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!

Bond Is Forever: “On Her Majesty’s Secret Service”

After James Bond (George Lazenby) saves a mysterious and beautiful woman (Diana Rigg) from an apparent suicide (a beach side stroll into the vast ocean), the two are surprised by armed men. The MI6 agent dispatches the thugs, but the lady speeds away before he has a chance to speak with her. Bond encounters the woman a second time at a casino, and 007 and Tracy, a young countess (from a previous marriage), share a hotel room for the night. The next day, Bond meets Draco (Gabriele Ferzetti), head of a crime syndicate and father to Tracy, and he seems interested in Bond courting and possibly wedding his daughter. Believing that Bond would tame the apparently wild Tracy, Draco is so desperate for Bond as a potential son-in-law that he offers to exchange information pertaining to Blofeld (Telly Savalas), who heads the evil conglomerate known as SPECTRE.

Having been relieved from Operation Bedlam, a mission whose ultimate goal is the assassination of Blofeld (Telly Savalas), Bond resigns from MI6. M, however, only approves a two-week leave, during which time the spy tracks a lawyer connected to Blofeld to a mountaintop resort. Posing as a genealogist, Bond soon realizes that, although the retreat is harmless on the surface (dominated by a number of ladies of varying ethnic backgrounds), there is a fiendish plan behind it all. And the man responsible for the plot, which includes unleashing a deadly virus across the globe, is Blofeld, and Bond vows to put a stop to the SPECTRE ringleader.

Although On Her Majesty’s Secret Service (1969) performed well at the box office and was one of top grossing U.S. films of the year, it was unfairly dismissed (as was its star) in the James Bond series. George Lazenby was the first actor to portray the cinematic Bond other than Sean Connery, who had decided to leave the series following You Only Live Twice in 1967. Producer Albert “Cubby” Broccoli had spotted Lazenby, who was working as a model, in a television commercial. Considering that this was the Australian actor’s debut in a leading role, Lazenby does moderately well. He’s most likely the least popular actor to portray Bond, and though he is considerably less charismatic than the other men, it was Lazenby who passed on the opportunity to find his footing as 007 and make the character his own. On the advice of his agent, he refused a seven-movie contract to play Bond, believing that the series would fall out of touch in the upcoming decade. Unfortunately, not only did the series continue to thrive, Lazenby also was unable to secure the short-lived popularity he’d garnered during the production and release of On Her Majesty’s Secret Service.

Though some people have suggested that the film would have been superior with Connery, this is not necessarily true. One of the reasons is that Lazenby almost becomes a supporting player in the movie, as he is outshone by actors and the settings around him. If Sean Connery had the lead, neither the producers nor the actor himself would have allowed the spotlight to turn away for so much of the film’s running time. There is also the fact that, to a certain extent, On Her Majesty’s Secret Service is a love story, one that focuses a great deal on the burgeoning relationship between Bond and Tracy. A spy such as 007, who shares his bed more often than sleeps alone, choosing to be with just one woman is much easier to accept with an actor like Lazenby, who comes across as exposed and vulnerable. Audiences would have shunned the idea of an already established Connery giving up his philandering ways.

It seems as if Lazenby takes a backseat when sharing screen time with the movie’s villain and the leading lady. Diana Rigg, fresh from her role as Emma Peel on the hugely successful British TV series, The Avengers, is nothing short of hypnotic in On Her Majesty’s Secret Service. Tracy is an enigma, seemingly callous at the film’s beginning but sweet and bright as the romance between her and Bond grows. By the end, she’s fully engaged in the action with the men. It’s not so much that the MI6 agent was wooing her (as Tracy’s father had wanted), but more like Bond was spellbound from the minute he met Tracy. There’s also the fact that Rigg is one of the world’s most beautiful women, every movement graceful and seething with untold seduction. Similarly, Telly Salavas as Blofeld proves much more charming than the film’s hero. In one of their scenes together, Blofeld is holding his cigarette in an unusual manner (almost like a knife), such that it’s difficult to take your eyes away from him. It’s telling that the movie’s most interesting scene is the one with Blofeld and Tracy, as he holds the woman captive. The villain is cordial, not cruel, and the “damsel in distress” is decidedly playful, not frightened. It’s a scene that almost makes a viewer hope that Bond waits a few more minutes before saving Tracy.

Much like Lazenby’s co-stars, the action scenes jump into the foreground, sometimes overshadowing Bond (like when he’s literally covered under an avalanche). Director Peter R. Hunt had worked as an editor on previous Bond films, including From Russia with Love (1963), in which Hunt helped establish a basic formula for the series, with a pre-credit sequence and perceptibly tight editing. On Her Majesty’s Secret Service was Hunt’s directorial debut, a rousing, action-packed Bond entry that more than holds its own with the films of today. There are several strong sequences of hand-to-hand combat throughout the narrative, but the final 50 minutes are amazing, including a 15-minute chase sequence with Bond on skis, on foot, and in a car (and Tracy driving), a second ski pursuit, a full-on assault littered with bullets, bodies and multiple explosives, and the most exciting bobsled sequence audiences are likely to see.


