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: “Licence to Kill”

When a rare opportunity to ensnare drug lord Sanchez (Robert Davi) is presented, CIA agent Felix Leiter (David Hedison) is called away on his wedding day, with his best man, MI6 operative James Bond (Timothy Dalton), in tow as an “observer.” Sanchez is captured, and the two men make it to the chapel in time by parachuting. Good cheer, however, is short lived, as the criminal circumvents his route to prison and retaliates by murdering Leiter’s bride and leaving the agent critically injured. An enraged 007 initiates a personal investigation, and when MI6 head M recognizes some of Bond’s handiwork, he demands that Bond handle his officially sanctioned assignment in Istanbul. When Bond threatens to resign, M revokes his licence to kill, but rather than surrendering his Walther PPK, 007 goes rogue. Bond’s legwork leads him to a CIA agent and former Army pilot, Pam Bouvier (Carey Lowell), who had been working with Leiter. Targeting Sanchez, Bond and Bouvier receive help from unlikely allies, including Sanchez’ captive but defiant girlfriend, Lupe Lamora (Talisa Soto), and weapons expert Q (Desmond Llewelyn), whose recruitment into 007’s unauthorized mission allows him to work in the field.

Licence to Kill (1989) was director John Glen’s final Bond film. He had directed five consecutive films and also worked in the capacity of editor in the 007 series. Likewise, Licence to Kill was the second and last film for Timothy Dalton as the cinematic spy. Dalton was contracted for a third movie but relinquished the role after a lengthy delay in the series (see GoldenEye for additional information). Others not returning to the 007 series were Robert Brown as M, Caroline Bliss as Miss Moneypenny, title designer Maurice Binder, director of photography Alec Mills, and screenwriter Richard Maibaum, all of whom had worked on previous movies. Binder had died before the subsequent Bond film went into production. Though credited in Licence to Kill, Maibaum left the writing process early due to a WGA (Writers Guild of America) strike.

Licence to Kill was well received critically but performed poorly at the U.S. box office. As of 2011, it remains the weakest of the Bond series in terms of theatrical revenue in the States, though it was successful in other countries. The lackluster audience response is attributed to the break in the discernible Bond format, as 007 becomes a rogue agent and is engaged in what M rightly calls a “personal vendetta.” Without MI6 regulations, Bond will occasionally act on impulse, such as singling out a specific villain directly responsible for a friend’s death and flagrantly shooting a harpoon into his chest.

A closer examination, however, will bring to light familiar Bond terrain, as well as tying together elements of Licence to Kill with the remainder of the series. Though Dalton’s Bond is slightly more unrefined than other interpretations, he retains an elegant quality. In this film, he still wears a tuxedo, masters a casino blackjack table, and orders his martini shaken, not stirred. Comparatively, his female equivalent, Pam Bouvier, deftly infuses style and violence, sitting in a bar with a shotgun under the table and adorned in a shimmering gown with a Beretta strapped to her thigh. Q’s involvement may be off the books (stating he was enlisted to help by a worried Moneypenny), but he arrives with a case of gadgets with which to outfit the agent. Bond additionally focuses on the investigatory aspects of the case, more in tune with Fleming’s novels and films such as Dr. No (1962) and For Your Eyes Only (1981). He studies Sanchez and his men, cautiously impregnates Sanchez’ organization, and tactfully sows the seeds of distrust among the villains.

In the same manner, Bond working on his own does not stray far from the previous Bond movies. At no point in the series is Bond ever made to look like a scrupulous agent. The agent’s persona is based on his penchant for a playboy lifestyle, enjoying the wealth and women associated with his career. This is sometimes at the expense of his assignment, such as his baseless seduction of Solitaire in Live and Let Die (1973). In other movies, 007 is working without MI6’s consent, like in Thunderball (1965), when a simple retreat to a health clinic melds into Bond nosing around the building -- he has to make a request before he is part of the mission. Despite his rank as a Commander of the Royal Navy and his double-0 status, Bond has always given the impression of being a sole agent. When he has found a stable partner, Tracy, in On Her Majesty’s Secret Service (1969), he leaves MI6, an act which he had also contemplated -- for the same reason -- in his novel debut, Ian Fleming’s Casino Royale (which likewise carried over to the 2006 adaptation). This reaffirms a carefree existence, that he will remain an agent insofar as it does not affect his personal life.

Licence to Kill is bolstered by a strong cast. Lowell is a phenomenal Bond Girl as Pam Bouvier. She’s vigorous, intelligent and capable, and undeniably beguiling, expertly reciting the provocative line, “Sweet dreams, Mr. Bond,” denying him a second night with her by shutting her bedroom doors. Lowell displays solid chemistry with Dalton, and Pam’s scenes with 007 almost play like romantic interludes. The actress would garner further attention with her role as the Assistant DA for two seasons of the long-running TV series, Law & Order. Davi excels at playing villains and/or tough guy roles. His characters often come across as seasoned and hardhearted, so that the villains are defined by story and not by a shallow performance, and such is the case with his compelling portrayal of Sanchez. Desmond Llewelyn gets more screen time in Licence to Kill than other movies, and it’s a welcome extension. Benicio del Toro has an early role as Dario, a Sanchez henchman, and del Toro makes his mark with an impeccable presence. He had debuted just the year before in Big Top Pee-wee, and he would follow Licence to Kill with award-winning performances in films such as The Usual Suspects (1995), Traffic (2000) and 21 Grams (2003). The only drawback to the otherwise notable performances is Talisa Soto, who is unfortunately squandered in the static role of Lupe.

