Ranking All 25 James Bond Films from Best to Worst

Sean Connery as the movies' first 007.

I originally ranked the first 22 James Bond films back in 2008. After recently watching No Time to Die, I thought it'd be interesting to review my list and update it to include all 25 Bond movies. Surprisingly, my rankings stayed much pretty the same. The two biggest movers were License to Kill and Quantum of Solace, two offbeat series entries which have improved with age. In the list below, the hyperlinks lead to in-depth film reviews by former Café staff writer Sarkoffagus. His assessment of a movie may not always be consistent with mine.

1. Goldfinger (1964) – The ultimate 007 film: terrific pre-title sequence, memorable song, worthy adversaries (Goldfinger and Oddjob), strong women, fun gadgets, clever plot, right mix of humor and action, Shirley Bassey's booming vovals on the title track, and Connery in peak form. Need I say more?

Roger Moore in Spy.

2. The Spy Who Loved Me (1977) – As a fan of The Saint TV series, I thought Roger Moore would be an ideal Bond. But his first two entries had me re-evaluating that assessment; fortunately, this one restored my faith in Roger. He seems incredibly comfortable in the role for the first time. The film also benefits from lush scenery, the most famous henchman of the series, a great Carly Simon song, and Caroline Munro & Barbara Bach (did she ever make another decent film?). I only wish Stromberg was a more compelling villain.

3. From Russia With Love (1963) – Connery’s second-best entry features the meatiest plot of any Bond film. It introduces the trademark gadgets with 007’s versatile attaché case. Lotte Lenya and Robert Shaw (in freaky white hair) score as the villains. The close quarters fight on the train between Bond and Shaw’s henchman is one of the best in the series.

Lazenzy in his solo series entry.

4. On Her Majesty’s Secret Service (1969) – OK, so George Lazenby made a pretty bland Bond. The rest of the film more than compensates for the lack of a dynamic lead. We get Diana Rigg (truly worthy of being Mrs. Bond), a snowy mountaintop headquarters for Blofeld, and some of the most memorable action sequences in the whole series.  Director Peter Hunt, a former editor, was far ahead of his time with his quick-cutting fight scenes. I love the John Barry title theme, but am not a fan of the closing song warbled by Louis Armstrong. Composer John Barry loved it, though, and the song resurfaces in No Time to Die.

5. Casino Royale (2006) – Daniel Craig's first 007 outing remains his best. It’s a muscular Bond film in every way. I even think the poker game—often criticized as the lull point in the film—is exciting. The torture scene goes on too long, but that’s my only qualm. Eva Green easily convinces us why Bond is smitten with Vesper Lynd and Le Chiffre is a worthy 007 adversary. Craig brought an edge to 007 that had been missing since Goldfinger (except perhaps for a brief flare-up in Licence to Kill).

Dalton was growing in the role.

6. Licence to Kill (1989) – It took me several years to warm up to this one. It’s basically a revenge tale and that’s what disappointed me at first. But I later came to appreciate its uniqueness from other Bond films. It’s too bad Timothy Dalton didn’t appear as 007 again. Like Roger Moore before him, I think Dalton was growing into the role and might have had a breakout with his third film. The title song, sung by Gladys Knight, is an underrated gem.

7. The World Is Not Enough (1999) – All right, Denise Richards wasn’t convincing as a physicist and is saddled with the worst name of any Bond character (Christmas Jones, really?). However, we still get Pierce Brosnan in his best 007 outing, along with a great plot twist, a breathtaking pre-title sequence, and strong performances from everyone not named Denise.

Craig as the "blonde Bond."

8. Skyfall (2012) – Daniel Craig’s second Bond film delves deeply into the complex relationship between 007 and M (Judi Dench). That, along with a nail-biting chase through the London Underground, elevate Skyfall into the top third of the Bond filmography. It would rank even higher if it didn't dip into self-importance and borrow Bond’s last stand climax from The Bourne Identity (2002). Adele’s title song is one of the better later themes.

9. For Your Eyes Only (1981) – This was a pivotal entry because it righted the ship after Moonraker steered the series too far into comedy. It’s almost too low-key compared to others, but that works in its favor. Carole Bouquet, Topol, and Julian Glover boost this outing with convincing performances (although former ice-skater Lynn-Holly Johnson is a distraction).

10. Thunderball (1965) – It features most of the virtues of Goldfinger, but has too much of each of them. For me, it verges on being over-the-top, but that’s not to say it isn’t a lot of fun (especially Luciana Paluzzi who steals the film from pretty, but dull heroine Claudine Auger). The underwater climax should be exciting, but everyone moves slower in the water!