Hunt’s action sequences are so impressive that it’s easy to forget that the film was made over 40 years ago. Action films of recent, including The Bourne Identity (2002) and its sequels, and even the most recent Bond film, Quantum of Solace (2008), are defined by rapid-fire editing. Hunt’s film is of a similar style, to the point where it’s interchangeable with today’s movies (the credited editor of On Her Majesty’s Secret Service is John Glen, who, like Hunt, would eventually move to the director’s chair). Hunt keeps everything moving at a stupefying momentum. Simple techniques such as limiting the use of rear projection in the skiing and bobsled scenes and including explosions in the tightly edited structure (as opposed to focusing on them with multiple camera angles) is a way to drop the audience into the action. Just like the characters, viewers do not have the time to concentrate on a singular occurrence, let alone take a breath. This method actually makes, as a for instance, both ski chases more exciting than the one in a later Bond film, The Spy Who Loved Me (1977).

Hunt’s film is even a precursor to Hong Kong action films of the 1980s, popularized by such directors as John Woo and Tsui Hark or a star such as Jackie Chan. On Her Majesty’s Secret Service, like the Hong Kong films, includes stylized action (Bond sliding across ice as he repeatedly fires his weapon), females who are more than capable in fighting men, and a person using whatever means available as a weapon (Tracy throws bottles, uses her fingernails, and even works a decorative wall to her advantage). Additionally, Hunt incorporates the action scenes so well that he actually foreshadows them. During Bond’s trek to the retreat, viewers can clearly see the slopes and bobsled track. There’s also Tracy behind the wheel early in the film (before she expertly outmaneuvers the baddies while driving through a car race in progress), and the ladies at the retreat in a game of curling, near the place where Bond slides and fires. In one scene, there is an ongoing Portuguese-style bullfight. Hunt focuses not on the bull being dominated but rather the bull charging the forcados, a group of eight men who confront and attempt to subdue the bull. Not to compare Tracy to a bull, but in the movie, two men, both of whom are bigger than her, try to overpower her. But, like the forcados, they underestimate their target and fail to subdue a strong opponent.

In the pre-credit sequence, after Tracy quickly leaves without a word of thanks, Bond says, “This never happened to the other fellow,” while Lazenby violates the fourth wall and eyes the camera and the audience. As the credits roll, characters from preceding Bond films are shown (mostly the women), and following Bond’s resignation, he goes to pack his things, including gadgets from earlier films (such as the breathing apparatus from 1965’s Thunderball). These moments superfluously acknowledge the fact that Connery is not present. On Her Majesty’s Secret Service is at its best when it becomes its own film: a strong and beautiful leading lady, a charming villain, incredible and breathtaking action sequences, all leading to an ending that lingers for days. The end result explains the likely point to hiring an unknown actor to portray James Bond: though the man playing 007 may become a celebrity, it is not he who makes the series a success. It’s a collaborative effort, a film defined by the team.

This is the second film of what has come to be known as the “Blofeld Trilogy,” beginning with You Only Live Twice and ending with Diamonds are Forever (1971). Although Blofeld is a character in films preceding You Only Live Twice, his face is never shown. The Blofeld Trilogy are the three films in which the villain is entirely revealed and is a much more active character.

Rigg is not the only connection to The Avengers. Joanna Lumley appears as one of the ladies at the retreat (most clearly at a dinner scene), and she went on to star as Purdy on The New Avengers. Lois Maxwell, who plays Moneypenny, starred in an episode of The Avengers during the season with Honor Blackman, who played Pussy Galore in Goldfinger (1964). And, for another Bond-Avengers link, Patrick Macnee, who was John Steed throughout the Avengers series (as well as The New Avengers), would make an appearance alongside Roger Moore in 1985’s A View to a Kill.

Apparently finding it too difficult to work “On Her Majesty’s Secret Service” into lyrics, the film’s opening credits run only with John Barry’s score. In the movie, the audience witnesses Bond’s family crest, adorned with the motto, “Orbis Non Sufficit,” which is Latin for “The world is not enough.” This would be the title of a Pierce Brosnan Bond film (and is next month’s “Bond Is Forever” selection) in 1999.

This film has grown on me, and it seems to improve every time I watch it. I would definitely recommend it to someone who hasn’t seen it, but I would likewise implore that someone who didn’t like it gives it a repeat viewing. What does everyone think of On Her Majesty’s Secret Service? Any fans of the film? Any George Lazenby advocates?

Bond is Forever will return next month with The World is Not Enough (1999).