Bond, James Bond (23 Films Ranked and Reviewed)

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  • 23) Moonraker (1979) - Ah, Moonraker. It takes place in outer space, you know, but this film is where the Bond franchise truly crashes down to earth with a resounding thud. While the lower ranked films listed here above Moonraker may be bad films, usually due to tired writing, barely-awake acting, and creeping boredom, this is really the only Bond film to stink of old cheese (and believe, there is entirely too much cheese here). As often told, the last film stated that it would be followed by For Your Eyes Only, but when sci fi mania hit the country following Close Encounters of the Third Kind and Star Wars, the producers decided to take a Bond novel having nothing to do with outer space but graced with a spacey name and construct a 'Bond in space' film. This means laser guns, space ships, and even an ill-advised venture into space opera towards the end. Additionally, the film takes one of the few interesting creations of the Moore years, the evil henchman Jaws, and proceeds to turn him into a joke, thus yanking and unweaving the most promising thread hanging from the only decent Moore film, The Spy Who Loved Me. Jaws' awful 'romance' is a horrible joke in a film that plays as a horrible joke, and the producers and screenwriters sacrifice any attempt at suspense for horrible stabs at comedy. This film isn't just a bad Bond film, but a bad film period, and as terrible as some films in the series were, nothing sunk as low as this outer space disaster. Moonraker is almost too painful to watch, even as camp.

  • 22) The Man with the Golden Gun (1974) - Roger Moore's second Bond outing runs over two hours, and the viewer unfortunately feels almost every moment of it drag by. Almost, that is, because Christopher Lee's baddie Scaramanga does manage to inject some delicious life into this film. When Lee commands the screen, The Man with the Golden Gun wakes up out of its long nap and comes alive; when he is out of the frame, the film lays its head back down and dozes off. Even a lame attempt to go the route of Smokey and the Bandit, complete with a Sheriff Pepper, seems stillborn, and the car chases, the boat chases, heck, even Britt Ekland's Mary Goodnight in a bikini can't begin raise this outing's blood pressure. In fact, the weak Ms. Goodnight easily ranks as one of the worst females in the series. The Man with the Golden Gun was Fleming's worst novel (he died before really finishing it), and it comes very close to being the worst Bond film Of course, the viewer will frankly be too bored to care too much. Don't think of it as a film; think of it as a chance to catch up on your sleep.

  • 21) Casino Royale (1967) - Alright, to be fair, this really isn't a true James Bond film. It is a lame spoof of the James Bond films. However, since it is still a better film than either Moonraker or The Man with the Golden Gun, I really didn't feel as if I could leave it off this list. Boasting nearly as many directors as actors (including John Huston!), this comedy isn't really very funny, despite the appearance of Peter Sellers, Woody Allen, Ursula Andress, or Orson Welles among its cast of thousands. There are a number of in-jokes for fans, and the dated charm of the music, sets, and feel of the film does lend it a slight time capsule like charm. That charm, of course, wears well off by the end of two and a half hours, and while there is a deluge of jokes, there are only a few funny moments in this movie, meaning that it at best is a failed comedy and curio of the late sixties. Casino Royale is a huge mess, but one perhaps worth gawking at for a few minutes.

  • 20) Live and Let Die (1973) - Roger Moore's debut as 007 had quite a few appealing ingredients. In fact, so many good elements go into Live and Let Die that it is crushing to watch the film collapse after about an hour. On the positive side, Yaphet Kotto, the bad Kananga / Mr. Big, is a great actor, and Jane Seymour certainly has more talent than the average woman displays in a Bond film. Unfortunately, the script bungles both of these roles, and fine acting can only carry poor writing so far. Also standing out among the good here is Paul McCartney's fine music. Live and Let Die benefits heavily from the lively anticipation of seeing a new Bond in action, but it wastes this spark after an enticing first half by sinking into some of the longest chase scenes in history. After a while, even wild stunts start to bore the viewer to tears, and the film simply falls apart, never capitalizing on its promising premise. Like many of the villains' vehicles, this film takes a wrong turn and never recovers.

