kill Widely loathed, I find there’s enough good in the film to just about balance out the bad. For the good, the plot is reasonably coherent – a more logical version of the Goldfinger plan. Christopher Walken is magnificent – absolutely batshit crazy to such a degree it makes you wonder why he is bothering to go about his plan at all – someone that mental wouldn’t strike me as being motivated by any mere money. Also, “anyone else want to drop out”, uttered after tossing a fellow out of blimp into San Francisco Bay, is one of the best lines ever in the franchise. Top theme song, some good stunts in Paris and, for the most part, a reasonably restrained performance from Moore, with whom time has most assuredly caught up. Grace Jones is a mixed blessing, but certainly distinctive and Patrick MacNee gives some sympathetic comedic support and his death serves to focus Bond that he is actually there to do a job. For the bad, Moore’s age can’t be hidden and “he looks great for 58” may be true, but not in a Bond film. Tanya Roberts is every bit as bad as they would have you believe as the Bond girl. the character just doesn’t work – I think they may have been going for the kind of girl that Maryam D’Abo played in The Living Daylights, but she didn’t have a Dalton to play off nor the relevance to the movie. The plot does wander a fair bit at the end of the middle act and there’s some unnecessary tomfoolery with a fire engine, bridge and police cars. On the whole, not great but not as bad as many would hold it up to be.
17. Spectre Overlong, overindulgent, over-sentimental and unevenly plotted, Spectre is, along with You Only live Twice the biggest waste of money in the franchise and along with Octopussy the biggest step backwards ever it took. After the glories of Skyfall, this turgid mess of emotional blackmail, pointless exposition, needless reinvention, ludicrous overacting from Christoph Walz (or maybe instead of “ludicrous over” we should just say “trademark”) and the movie suddenly becoming pointless and, frankly, pretty incomprehensible, after the hour and a half mark. Also has, by some way, the worst theme song ever. Also, also – Bond’s Tom Ford suits are awful – it is a travesty that Q’s suits look better than Bond’s. So, what’s good? Lea Seydoux is astonishingly lovely, the stunt work is good, there’s even some dour humor in it (although not patch on Skyfall) – my favourite ” What’s that? That is a 1948 Rolls Royce Silver Wraith. Some great lines that resonate – “You are a kite dancing in a hurricane, Mr Bond”, “I came here to kill you. And I though you came here to die. Well, it’a all a matter of perspective” “C is for careless” and I liked Bond’s watch so much I bought one…. and the impressive pre-credits romp. But its a machine much less than the sum of its parts and it points to worrisome new directions for the franchise. Perhaps a post-Craig reboot may be in order?
16. The World is Not Enough All Things considered, probably the most innocuous and unmemorable of all the films in the franchise. By no means great, by no means dreadful. Just kind of …. meh. Probably the last time the glorious stupidity approach would work in a Bond Film (not that they didn’t try it for Die Another Day, it just didn’t work there), a reasonably straightforward plot (with some improbable diversions), some nice stunt work and a stellar performance from the dazzling Sophie Marceau (who deserved, like Lea Seydoux, a much better film) and just enough action to keep you from thinking how dumb the really dumb bits actually are. I do like the pre-title sequence in Bilbao and it’s a good theme song, too. Robert Carlyle did as much as he could with his part, but again, deserved a bigger forum because he is a natural to play a Bond Villain and Denise Richards was unnecessary (as was Robbie Coltrane, really) and John Cleese was utterly wrong. All that said, this is middle of the road Bond that’s commits its greatest sin in neither being good nor bad enough to really bother anyone.
15. Live and Let Die There’s quite a gap here between this an TWINE, because here we start to enter prime Bond territory and Live and Let Die isn’t as bad as being 15th might suggest. Roger Moore’s first outing in the role, he looks sharply dressed, he has that shaded quality to him that, when he moves into “no more Mr Nice guy” mode, he really does surprise us and, as in all the films he makes, he looks and acts best when he gets his hair messed up. The film itself is a little cheesy but has dated well (after, I suspect, dating badly and them becoming fashionable again – its the one film in the series you could see Quentin Tarantino directing). Yaphet Kotto is great, Jane Seymour is unspeakably lovely, the supporting cast is a riot and “names is for tombstones, baby” might just be my favourite bad guy line ever. And a great (if grammatically torturous) theme song, too.
