Every week at SiftPop.com, we challenge our writers to choose what they think is the best movie under a certain topic related to a recent release. But this week, we’re changing it up just a bit. With the release of No Time To Die, we’re counting down ALL of the James Bond movies from 24 to one! If you couldn’t tell by the number count, we’re only considering the canon, EON-released films, so you won’t see Never Say Never Again or the original Casino Royale on this list. Let us know @SiftPop what your ranking is!
Roger Moore’s last mission as our famed MI6 agent is about as ridiculous as it comes. It has people being killed by fly casting fishing poles, doped up horse races, exploding underground mines, and even a battle in a zeppelin above the Golden Gate bridge. This movie is bonkers. Unfortunately, the plot is too ridiculous for its own good, and the acting is incredibly subpar. This movie also feels egregiously misogynistic, even more than most Bond films. Moore himself was also not in a position to keep making these films as he was 58 years old at the time. It’s really hard to pull off action stunts when a body double has to do almost all of them for you. If there is one redeeming factor that makes this movie worth watching it is definitely Christopher Walken as our psychotic villain. It’s a hoot to watch Walken ham it up on screen with a plethora of shenanigans. Plus, you have to love Duran Duran singing that title song. A View to a Kill is not a good movie, but it sure is a crazy ride. (Heath Lynch)
In the inevitable franchise ranking lists that accompany the launch of a new Bond film, Die Another Day is almost always ranked at the bottom. And said lists are probably right, but here’s why you should watch it anyway. With a vanishing Aston Martin, a laser watch, two love interests, a giant space laser, and a diamond-chasing facially-disfigured villain, this movie is a veritable bingo card of Bond-isms, a bloody fun ride, and the very last of its kind. Pierce Brosnan’s final outing gives us our last taste of truly bonkers Bond with just a smidge of self-awareness before the gritty Bourne-esque Daniel Craig reboot brings the franchise into the modern era of action films (Fast and Furious excluded). We will not talk about Madonna’s woefully mismatched entry into the franchise’s musical canon here; however, it is set against a backdrop of Bond being tortured for over a year, which at the time was something that shocked me and truly had me worried for his well-being! Naturally, it is forgotten quicker than Moneypenny after the first 10 minutes, but it was a unique cold open all the same. Truth be told, I much prefer the comparable realism in the Craig style of Bond films, but find myself revisiting entries like Die Another Day for the unapologetic, leave-your-brain-at-the-door adventures that they are. Come on, a space-laser and an ice-hotel. What’s not to love?! (Ian Whittington)
When I was younger, rather than paying attention in geometry or science classes, I would daydream of being a super cool secret agent that would go out on various adventures, some involving space, some involving espionage, all utilizing villains that carried monikers and had dialogue that seemed so clever to a young me. Little did I know that in 1971 my dreams had already been realized in the form of Diamonds Are Forever. Sean Connery, long before he was at the helm of the Red October, had his hands full taking on the likes of Blofeld and Shady Tree alongside Plenty O’Toole (because yes, this fever dream goes all in on character names). Along his hero’s journey, Connery gifts the world with a performance that you didn’t know you wanted so badly. Whether it’s a moon buggy escape or some stunt driving on two wheels that would make John Wick go, “Whoa.” Diamonds Are Forever is more than ready to bring you the type of entertainment that is nearly impossible to describe in words, and must be experienced to fully comprehend just how much of a lasting impact this film had. While not the most revered of the Bond films, this is still 100% worth spending a night and a glass(es) of wine with. (Matt Lawson)
