All 28 James Bond Movies, Ranked

Taking off in the early 1960s, when international travel was highly uncommon for the average consumer, the globetrotting James Bond series was quick to become a cultural phenomenon. The series’ longevity (over six decades and counting) is something that most of the closest competition can’t even come close to matching, but the series is reportedly at something of a stalemate, for now at least. Perhaps this is therefore the perfect time to look back at the historic series’ entire run through the present.

Created on the page by former British Naval Intelligence operative Ian Fleming, the gentleman spy James Bond is a product of history, a sophisticated professional killer with vices. Nevertheless, he is a hero (it’s entirely a miscalculation to suggest he’s an antihero, or anything like that) that audiences have eagerly rooted for over the better part of a century. Bond has also been dissected over the years, and some seem to think he needs to evolve more and more. The simple reality, and this is important so listen up, is that the James Bond franchise has always worked best when it maintains an element of male fantasy. Bond is a bloke; these are movies for blokes, though anyone can enjoy them. There are all kinds of movies that serve all kinds of purposes. Should the next incarnation of Bond fully lose track of what made the character appealing in the first place—a line that was arguably already crossed and was at least approached during the modern, downbeat Daniel Craig era—maybe the series really could be doomed.

But here’s hoping it isn’t. Though the franchise is in a precarious place, more so than it has been in a very long time, that isn’t enough to change the fact that this is the greatest film franchise of all time. This is fun; this is escapism. It can strive for more than that, but that’s the core of it. The following is the definitive ranking of every James Bond film from worst to greatest. This is an exhaustive ranking that includes all three non-Eon productions.

28. ‘Casino Royale’ (1967)

Directed by John Huston, Ken Hughes, Val Guest, Robert Parrish, & Joe McGrath

The worst movie to ever carry the Bond name is a lot like a rodeo: how long can you stay on? How long can you keep watching before you have to tap out? An infernal nightmare that’s ostensibly a spoof was plagued with production woes, but that’s no excuse for a shapeless movie that’s almost entirely devoid of charm, much less excitement, for 137 minutes. Casino Royale ’67 is torturous; it’s the kind of thing that should only be watched by someone tasked with ranking every Bond film exhaustively. The fact that it was a financial success in its day (lambasted by critics) only shows how tightly Bond fever had gripped worldwide culture by the late ’60s.

Woody Allen is by far the best part of all this. That’s an uncomfortable sentence to write in present day, but it’s the truth. Casino Royale is mostly unwatchable and should have never seen the light of day, much less an international theatrical release.

27. ‘Never Say Never Again’ (1983)

Directed by Irvin Kershner

Is there anything more appealing than a movie made out of spite and for legal reasons? Oh, what about a movie made out of spite and for legal reasons where old men play video games? Non-canon entry Never Say Never Again was marketed around the return of Sean Connery as Bond, and though it was a financial success, it just proved how much of the franchise’s longevity went beyond its star. Albert “Cubby” Broccoli’s Bond machine had unrelenting production values, often evolving but just enough. Never Say Never Again is overall a visually repellant bore, but there are two great performances in Barbara Carrera‘s campy Fatima Blush and Klaus Maria Brandauer‘s surprisingly understated Largo.

Connery slipped back into the tux one more time for a remake of Thunderball that’s so tired it makes A View to a Kill look like a breath of fresh air. The wildest part of all of this? It’s directed by Irvin Kershner, who made The Empire Strikes Back. That’s so outrageous, it’s like finding out, hypothetically of course, that the director of GoldenEye made Green Lantern. Oh, wait.

26. ‘Casino Royale’ (1954)

Directed by William H. Brown, Jr.

The first screen adaptation of the James Bond book series was a TV movie, specifically a one-hour installment of CBS’ Climax!. It might be easy to scoff at Barry Nelson playing an Americanized “Jimmy” Bond, but this still so much better than the 1967 film, or Never Say Never Again.

Peter Lorre as Le Chiffre is a treat, and though William H. Brown Jr.’s TV movie softens the depressing ending of the novel, this is suspenseful and surprisingly watchable for a James Bond adaptation staged almost entirely in medium close-up. Casino Royale has been in the public domain for some time, and Bond completists can find it online pretty easily. Now that the non-Eon entries are out of the way, let’s get to ranking the real Bond movies. Prepare for a major jump in quality, especially production values.

