A Critical Overview of the James Bond Series, With Comments
Submitted by slipkid71 on Wed, 08/07/2002 - 05:22
Tags:
- ====== The Classics/Must See ======
- Goldfinger (1964): Easily the best Bond film of all, which introduces the one true concept that makes this series so popular; high-tech, utlra cool gadgets, in this case a fully loaded Aston Martin complete with ejector seats, gun turrets and bullet-proof glass. Easily the best Bond villian, who in this case isn't bent on taking over the world, for once. Sean Connery makes the transition from ruthless spy to calculating detective in a plot involving gold devaluation, the Red Chinese and an alledged robbery of Fort Knox. While the idea of robbing Fort Knox may seem completely ridiculous, 007's discovery of the real plot makes the movie a bit more plausible, unlike other Bond films. Memorable for Shirley Bassey's brilliant theme song, Harold Sakata as Oddjob, Goldfinger's mute Korean henchman (with his trademark killer hat) and the murdered girl covered in 18-karat gold paint. Oh yeah, and how can you forget Pussy Galore?
- From Russia With Love (1963): One of the few Bond films that uses the Cold War element as its' main plotline. Connery begins to feel comfortable as 007, in an efficient performance. Knowing it's a trap, Bond is nonetheless dispatched to rendezvous with a beautiful Soviet functionary in possession of a secret decoder. Little does he know the criminal organization SPECTRE (whom would play a larger role in future 007 films) is playing both the beautiful girl and Bond in hoping to capture the decoder for themselves. With its exotic locales, based mostly in Istanbul, "FRWL" conveys a cool darkness that was essential to most '60's Cold War films. Robert Shaw is especially memorable as the sadistic sociopath Red Grant, sent to kill Bond and retrieve the decoder. Their battle scene in a moving train sets a standard for brutal violence that hasnt't been matched in action films much.
- ====== Above Average/Excellent ======
- On Her Majesty’s Secret Service (1969): George Lazenby's one and only appearance as 007 doesn't detract from the fact that this is the most action-packed Bond film of them all (perhaps to compensate for Lazenby's limited acting?). Pity, because it's easily the most under-appreciated Bond film of them all. The ski chase is a terrific sequence of carefully-orchestrated stuntwork and rapid-fire editing coming together as one. Diana Rigg, fresh off her legendary role as Miss Emma Peel in "The Avengers", proves to be the only Bond female lead to match 007 at his game, and she does it with tons of style, tenacity and sex appeal. Telly Savalas is absolutely perfect as Blofeld, vengeful, sinister, snarling yet charismatic and charming. It also shows a James Bond that is growing weary of being James Bond. A rare display of emotion and humanity from 007, and the ending is real downbeat, something that would not be repeated in future Bond films.
- The Spy Who Loved Me (1977): Thankfully, the best of Roger Moore as James Bond. Light on the campy humor and brimming with tight action sequences, "Spy" was a winner in several respects. The set design and special effects are top-notch, better than any film prior to this one. Barbara Bach as Soviet agent Anya Amasova retains a cool, steely, determination that is as much an equal to 007, not to mention the best female counterpart since Diana Rigg in "OHMSS". Curt Juergens as Stromberg isn't just a villain who wants to take over the world or hold it for ransom; he merely wants to trigger World War III! A terrific Bond film, but it's most memorable for Richard Kiel's first appearance as Jaws, a seven-foot, metal-toothed henchman that proves to be both terrifying and indestructible. Clearly, Jaws is the best henchman ever in the entire series. In the dawn of the big-budget blockbuster, "Spy" is the most larger-than-life of all the Bond films, and tremendously entertaining.
- Dr. No (1962): The first Bond film. While it lacks the successful formula of future Bond films, it serves to introduce both Bond and Sean Connery as Bond. Obviously, it lacks the high-tech gadgetry and rocket-fueled action sequences that are the hallmarks of this series; instead, "Dr. No" plays more like a detective story, with Bond investigating the murder of a colleague and his secretary, and uncovering a plot by a sinister, vengeful madman scheming to blackmail the US government. Connery does his most serious Bond in his first appearance, channeling the hardened case prevalent in Ian Fleming's novels. Joseph Wiseman as Dr. No is one of the most memorable, believable villains in the entire series.