The Man with the Golden Gun is the ninth entry in the saga, and by this point in my watch-through I was starting to realize just how much Austin Powers was making fun of Bond. “Mini Me,” a third nipple, and a fun house in the first five minutes — buckle up! The first half was really fun watching Bond trying to locate Scaramanga, played by the legendary Christopher Lee, the world’s greatest assassin who has marked Bond for death. As villain plots go, his wasn’t overly convoluted, which helped the movie feel more grounded than the previous two, and although the movie loses focus halfway through, it does stick the landing. I would put this in my top tier if it wasn’t for that awful cameo of JW Pepper the racist cop, from the previous movie, on vacation in India for… reasons. He is the most unnecessary character of all time and it felt like the Cardi B appearance in F9, but lasted four times as long. My cousin would be upset with me if I didn’t mention one of the coolest practical stunts of the era: when they jump that car and it flips midair and successfully lands, I had to re-watch a few times because I forgot that they didn’t have CGI back then. I just can’t believe they ruined the moment by using a slide whistle as the sound effect. They need to release the un-slide-whistled cut! (Nick Ferro)
For its title alone, Octopussy is arguably the most memorable Bond film starring Roger Moore. Having an unusually complex plot for a Bond film, Octopussy sees 007 attempting to thwart a counterfeit Fabergé egg ring after the death of a fellow double-O agent. Suspecting Soviet involvement (as was the fashion at the time), Bond attends an auction and manages to swap out a real egg for fake, and goes in pursuit of the buyer, all the way to India. It wouldn’t be very Bond-like if there wasn’t some sort of gambling involved, so facing the buyer, Kamal Khan, in a game of backgammon he successfully defeats Khan by using his loaded dice against him. Allowing himself to be seduced (I’m sure it was a stretch for him) by Khan’s associate Magda, he then allows her to steal the real Fabergé, which of course is bugged for him to listen to the conspirators in action. This leads him to Octopussyherself, who is the head of a cult, and helps Khan smuggle his wares through Europe with her touring circus. So after infiltrating the circus, Bond learns the Soviets have replaced the treasures with a nuclear warhead for a show being out on in a US naval base. Told you it was complicated, but it is also campy fun with some decent for their time stunts and action set pieces. I’ll leave the rest for you, good reader, to discover! (Adam Ritchie)
Look, I’ll be honest. Quantum of Solace is considered a lower tier Bond flick, but here at Sift Can’t Stop ‘til You Pop, they want us to be positive. So when the opportunity came along to write about a movie that is largely considered bad, you bet your double-O-butt that I’d jump on this movie like Bond does on any woman that marginally nods yes to one of his advances, even if all she was doing was preparing to sneeze. Clocking in at only 106 minutes, this is the shortest of all Bond movies, and making Craig cover the entire runtime spectrum, appearing in both the shortest and longest entries. This Bond flick was affected by the writers strike, or as Craig puts it’s it, “[screwed],” with the first draft being finished a mere two hours before the clock hit midnight on the start of the strike. Best thing about the movie? Well I do love that opening scene and musical number by Alicia Keys and Jack White, and that they made this film pick up exactly where Casino Royale left off. So I find solace in that at least. PS: I low key enjoy this movie overall and over Spectre. (Frank Kemp)
Often overlooked by its predecessor GoldenEye, Tomorrow Never Dies is the second entry for Pierce Brosnan’s Bond. When a media juggernaut attempts to kick off a war between China and the U.K. to expand his media empire, only James Bond and Agent Wai Lin (Michelle Yeoh) can foil his plans. This film boasts some excellent globe-trotting action set pieces that will not disappoint the most diehard of Bond Fan. One variable that stands out is having a female agent that can stand on her own. Yeoh, as Agent Wai Lin, is exhilarating to watch with every flurry of attacks thrown. In this movie, she often steals the show when on screen and can easily go tit for tat with Bond in every respect. Jonathan Pryce as the maniac media mogul Elliot Carver is despicable and vile in all the right ways. He is the ultimate narcissist that will go to great lengths to get exclusive media rights across the globe, including possibly starting World War III. He doesn’t mind throwing down an excellent monologue or two in order to rub his plans in the face of the charismatic Bond. Fans of the franchise will latch onto this Brosnan entry due to it’s sleek one liners, well-shot action, and gadgets galore. (Joe Vargas)
Alright, a BEC entry based entirely on nostalgia; let’s do it! I wonder what makes this film so delightful to me. Could it be that The World Is Not Enough is the height of campy, but not-too-over-the-top nature of this Pierce Brosnan film? Or maybe the arc of a villain from the past that now comes back with a vengeance (although I feel it would have been better to revive an actual character from the past)? Could it be that this supporting cast of Judi Dench, John Cleese, Robert Carlyle, and Robbie Coltrane? Maybe it’s the Madonna Theme. Perhaps because of the tons of sexual Christmas puns. Actually, that one is definitely not. It may also be that I have a ton of nostalgia for the PS1 game for this (which is a GOAT for that generation). Whatever the case may be, this film is certainly a good time if you’ll lend yourself to it! (Aaron Schweitzer)