  • 19) A View to a Kill (1985) - Perhaps the first and only film in the series where viewers felt sorry for poor Mr. Bond and longed to help him get into bed to catch up on his sleep. Simply put, Roger Moore looks tired and old in this film. The action scenes are not convincing as the viewer keeps expecting to hear the sickly snapping of Mr. Moore's bones every time he touches another character. It was time for Roger to retire, which he thankfully did after this entry. Bond's frailty and a weak, formula-recycling screenplay ruin a film that contains two terrific bad guys (Christopher Walken and Grace Jones) and a stellar opening sequence on top of the Eiffel Tower. Even a terrific theme song by Duran Duran doesn't seem to keep James Bond's eyes open.

  • 18) You Only Live Twice (1967) - As odd as this entry in the series is, it is a shame that its quirks simply come off as strange and silly rather than unique and invigorating. Roald Dahl provided the screenplay, and he found the restraints of the Bond formula rather goofy and confining, so he varied the mix up as much as the producers would allow. Sadly, some of this shuffling only baffles the mind. Is anybody ever going to mistake the tall, burly, Scottish-accented Mr. Connery, even with skin dye and a wig, for an person of Asian descent? No. Never. Of course, Mr. Connery for once doesn't really help matters here. He stated before filming that he was tired of the Bond character and ready to move on, and his boredom seeps into his acting in this outing. Some of the unusual moments work, especially a 'wedding' for Mr. Bond, but You Only Live Twice foreshadowed the series' sad reliance on gadgets and overblown antics that would nearly destory future films, and while this certainly stands out from the series, it sadly does not stand above most of it. Even with Donald Pleasance's cat-stroking Blofeld, You Only Live Twice is the weakest of the Connery Bond films.

  • 17) Thunderball (1965) - This is where the very first signs of trouble appear. After the run-away financial success of Goldfinger, the producers decided they found a surefire formula for megabucks. So, how do you get a bigger golden egg without messing with the magic hen? Why, more, of course, more of everything. More money. More jokes. More thrills, chills, women, gadgets, heck, more of everything, baby, except, of course, creativity, characterization, or intelligence. This is the film where the horns began to grow on the top of the heads of producers Harry Saltzman and Cubby Broccoli, and here the series slams into its first symptoms of tedium. Luckily, however, this is only the begin of the rot setting in, so much healthy tissue remains. Connery is still keeping James Bond a living human rather than a superman, and the plot was interesting enough to be copied by twenty billion films (including several Bond flicks) afterwards. In fact, this film and the two that follow it on this list form the grand medium of the Bond pictures; they aren't very good, but at the time of Thunderball, they really aren't all *that* bad. Not yet.

  • 16) The World is Not Enough (1999) - The worst of the Pierce Brosnan films thus far, The World is Not Enough is simply a bland, lifeless, uninventive Bond flick fatally wounded by the inclusion of Denise Richards as nuclear physicist (!) Christmas Jones (!!). I do not exaggerate when I claim Ms. Richards and her character represent the utmost worst of the series' main female roles, and that unfortunately says oodles. She is horrible, her character is horrible, and one can only assume the producers were sadly trying to hook a dumb male audience by featuring her over the excellent, well-cast Sophie Marceau. Apart from this awful mistake, nothing, good or bad, really leaps out of this film besides the sad hints that Brosnan's breezy nature is sowing sorry seeds of the flippant lightness of the Moore years, which we can only hope will not grow to fruition. This film, while not the worst Bond film, gives fans much to worry about.

  • 15) Octopussy (1983) - Alright, first, let's admit that it is alright to giggle or roll one's eyes at that title. It is both ridiculous and oddly appropriate for a Bond film from the early eighties. Once that action subsides, however, we are left with the film, which for the most part really isn't too bad. In fact, there isn't much wrong with Octopussy that hacking off a few minutes from the ending wouldn't fix. Roger Moore's blend of derring-do and tongue-in-cheek humor is better balanced than usual, and the plot fits his Bond rather well, mixing globetrotting, interesting action scenes, and one-liners with a lively verve. In fact, this film is a good representative of the post-Goldfinger films. I'm not sure any other later entry quite displays what the producer are usually after on the big screen. Unfortunately, that ending does drag on entirely too long in yet another film that handily passes the two hour mark. A shortened climax and a tighter running time would catapult this to the head of the Roger Moore class. As it is, it still isn't that bad. In fact, this was the first Bond film I ever saw as a boy, and it hooked me on the series. It could be better, and it is far from the best, but for a Roger Moore Bond, it works much better than most.