- Octopussy (1983): We revist the Cold War with this film, which at the time seemed to be re-heating with Reagan and Thatcher in their respective offices. Moore limits the devil-may-care charm and demonstrates a certain toughness and urgency lacking in some of his previous efforts. Here, 007 must piece together the connection between a beautiful, mysterious jewel smuggler (played with real zest by Maud Adams, in the title role), a disgraced Indian prince (an implausible Louis Jourdan) and a renegade Soviet general. We get a real sense of suspense and danger, something lacking in Moore's earlier efforts.
- ====== Average/Good ======
- The Living Daylights (1987): Timothy Dalton's first foray into the role of 007 is a complete about-face from Moore's efforts. Dalton's Bond is perhaps closest to Ian Fleming's original vision: tough, calculating, determined, with a hint of subtle humor thrown in. While Dalton may seem less than comfortable dropping cheeky one-liners, he handles the seriousness of being 007 quite admirably. His first film is perhaps the last of the Cold War epics, involving a somewhat confusing plot regarding the defection of a Soviet general, a sleazy arms dealer (a gleefully menacing Joe Don Baker) and a beautiful cellist who may or may not be an assasin. Despite the pace of the film, your patience is rewarded with a terrific, tense ending. It's worth noting that this is the only Bond film where Bond sticks to one girl and one girl only. The Bond-as-monogamist, however, wouldn't last.
- Die Another Die (2002): Two words: Halle Berry. More on her later. The James Bond films work best when they focus on Bond the agent with a license to kill, not this happy-go-lucky playboy trotting the globe, solving mysteries along the way. The film flip-flops too much between edgy political thriller (the storyline deals with a plot to use a diamond-fueled space laser to destroy the fortified border in the Korean DMZ, allowing the North Koreans to march into South Korea and triggering a war) and much of the camp that's been much too prevalent in the Bond films of the past 25 years. Bond proves to be vulnerable physically, as he endures months of torture in a North Korean prison, but his mission is fueled by revenge against the man who set him up for capture. Aiding Bond is Jinx, played by Halle Berry, an assasin whose allegiance is not made quite clear until later on. She steals much of the film from Brosnan (another disturbing trend lately), and Berry proves she can make a sexy action heroine look easy. As for the camp, an cameo from Madonna, whose opening credits theme is one of the worst ever, is completely unnecessary and easily forgotten, and the edge of the film is lost with an over-reliance on gimmickry. The pace and writing of the film make up for the many forays into kitsch "Die Another Day" falls into often.
- For Your Eyes Only (1981): Roger Moore's most serious Bond performance to date. Less reliance on gadgets, more actions, and a premise that's actually believable, with villians that seem less campy than usual. 007 is on the trail of a satelite system trapped in a sunken fishing ship. Assisting Bond in this intriguing spy story is Melina (in a thoughtful performance by Carole Bouquet), seeking revenge on the man who murdered her parents, who is also on the trail of the satelite system. The always gregarious Topol provides good fun as the corrupt-but-goodhearted smuggler Columbo, but unfortunately the bad guys, especially Julian Glover, are rather dull and unmenacing. There's a heightened sense of stuntwork and action, which provides solid pacing to one of the more straightforward Bond films ever.
- Thunderball (1965): The fourth Bond film. Bond is dispatched to the Caribbean to find the source of the menace that has hijacked two nuclear weapons and plans to detonate unless a ransom is paid (hmm...recurring plot line?). The Caribbean setting provides a carnival-like atmosphere, but unfortunately, the plot drags along way too idylically, as if 007 were vacationing rathering than spying. And the underwater segments suffer from poor camerawork and lighting. However, Connery fuels the film along with perhaps his most assured Bond performance. By now, James Bond was a complete and unquestioned phenomenon, and Connery is quite happy playing up to all the commotion. A solid, slam-bang ending further solidifies this effort.