Licence to Kill was plagued with production problems. It was originally set in China, but having to film in Mexico to save money forced the narrative to shift to South America. While filming in Mexico, the crew endured what they described as a “haunted” stretch of road, burdened by numerous accidents (though one of them, in which a semi-truck slammed into another, looked good enough to work into the storyline). There was also the aforementioned WGA strike that took place while scripting the film, and producer Albert “Cubby” Broccoli became ill while visiting the set in Mexico and had to return to the U.S.

David Hedison was the first actor in the Bond series to reprise his role of Felix Leiter. He had initially portrayed the character in Live and Let Die with Roger Moore. Interestingly, the manner in which Leiter is injured in Licence to Kill was taken from Fleming’s novel, Live and Let Die, a scene that was dropped from the 1973 adaptation. Though Licence to Kill was the first Bond film to not use an Ian Fleming title, it continued using the author’s work as a source. In addition to the Live and Let Die plot device, the 1989 movie features the villain, Milton Krest (Anthony Zerbe), who, along with his yacht, Wavekrest, appeared in Fleming’s short story, “The Hildebrand Rarity”, from the collection, For Your Eyes Only. In the same story, Krest punishes his wife by whipping her, similar to Sanchez’ punishment of Lupe in Licence to Kill.

The original title of Licence to Kill was Licence Revoked. According to the director, MGM requested the change, fearing that U.S. audiences would not comprehend the meaning of “revoked.” On the other hand, some have suggested that viewers in the U.S. would associate a revoked license with loss of driving privileges.


The title song was reportedly based in part on “Goldfinger” and consequently sounds derivative and a little bland. Gladys Knight’s vocals, on the contrary, are superb and enhance the opening credits sequence. The song was a Top Ten hit single in the UK and Germany.

In the film, Bond meets M at the Hemingway House in Key West, leading to a joke from 007 when he is told to hand over his weapon (“A farewell to arms,” he says with a smirk). In the same scene, M is introduced without his face shown and surrounded by cats, a knowing allusion to Bond’s multi-movie nemesis, Blofeld.

Davi and Grand L. Bush, who plays a DEA agent in Licence to Kill, had appeared together the previous year in John McTiernan’s popular Die Hard, as Special Agent Johnson and Agent Johnson (“No relation”). Composer Michael Kamen, who worked on Licence to Kill, also wrote the score for Die Hard.

Director Glen has stated that he wanted to implement a “harder edge” in Licence to Kill. He more than accomplished his goal, with a somewhat bloodthirsty 007 more inclined to destroying evidence out of spite than collecting it to warrant a conviction. Some have questioned the MI6 agent’s motivation in Licence to Kill with a lack of an established relationship between Bond and the man on whose behalf he is seeking vengeance. Such a criticism not only neglects the two characters’ close ties originated in Fleming’s novels, but also overlooks what the film is addressing: Bond’s apathy in dealing with deaths in previous films. It’s refreshing to see 007 take something personally, to react violently and only consider the consequences afterward. Most importantly is the correlation between Leiter’s marriage and Bond’s own to Tracy, directly (and subtly) acknowledged in Licence to Kill. All of it instills within the spy a human quality with which to garner viewers’ sympathy.

After repeated viewings, Licence to Kill has become one of my favorite Bond films. I urge others to watch it even if they have already done so, as it is an exceptional entry in the 007 series.

Bond Is Forever will return next month with Octopussy (1983).

Bond Is Forever: “The Living Daylights”

General Georgi Koskov (Jeroen Krabbé) of the KGB, planning to defect to the UK, specifically requests the protection and assistance of MI6 agent James Bond (Timothy Dalton). However, after accusing KGB head General Pushkin (John Rhys-Davies) of initiating assassinations of British and American agents, Koskov is captured by the KGB and returned presumably to Moscow. Bond’s mission is to assassinate Pushkin, but he is reluctant, as he begins to question not only Pushkin’s involvement but also Koskov’s information and defection. He shadows a cellist, Kara Milovy (Maryam d’Abo), an apparent sniper sent to kill General Koskov and who 007 was supposed to have eliminated (“I only kill professionals”). Bond’s investigation ultimately points him in the direction of American arms dealer, Brad Whitaker (Jon Don Baker), but meanwhile, Bond and Kara must evade the KGB, as well as assassins and various explosives.
The Living Daylights (1987), its title and opening plot device taken from Ian Fleming’s short story of the same name, was the 007 debut for Welsh actor Dalton. Originally, the Bond film to follow 1985’s A View to a Kill was to star Roger Moore for an eighth turn as the British spy. After Moore decided to depart from the series, the producers had cast Pierce Brosnan, but a surprise renewal of his TV show, Remington Steele, kept Brosnan from accepting the role (an offer which was supposedly withdrawn by producer Albert “Cubby” Broccoli, who did not want audiences to associate James Bond with Remington Steele). Dalton himself was reportedly asked to be Sean Connery’s replacement for On Her Majesty Secret Service (1969), but he declined the offer, believing that, at around 22 years of age, he was too young to portray Bond. Dalton is a laudable 007, his portrait of the spy with less humor than Moore but an equal amount of charm. He’s more physical, comparable to Connery’s work, but with a delivery all his own.