25. ‘The Man With the Golden Gun’ (1974)

Directed by Guy Hamilton

Of all the Eon films, The Man With the Golden Gun is perhaps the only one that flirts with being an actively bad motion picture. The franchise nearly ran out of steam before it caught its second wind in the form of The Spy Who Loved Me. Roger Moore truly made Bond his own with that film, but in Golden Gun he and the producers were still clearly struggling to let go of the past. The Man With the Golden Gun suffers from aggressively mismatched and competing tones. Often, it’s just plain tacky.

Of course, The Man With the Golden Gun boasts one of the series’ best villains in Christopher Lee‘s Francisco Scaramanga. His personality and presence eat the movie around him whenever he’s on screen. The silver lining of Eon Bond’s dour ninth outing is that producers put extra effort into the following film. We’ll come to that one much, much later on this list. So much later.

24. ‘Spectre’ (2015)

Directed by Sam Mendes

Skyfall deconstructed Bond, and the Bond movie formula, to overall great effect—and, perhaps more importantly to record-breaking box office. It left the Bond series, or at least Craig’s era, as something of a clean slate with a refreshed cast of characters. Unfortunately, the follow-up to Skyfall is obsessed with callbacks. The spectacle, including a simulated one-shot opening and the biggest fireball in film history, impresses, but the most frustrating factor here is how much Spectre overreaches.

The continuing narrative of the Craig era could have worked, if it went somewhere worthwhile. The ham-fisted romance is a nonstarter. The Bond and Blofeld arc, or lack of one, is catastrophic. Long-lost brothers, really? Seriously? Frankly it all comes off like Bond is imitating the MCU, or even the Fast and Furious films. You’re the trendsetter, Bond.

23. ‘Quantum of Solace’ (2008)

Directed by Marc Forster

Leaner and a little less infuriating than Spectre, Quantum of Solace is nevertheless another Craig outing that can comfortably be called a series low point. Should this have been a continuation of Casino Royale in the first place? For decades, a major draw of the Bond movies’ appeal was the fact that you could enjoy them out of order, whenever you please. The overarching problem with the Daniel Craig films is their overarching nature. Casino Royale had a great dramatic oomph on its own, directly via Fleming, but these movies were never intended to turn into a soap opera.

Quantum of Solace has been so ragged on for years now, and not without good reason, that you might be surprised it’s not all bad. Marc Forster’s self-conscious direction is an unmitigated disaster, but the performances are quite good, save for Mathieu Amalric’s Dominic Greene. He might be the weakest Bond villain ever. Charles Gray’s Blofeld in drag is more threatening than this guy and his nefarious designs on water. Amalric was terrific in The Diving Bell and the Butterfly, but everything about his work here, and the character, is off.

22. ‘Die Another Day’ (2002)

Directed by Lee Tamahori

Another Bond film that’s generally a punching bag, Die Another Day is most lamentable for being such a circus that the series had to reboot, thus depriving Brosnan of another outing or two. Die Another Day undeniably feels like the 007 franchise on meth—what was once outlandishness rooted in the real world had become unbridled insanity—but Brosnan really is still in top form here. He blended an edge like Connery’s with Moore’s levity.

Still, if you’re reading this list, you probably already know what the problems here are: The CGI is apocalyptic. The third act ignores the laws of physics. There’s a “Yo Mama” joke. Seriously, what the hell?

21. ‘No Time to Die’ (2021)

Directed by Cary Joji Fukunaga

Here’s an idea for Hollywood: can we go five years—or better, ten or more, maybe forever—without a sequel where an iconic hero is and old wreck, gets one-upped and insulted by younger, forgettable characters who haven’t earned our admiration, then dies? No Time to Die was infamously delayed over and over due to the pandemic, and the downbeat, highly orchestrated and emotionally anemic movie polarized fans, infuriating many. Who actively wanted a movie this soggy at the end of a dreadfully hard year or two? The fact that No Time to Die grossed less than 70% of Skyfall‘s haul, ten years later, says a lot.

There are glorious set pieces here, as well as a beautiful, Bondian Oscar-winning Billie Eilish song that’s better than the movie, and some strong acting. There’s no getting around the ending, though. Having the master of survival go out, especially in this way, is as jarring and unwelcome as, say, if Riley were to go on a murder spree in Inside Out 3. It’s a disgrace, an insult. It’s unfortunate that this is where we’re at right now with film’s greatest franchise.