- License To Kill (1989): Dalton's last appearance as Bond is a dark departure from previous mission-based films. Here, 007 goes AWOL, against the wishes of MI6, to avenge the brutal murder of his close friend Felix Leiter. He must use his guile and wits to infiltrate the drug cartel responsible for Leiter's death. There's very little in the sense of tongue-in-cheek humor, aside from Wayne Newton playing a smarmy televangelist; instead, it's a taut, deliberately pace revenge drama, pitting 007 against a sadistic drug lord, played to the hilt by Robert Davi. Subsequent Bond films, starring Pierce Brosnan, would project more lightheartedness.
- Goldeneye (1995): There's a sense of urgency in this film, and it comes from the makers of the movie. Trying to recapture the glory of the Bond series, the first Bond film in 6 years features Pierce Brosnan's debut as 007, and he's surprisingly hard-edged. Sure, he's quite charming and suave, but he conveys a dark, brooding side which makes him no stranger to putting a bullet in someone's skull. While the plot tends to be a bit unyieldly, it does unravel eventually into a sophisticated, credible action film. Famke Janssen is absolutely terrific as the vixen Xenia Onatopp, who squeezes the life out of her victims with her strong, muscular thighs. Overall, a very good debut for Brosnan.
- You Only Live Twice (1967): James Bond travels to Japan in this fast-paced potboiler. While there's more of an emphasis on gadgetry (the pint-sized helicopter, named "Little Nellie", makes its' debut), it's a brisk, breezy, easy-to-follow plot which introduces us, finally, to Bond's arch-enemy Blofeld, in the flesh. Blofeld's diabolical scheme involves the hijacking of US and Soviet rockets (in space, no less!) in the attempts to pit the superpowers against each other. Despite the annoyingly bad dubbing of dialogue from the Japanese actors, there's a boatload of action sequences to keep you engaged. It's the most sugar-candied of all Bond films; plenty of highs, but it's mostly forgotten once you've disgested it.
- ====== Below Average/Fair ======
- Diamonds Are Forever (1971): A payday of $2 million lured Sean Connery to return as 007. He must have cashed the check before filming began. Connery is clearly bored with the material, and even his hairpiece looks lifeless. The flimsy plotline involves smuggled diamonds, a trip to Las Vegas and arch-enemy Blofeld's plot to extort money (again?!?) by threating the world. Jill St. John is certainly gorgeous to look at in many a skimpy bikini, but the worst part of the film is a pair of ambiguously gay henchmen who are more gruesomely stereotypical than threatening. You can point to this movie as the begining of a downward trend for Bond films. Great theme song, though.
- Live and Let Die (1973): It really starts off with a bang, introducing an extremely dark element that has never been featured. After the main credits, with a flat-out terrific theme song from Paul McCartney & Wings, you wonder why Bond is involved in a drug smuggling scheme that's better suited for his CIA buddy Felix Leiter. Roger Moore's first appearance as 007 is quite disappointing, as he's taken from New York to the Carribean to the Louisiana bayou in an incoherent plot involving voodoo and drugs and a third-world banana republic dictator. Moore's cavalier approach to the role is detracting; he's more of a foppish, idle chitchatterer than the steely-but-wiseassed 007 that was Connery's exclusive domain. As bad as Jane Seymour was in this film (and she's usually more wooden than this), nothing beats the single-worst role ever in a 007 movie - Clifton James as sheriff JW Pepper, an ultra-obnoxious, over-the-top redneck who serves no purpose other than to introduce a series of cheap, inane laughs.
- Moonraker (1979): A misguided attempt to cash in on the "Star Wars" craze. Basically a retread of "Spy", complete with an even bigger budget, there's too much flash and not enough bang. An over-emphasis on special effects renders Moore's Bond useless. His female counterpart, the NASA scientist Holly Goodhead, played with a stunning lack of conviction by Lois Chiles, seems more like an empty-headed bimbo than the brilliant rocket scientist she's supposed to be. And Michael Lonsdale as Drax, a megalomaniac bent on taking over the world from outer space, wiping it out and replacing it with his ideal of a "perfect" human race, is merely a dreadful bore, showing very little life and vitality in a role that would lend itself to a bit more histrionics. Despite that, there are some great action sequences, and the locales (Rio and Venice) are perhaps the best in the entire series, and the return of Richard Kiel as Jaws injects a much-needed spark. The ending pretty much sucks, but it's pretty funny to watch the malevolent Jaws melt down and fall in love with a pretty, wholesome girl.