Can I make a confession? Spectre is the second Bond film I’ve ever seen (Skyfall being the first). Actually I saw Quantum of Solace first, but I fell asleep. Anyways, this film is Daniel Craig as James Bond for the fourth time around, taking on Christoph Waltz’s enigmatic Ernst Stavro Blofeld, who wants to watch the world burn. I guess I was expecting the same energy as Skyfall, but Spectre falls a bit short. The first action sequence out the gate in Mexico City on the Day of the Dead is vibrant and beautiful to watch unfold. I feel it set the tone of what the film would be like; or so I thought. It’s a solid entry for the series, but it wasn’t the best. I enjoy the cinematography, action sequences, and acting — well except for the lack of chemistry between Bond and his new interest Madeline Swann — but it does drag just a little. Also, the third act seems muddled and inexplicable. Other than that, it is good. As for the theme song, “Writing’s on the Wall” by Sam Smith is a solid theme, but not a knockout like “Skyfall.”(Chantal Ashford)
1979’s Moonraker, the 11th Bond film, takes the franchise to space and I am sure it had nothing to do with Star Wars’ success [looks directly into camera]. For all the goofiness in this entry, I can’t help but sing praises about how much fun it is to watch. After watching the Bond movies in order over the course of weeks, Moonraker was the first to nail the pacing. Very rarely is there a dull moment; they bounce from action scene to spy-craft scene to sexy lady scene to brief exposition scene and repeat this formula till the end. Just when a typical Bond film would slow down and meander for 20 minutes, you get another action scene! It starts with that crazy skydiving stunt where Jaws returns and survives the fall without a parachute. There’s the gondola scene, which has my favorite Bond line to quote: “His name is Jaws, he kills people.” Then it ends with a crazy war in space with all the lasers. And don’t forget the “zero gravity.” Oh, did I mention Jaws finds love?? (Guys, Jaws is just the best!) Of the Roger Moore era, Moonraker is my favorite and the epitome of what a Bond movie should be, it walks that fine line between absurd and fun, and really was the Fast and Furious of the ‘70s! (Nick Ferro)
Although George Lazenby had already been the first non-Connery actor to take on the mantle of 007, it was in a one-and-done picture. Because of that, there was immense pressure on the next actor to take on the role of Bond following Diamonds are Forever. Roger Moore was able to successfully burst onto the scene to start a new era that would bring light-hearted campiness to the forefront. In my view, some of those movies go way overboard to the point of being ridiculous and unenjoyable. However, in his first outing, Live and Let Die, Moore delivers the goods in spades. He is convincingly suave and debonair, and feels fit to take on all of the action bravado. We also have a great Bond plot weaving international political espionage with fortune telling voodoo magic and cultural blaxploitation thematics. Though some elements of the film certainly have not aged well, for the most part this is an enjoyable Bond outing. It also has one of the best theme songs ever with Paul McCartney performing the titular track. You should definitely take the time to enjoy Live and Let Die. (Heath Lynch)
What sets For Your Eyes Only apart in the realm of Roger Moore Bond films? From the jump, with the smooth and super ‘80s Sheena Easton theme song, things seem pretty on point. But there is something special about this movie. Director John Glen brings something that was missing from the rest of Moore’s tenure. It is grounded. No world-ending plots. No world under the sea or space stations. This one has the good old-fashioned KGB and mobsters. What a refreshing take! Bolstered by strong supporting performances from the likes of Topol and Julian Glover, this Bond film stands out in the 1980s by featuring some much needed restraint. The mountain climbing stunt is a highlight as this film features some strong in-camera stunts and brings Bond back to earth. If you haven’t seen this one, give it some love. (Shane Conto)