20. ‘Diamonds Are Forever’ (1971)

Directed by Guy Hamilton

Though it was a financial success, On Her Majesty’s Secret Service failed to register with audiences in the way Eon had surely hoped. What’s more, George Lazenby‘s exit left the franchise in a further precarious situation. Eschewing all the beauty and sophistication of Majesty’s in lieu of Las Vegas shot rather flatly. Diamonds Are Forever is the trashiest and sleaziest of all Bond outings.

But, and there is a but here: Connery. Just, Connery. No doubt energized by a record $1.25 million-dollar salary, he’s way more enthusiastic here than he was in You Only Live Twice, shares a charming rom-com shorthand with Jill St. John‘s Tiffany Case, and makes it easy to look past, or at least endure, things like awful special effects and a total lack of suspense or menace.

19. ‘A View to a Kill’ (1985)

Directed by John Glen

Roger Moore was 57 in his final outing as 007, and presented as older thanks to plastic surgery procedures. It’s jarring. He looks like Tanya Roberts‘ grandfather in a A View to a Kill, and it really doesn’t help that Stacy Sutton is among the series’ least compelling Bond Girls.

So here’s the part not everyone wants to admit or discuss: A View to a Kill is fun as all unholy hell. Sure, it’s not entirely for the right reasons, but who cares about that, really? So much of this franchise’s unprecented, prolonged appeal comes from pure entertainment value. A View to a Kill is so-bad-it’s-good in some ways, and also just rather good in others. Christopher Walken and Grace Jones are delicious villains, and the Golden Gate Bridge finale is slick and exciting. John Barry‘s score is also one of the series’ very best.

18. ‘Moonraker’ (1977)

Directed by Lewis Gilbert

Moonraker is nowhere near as bad as some will say, and it’s important to remember this was long the single highest-grossing Bond film (unadjusted for inflation). Jumping ahead of For Your Eyes Only in Eon’s assembly line in light of a sci-fi film that opened in summer 1977 it’s at least probable you’re familiar with, Moonraker shot James Bond into space. Hey, this beats the hell out of F9.

Moonraker takes scarce little inspiration from Fleming’s third Bond novel, and it’s essentially a space-set remake of The Spy Who Loved Me (which was in many ways a redo of You Only Live Twice). All three of these films were directed by Lewis Gilbert, and though formulaic, were all highly successful. Sometimes, you just have to give the people what they want. It pays.

17. ‘You Only Live Twice’ (1967)

Directed by Lewis Gilbert

Increasingly enormous productions, the first five Bond films were made in rapid succession (five films released within as many years). By the last of these, the plotting that was once quite careful and taut had become, at least occasionally, rather clunky. More of a focus was directed at pure spectacle, and in that regard, You Only Live Twice stands apart from the entire canon. The climactic assault on Ernst Stavro Blofeld (Donald Pleasence)’s volcano lair is a flat-out historic master stroke of production designer Ken Adam.

Still, in many ways, You Only Live Twice can’t compare the earlier Connery films. Kissy Suzuki (Mie Hama) is likely the most forgettable Bond Girl, the script feels episodic at times, and Connery’s Japanese makeover is deservedly infamous. It’s an unfortunate development on its own, and the way the movie forgets about it after a few minutes of screen time is rather representative of You Only Live Twice‘s storytelling overall.

16. ‘For Your Eyes Only’ (1981)

Directed by John Glen

If you want to criticize Cubby Broccoli for shooting Bond into space, such is your right (Moonraker‘s box-office would suggest the producer made the right business decision), but everyone simply must give him credit for recognizing that was enough. What goes up must come down. Moonraker‘s follow-up, For Your Eyes Only is an inventive, restrained thriller that notably adapts many elements directly from Fleming.

After a dopey in-joke pre-title sequence that would leave casual fans scratching their heads (entertainment law—fun!), For Your Eyes Only is smooth sailing, with standout opening credits starring Sheena Easton, and one of the best Bond Girls ever in Carole Bouquet’s vengeance-fueled Greek Melina Havelock. Moore is very funny here, also shining in refreshing darker moments where Bond’s aggression evokes Connery’s heyday. A meat-and-potatoes Bond movie, one that never really missteps in any substantial way, is something to savor for time infinitum.