Ursula Andress in Dr. No.

11. Dr. No (1962) – The series’ first entry is enjoyable from a historical perspective. It takes awhile to really get going, but Joseph Wiseman sets the standard for Bond villains and Ursula Andress makes the most memorable entrance of any Bond heroine (so much so that Halle Berry pays homage to it in Die Another Day).

12. Octopussy (1983) – This solid outing benefits from Maud Adams in the title role (in her second 007 film) and more screen time for Q. The circus setting near the climax is certainly unusual, but who wants to see James Bond in clown make-up? John Barry’s “All Time High” is easiest his weakest title song.

Pierce Brosnan.

13. Tomorrow Never Dies (1997) – It initially works in fits and starts, but finally gains momentum once Michelle Yeoh’s character gets paired with Bond. Their action scenes are dynamite and their chemistry keeps the plot perking along.

14. The Man With the Golden Gun (1974) – This entry is a hodgepodge that balances Britt Ekland’s bubble-headed heroine and the unnecessary return of Clifton James’ J.W. Pepper with Christopher Lee’s delightful turn as the high-paid assassin Scaramanga and Lulu's blistering version of the title song. I probably rate it higher than most people—but the bottom line, for me, is that it’s consistently entertaining.

Charles Gray as Blofeld.

15. Diamonds Are Forever (1971) – Connery’s much-publicized return after a one-film absence results in a lightweight affair where everyone seems to be having a grand time. Charles Gray steals the film as Blofeld, but, in all honesty, the supporting characters are the attraction here. Who can forget Bond fighting Bambi and Thumper and the amusing dialogue exchanges between henchmen Mr. Wint and Mr. Kidd?

16. Quantum of Solace (2008) – It’s a grim, violent revenge picture from start to finish. It’s imperative that you watch it immediately after Casino Royale, because that film establishes the motivations for Bond’s actions. The first time I saw it, I was unimpressed. However, it has improved with subsequent viewings, likely because I watched it and Casino Royale back-to-back. I also like that it’s an efficient action film (the shortest running time in the series) and Bond’s relationship with the heroine is all business. 

17. No Time to Die (2021) – This fitting conclusion to Daniel Craig’s five Bond pictures starts off promisingly with two gripping pre-title sequences. Once the dust settles, it focuses on Bond trying to find his place in the world as he comes out of retirement to help CIA friend Felix Leiter. Much time is spent on the relationship between Bond and his one-time love Madeleine—who harbors two big secrets. There are some fine set pieces and several delightful homages to previous 007 films. However, Craig and lead actress Léa Seydoux lack chemistry and Rami Malek’s weak villain seems to be channeling Peter Lorre…in a bad way.

Donald Pleasance as the best Blofeld.

18. You Only Live Twice (1967) – Donald Pleasance gets high marks as the series’ best Blofeld and his volcano headquarters (courtesy of set designer Ken Adam) is ingenious. On the downside, Connery looks tired and the climax is a letdown.

19. GoldenEye (1995) – This lackluster debut for Pierce Brosnan has its fans and was a big hit.  However, it feels like a mash-up of previous Bond films. Its highlights are Brosnan, who brought some panache in his 007 interpretation, and Sean Bean as the villain, a former MI6 agent bent on revenge. Incidentally, the GoldenEye video game is famous in its own right and is a personal favorite.

Judi Dench as M.

20. Spectre (2015) – Its first half is full of promise as a posthumous message from M sends James on a mission to expose a mysterious criminal organization. Unfortunately, the second half collapses under its own weight with the revelation that Bond’s evil foster brother is behind every bad thing in 007’s life. It’s a shame because Christoph Waltz is an excellent modern-day Blofeld and the story didn’t need to connect him to Bond.

21. Live and Let Die (1973) – I remember Roger Moore being interviewed when this came out and commenting that Bond films consisted solely of connected chase scenes. Well, the best ones do have a plot! But Live and Let Die has minimal plot and indeed features a ton of chase scenes, most of which are silly (Sheriff J.W. Pepper did not belong in a 007 film!). Yaphet Kotto makes a memorable villain, but needs more to do.

Richard Kiel as Jaws.

22. Moonraker (1979) – I first saw this film at wonderful time in my life and that probably shades my assessment (otherwise, it might be ranked lower). There’s little to recommend it: it’s too spoofy (e.g., the silly use of The Magnificent Seven theme) and it transforms Jaws from bad guy to good guy…with a love interest no less.

23. The Living Daylights (1987) – One of my nephews likes this one and says I need to see it again. I recall it being an uninspired affair except for Dalton, who brought some energy back to the role.

