Throw in some great gadgets from Q, a belter of a theme tune sung by Tina Turner, and you've got yourself one of the best James Bond films going. Oh, and the GoldenEye computer game for the Nintendo 64 was rather special.
Before its release there was some grumblings over whether Daniel Craig would be any good as Bond, well he gave his critics an emphatic answer!
He's fantastic as Bond and gives real depth to the character as he falls for Eva Green's Vesper Lynd. Mads Mikkelsen is also a great villain as Le Chiffre, who turns out to be a terrible poker player. Add in the memorable foot chase across scaffolding, and you have one of the best Bond films of all-time. OK, this might be controversial. But The Living Daylights is brilliant! And we reckon it deserves to be this high on our best James Bonds films list!! Timothy Dalton makes an exceptional debut as and it's a shame he only ended up making two films.
After the fun of Roger Moore, he brings a seriousness back to the part and heads off on a cracking Cold War thriller. Plus we love Bond hurtling down a snowy hill in a cello case. Auric Goldfinger is our favourite villain, and he has the honour of delivering the best line in the whole series.
As Bond has a laser beam heading for a very uncomfortable place, he pleads with Goldfinger: "Do you expect me to talk" to which Goldfinger smirkingly replies: "No Mr.
Bond, I expect you to die. There's a string of great scenes between the pair, especially their golf match, which ends with hat-throwing henchman Oddjob crushing a golf ball! Throw in Honor Blackman as Pussy Galore, Shirley Bassey's cracking theme song, and an audacious raid on Fort Knox and you have all the ingredients for a fantastic Bond movie.
Bond at its very best. Sean Connery is on top form as , delivering some magical lines, particularly declaring: "She had her kicks" after the demise of knife-kicking baddie Rosa Klebb.
It's also notable for the first appearance of Blofeld although you don't see him fully in the movies and Desmond Llewelyn as Q. And to cap it all off there's a quite brilliant fight sequence on a train between and assassin Grant. David is a Senior Digital Content Editor with over 15 years experience in television journalism.
He is currently writing about the latest soap spoilers and television news for Whatsontv. Before working for Whatsontv, David spent many years on TV Times magazine, interviewing some of television's most famous stars including Hollywood actor Kiefer Sutherland, singer Lionel Richie and wildlife legend Sir David Attenborough.
David started out as a writer on TV Times before becoming the title's deputy features editor and then features editor. Other than watching and writing about telly, David loves playing cricket, going to the cinema, trying to improve his tennis and chasing about after his kids! What to Watch. David Hollingsworth. Categories Movies. He mixes a real sense of cool and charm with sheer creepiness the eye bleeding feels like a gesture towards the past, without getting too silly , yet his danger is also nicely complemented by the fact he isn't a man at the top or a larger than life villain who can end the entire world with the press of a button, allowing for a relatively more grounded and realistic James Bond movie villain who makes for a perfect foil to Craig's colder, edgier, and overall tougher The action sequences are sublime, dragging the franchise not only kicking and screaming but also punching and parkouring into the 21st Century.
Casino Royale brought James Bond movies back and gave Daniel Craig the platform to build upon, but it was Skyfall that truly perfected the form. Released in , marking the 50th anniversary of the James Bond franchise, Skyfall is an even greater feat than the film. Because of its unique position, then this is an entry that has to somehow celebrate the past - one that much of Craig's era had been happy leaving behind - while still embracing the future, setting up further installments, and connecting to the ongoing story arc, and delivering its own satisfying narrative.
Somehow, it delivers on all of that and then some. Everything in Skyfall is a delicate balancing act. It finally introduces key franchise characters and elements - Q Ben Whishaw , Miss Moneypenny Naomie Harris - but gives them a modern twist that never falls back on tired cliches. With a plot that sees villain Silva Javier Bardem coming for revenge on M, then it's a movie that is all about reckoning with the past and the weight of history: of M, of Bond, of MI6 , and of the whole franchise.
It could have buckled under the strain of all that, but instead Skyfall soars; it takes those elements and uses them for some serious introspection of who Bond is and where he fits into an ever-changing world, ultimately providing the satisfying answer that it still needs Almost everything in Skyfall is the James Bond franchise working at its best.
The relationship between M and Bond is beautifully portrayed and speaks to one of the saga's most important pairings, giving it a depth not seen before or since. Silva is an ideal blend of what Bond villains have been and should be; over-the-top, fun, yet chilling when he needs to be. Shot by Roger Deakins, be it the moody Scottish highlands or the majesty of Macau, there's an astonishing use of light, color, framing, and setting here that makes it the best looking Bond movie ever made.
Even its titular song, performed by Adele, is one of the very best, a powerful ballad that gets to the tragedy of the character. However, partnered with legendary cinematographer Roger Deakins, Mendes managed to make probably the most visually stunning Bond movie of all time.
On top of that, he was well suited to the action sequences as well. George Lazenby is certainly the most overlooked Bond from the franchise, having only appeared in one movie. But as time has gone on, that movie has risen in popularity among fans who now consider it a standout in the franchise.