- Tomorrow Never Dies (1997): The premise alone sounds great: Bond must stop a billionaire media tycoon from triggering a deadly war between Britain and China, solely for the purpose of covering the war and boosting his own ratings. Jonathan Pryce, as the over-the-top Elliot Carver, attacks his role with real zest, proving to be one of the more memorable Bond villians. And, best of all, Michelle Yeoh as Chinese secret agent Wai Lin combines beauty and sheer ass-kicking delight, and she steals the film throughout her many appearances; her role is an obvious nod to the enduring popularity of the Hong Kong-based martial arts action thriller. The problem is Yeoh and Pryce's roles completely overshadow Brosnan's 007. Brosnan is forced to remain in the background to not only their performances, but to an almost pathological over-reliance to gadgetry and stuntwork. And the supposed premise falls apart under an underdeveloped plot.
- ====== Poor/For Die-Hards Only ======
- The World Is Not Enough (1999): This one's really bad. It promises a darker, complex story, but it's sunk by an almost indecipherable, ludicrous plot that proves to be too intertwining to be believable. Bad villians make bad films, and Sophie Marceau, a terrific actress, is unforgivably shallow and boring. The problem with this Bond film is there's too much of a reliance on secondary characters that try to chew up their alloted time, and not enough Pierce Brosnan. Here, he seems weary with the role, and you feel like he wishes the movie would come to a quick end too. But the doozy of all time is the unimaginatively awful casting of Denise Richards as Dr. Christmas Jones (!), a nuclear scientist (!!!). Bad enough she's a crappy actress with zero personality, who makes outgoing answering machine messages seem lively, but casting her as a scientist makes you want to forget you're watching this movie.
- The Man With The Golden Gun (1974): It's only saving grace is the title bad guy, played with delicious magnetism by Christopher Lee, perfect in the role of the world's best, most expensive assasin. Unfortunately, it's hampered by a weak script that relies heavily on broad humor and major gaps in the pace of the film; the action sequences here take too long to develop and more often than not they're more comical than thrilling. Moore's still trying to find his voice as 007, but the problem is he's playing it more like the Bond spoofs of the late 60's - a charming lady-killer, but no real killer instinct. Two things completely derail the film; one, Britt Ekland as the inept British secret agent Mary Goodnight was so bad you had to wonder whether a mannequin could have elicited a better performance (and, frankly, would the British SS even employ someone this inept?), and, two, the most unwelcome return of Sheriff JW Pepper, who "coincidentally" happens to be vacation in Thailand and latches onto Bond. You wonder why the makers of this movie had to resort to more cheap laughs.
- A View To A Kill (1985): A sad display. Moore begins to show both his age (he was in his late '50's at the time) and his boredom with the role. Worse, one would think that casting the versatile Christopher Walken and the striking, enigmatic Grace Jones as the villians would create real fireworks; sadly, they're both prone to silly dialogue and the unwavering sense that they're more campy (a la the "Batman" TV show) that sinister. They're completely wasted here. Add to this some really bad action sequences (an out of control fire truck? Look out!), a dopey plot involving the destruction of Silicon Valley, and possibly the worst Bond girl in Tanya Roberts, who is so hollow you're almost afraid squirrels will mistaken her for a tree and nestle inside.
- ===== Non-Official James Bond Films =====
- Casino Royale (1967): Bad sign No. 1: Four (count 'em) directors were involved in this mess. Bad sign No. 2: Instead of sticking to Ian Fleming's original plotline, this film perverts into a whirling, ridiculous psychedelic atrocity. In other words, fodder for the "Austin Powers" movies. It's only worth watching for its' star power - Peter Sellers, David Niven, Ursula Andress, Orson Welles and Woody Allen - but if you can sit through the first 30 or 45 minutes, then bully for you.