24. A View to a Kill (1985) – It’s hard to decide what’s worse: Christopher Walken’s incredibly campy villain, Tanya Roberts’ non-performance as the heroine, or the fact that Roger Moore seems to be walking through his role. On the plus side, John Barry and Duran Duran collaborated to compose one of the best James Bond title songs--and the only one to hit #1 on the Billboard Hot 100 chart.

25. Die Another Day (2002) – An invisible car? A female spy that’s the equal of Bond? Madonna as a fencing master? These are indications that the producers and writers had run out of ideas and ingenuity. The decision to reboot the franchise with Craig? Excellent!

Shirley Eaton Talks with the Café about James Bond, Mickey Spillane, and Her New Book

Think of Goldfinger and the first image that comes to mind is Shirley Eaton--covered in gold paint. If the stunning, talented British actress had appeared in no other films, she would still be famous today. However, prior to her appearance in Goldfinger, Ms. Eaton had established an impressive acting career. In the 1950s, she appeared in two of the Doctor films with Dirk Bogarde and James Robertson Justice. She was the female lead in Carry On, Sergeant, the first of the long-running comedy series, and appeared in two sequels. In the 1960s, she starred in musicals (Life Is a Circus), adventure films (Rhino!), comedies (Eight on the Lam with Bob Hope), and mysteries (Ten Little Indians, my favorite version of Agatha Christie's novel). She retired from acting in 1969 to raise her family. That hasn't kept Ms. Eaton from becoming a sculptor and photographer, penning an autobiography (1999's Golden Girl), publishing a book on poetry, and appearing at film conventions.

Café:  How did you come to be cast as Jill Masterson in Goldfinger?

Shirley Eaton: I had made twenty-one films before Goldfinger and the producers just called my agent to have an interview with me, asking me if I minded being naked and painted gold, to which I replied, with a smile: "Fine, if it is done tastefully."

Café:  You co-starred with Sean Connery in Goldfinger and with Roger Moore on The Saint TV series. How well did you get along with them? And, in your opinion, which was the better Bond?

Shirley Eaton & Sean Connery in Goldfinger.

SE:  Sean was very easy to get on with. He will always be the favourite Bond with older and devoted Ian Fleming fans, so that includes me. Roger made his Bond so different, with more twinkle in his eyes and perhaps we could say a lighter touch than Sean, but millions of fans love him too as I do. He directed one of The Saint episodes I was in and was very understanding "being an actor" and he was a very good director.We have been close family friends ever since The Saint series.

Café:  What do you think of the latest James Bond films with Daniel Craig?

SE:  Daniel Craig is a very good actor and the recent Bond films are great action movies. Inevitably, as time has moved on and fast editing seems a must in most films now, something is lost in essence from the early Bond movies in my opinion.

With Mickey Spillane in The Girl Hunters.

Café:  You starred in The Girl Hunters with Mickey Spillane, who played tough private eye Mike Hammer--his own literary creation--and wrote the screenplay. What was it like acting opposite the film's screenwriter?

SE: I loved working with Mickey Spillane even though he was a better writer than actor. He was a fascinating man, down to earth one minute then away with his imagination the next. His life outside writing was full of adventure and especially courage in the last World War, a man of many talents, he and I made a good combination in the film and he was no mean actor after all!!!

Café:  You appeared in multiple Carry On and Doctor films. Both of these film series were huge favorites with British movie-goers for decades. What was the secret to their enduring popularity?

SE:  Their post card humour, which the English love--not to mention an army of talented actors!

The villainous Su-Muru.

Café:  You made a great (dark-haired) villain in The Million Eyes of Su-Muru and its sequel Rio 70 (aka The Girl from Rio) produced by Harry Alan Towers. Was there any discussion of continuing that film series, as Towers did with the five Christopher Lee Fu Manchu films?

SE:  I had retired by then and wanted to live a normal life again. After I finished The Million Eyes of Su-Muru and The Girl from Rio and was coming home in the plane was when I made the decision to quit. I hated being away from my baby Jason and his brother Grant! However, I did enjoy being the wicked lady Su-muru in two rather bad films, which I had not had the chance to be before. I do believe they have become cult films now :)

(Courtesy of Shirley Eaton)

Café:  After you retired from acting in 1969 to raise your family, were there any roles that tempted you to return to the screen? If so, what were they?

SE:  Absolutely not. I was enjoying life to the fullest just being Shirley Mother and a wife.

Café:  How did you become interested in photography and sculpture? And what can you tell us about your upcoming art/autobiography book Under My Skin?