  • 14) For Your Eyes Only (1981) - You take the good, you take the bad. For Your Eyes Only offers up both, but luckily, this film has much more good than its predecessor, the terrible Moonraker, offered up. In fact, this entry seems to move in a great direction, swaying from the gawky jokes and gadgets of the early Moore films to add strong doses of suspense and action. The editing of the fight scenes is excellent, and the stunts, while still over-abundant, are pretty gripping here. If Lynn-Holly Johnson's Bibi is annoying, Carole Bouquet can act, quite well, in fact, and her Melina is one of the better women characters from the series. She is tough, smart, and determined, all great qualities for the females in a Bond movie. Additionally, Roger Moore occasionally summons up the 'real Bond', a tough, grim man with a mission. The scene with the dangling car is the toughest and cruelest we've seen Bond since his cold scene in Dr. No (more on that below), and the film definitely rises above the previous movies from it. In fact, this screenplay tilts the balance from silly to serious, from goofy to gritty, and it is a real shame the series rarely ever followed up on this invigorating shift.

  • 13) The Living Daylights (1987) - To put it bluntly, casting Timothy Dalton as James Bond was the smartest move the official series made since the Connery films. Dalton is a great actor, and he actually understands the elements that make Bond a fascinating human rather than a wise-cracking comic book hero. In fact, his Bond is the closest to the character Fleming created in his novels. This film was a needed vitalizing entry in a dying series. Gone were most of the deadly elements emphasized in the Roger Moore films, and they were replaced with good writing, great acting, believable situations, and a desire to surprise and to thrill the audience with the unexpected and the well-done as opposed to the tried and tired. Additionally, Maryam D'Abo's Kara Malovy is terrific and easily one of the best females ever to appear in a Bond film. She is human, attractive without being a supermodel, and a very refreshing change of pace from the previous film's plastic Tanya Roberts. The Living Daylights also boasts a terrific pre-credit sequence that introduces Dalton as Bond. For all that, however, The Living Daylights is still not a perfect film. The pacing is a bit off, and a few scenes, including a obligatory showing-off of the Bond car, would have been better left on the cutting room floor. In a few uneasy scenes, the film teeters on the precious. Also, Joe Don Baker's scenery chewing is fun but out of place in a Dalton film. Flaws exist here, sure, but I cannot overstate how important this film was for the series. It resurrected the franchise after A View to a Kill threatened to bury it, and Dalton would only get better in his next outing.

  • 12) Die Another Day (2002) - Die Another Day is quite easily the most frustrating, aggravating Bond film to date. For the first hour and a half, this is the most interesting 007 film in years. Pierce Brosnan for the first time is completely comfortable and convincing in James Bond’s skin, echoing Sean Connery much stronger than he does Roger Moore. Additionally, the writers seem to have suddenly remembered the essence of the character and the series. This Bond is tortured and suffers bloody noses and visible bruises. Using terms directly out of the novels, side characters refer to him as, “an assassin,” and, “a blunt instrument.” Turns of narrative send 007 globetrotting across the world. The producers seem to toss aside the now petrified formula with twists that wiggle free of the fossilized restraints usually imposed on the story. The viewers even see Bond cleaning his gun! Then, around the ninety minutes mark, that damn silly invisible car appears. Every little problem spied in the first part of the film explodes into a major, jarring error. Fans suffer through a hideous surfing scene, horrible CGI effects, boring car chases without end, humorously out of place operatic touches and over-used slow motion, and a plot that seems to have dumped nearly every intriguing element of the opening to not only steal the highlights but also actual scenes from earlier films in the series! Suddenly, James Bond starts speaking only in sexual innuendo, sounding as much like a self-parody as Lucas has turned Yoda into as of late and embarrassing most everybody in the audience. After finally delivering most of the film true fans have been starving for, EON productions suddenly woke up, realized they weren’t delivering the typical product, and spent the rest of the running time shoving the awful crap that now is the modern Bond film down the poor viewers’ throats. As a result, I’m frankly torn as to whether to encourage the producers to develop the nice touches here or to feel offended at the powers that be very cynically tossing me a bone and asking me to move on. Months down the road, however, I admit that the bad ending has largely left my mind, while the thrilling opening has stuck with me. Therefore, I'll be nice and give the good a bit more weight than perhaps I should. This was almost a classic, and much of what remains is still quite thrilling.