14. Tomorrow Never Dies Had I written this 10 years ago, this would have been near the bottom of the stack, but it, unlike Brosnan’s three other outings, has been dealt kindly with by time – especially Jonathan Pryce’s ageless manic villain who might just be the last madly over the top Bond baddie – witty, megalomaniacal and quite, quite mad and Michelle Yeoh’s feisty and smarter-than-Bond Wai Lin. Gotz Otto, as Mr Stamper is also great fun – continuing that long history of Germanic badasses the series has trotted out. As a whole, outside of the film’s pleasingly straightforward plot, it’s is really just a series of waits for the next time Pryce is on screen and the delight in the progression of his hubris, his Napoleonic sense of infallibility and his growing mania. There are no stand out action scenes – certainly nothing on the level of the preceding Goldeneye, but it’s by no means a slow movie. On the donside, Brosnan veers away from his Dalton-lite of “GoldenEye” and steers into Roger Moore’s quippy territory and the delinquent man-child persona he evolved over following films, which isn’t really helpful. Joe Don Baker, who had outstayed his welcome 15 seconds into his appearance in Goldeneye, reappears no more welcome and making us lonesome for any version of Felix Leiter. Terri Hatcher is redundant and seemingly uninterested and the theme song is lousy. It’s the same pointless fun that The World Is Not Enough followed up with, equally pointless, but more fun.
13. The Spy Who Loved Me Hmmm. A film that time hasn’t treated too well. You can see the care, effort and money that went into this. There is much good here – the pre-title sequence, an excellent theme song, some brilliant chase scenes and a huge final battle scene (on a set so large it was rumoured Stanley Kubrick was called into to plan the lighting for it) and, just for the record, a great quip from Moore, delivered perfectly, with “all those feathers and he still can’t fly”. Moore, in particular, rises to the occasion, giving his best performance to date. He still does have some rubbish lines to deal with, but he also plays it straight extremely well here required. The travelogue-y nature of the film is wearying, but the rest of the cast is the real problem – Barbara Bach is outright ropey, Richard Kiel as Jaws was a hit but became a millstone around the franchise’s neck and Charles Durning is a tedious, dull and frankly un-menancing villain. But the film is still well loved, was a huge success and is perfectly fine fun – silly when it needs be, tense and serious when it needs be.
12. Quantum of Solace Good film. Underrated film. We get the chance to become comfortable with Craig, not seeing him as quite the man who had to prove it all he was in Casino Royale, but also still wildly impulsive and given to hubris and rage . The story is a little tinny (completed as it was during the writer’s strike) but Bond has always worked well (and some may say best) within a tightly scoped story. The girl and the villain are similarly tightly scoped – no romance between Bond and Camille, but a respect and dependency and until he kills Mathis, Greene is a villain Bond is happy to play cat and mouse with. While Gemma Atherton’s Agent Fields is redundant (although she does dispatch the henchman Elvis wonderfully and humorously well and her annoying earnestness sets up Bond’s very funny line about being teachers on sabbatical… who just won the lottery), Renee Mathis returns as a priest confessor, M is monumental, moving as she does increasingly to the moral centre of Bond’s universe. Jeffrey Wright makes an all too brief appearance as Felix Leiter and even the girl from Castle gets 30 seconds at the end. A breathtaking pre-title sequence (followed by a unremarkable theme song), lots of gruesome fights, a fascinating and very un-Bond like pursuit scene while an overly literal version of Tosca plays out on stage, things blowing up hell west and crooked, a taut and sensible running time and a villain whom Bond leaves to the cruelest of all dispatches all make Quantum of Solace one of those films you like a little more each time you see it.
11. Goldeneye You know the name. You know the number. The film which reinstated Bond back in the zeitgeist after the high quality/diminished returns of The Living Daylights and Licence to Kill. Introducing Pierce Brosnan, who attempted to juggle Dalton’s steel and Moore’s devil may care glibness with his own arrested development raffishness, Goldeneye dispenses with any of the the thriller sensibilities of Dalton’s films and becomes a rather unsubtle chase movie in pursuit of an improbable plot. Much good in the film – Sean Bean steals every scene he is in, the pre-title sequence is astonishingly good, the tank chase through the streets of Leningrad is exactly as much fun as it sounds and thundering on as it does with the Bond theme in the background, imposes the film back in the Bond-lovers conscience – brassy, swaggering, loud, vulgar and perfect. However, it’s flaws are not insignificant – the film hasn’t aged well, there’s some questionable directorial choices and continuity problems (although none on the scale of Diamonds are Forever) Izabella Scorupco grates constantly, Robbie Coltrane is annoying, the descent into the films as a product placement vehicle begins here (the Z3 roadster is particularly galling), the boring tendency of Bond to solve problems by simply picking up a machine gun equally begins here and the ending is a little overplayed. There’s also the nagging doubt, at the back of your mind, that the film would and should have been much, much better with Dalton. Where as Quantum of Solace gains in esteem each time you see it again, I can’t think of one that loses more lustre with each reviewing the way Goldeneye does.