Lazenby might have a different energy from Connery, but it works for this particular story. But it is the surprisingly grim ending that really makes a lasting impact. While M, the no-nonsense boss of Bond, has always been a part of the series, the character really started to make an impression when Judi Dench took over the role. She brings grace and authority to the part that is perfect and Skyfall is one of the few times she was really made part of the story.
With M's ties to the villain of the movie, she is alongside Bond on this adventure. Even better, the movie takes time to explore the relationship between these two characters, showing that despite the occasional animosity, they have a deeper connection than they admit.
To date, Roger Moore has played Bond more than any other actor in the franchise, and there are some who think he is the embodiment of the character. While some of his entries in the franchise are among the most ridiculous, The Spy Who Loved Me remains impressive. Similar to some other movies on the list, The Spy Who Loved Me was a return to form after the franchise had somewhat lost its way. It is filled with excellent action sequences, a memorable henchman with Jaws, and Moore's charming performance.
Not surprisingly, he was astounding in the role, making Silva what many fans consider to be the best Bond villain of all time. The personal revenge motivation at the center of Silva's story is one of the more grounded approaches to Bond villains.
On top of that, Bardem brings a seductive yet menacing energy to the role which adds an incredible spark to the movie. Pierce Brosnan stepped into the role of Bond for the first time in GoldenEye and it proved to be a thrilling way of introducing himself. This unofficial movie, released by Warner Bros. The new M Edward Fox loathes him and would prefer he teach and stay out of the field while poor Bond is ordered to ditch the vices red meat, booze, etc.
Its underwater action still impresses 18 years after Thunderball and it makes you almost wish that McClory had gotten to make his second Thunderball remake Warhead , allegedly starring Timothy Dalton.
This Lewis Gilbert-directed fifth installment is one of the more influential movies. You can trace the entire progression of the series, and over-the-top action movies in general, to screenwriter Roald Dahl going off the reservation with nobody willing to reign him in. Alas, Connery is starting to get bored by this point, and the twenty minutes of screen time in the last under-two-hours movie until Tomorrow Never Dies spent turning James Bond into a Japanese man is both offensive for obvious reasons and a tragic waste of time in an otherwise tightly-plotted action thriller.
Goldfinger, lobbycard, from left, Harold Sakata, Sean Connery, This Guy Hamilton-directed offering turned the James Bond series from a somewhat popular superhero riff on North By Northwest to a towering cinematic action franchise. The film is also patently different from its predecessors, a more leisurely adventure less concerned with spy craft and more so in dipping into fantasy.
It has a banger third-act full of action and incident, even if the previous 75 minutes is mostly Bond willfully negging Goldfinger and remaining indifferent to the obvious collateral damage.
Said arrogance very nearly results in the murder of 60, people and the destruction of the world economy. Speaking of which As such the casual cruelty including coercing Maud Adams to snitch on Scaramanga and not being all that upset when that betrayal costs her her life and stripped-down manhunt elements stand out especially compared to the next two big-scale Lewis Gilbert-directed efforts.
Pepper is inexcusable, especially in how it dilutes an otherwise strong big-scale chase scene and brings farce into an otherwise serious flick. Here they are handcuffed together for the motorcycle chase sequence. Brosnan effort glides along as one of the more relaxing films in the series.
Brosnan and Yeoh have little romantic chemistry, which is only an issue because the movie tries to present them as more than just hot spies who might want to sex each other.
Here they struggle over the ATAC system at the end of the film. John Glenn steps up for the first of five straight movies, as James Bond enters the s with a quieter shade of spy craft. It also contains one of the goofiest bits in the whole series, a prologue where Bond visits the grave of his murdered wife yay, continuity and then is attacked by and then swiftly murders an unnamed Blofeld by dropping the ultimate bad guy into a smoke stack.
Yes, it was a bemusing extended middle-finger to Kevin McClory and the ongoing legal battles related to his ownership of the character and his attempts to make his own movies which resulted in the Thunderball remake Never Say Never Again. The one that started it all, which meant that some of the pieces were not yet in place. Sean Connery nails the casual cruelty and above-it-all professionalism right off the bat. The plot, about a missing agent and an uncovered plot in Jamaica, actually comes off like many of the Pierce Brosnan movies, in that it starts as a grounded and real-world espionage movie only to detour into fantasy blockbuster-land in the second half.
Julius No in his impenetrable bad guy lair and hear about his plan to disrupt a space shuttle launch in the hopes to pitting America and Russia into war. So, by default, this is one of the more grounded Bond flicks, but it works on its own terms, features a star-making lead performance and remains great fun for fans to see the franchise come to life before our eyes.
It is no secret that many films amount to "James Bond plays in this particular genre sandbox," usually as a come from behind attempt to emulate the success of a recent hit or new genre. The screenplay was partially written by Paul Haggis, so we get a get more introspection and "we are the enemy" pathos this time around. Those who complained that arch villain Mathieu Amalric's scheme to basically steal water from impoverished locals wasn't evil enough need to have their proverbial privilege checked.
The film works as a take on the action styling of the Bourne franchise along with their liberal guilt politics. Here is a mega-budget blockbuster where the American government is explicitly portrayed as one of the bad guys.
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