(Courtesy of Shirley Eaton)

SE:  I went to art school in London for over two years pretty soon after I stopped acting and took painting and sculpture classes. I have always been an extremely creative person and I like artistic challenges, hence you will see in my new book. It is an up-to-date autobiography mostly in a picture form: the first part covering my career and life then and now, with another section on my art then and now, too.

"Sophisticated Me" (courtesy of Shirley Eaton).

You can learn more about Shirley Eaton by visiting her web site www.shirleyeaton.net.

Bond Is Forever: “Casino Royale”

MI6 agent Jame Bond (Daniel Craig), having recently earned his 00 status, is attempting to ensnare a bomber for hire in Madagascar. An explosive confrontation at the Embassy leaves the bomber dead, and security footage of Bond shooting an unarmed man fuels the newspaper headlines. MI6 head, M (Judi Dench), sends 007 away to “stick his head in the sand,” time which Bond spends traveling to the Bahamas, where he has tracked a message sent to the bomber. The agent’s investigation results in Bond foiling an engineered bombing, which inevitably costs a man named Le Chiffre (Mads Mikkelsen) an excess of 100 million dollars, money intended to finance an organization of terrorists. Desperate to recoup his monetary loss, Le Chiffre organizes a high-stakes poker game with a buy-in of ten million dollars. James Bond, along with treasury agent, Vesper Lynd (Eva Green), is officially assigned to join the game and prevent Le Chiffre from funding the terrorists.

Casino Royale (2006) was the first Bond film since 1987 (with the release of The Living Daylights) to adapt an Ian Fleming story or, at the very least, utilize a story’s title. When producers Harry Saltzman and Albert “Cubby” Broccoli acquired the rights to James Bond, the Casino Royale rights were unavailable, having already been sold and made into an episode of the CBS series, Climax!, with Barry Nelson as CIA agent Jimmy Bond and Peter Lorre as Le Chiffre. Once producer Charles K. Feldman owned the novel’s rights, he tried to make a serious adaptation but ultimately released a parody in 1967, with David Niven as Bond, Orson Welles as Le Chiffre, and Ursula Andress as Vesper Lynd, and also starring Peter Sellers (who either left or was fired during production) as a character named Evelyn Tremble, who impersonates Bond. (Interestingly, Niven was suggested by Fleming to play 007 in 1962’s Dr. No and, according to some reports, was the inspiration for the author’s character.) The 1967 film was released by Columbia Pictures, which was purchased by Sony in the 1980s. Sony reportedly traded the rights to Casino Royale for MGM/UA’s rights to a Spider-Man adaptation (see Thunderball for more information). In any case, Sony Pictures acquired MGM in 2005 and greenlit a film version of Casino Royale.


The 2006 film is usually considered a “reboot” of the Bond series. However, though Casino Royale seems to reexamine some of the more popular 007 elements, the filmmakers keep their feet in familiar territory. The movie opens in stark black and white, as James Bond awaits an MI6 agent selling classified information. In flashback, the audience witnesses Bond vigorously obtaining intelligence from the other man’s accomplice, the scene ending with 007 spinning around and firing his weapon. As the opening credits and title song begin, a version of the gun barrel sequence is shown. This insinuates that Casino Royale is almost a prequel, a way to return to square one. Playing the initial scenes without color is much like starting with a blank canvas.

Nevertheless, Casino Royale is not a film which completely reinvents either the James Bond character or the cinematic series. It’s true that, by essentially starting over, the film can disregard former narratives. But there is little connection among the preceding 007 movies. In terms of certain characters and minor plots, some of the entries will link, but major narrative components are concluded with each film, and there is clearly no story arc within the series. In fact, one could argue that the Bond series is reset every time a new actor secures the main role. On Her Majesty’s Secret Service (1969/George Lazenby) was a love story, Live and Let Die (1973/Roger Moore) was more action-oriented, The Living Daylights (Timothy Dalton) featured a more rugged 007, and GoldenEye (1995/Pierce Brosnan) opted for a more dashing spy while retaining the nonstop action.

A number of Bond conventions are acknowledged in Casino Royale, some of them tongue-in-cheek, but many of them in a manner both serious and respectful to the series. Though Bond’s choice of cocktail in Casino Royale is a concoction he invents and dubs “the Vesper” (which is taken from Fleming’s novel), he does order a martini but, already irate, hisses an apathetic response when asked if he’d prefer the drink shaken or stirred. Likewise, the film seems to mock sexually suggestive names of female characters when Bond jokingly tells Vesper that a supplied document declares her alias as Stephanie Broadchest. Casino Royale, however, also “introduces” viewers to Bond trademarks: in addition to the gun barrel image, the audience sees the spy win an Aston Martin DB5 (much like the one featured in 1964’s Goldfinger) in a poker game and later drive a newer model, wield a Walther P99 (the same gun that, in effect, replaced the PPK for Brosnan in 1997’s Tomorrow Never Dies), and eventually present himself to a villain as “Bond, James Bond.” Other moments are good-humored nods: Bond hinting that “M” is the first letter of the woman’s name, Craig’s emergence from the ocean recalling Andress in Dr. No, and Vesper’s first line, “I’m the money,” followed by Bond stating that she’s “worth every penny,” a subtle reference to Miss Moneypenny, who does not appear in the film.