If I have any regrets about my wedding, it is that I did not see Licence to Kill beforehand, or you bet I would have attempted to parachute into my wedding. And that is only the beginning of this beautifully bonkers Bond outing from Timothy Dalton. From here we only get more bizarre. In a film series that has some truly notable villains, I would argue very few are as sadistic as Franz Sanchez (Robert Davi). Already proven to be a man who is nearly untouchable after escaping custody, Sanchez goes after the man who put him away and longtime Bond ally, Felix Leiter (Davis Hedison). Felix is able to survive the torture, but sadly, new bride Della suffers a cruel, terrifying death. In classic Bond fashion, 007 goes rogue to hunt his friend’s tormentor. So begins a game of cat and mouse where our favorite British spy espionages his way into Sanchez’s inner circle, slowly learning the master plan and laying the groundwork to bring it all to tumble down. Licence to Kill has everything you would expect from a James Bond movie and comes through without the formula getting stale. The baddy who wants to control… something, a henchman who looks as if he has killed with nothing more than a glance, and gadgets galore. We get classic props like toothpaste plastique, a futuristic tech gun that only reads Bond’s hand (which later comes into play again in Skyfall), and maybe my favorite of the movie, the rappelling cable disguised as a cummerbund. The top henchman, Dario (Benicio Del Toro), is terrifying in the things you don’t see him do. For a split second, you really think he could put Bond into a cocaine shredder (that makes sense if you watch the movie). In a world where top Bond picks will lead you to Goldeneye or Skyfall, I implore you not to lapse on Licence to Kill. It may not be most people’s first choice, but I assure you, it should be. (Scott Batchelor)
When I was a kid, my dad owned a lot of VHS tapes. He owned four James Bond movies: Dr. No, Diamonds Are Forever, Goldfinger, and Thunderball. He made me watch them in order and I was thankful to watch Thunderball last because it’s more like a guilty pleasure Bond movie. Sean Connery is on full-on cruise control after netting three previous installments, and I’m sure expectations were high for this one. I loved the underwater aspects of this movie; it’s a nice change of pace from what the other Bond movies were doing. In addition, the theme song by Tom Jones is still a banger to this day. This one has gotten a little overshadowed lately and dare I say is now underrated? Emilio Largo (Robert Rietty) is a serviceable villain that gets the job done and the stakes are turned up to a more global scale. This is definitely a product of its time, playing off common Cold War fears of nuclear bombs being dropped. This is definitely worth a second chance and one that is another stellar entry into Connery’s 007 filmography. (Mike Hilty)
Full disclosure: your writer for this particular entry has a peculiar relationship with Bond. In general, your writer feels like it’s a hokey, quaint franchise that’s best looked at as a thing of the past, but had been allowed to be a thing of the present for too long. Suffice it to say that for me personally, the 2006 reboot could not have been a greater favor for the franchise if it tried. Why do I tell you this? Because I think Timothy Dalton could have been that fresh air forcibly blown through the Bond franchise by means of an industrial-strength vuvuzela. The Living Daylights shows a Bond that feels like he might belong in the Craig era, with a script and direction that has him dallying about in the Moore era. My countryman Jeroen Krabbé inexplicably plays a bumbling Russian general alongside John Rhys-Davies’ equally un-Russian Russian, and Joe Don Baker’s American mercenary is just a stereotype away from literally spitting tobacco while speaking. Somehow, though, The Living Daylights features more impactful action scenes than many of its predecessors, including one in which Bond is dangling from a net attached to a cargo plane over the Afghani desert! For every one of those moments, however, there’s a rocket-powered engine in his car or some other abject silliness that holds this movie back as the actual modernization Bond didn’t get until GoldenEye eight years later — and then needed again 11 years after that. It’s almost a miracle they managed to stick to that tone with Craig for this long. (Chris Bakker)
As with many Bond films, your enjoyment of You Only Live Twice is a matter of personal preference, but this SiftPop reviewer finds it to be a terrifically campy and highly enjoyable entry in the franchise. The story — written by Roald Dahl of all people — is definitely of the more over-the-top variety, but it lends itself to a number of delightfully entertaining sequences. A spacecraft being hijacked from orbit, an enemy base housed inside a volcano, a ninja training camp, and a helicopter magnet are just a few examples of what you’ll find in You Only Live Twice. However, the film is likely most notable for its pop culture influence on films like The Incredibles and the Austin Powers trilogy, to name the most obvious examples. Mike Myers as Dr. Evil is directly ripped from Donald Pleasence’s perfectly zany performance as Ernst Stavro Blofeld. You Only Live Twice may not be Bond’s finest hour, but it sure is fun. (Foster Harlfinger)