  • 11) Casino Royale (1954) - No, not a part of the official series, the 1954 Casino Royale was a one-hour, made for television version of Ian Fleming's first Bond novel. Barry Nelson is Bond here, with Peter Lorre adding great supporting work. Unlike most of the films, this adaptation (available on video) stays rather true to Fleming's novel, with a few amusing 'Americanizations' along the way, the funniest being a Bond who goes by Jimmy rather than James. Get past that, however, and the fact that it a short film made for television in the fifties, and you'll be surprised by how good this special little gem really is. Whatever you do, don't confuse it for the spoof Bond film of the same title from the late sixties. (I only saw this one once several years ago, so I'm afraid I don't have as much detail in this review as I do in the others. Still, that shouldn't worry you. This really does deserve its position on this list. Certainly seek it out if you're a fan.)

  • 10) Tomorrow Never Dies (1997) - There has been talk of Bond's often inept producers spinning off Halle Berry's Jinx from the new Die Another Day into her own series. I haven't seen that latest film yet, so I can't really comment on the intelligence of that move. However, if they really wanted to spin a female action character off of the Bond series, they should have considered Michelle Yeoh's Wai Lin from Tomorrow Never Dies. As another Listologist has mentioned, Yeoh and crazy Jonathan Pryce own this film, leaving Bond quite in the dark. This installment shows the Brosnan films trying to find an identity. After a more serious, unique GoldenEye, Tomorrow Never Dies returns to the Roger Moore formulas. Fortunately, it is much better than almost any of the Moore films, but still, this direction has often proved a dead end for the series, an ominous foreshadowing that The World is Not Enough only seems to confirm. Still, on this outing, the breezy approach works better than usual, and with such a strong supporting cast, Tomorrow Never Dies is much more fun than it has any right being.

  • 9) GoldenEye (1995) - Pierce Brosnan steps into the Bond role, and with this fun debut, we find the series trying to figure how much the Bond formula can be specialized to Brosnan without straying too far off the path. This adventurous endeavor hums from these nervous explorations, even if some of the experiments fall flat. The plot is a lifeless retread of too many other Bond films, and some of the casting is uninspired, but Famke Janssen is loads of fun as the over the top Xenia Onatopp, and Judi Dench is just fine as the new M. Brosnan seems comfortable as Bond even as the screenplay does not seem so with the well-meaning but forced scenes of introspection and characterization of James Bond. God knows we need a fuller realized Bond, but good intentions do not necessarily make gold, and the attempts at this are uneasy and embarrassing. Still, the film seems alive, the stunts are spectacular, and GoldenEye is invigorated by its own uncertainty. For at least one entry, the series seemed on the right path once again.

  • 8) Diamonds Are Forever - This film is to the Bond series something of what Star Trek IV was to the Trek series. It is the court jester, the out-right comedy of the batch. This trend toward laughs would damn well kill the series down the road, but Diamonds Are Forever works because, darn it all, it is funny. Forget the plot; you won't figure it out any way, and it really isn't the point here. The flashy action scenes and the jokes are, and a few of those jokes are actually incredibly clever throwaways (I wonder how many people actually catch the humor in Connery's answer as to where the diamonds are stashed...). Connery is bored with Bond (he only returned to the role for the cash), but somehow, this works with the character for this film. Bond is bored, and since the thrills can't keep him interesting, he resorts to quips. This is not a terrific film, but it is a fun film, and if it is quite a bit down in the Bond cannon (and it is), it can amazingly prod smiles out of viewers today. Besides, bored Connery Bond is *still* better than most Bonds.