The Living Daylights is a solid entry in the Bond series. The movie opens by dropping the audience into the action, literally dropping 007 and other agents, who parachute as part of a training exercise which turns deadly. The movie erupts with thrilling action sequences, as Bond pilots an airplane carrying an armed explosive, finds an imaginative use for a cello and its accompanying case, and is pursued in his impressively outfitted Aston Martin, to which hopefully audiences have learned to not grow too attached. The always welcome Q (Desmond Llewelyn) gives Bond a set of keys which open the majority of locks, with a keychain that responds to whistling (either to release a stun gas or to explode, depending on the tune).
Additionally, the film boasts strong performances from the supporting cast. Maryam d’Abo is wonderful as Kara. Her character is naive and trusting, but she is not unintelligent. She also proves more than capable in combat. Likewise, Art Malik is exceptional as Kamran Shah, leader of a group of freedom fighters in Afghanistan. Shah has little screen time, but the character is given both personality and depth. Krabbé, as well as Andreas Wisniewski paying KGB assassin Necros, provide energetic showings (and Wisniewski would play one of the villains in the immensely successful actioner, Die Hard, the following year). The only exception is Baker, who makes a rather bland villain as Whitaker. He would fare better as CIA agent Jack Wade, a pseudo-substitute for Felix Leiter, in the subsequent Bond films, GoldenEye (1995) and Tomorrow Never Dies (1997).


Although there are a number of familiar components in The Living Daylights (e.g., Bond introducing himself, his drink of choice, etc.), there are also a couple of notable changes. Caroline Bliss plays Miss Moneypenny for the first time, a role she would reprise only once in the next Bond film, Licence to Kill (1989). Her predecessor, Lois Maxwell, had played Moneypenny for each of the previous 14 movies. Walter Gotell, who’d appeared as KGB head General Gogol in the latter five films with Moore, was originially scripted as Gogol in the scenes that ultimately featured General Pushkin. Reportedly, Gotell was too ill to handle a more substantial role, so he only did a cameo. It was the final Bond film for Gotell and his character. Virginia Hey, who plays Pushkin’s girlfriend, also starred in George Miller’s cult film, The Road Warrior (1981), and portrayed Zhaan in the cult SyFy (formerly Sci-Fi Channel) series, Farscape (and still strikingly beautiful as a bald female with blue skin).

While Bond always has his reliable Walther PPK at hand, he also employs a Walther WA2000 sniper rifle near the beginning of the film. John Terry plays Felix Leiter in The Living Daylights, and, like most actors portraying the CIA agent, would not return to the role. Terry is perhaps better known more recently as the enigmatic Christian Shephard in ABC’s popular series, Lost. In The Living Daylights, agents are being killed, and the message left behind reads, “Smiert Spionam” (translated as “Death to spies”). The terrorist organization in Fleming’s novels, SMERSH, was actually an acronym of these words, spelled Smert Shpionam (SMERt SHpionam). Interestingly, although referenced in From Russia with Love (1963), SMERSH does not actually appear in the cinematic adaptations, as Bond typically deals with SPECTRE (SPecial Executive for Counter-intelligence, Terrorism, Revenge, and Extortion). The terrorist group in Casino Royale (2006) is officially named as Quantum in 2008’s Quantum of Solace.
The Living Daylights was the final film to utilize a title of a story or novel by Fleming until the 2006 adaptation of Casino Royale. Director John Glen had helmed the previous three Bond movies and would direct the next film as well. He was also editor of three additional movies with 007. The title song was performed by Norwegian pop group a-ha, most famous for its hit single, “Take On Me” (as well as its award-winning music video that combined rotoscoping animation with live action). While the song is one of the weaker tunes to open a Bond film, it is well incorporated into the movie’s score.

This is one of my personal favorites of the James Bond movies. The action is topnotch, the story compelling, the characters refined, and the entertainment level on high throughout. Dalton is a distinguished Bond, and he was equally good in his follow-up film. Does anyone have any thoughts on The Living Daylights or its 007 star?

Bond Is Forever will return next month with Tomorrow Never Dies (1997).