The Spy Who Loved Me is considered by many to be one of the greatest Bond films ever made, and certainly one of the best during Roger Moore‘s tenure. It is well-balanced with solid action sequences, a captivating narrative, and it heavily features a female co-lead who is both Bond’s antagonist and his cohort. Most notably, she’s also his equal, being a spy of Russian origin who is just as sharp as he. It will take another spy equal to the task to stop the sinister plan of a megalomaniac hijacking nuclear submarines in an effort to begin forced human colonization at the bottom of the ocean. Yeah, crazy, right? While the plot may be over-the-top as always, the intangibles that make up this movie are terrific. There’s some genuinely captivating art direction and set design, and we are introduced to arguably one of the greatest Bond henchmen ever in Jaws, the man with the metal mouth. Plus, when you have Marvin Hamlisch writing your theme song, “Nobody Does it Better,” it’s hard not to adore The Spy who Loved Me. (Heath Lynch)
Admittedly, while I have seen some movies from the Bond franchise, it is also a franchise I’m severely lacking in. So, why not use the BEC this week to finally take a look into the James Bond franchise with the film that started it all? While this may not have the most iconic scenes or lines from the franchise, you can see the flashes and the genesis of the following films in this movie — from Bond having a suave attitude to the “Bond Girl that is Honey Rider (proving the inspiration to Aston Martin driver Sebastian Vettel to name his car the same, which makes me love Seb even more). This movie is like most ‘60s movies in showing its age, but the story keeps you interested as Bond searches for the titular Dr. No, operative for the mysterious organization known as SPECTRE. Also, one thing that keeps me into this is that James Bond actually feels like a special agent in this movie, setting well-thought-out traps, knowing important information when relevant and being able to outwit his opponents without the need for specialized equipment. This movie proves to be an excellent starting point for a binge watch of the franchise, and is a fitting start to the career of 007. (Joseph Davis)
If you choose to go through the Bond films in release order, one of the most infuriating things about most of them is that they are all pretty independent of one another and don’t serve a larger story, except when it is convenient. Enter George Lazenby as James Bond in On Her Majesty’s Secret Service. MGM hired the no-namer to fill the role for an extended time, and it is clear in this film that there was a large multi-film plan to build off one another. Only one problem: the studio only signed Lazenby to one film and did not want to sign for more. Honestly, Lazenby’s not one of my favorites, but there is something special about this story and it is clear to see that they are setting up for something big. And while all that remains is a shell of something truly great, it does not take away this film’s quality as a standalone film and it definitely deserves the title as one of the best Bond films. (Aaron Schweitzer)
From Russia With Love, the 1963 follow up to James Bond’s big screen debut, has been named the best Bond film by no less than three of the franchise’s leads (Sean Connery, Timothy Dalton, and Daniel Craig), and it’s easy to understand why. This may be the best example of a Bond film that can be appreciated by those who do not consider themselves to be fans of the franchise. Before Bond developed its reputation for over-the-top camp in the later Connery films and throughout the Roger Moore era, From Russia With Love offered moviegoers an intelligent and atmospheric suspense-thriller. Connery is terrific, but you already knew that. Perhaps equally notable is the film’s introduction of multiple iconic villains for the franchise. This marks the first appearance of one Ernst Stavro Blofeld, criminal mastermind and head of SPECTRE, whose various portrayals remain a highlight of the series. Though the menacing Rosa Klebb acts as our main antagonist, the standout of the film is unquestionably Robert Shaw, whose icy portrayal of SPECTRE assassin Red Grant results in an incredibly tense and exciting sequence aboard the Orient Express. From Russia With Love is a tight, skillfully crafted suspense drama, and its reputation as one of the franchise’s greatest offerings is well deserved. (Foster Harlfinger)