  • 7) The Spy Who Loved Me (1977) - You knew there had to be one, and here it is - the Roger Moore Bond film that actually works. Moore has finally (if briefly) found a version of Bond that he can comfortably inhabit, and Barbara Bach's Anya Amasova is a great foil as Bond's opposite in the Russian service. Additionally, Richard Kiel's Jaws is a menacing, superior member of the series of silly but scary henchman to contend with found in many of the Bond movies. The stunts are breathtaking, the pace appropriately fast and light, the gadgetry actually surprises (especially that car), and Ken Adams' astonishing production design is as great as always. For many younger fans, this film epitomizes everything they love about the series, and it is hard to argue with them. The Spy Who Loved Me, much like Carly's now classic theme song (Nobody Does It Better). succeeds almost in spite of itself, and offers loads of fun to boot.

  • 6) On Her Majesty's Secret Service (1969) - For a film stuck in a very difficult situation, On Her Majesty's Secret Service scores on so many levels. Let's face it, people were going to grumble about George Lazenby's performance no matter what. His was the thankless job of picking up the role after Sean Connery left it for the first time. With the passage of time, it is much easier to see that Mr. Lazenby did just fine with a film that required much more of Bond than any other film asked for. Lazenby had to play a Bond in love, a Bond smitten enough to walk down the aisle. He had to flesh out a character that was now going to be more rounded and believable than ever, and he had to do this while still facing a formidable foe and leaping through a series of dangerous stunts. He convinces the audience and saves the day, and that alone shows how good he was. At 144 minutes, this film still zips by, and that speed is just one of the advantages to having an excellent editor serve as director. Additionally, the singular Diana Rigg soars as Tracy Draco aka Mrs. Bond, and Telly Savalas is incredibly fun in his turn as Blofeld. This criminally under-rated film is easily one of the very best in the series, and I can only hope that time will continue to correct its overlooked condition.

  • 5) Dr. No (1962) - Dr. No is ground zero for the cinematic Bond and especially fun since the formula had yet to develop for the series. Sean Connery walks into the role and immediately owns Bond, even if his Bond is little like Fleming's. His confidence in the role is largely responsible for launching the franchise, and his achievement can hardly be overstated. Early Bond is a much grittier creature than he would become, and nowhere is that more evident than in the scene were he ruthlessly shoots and kills an unarmed assassin. True, the assassin had just tried to murder Bond, but he was no longer a threat, and Bond still kills him. After all, that is a large part of Bond's job, and he is quite cold about it the way killers often are. It is shocking, and it is a scene impossible to imagine appearing in most later films. Dr. No also has a much stronger fifties sci fi vibe to it than other films in the series, and it is more unique and fun for it. Ursula Andress' ascension from the water, of course, is now so iconic that the series itself is referencing it again. Though Dr. No lacks many of the elements that will later been seen as essential to the series, it is a much better film that most of the cookie-cutter copycats that would follow it.

  • 4) Goldfinger (1964) - It wasn't the first Bond film, but in most respect, Goldfinger is the Bond film. This is the template that successful enough that it has been copied with very few variations for most of the remaining series, and it is easy to see why. The exciting, entertaining mix of scares, chills, suspense, attractive women, breezy wisecracks, evil henchman, and crazy villains is a very addictive one, and audiences responded to it with gusto. This film is so representative of the entire Bond corpus, I oddly must resist the temptation to defend its position so low on my list instead of praising why it is so high here. I am not a huge fan of formula, and I usually find deviations from formula much more exciting than the formula itself. That being said, here in Goldfinger, the formula was still novel, and the film doesn't feel the least bit tired or cliched. If you've seen any Bond film, chances are, you've seen Goldfinger. Whether you know it or not.

  • 3) Licence to Kill (1989) - In the history of James Bond, the greatest tragedy is not his marriage. It is the lukewarm reaction of the public to the terrific Licence to Kill. Timothy Dalton, director John Glen, and the screenwriters have crumpled up and tossed most of the Bond formula, returned to Fleming's books, and crafted a thrilling, exciting adventure with a pissed off Bond maverick and out for revenge. The film is grim and violent, violent enough to earn the series' first PG-13 rating, and the film ditches most of the lame humor that plagues Bond films to reflect the grim anger bubbling under James Bond. This is Bond as badass, and the film boils with Dalton's intensity. There is one unfortunate stunt at the end of the film that is unbelievable enough to be sorely out of place, but chop that out, act as if you never saw that scene, and you not only have a superior Bond film, you have an incredibly gripping, rousing action film. The financial disappointment of this film ended Dalton's Bond, and that is a damn shame. Like Connery, by his second film, he was already soaring, and I can only dream about where the series would have gone had Licence to Kill made an extra hundred million.