10. Thunderball 90% of Thunderball is great, rollicking fun and Bond at its wittiest, bloodiest and most Bondesque. The list of it’s triumphs is without end – a tense, (largely) believable plot, a despicable villain and a sharp, sexy secondary antagonist in Luciana Paluzzi (the scene where Bond finds her in his bathtub and instead of offering her a towel, offers her a pair of scuffs is priceless and as iconic to the series as the opening shot in Goldfinger), some great set pieces, a fun pre-title sequence, the best theme song of any of the films, the DB5 , the reappearance of the grey Prince of Wales check suit and some hilarious and cutting dialogue. So why only #10? Well, its the 10 percent. It’s too long and what makes it too long are the interminable underwater scenes where you just can’t tell what’s going on. There are other instances of sloppy direction here and there which tend to slow the pace or add gratuitous ideas into the mix, but sitting back and watching it for what it is, it is Bond at it’s biggest. boldest and most spectacular.
9. Dr No The Original, but not the best – Dr No is pretty much the unaltered template of the franchise – it took a few tweaks to get right in From Russia With Love and the final scope of the films really wasn’t there until Goldfinger – but whenever the films drifted too far into glibness or turgid modern action cliches the call is always to go back to the books, as Fleming wrote them – and that is wrong. Where they need to go back to is Dr No. It’s hard to discuss the film in terms of the 23 that followed it – it seems more appropriate to discuss it in the wider context of British film-making as a whole and of it’s impact on the British cultural psyche – but it still projects a wonder and wild glamour that would have been positively intoxicating. Jet travel, exotic women (Ursula Andress is still the gold standard for Bond Girls), Ken Adams designed underground lairs, the chases, explosions, gruesome deaths, space travel and one of the most cold blooded kills in the history of cinema (that’s a Smith & Wesson, and you’ve had your six…), a fantastic back and forth over the dinner table between Bond and Dr No – a glorious and heady brew. From this side of time, only the drawn out and largely wordless final act let it down (they should have stuck the book here, although the budget may not have lent itself to that) and some casual and not so casual sign of the times racism comes off badly. A final thought – Dr No as released on 5/10/1962. The Beatles released their first single on 11/10/1962. That was a week, that was.
8. For Your Eyes Only I seem to like this film better than the rest of the world seems to like it. Roger Moore’s Bond films swung wildly between attempts to play against his nice guy image (Live and Let Die, The Spy who Loved Me, For Your Eyes Only) and the ones that let him chew the scenery and pay to the popular preconception of him as the jokey Bond. For Your Eyes Only is a thankful return to the straight spy stories of the ilk of From Russia with Love with some fantastic set pieces thrown in. The villain of the piece (played by the always wonderful Julian Glover) is refreshingly low rent, the story fast paced and linear, Moore is tough and cunning (although he apparently complained at the scene where Bond dispatched Locque over a cliff’s edge as being too brutal for “his” Bond), a top notch theme song despite a questionable pre-title sequence and a stunning Bond girl in Carol Bouquet – who plays the role as a brittle Electra, uncertain how to take revenge, heedless of its consequences and frail in its pursuit adds an uncertain edge to her her undoubted beauty. It’s not perfect – Moore chafes a little under the direction to toughen up, there’s a talking parrot and Margaret Thatcher – but, all things being equal, an odd fish of a film that shows Bond could still grasp at its highest notions even in the slough of the early 80’s.
7. The Living Daylights Now we’re getting somewhere. After the two-films-too-long reign of Roger Moore, Timothy Dalton came into the role to bring in a drier, more ruthless more character driven Bond. And as a vehicle, he was given a cracking spy thriller which , somewhat meandering as it may be, never lets up from it’s astounding opening sequence to the thrilling fight on a cargo net over the Afghan desert. Maryam D’Abo, the light and innocence to Bond’s darkness and guilt, is excellent (and lovely), Jerome Krabbe’s touchy feely bad guy is great sleazy fun and General Pushkin, one would have hoped, could have gone on to be a worthy successor to General Gogol, shines with an excellent performance. Good theme song, which incorporates well into the score, some really downplayed scenes in Bratislava which are like a breath of fresh air for the franchise, devoid as they are of glamour, and not a minute of fat in the running time. Dalton made the best possible start – but even better was to come.
6. Casino Royale Let’s get this out of the way at the beginning – this, as a film, teeters on the verge of trainwreck. It’s a quilt of a story, ideas (often good ones) sitting awkwardly next to each other to the result that it seems to go on forever and never seems to establish what kind of film it is. It particularly labours the points which the source material makes so elegantly, especially in the interminable third act. Yet somehow the film manages to not only overcome these burdens but to make a sort of highly stylized (and Bond is nothing if not highly, usually over stylized) triumph of it – from the inverted pre-title sequence, to the inverted “Bond, James Bond” – we have a film that clings to the series past as well as indulging in cheerful, if at times gratuitous iconoclasm. Craig’s Bond is Dalton’s Bond filtered through the modern action hero lens -a man who asks no moral questions and, beyond the very brittle shell of “for England, James” is really just a man pursuing personal vendettas over any great philosophical principle. He is neither good, nor evil. He is a force of nature in an unnatural world.
