Watch James Bond Movies in Order of Release!

james bond films in order

Bond. J. B. Bond Agent 007. Permission to murder. The lethal, dapper MI6 agent has caught our attention for 57 years because of the big-screen adaptations of Ian Fleming’s novels. Six actors have taken on the role of James Bond under the auspices of Eon Productions: Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, and Daniel Craig.

The films gradually evolved into high-budget extravaganzas, whereas the novels were quick, violent reads (JFK was a fan). The movie series has been able to renew itself for younger viewers despite at times losing its direction.

What are the top James Bond movies of all time? Which have endured the radically shifting cultural tides and the test of time? The official Eon-produced James Bond movies are listed here, from worst to finest.

“Die Another Day”

The terrible torture scene in the opening minutes of Pierce Brosnan’s final Bond film gives it some promise. He’s driving an invisible automobile around a real ice castle one hour later. That gritty revamp was a failure.

Halle Berry’s character, Jinx, is unquestionably the only one in this movie with a pulse, and the Bond producers were resignedly thinking of creating a spinoff series for her. We would still wait in line for a Halle Berry franchise, but not at James Bond’s expense.

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“The Man with The Golden Gun”

This film is practically a complete failure despite Christopher Lee co-starring as the evil Scaramanga, who hires Hervé Villechaize as a sabotage-loving minion.

In an upside-down ship that serves as an MI6 command center, Ken Adam has fun with his production design, and there is a phenomenal, entirely realistic corkscrew car leap that would never be permitted today out of concern about people getting hurt. If not, this is garbage.


“Diamonds Are Forever”

On Her Majesty’s Secret Service, the Bond movie that would have solidified Sean Connery’s career was skipped, but he showed up for this ridiculously silly picture set in Las Vegas because, well, money.

Bond clashes with two female henchwomen of a Howard Hughes-like magnate (Bambi and Thumper), and commandeers a moon buggy at a space facility (playing into the lunar craziness of the early ’70s after the landing), but the movie is depressingly gimmicky. Although it was certainly a blast to shoot, it is difficult to watch.


Steven Berkoff makes an appearance as a heavy, Maud Adams reprises her sensational title role, and James Bond dons a gorilla disguise. These stand out among the rest.

The series was aimless in the early 1980s, playing the hits while waiting for a younger, hunkier Bond; this is an oddly tentative reversion to the silliness of pre-” For Your Eyes Only” Moore. Moore was pleading for the pasture, but the film stays together reasonably well.

“The World is Not Enough”

The authors insist on making Robert Carlyle’s rogue KGB agent the major antagonist despite Sophie Marceau’s passionate portrayal as a crazy oil heiress and her scenes with Brosnan crackling. Making Edward G. Robinson the femme fatale in “Double Indemnity” is the equivalent.” That would be intriguing, in fact. In Brosnan’s penultimate Bond performance, little is more than somnambulant.

Garbage’s theme song is really good, and the opening set piece is entertaining. Christmas Jones, the character played by Denise Richards, is a nuclear scientist, which sets up the film’s inevitably vulgar final statement.

“A View to A Kill”

When he returned for his final appearance as James Bond, Roger Moore was close to 60 years old, and he occasionally appears to be struggling for air during the film’s mercilessly many action scenes.

The fantastic theme tune by Duran Duran was heavily played on MTV during the summer of 1985, and Christopher Walken and Grace Jones’s hiring gave the film a big kink boost. It’s occasionally terrific, garish fun, and a fitting send-off for the tirelessly cheeky Moore.

“Quantum of Solace”

In a scene from “Casino Royale’s” fourth act “When given the chance to create an 80-minute revenge movie (i.e., a mercilessly streamlined version of the film Dalton wanted to create with “Licence to Kill”), Craig and the writers decided to lengthen it with the standard Bond movie scenes.

The killing of Dominic Greene, played by Mathieu Almaric, is a terrible act that is very Fleming, but it doesn’t hit as hard as it should. Quantum of Solace is your “Citizen Kane” if you want to learn how not to edit a high-budget action scene.”


Since “Die Another Day,” this has undoubtedly received the most negative reviews “But how horrible is it really? While adhering to Craig’s directive to steer the series into the more conceptually controversial area, director Sam Mendes tried his utmost to bring back the cheekiness of the Moore Bond movies that he adored as a child.

The end result is a narratively schizophrenic jumble in which Bond appears to die during a torture scenario, and the subsequent events only serve to confirm this theory. In what is tentatively titled “Shatterhand,” it will be discussed the implications for the franchise moving forward.” Perhaps “A Matter of Life and Death” will be Bond’s next film.”

“Quantum of Solace”

Over the course of its opening weekend in December 1997, Brosnan’s second Bond film came close to out-grossing “Titanic” by a few million dollars, but regrettably, it fell far short of its global total. In this Roger Spottiswoode-helmed movie, Bond remotely controls an automobile from the rear seat.