When it was evident that Brosnan would not be returning to the series, there was, not surprisingly, a debate on which actor should portray 007. Equally expected was a disapproval over the casting of Craig, who was virtually unknown in the U.S. (despite an impressive resume) and, according to many fans, did not have physical attributes associated with James Bond. Craig’s interpretation of the role is admirable. He has the charisma of Connery and Brosnan, the playfulness of Moore, and the vigor of Dalton. His Bond is one who makes mistakes and questions his decisions, who shows fear when in peril, and who’s visibly cut and bruised after chasing down bad guys. Though flawed he may be, he is still Bond, reacting instinctively, facing danger head on, and oozing charm, regardless of the scars and grime from scuffles. And much like Connery’s early films and Moore in For Your Eyes Only (1981), Bond in Casino Royale relies less on gadgets and more on guile and legwork.

This is the second Bond film directed by Martin Campbell, who also helmed another actor’s Bond debut, GoldenEye, introducing Brosnan as the MI6 agent. Screenwriters Neal Purvis and Robert Wade had worked on the previous two Bond films, with Paul Haggis also contributing to the script. Haggis’ 2004 film, Crash, which he co-wrote and directed, won multiple awards, including Oscars for Best Picture, Best Original Screenplay and Best Editing (Haggis was additionally nominated for Best Director). All three Casino Royale writers would script the subsequent 007 film, Quantum of Solace (2008).

Dame Judi Dench was the only actor to reprise her role in Casino Royale. Like in the films with Brosnan, Dench’s performance is precise and assertive, and M’s authority is undisputed. Green as Vesper initially seems detached, but this is her character’s personality, so, as Vesper warms to Bond, viewers will likely embrace the actress’ translation. And while the best actor to play Bond will always be a source of contention, it’s evident that Jeffrey Wright’s turn as CIA agent Felix Leiter is incomparable. He’s just as suave and savvy as his British counterpart. Fortunately, Wright would return to the role in the next Bond movie.

The bomber pursued by Bond in the film’s beginning is played by French actor Sébastien Foucan. Foucan and actor/stuntman David Belle co-founded parkour, a practice which addresses physical efficiency and speed (e.g., finding the quickest way past an obstacle). The actor is credited in the opening with “free running stunts,” to emphasize the action of free running, which Foucan founded and which differs slightly from parkour by focusing more on style in movement than efficiency (though the fact that his character is trying to escape Bond might make parkour a more practical choice). Since 2006, parkour has become mainstream, although the American practice is closer to free running (particularly competitions, which parkour discourages). Parkour co-founder Belle displays his skills in the Luc Besson produced French films, District 13 (2004/Banlieue 13) and District 13: Ultimatum (2009/Banlieue 13 - Ultimatum).

The song’s theme is “You Know My Name,” performed by Chris Cornell, lead singer of the rock bands, Soundgarden and Audioslave, and written by Cornell and composer David Arnold. It is a beautiful tune that is incorporated throughout the film’s score in lieu of the James Bond theme, which closes the film (furthering the idea of the film introducing known elements of the series).

Casino Royale was nominated for a number of BAFTAs, awarded for Best Sound and Green winning the Orange Rising Star Award. Craig was nominated for a BAFTA and won an Evening Standard British Film Award for Best Actor.

Ian Fleming’s Casino Royale, first published in 1953, was the first of the author’s novels to feature James Bond. It was also the only Bond novel to have a U.S. paperback printing originally under a different title, with the asinine You Asked For It (though Casino Royale appeared in small print as a pseudo-subtitle) and the blurb on the back referring to the protagonist, like Climax!, as “Jimmy Bond.”

In spite of the apparent reservations of fans due to Craig’s casting, Casino Royale performed very well, and the actor was accepted as the new 007. Still, there are some who overlook this film. I encourage anyone who has previously brushed off Casino Royale to give it a second viewing, and maybe a third and fourth. James Bond will change with the times, but he remains Bond, James Bond.

Bond Is Forever will return next month with You Only Live Twice (1967).