- Never Say Never Again (1983): In the words of EON Productions, the producers of the "official" Bond films, NSNA is the rogue agent of the series. Which isn't to say it's a bad film. Essentially a remake of "Thunderball", it's interesting to watch Sean Connery return as an older 007 (a big hefty paycheck convinced him to don a tux and a hairpiece again). A bit paunchier, but Connery still has the savvy and the rougish charm to work through this remake and still look convincing. NSNA is obviously more high-tech than "Thunderball", but not as effective. However, the film's saving grace is the over-the-top performance of Barbara Carrera as the villainess Fatima Blush. Carrera combines criminal sexuality and a cheerful outrageousness as one of the most memorable villians in all the Bond films.
Author Comments:
Note that these are being rated in order, from best to worst. That's my opinion, and I'm stickin' to it!
Very well done. It's well written and informative. Your love of Bond come through. I agree with most of it though I may have liked Dr. No a little more than you and the Roger Moore Bond's a little less.
Great job.
This is a wonderful list. You make me want to go out and immediately rewatch all the Bond movies, except for the odious The World Is Not Enough and The Man With the Golden Gun (I was happy to see the only two Bond movies I hate buried in your bottom tier). The only comment I'd add to your TWINE comments is that Robert Carlyle was a huge disappointment, as I was quite excited when I first heard he was going to be the villian.
You're right about Robert Carlyle, Jim. I was equally as excited about him playing the villian, hoping he would tap into the inner Begbie-like psycho he played in "Trainspotting". Unfortunately, he settles for the obligatory Slavic/Eastern European heavy personification that seems acceptable in movies these days.
I just noticed that Never Say Never Again is missing from this list. Any particular reason? I remember not liking it, but I was a teenager, so my opinion was even more meaningless then than it is now. :-)
Yes, I didn't add NSNA, or Casino Royale, because they're not really "official" James Bond films. NSNA is, as you know, a remake of "Thunderball" made by the production team that had the original rights to Fleming's novel. Casino Royale is essentially a spoof of the Bond films, and because it's so damned dismal and difficult to sit through, it's not worth reviewing.
Contrary to most other people, I always liked Roger Moore better than Sean Connery (but Pierce Brosnan is a hunk [hey, I'm not gay ... not that there's anything wrong with that]). Live and Let Die was always my favorite.
I just find Roger Moore to be a bit too cavalier and silly for my tastes. He always seemed to mug madly to the camera whenever he faced danger. Too bad; he showed a lot of promise as a tough, resilient James Bond with Live and Let Die, but he resorted to goofy puns and gadgetry way too much.
That reminds me, I need to update this list with Die Another Day.
Yes, please! I'd be curious to see where you put Die Another Day, and hear your thoughts on it.
Wow, that was quick, thanks!
I'm very glad to see this updated.
It seems our reactions to Die Another Day are somewhat close to each other.
I think I am the only one who thought Ms. Berry was a bit forced. I'm sorta glad they've scrapped plans for the Jinx spin-off, but perhaps that's just me.
I liked the idea of her character more than her, I guess. Her lines didn't help. Nothing made me fear this film more than the trailer where she responds the question of who sent her with, "Yo mama." Ugh. :(
Shalom, y'all!
L. Bangs
I dunno, I kinda like the "Yo Mama" line; it seemed appropriate for Jinx to say that.
If I'm not mistaken, the next Bond film will be Bronson's last. I'm curious as to who you think would make a good new James Bond. I was thinking Paul Bettany, but he seems to be more comfortable as a character actor. Speaking of which, there was that ridiculous rumor that Russell Crowe was approached to play 007. Oh hell, let's get the Rock to play 007 ("Bond, James Bond. Can't you smell what I've got cookin'?").
This list is more of a fabrication of those 'ohh so good memories' of the original bond films! premoted mainly by the unbelievable rating of From Russia With Love, you have clearly failed to realise the genius of some of the modern films. I was disappointed that Goldeneye one of the greatest bond movies was so low down on your list. The communist/cold war story has been used by every film and was so tired even then! And as for Die another Day Average/Good, you must be joking, it was a poor film, as for Halle Berry I could not have thought of a worse bond girl, the 'kick ass' bond girl image does not fulfill any off the qualities of a classic bond girl. The casting looks a lot more like a bad film premotion for the american audience who cannot appreciate that a weak portrayl of a women! Madonna's cameo role could not be described in any other way but abysmal, plus the films plot line is weak! maybe you should review some of these ratings!