  • 2) Never Say Never Again (1983) - Oh, the Bond producers are throwing a fit now. "That's not even an OFFICIAL Bond film!" No, its not, but it is more of a Bond film than the dreck Eon has often shoveled our way since Connery tired of the role. Sean Connery is James Bond again, in a film that would be a paragon of the Bond formula if it wasn't for the fact that Connery was around fifty years old at the time. This aging sets the film apart, gives it an honest, unforced sense of humor, and also zaps it with juice. The cast and crew knew they were doing the impossible, making a Bond film with an older Bond character outside of the official system, and they went all out doing it. The cast is top-notch, including two Oscar winners (Sean Connery and Kim Basinger) and two Oscar nominees (Max Von Sydow and Klaus-Maria Brandauer). Additionally, Barbara Carrera is deliciously outrageous as Fatima Blush, even more delirious fun than Famke Janssen's strangely similar turn in GoldenEye. Even more impressive is how deftly this film balances classic Bond humor with great, tough action. The fight between Bond and the evil guys at the clinic is rough, kinetic, and exciting, with Connery convincingly getting and doling out abuse. In fact, the action scenes (including the motorcycle chase) are extremely well directed by Irvin Kershner in only his second film (his first was The Empire Strikes Back). Rowan Atkinson's comic relief stays just this side of too far, and even lacking the theme music, the opening credits, or an original plot (legally, this film had to be essentially a remake of Thunderball to be made; it is a long story), this is more of a 'Bond film' than any of the Roger Moore or Pierce Bronsnan entries. Even the dated scenes of Connery playing a video game are fun. While the official producers of Bond films really hope you won't watch this, you really should. (Coincidentally, audiences agreed, as this film easily murdered the 'official' Bond film of the year, Octopussy, at the box office.)

  • 1) From Russia with Love (1963)- Forget blowing up the world or holding governments hostage. That pesky Bond always gets in the way. Instead, let's just kill Bond. That is the wonderful premise of From Russia with Love, the best Bond film ever. Why? The unusual plot avoids most formula and allows for a very tense film. The cast is, along with Never Say Never Again, the best ever, with Connery in full stride as Bond, Daniela Bianchi as perhaps the sexiest 'Bond girl' ever, and Robert Shaw with a dye job as a cold, sadistic assassin who only wants to kill Bond. The editing is fantastic; no scene in the entire series is as thrilling or well done as the fight to the death between Bond and Shaw. In fact, it is one of the best fight scenes in all of cinema. Q appears for the first time, and his gadget is handled better than in any other film of the series; this is also the first appearance of the classic title sequences. Really, you won't believe me, not with Goldfinger's reputation, until you see it for yourself. Amazingly faithful to Fleming's novel (which, by no coincidence, is also his best), From Russia with Love is not the typical Bond film. It is the best.
Author Comments: 

Die Another Day arrives today, so now is a good time to revisit the Bond series. In third grade, when all my friends were reading Ramona the Pest and Superfudge, I was devouring Ian Fleming's Bond novels. That pretty much makes me a lifelong Bond fan, so take this irreverent review as you will. It is highly personal, but reflects my deep, at times guilty, love for the character of James Bond. (Yes, I do favor the novels to the films, but a good Bond film is tons of fun.)

Marvelous! Absolutely Marvelous! It almost makes me want to go spend $18 to see how the new one stacks up. I might disagree in some places but it would only be minor quibbling. Your love for Bonds shines through. I might even get my wife to read this list. (She usually can't get through my own long diatribes)as she is the bigger Bond fan in our family. A great job.

Thank you very much. My list is very atypical, especially with my top choices, so I would be pretty shocked if anybody agreed with me completely. I do love Bond though. Next to my father, he was my earliest hero (my first encounter was at age 10), so he has quite a hold on many of the formative years of my life.

Thanks again! I spent way too much time on this morning... Can you tell it is a slow work day? :)

Shalom, y'all!

L. Bangs

This lists really makes me want to watch more Bond movies (I've only seen TWINE, Dr. No, and the 1967 Casino Royale).