It also stars Michelle Yeoh, a legendary martial artist who almost got her own spinoff series because of her prowess in the technique. The show is Yeoh. Jonathan Pryce portrays a villain who is obsessed with world dominance and was inspired by Rupert Murdoch, which is brilliant in concept but lackluster in practice.


“Thunderball” is the highest-grossing Bond film of all time when inflation is taken into account. It’s packed with technology and has a lot of action scenes, but every now and then it slows down to progress a plot it doesn’t care about.

The Michael Bay of Bond films, this. For young people of a specific generation, watching Bond fight for hours underwater while flying about on a jetpack was the best thing ever. But what was a unique show in 1965 is today quite a chore.

This is especially true of “Never Say Never Again,” the non-Eon version “which forced Connery to reprise the character he had vowed never to portray again. He ought to have kept his word.

“Live and Let Die”

Roger Moore had a strong debut as James Bond thanks to a fantastic book and a fantastic theme song (performed by Wings and Paul McCartney). This movie ought to be better. Dr. Kananga/Mr. Big, played by Yaphet Kotto, is a terrifyingly threatening bad guy, and Tee Hee, Whisper, and Baron Samedi, played by Julius Harris, Earl Jolly Brown, and Geoffrey Holder, are the stuff of nightmares.

Gloria Hendry, a gorgeous actress, makes a far too fleeting cameo as the first African-American Bond girl. But it is filthy. Although moviegoers loved the redneck Sheriff Pepper (Clifton James), the comedy break he offers contrasts with the movie’s otherwise somber mood. Here it is if you’ve ever wondered what a Bond movie by Hal Needham may look like.


It’s unfortunate that this movie, which is based on one of Ian Fleming’s best novels, was one of the imitators when “Star Wars” achieved unparalleled blockbuster success. That being said, gather some pals, pop up some drinks, and enjoy the most egregiously dumb James Bond movie ever filmed while you’re in space.

There are overt allusions to “Close Encounters of the Third Kind” and “2001: A Space Odyssey.” When Richard Kiel’s Jaws makes a comeback, he falls in love with a nerd wearing braces. Given that the franchise has survived, we can enjoy this out-of-control lark as part of the Assistant Editors’ Month of Bond films.

“For Your Eyes Only”

For some reason, the Bond movie that opens with 007 helicopter-picking up Blofeld and dropping him into a chimney has developed a reputation as a “grounded” entry in the series. If you interpret the action as an end to “Moonraker’s” silly “Star Wars”-inspired antics, “The next two hours of sporadic excitement could be seen as a course correction.

Unfortunately, Moore simply lacked credibility as a tough Bond; in his respective secret agent parodies, he wasn’t all that different from Dean Martin or James Coburn.

“License to Kill”

Despite a valiant attempt to recreate the gritty Bond of Fleming, the franchise was unable to break free from its need for spectacle. The nasty drug dealer (Robert Davi) who killed Felix Leiter’s wife and partially fed his CIA agent friend to a tiger shark is the target of Dalton’s 007’s vengeance.

Carey Lowell, the CIA informant who travels with Dalton, is on par with Dalton in terms of being the ideal Bond for this brutal task. John Glen, the experienced house director, struggles to keep a steady tone. It’s a slightly above-average Bond movie that has the potential to be so much better.

“Dr. No”

It is significant that the most recognizable scene from the first James Bond movie is Honey Ryder, played by Ursula Andress, coming from the water wearing a white bikini. Sean Connery was undoubtedly destined to portray James Bond from the very beginning, but this is more of a production than a tale, a groundbreaking example of bet-hedging cinema that serves as a prelude to the sequel.

As a result, it is probably among the greatest motion pictures ever created. It’s okay. But as soon as it’s over, you’ll want to start playing “From Russia with Love.”


In the slick preview for “GoldenEye,” Pierce Brosnan said, “You were expecting someone different.” Although Bond fans had been anticipating him for a decade, “Cubby” Broccoli recoiled at the idea of a television star replacing Moore, a former television star, in the franchise in 1986. Better late than never, at least for one movie.

Brosnan became the movie star he was always destined to be thanks to a lavishly entertaining (if slightly bloated) movie directed by the series’ Mr. Fix-It, Martin Campbell. With her thighs being crushed by her belly, Famke Janssen’s Xenia Onatopp is a stunningly gorgeous villain. She ought to have been the new Blofeld.


With this incredibly important entry in the Daniel Craig cycle, Sam Mendes added Best Picture-winning credentials to the Bond franchise. Aston Martin blowing up right as Monty Norman’s theme begins (off of Craig’s outraged reaction) was the most meta moment in a Bond movie before “Spectre,” and it actually worked here! Some purists disliked the Bond family backstory being dragged into the mix, but it was less about exploring the character’s upbringing than considering his iconography.

Mendes’ love for “Live and Let Die” occasionally makes an appearance to brighten the generally gloomy mood. The series’ finest music since “A View to a Kill” is Adele’s theme song.”

“The Living Daylights”

The most underestimated 007 in the franchise also stars in the most underrated Bond movie. When Timothy Dalton took over the role in 1987, he lacked the brazen originality of Sean Connery or the comfort of Moore.