5. Licence to Kill Essentially a dry run for the Casino Royale reboot, Licence to Kill completely unhinges Bond from the moral compass we expected him to be bound by and, instead of reinventing the tropes of the series, abandons or utterly re-purposes them. A terse and brooding discourse on the nature of loyalty, betrayal, duty and friendship, the film offers savage wit, powerhouse action and levels of violence heretofore unseen with the more conventional (though downplayed) elements of girls, gadgets and more dry one liners (largely courtesy of the wonderful Robert Davi) than any other 80’s action flick. Fantastic pre-title sequence, middling theme song. Perhaps Dr No is the only time a Bond film has ever been ahead of the prevailing zeitgeist, but Licence to Kill is an example of it catching up in a thrilling and compelling fashion.
4. From Russia With Love Stylish, exciting, quirky and engrossing (if a tad overlong), From Russia With Love drips with Fleming’s patent sex, violence and everyday decadence and is timeless for it. Connery both softens and hardens his performance, becoming more idiosyncratically British than his slightly Americanized Dr No persona and the rest of the cast helps propel a straightforward, if slightly improbable, spy story forward. Fantastic fight scene between Robert Shaw and his good friend Connery, (who has secretly agreed before filming not to pull their punches), unforgettable set pieces, including the Jane Mansfield assassination and the gypsy fight and, in Daniela Bianchi, the most preternaturally beautiful Bond girl. Top pre-credit sequence and above average song at the end. Always watchable, always intriguing, always classic top-shelf Bond.
3. Skyfall Impeccable film and, until the turgid mess of Spectre, a genuine hope that we could have Bond go forward both as the psychotic troglodyte we have come to know and love and as a new man with new man’s issues. All of the elements are here – slamming pre-credits, wonderful song (is it any coincidence the three top films have the three best songs?), the “new” Moneypenny who is the best single element added in the entire Craig era (perhaps the equal of Craig himself), an utterly unhinged villain, wicked banter, a tense and nerve-gnawing denouement and Bond free of his chains but dragged back through the only fragile connection to his own humanity he has – M. Not quite perfect, M’s fate seemed gratuitous, Bond’s concern for Ronson at the beginning seemed equally out of character, but whatever – for new Bond, this is as good as it gets and here’s hoping the misstep in the next film is quickly righted and we get back to business as laid out here as soon as possible.
2. On Her Majesty’s Secret Service Enter Lazenby. Exit Lazenby. Much maligned because of the proliferation of urban rumours and the rather off-kilter nature of Lazenby’s behaviour after the film came out, what we have in realty is a slamming action film which pays great service to what was Fleming’s best novel. While the bangs and flashes may have been intended to cover up the transition from beloved Connery to unknown Lazenby, they are a rowdy and enjoyable sideshow to the real story here, which is driven by a remarkable performance by Diana Rigg – a flawed, frightened and unbalanced Bond girl whom Bond saves, literally and figuratively and who saves Bond, both figuratively and literally. Telly Savalas is a suave and menacing Blofeld and Lazenby himself – who, while obviously lacking Connery’s assurance and swagger as an actor, is still fascinatingly watchable and both incredibly sincere in his performance with Rigg and sharply authentic in the gunplay scenes (in fact, he handles a gun better than any other Bond, I would say. His training in the Australian army gives him real credibility in the physical scenes) and some stunning photography on Piz Gloria. And there’s a dwarf whistling “Goldfinger”. The high point in dry wit, a fascinating pre-title sequence (say what you will about director Peter Hunt’s handling of actors, he knows how to put a fight scene together), an epic theme song from Louis Armstrong and a closing scene with more poignancy and myth seeding than any in the franchise’s history- OHMSS is unbeatable and indispensable.
1. Goldfinger If you think of the landmark films in British cinema – Henry V, The Third Man, Bridge on the River Kwai, Room at The Top,Lawrence of Arabia, Zulu, Blow Up it seems farcical the Goldfinger isn’t on that list. It is just that good. If you wanted to explain Bond films to a man from Mars, the pre-title sequence alone would be all you needed. Sure, the plot is ropey (but madly audacious) and Pussy Galore is more memorable for her name than the actual character Honor Blackman imbues her with but good god, every other bit of it is fantastic – the villains, the henchmen, the gorgeous girls, the Aston Martin, the Prince of Wales check suit, the laser, death by car cubing, the second to none quips, the tooshie slap – the whole tone of the film, the outside of our imaginings lifestyle of it, the glamour, the ease, it’s all still pervasive and convincing. There are better individual moments in the canon, better scripts better stunts, more beautiful girls, better songs, colder kills – but there was never so strong and consistent sense of style as Goldfinger possess.