Enjoy! If you see any, you'll have to let me know your reactions.

Shalom, y'all!

L. Bangs

Whoa, only a couple days in theaters and "Die Another Day" already is the second-highest ranked Bond movie on IMDB, just after "Goldfinger."

Wonderful! When I saw you had only posted Moonraker last week I assumed I had plenty of time to post a "I can't wait to see how this list develops" comment, but here you've gone and finished it! And dang it, now I have to see Never Say Never Again again, which I remember hating (but I was only 13 - what did I know?). Along with slipkid's this is a great Bond list, and you two make me want to rewatch them all in chronological order so I can make a similar effort. Thanks!

Thanks!

I love slipkid's list. When I first saw it, it provided the inspiration for this list. I didn't read his list, however, until I finished my own, not wishing to cop anything from him. When I finished, I greatly enjoyed his list and delighted in many of the similarities there and here.

So thanks, slipkid!

And thanks again, Jim.

Shalom, y'all!

L. Bangs

You're very welcome. Great minds think alike.

:) Are you updating your list to include Die Another Day?

I caught some of From Russia with Love on the tele last night. Bond on the Orient Express, Robert Shaw, and don't even get me started on the incredibly sexy Daniela Bianchi. I was inspired, so I updated.

Thanks again!

Shalom, y'all!

L. Bangs

Gee, I'm going to have to rent Die Another Day just to bring this list up to date. Anybody already watch it, and if so, what do you think?

Shalom, y'all!

L. Bangs

Already, a quick scan of Listology shows the nays leading. One positive mention and a couple of lukewarm reactions are the best I am seeing...

Shalom, y'all!

L. Bangs

If you do decide to rent it, I suggest you close your eyes during that horrible CGI sequence. You may also want to shut your eyes and hold your ears for Madonna's cameo.

I may be safe on that last part...I already hold my ears when her theme song plays!

One of the lesser Bond songs, and that says something (anybody even remember a-ha's?).

I'll probably have to see this at some point to complete the list, but I may wait until a friend buys it. I hate for a bad movie to take my moolah...

Thanks!

Shalom, y'all!

L. Bangs

Well, you liked The World Is Not Enough more than I did (which is not to say you liked it), and I preferred Die Another Day to it, so if we do the math, let me see, carry the one... You should place Die Another Day somewhere higher than 15th. :-)

AJ's right though, find a way to avoid that awful awful CGI scene. I think it's the worst CGI sequence I've ever seen.

I discovered a co-worker owns this one, so I should be borrowing it soon. I'm not really too excited, but hey, I gotta keep this list somewhat up to date, and besides, there's always a chance, no matter how tiny.

And wow, if you liked The World less than I did, you must REALLY hate it. :)

Shalom, y'all!

L. Bangs

I'd have to rewatch many of the pre-Brosnan Bonds to put the whole series in proper perspective, since I watched many as adolescent of questionable taste (as opposed to the adult of questionable taste I am now). But I only remember being bored by two Bond movies: The Man with the Golden Gun and TWinE. Bond movies can lapse in so many ways and get a pass, but they can't be boring.

I wish I could say that only two of the Bond films bored me. ;)

That chase sequence in Live and Let Die really ground the film to a slow, sad, and to me, boring halt...

Shalom, y'all!

L. Bangs

Oh, I'm sure I could add to the "boring Bond movies" list if I updated some of my "watched 'em when I was 12" reviews. :-)

Hey, do you have a computer at work now? Is the job bearable?

I have a computer now, but due to goofy filters, I do not have access to many sites, such as Hotmail (grrr). Luckily, I can get in to Listology.

As to your other question, I'll hold off answering that till I get home to my own computer tonight!

Honestly, there are a few up here I haven't seen since I was quite a bit younger. I'm curious as to how different this list might look if I had the chance to watch them all again, say, tomorrow. I think the films on either end are fairly firm, but the middle placements might be more, er, mushy.

Shalom, y'all!

L. Bangs

Hey, congratulations on (again) completing this list, and finding a rung for the bipolar Die Another Day. 12th seems about right to me as well.

Thanks!

"The bipolar Die Another Day" - that's perhaps the best brief review I've heard for that film!

Shalom, y'all!

L. Bangs