He had the ordinary physical attributes Fleming had in mind for the role, and if the producers had been ready to buck the blockbuster trend during the Stallone and Schwarzenegger period, he might have pulled off a gritty, Craig-like version.

The plot is horribly complicated, but at least it’s more serious and more grounded than most of the Moore movies. This is a large movie with sweeping Barry music (his last for the series). The fact that Dalton’s understated Bond doesn’t get lost amid the chaos is a testament to how much the audience will love the movie.

“No Time to Die”

Bond’s Daniel Craig Cycle ends in traditional 007 styles. It’s sexy, fashionable, hilarious, occasionally thrilling, and incredibly complicated. Bond’s sad past resurfaces, destroying any chance of reconciliation with Madeleine (Léa Seydoux). Bond is called back into action five years later when a lethal virus spread by nanobots threatens to, you guessed it, end the world.

As terrorist mastermind Lyutsifer Safin, Rami Malek is suitably unpleasant, and the Cuban set-piece is among the best in the series. But everything drags on a little more than it should. The last scene of the movie will always be polarising, more so for those who favor “On Her Majesty’s Secret Service” over “Goldfinger.”

“You Only Live Twice”

When the Bond producers balked at the location challenges that the movie presented, Sean Connery lost his chance to star in “On Her Majesty’s Secret Service” and decided to make this Roald Dahl-penned, Japan-set extravaganza instead. Fans of “The Incredibles” should recognize Donald Pleasance’s fantastically scary portrayal of Ernst Stavro Blofeld, whose huge, the volcanic lair was created by the great Ken Adam.”

Compared to the ridiculous “Thunderball, ” the wacky gadgets are more deftly woven into the plot of this movie “This is the first formal course correction in the history of the series. One of the top five Bond themes is John Barry’s gorgeously orchestrated title track, which is sung by Nancy Sinatra.

“The Spy Who Loved Me”

Younger audiences might need a little time to get used to Marvin Hamlisch’s disco-influenced score during the opening ski slope set piece, but Carly Simon’s iconic Bond theme, “Nobody Does It Better,” along with what might be Maurice Binder’s most creative title sequence, casts a timeless spell over the movie that even the sight of 007 driving a Lotus Esprit underwater can’t break.

This is undoubtedly Roger Moore’s best Bond performance. Richard Kiel makes his acting debut as the steel-toothed henchman Jaws, and Ken Adam’s sets—particularly Stromberg’s enormous supertanker lair—are among the most spectacular ever created. Barbara Bach is stunning as the vengeful Agent XXX.

“Casino Royale”

With “Die Another Day, the Bond franchise had once again descended into unrealistic, gadget-heavy silliness “forcing the creators to change the tone of the show, which saved it. While Matt Damon’s character in the popular Jason Bourne series was forbidden from slowing down, enjoying a martini, or otherwise displaying human traits, Daniel Craig’s brooding bruiser drew comparisons to that series.

While director Martin Campbell provided plenty of action, audiences fell hard for Craig. Diana Rigg’s Tracy and Eva Green’s Vesper Lynd was the most developed Bond girl, but sadly, they also had a poor outcome.


With this Guy Hamilton-directed classic, the formula for a James Bond film was established: a splashy opening action sequence, a killer theme song (none better than Shirley Bassey’s iconic warbling here), the required visit to Q’s gadget workshop (where Bond usually gets his tricked-out wheels for the movie), and a focus on cheeky, quip-heavy humor.

The most famous Bond girl of them all is Honor Blackman’s audaciously named Pssy Galore, while Harold Sakata’s sinisterly silent Oddjob, with his razor-brimmed bowler hat, makes for an unforgettable formidable henchman. The series was already successful, but “Goldfinger” cemented its place in popular culture.”

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“From Russia with Love”

The only Bond movie that has come close to capturing the gritty, unsentimental spirit of Ian Fleming’s books is this masterpiece from Terence Young. Even the technology is realistic, particularly Bond’s multifunctional attaché case.

In addition, it features two of the franchise’s most iconic fights, including the outrageous (and sexist) Martine Beswick/Aliza Gur gypsy fight and the frighteningly realistic train-bound brawl between Sean Connery and Robert Shaw’s bruiser of a henchman. This is the closest thing to a “grounded” Bond film you’ll find.

“On Her Majesty’s Secret Service”

The best John Barry score, the best story, the best action set pieces ever filmed, the best Bond girl ever (Diana Rigg), and more can all be found in The Broken Heart of the James Bond franchise.

Paul Lazenby. In addition to the thankless task of replacing Sean Connery, screenwriter Richard Maibaum gave Lazenby’s first (and final) Bond performance a script that was eerily similar to Connery’s.

Could Connery, however, have conveyed the vulnerability required to cover up the tragic romance with Tracy played by Rigg? It’s unfortunate that this project wasn’t started when Connery was still under investigation. If so, there would be no disagreement. Nowhere near.

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