GoldenEye is only the second James Bond movie I have ever seen, and it left me wanting to watch more. The film tells the story about how, after secret space weapons technology is stolen, James Bond (Pierce Brosnan) sets out to stop the Russian Group, led by presumed dead and former double-O agent Alec Trevelyan (Sean Bean) from using it to settle a revenge plot Alec has with the British government. This story has many twists and turns that leads to an epic conclusion and a pretty good action movie. Also starring Famke Janssen, Judi Dench, Alan Cumming, and Robbie Coltrane, ever member of this stacked cast puts in an excellent performance. GoldenEye has over-the-top action, humor, and heart as Brosnan truly plays a man scorned by an old friend. There is even a car chase where Bond uses a tank to chase down the traitor Russian general. Overall this movie is a fun action movie that I recommend. (Austen Terry)
When Daniel Craig came and revitalized the Bond franchise with the more modern take on spy blockbusters, Casino Royale hit it out of the park. When Skyfall, the film that landed in time for celebrating 50-year 007 anniversary, you could say that there was a fair bit of pressure to deliver, and my goodness it was a grand slam. Director Sam Mendes brings an amazing eye to some of the more inspired set pieces in Bond history. When I was in film school, I chose to recreate the first shot we saw of Bond because I thought it was so cool (if I had the budget and the know-how, I obviously would have loved to make the silhouette fight scene with all the neon, because it was gorgeous). The level of excitement, creativity, and the good bit of nods and homages to Bond lore that is packed in this is truly fantastic, and it’s accompanied by not only one of my favorite scores of any 007 film, but the theme itself performed by Adele. The supporting cast is awesome, old and new, and I daresay that this one did hit me in the feels more than I anticipated a Bond film ever could. Skyfall is my favorite, and arguably the best the series has to offer. With the Craig Bond films being on a bit of a tick-tock of great, meh, amazing, eh… I can’t wait to see this pendulum swing in his last outing. (Evan Lucken)
It technically comes third in the filmography, but Goldfinger is the originator of many of 007’s cinematic staples. In addition to the iconic instrumental, this is the first film to have its own theme. Shirley Bassey’s “Goldfinger” is still iconic and it’s no surprise she got two more theme songs (the only artist to have more than one). Oddjob gives us our first eccentric henchman, armed with a sharp-looking top hat. More so than the first two, the villain’s plan leans into the ridiculous. Auric Goldfinger is hellbent on seizing the gold from Fort Knox, because of course he is. This is told in expository fashion to Bond before he leaves him to die by complex design — another franchise staple. In a franchise full of ridiculous names, none will ever top the remarkable subtlety of Pussy Galore. This is Sean Connery’s Bond at his best. (Jake Bourgeois)
As someone who has a well documented short attention span, it’s shocking that the first James Bond film I ever agreed to sit down for was predicated around a poker game. However, I am more than glad I did! Looking for a revival following the close of the Pierce Brosnan era of James Bond flicks, Casino Royale set itself up to be a dive into the genesis of our favorite MI6 agent as he gains his double-O status and steps further into the murky world of espionage, not only with a sexy calm demeanor fight after fight, but with cunning improvisation when put against more calculating minds. Insert Daniel Craig, who was more than ready to show that his abilities go far beyond playing a will-they-wont-they action counterpart to Lara Croft. Craig more than delivers in this fast paced adaptation of Ian Fleming’s 1953 novel, showcasing his action chops alongside a wonderful cast including the always welcome Judi Dench, Eva Green, and Mads Mikkelson. Mikkelson as Le Chiffre is a perfect villain and foil to Bond, managing to seemingly stay one step ahead of him at every turn (as well as reminding us all to double check that their chair is not absent of a proper seat). While I’m sad we are on the cusp of Craig’s final martini in the suit, I’m extremely excited for who takes on the role next. However, before you go see the final chapter in this era, shake a martini and go revisit the Bond film that got me hooked on the franchise. (Matt Lawson)
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