15. ‘Dr. No’ (1962)

Directed by Terence Young

Bond producers were confident as hell in the spy’s first outing, brazenly advertising as the “first” 007 adventure all over the promotional materials. Fortunately, things worked out a lot better than, say, Universal’s Dark Universe or whatever in the hell Sony thought it was doing with Ghostbusters in 2016, and Dr. No was indeed the first of many. It was truth in advertising.

Dr. No is an understated detective story which sees Bond trailing a mysterious threat in Jamaica. It’s a slow-burn, especially by today’s standards, and though plenty of elements in Dr. No are dated (its two immediate successors got bigger and better, and fast), it holds up remarkably as, first and foremost, the establishment of Bond as a character. Connery was a controversial choice for the role, but Bond arrived fully formed, with all the sex and danger required intact. Originally opposed to the casting choice, Fleming was so impressed with Connery’s embodiment that he henceforth gave Bond a Scottish heritage on the page.

14. ‘Tomorrow Never Dies’ (1997)

Directed by Roger Spottiswoode

Watching Tomorrow Never Dies, you’d never guess Brosnan’s sophomore outing survived one of the most troubled productions in Bond history. This was a significant moment for Bond in that it was the first film produced following Cubby Broccoli’s death. Torchbearers Barbara Broccoli and Michael G. Wilson honored his legacy (the film is dedicated to his memory), delivering a successful Bond film that surgically follows the formula (reinforcing why it works so well) with a plot that proved to be oddly prescient. Jonathan Pryce‘s media mogul Elliot Carver is one of the series’ more underappreciated maniac antagonists,

If there is one part of Tomorrow Never Dies that stands out for the worse, it’s the romance between Bond and Chinese operative Wai Lin (Michelle Yeoh). The action star is one of the greatest Bond Girls ever, but we never fully buy their mutual attraction, and this might have been the right time to break from Bond tradition a bit in that regard. Still, this movie is a blast from start to finish, and feels thoroughly Bondian.

13. ‘Octopussy’ (1983)

Directed by John Glen

Octopussy is, elsewhere, often ranked near the bottom of the pack. Provided you’re on board for Moore’s brand of Bond, this is actually one of the most purely enjoyable installments in the franchise. Octopussy (it’s a title from Fleming, and props to Eon for having the guts to put it on a marquee) deserves more credit than it gets for blending a gritty Cold War thriller concerning nuclear tensions with a heightened sense of escapism (much of the film is set within a literal circus).

There are a few moments of silliness (curse that damned Tarzan yell to an eternity in the worst part of hell) that go too far, undermine everything, and have likely contributed to the film’s less-than-stellar reputation. Moore commands the screen here, though, he has real chemistry with co-star Maud Adams, and the action scenes (especially two aerial sequences and a train fight), are excellent.

12. ‘Thunderball’ (1965)

Directed by Terence Young

Goldfinger was a perfectly calibrated if hardly understated film, and Thunderball is the origin of a struggle between the gritty and the outlandish that would beset the franchise, in varying degrees, for decades. Thunderball is also worth noting as the first Eon film to truly stumble a bit because it has pacing issues. The first act spends too much time showing the villains’ plan in detail, and numerous underwater sequences, though impressive for the time and perhaps even today, hamper the picture’s momentum.

There’s hardly a limit on elements to enjoy here, though. This is the first Bond film in ultra widescreen, and it’s a gobsmacking retro spectacle now. Emliio Largo (Adolfo Celi) is Temu Goldfinger, but Luciana Paluzzi‘s henchwoman Fiona Volpe handily picks up his slack. If Thunderball has one single greatest asset, that just might be its attitude. The movie is still cooler than all unholy hell, with a perfect Connery, and virtually every Bond fan considers it to be an essential.

11. ‘Live and Let Die’ (1973)

Directed by Guy Hamilton

Eon producers had an eye on Roger Moore, star of TV’s The Saint, for some time before he made his first starring appearance in Live and Let Die. Based loosely on Fleming’s second book in the series, the thriller pits Bond against Yaphet Kotto‘s Kananga aka Mr. Big, a heroin giant whose scheming relies heavily on the magic of tarot card reader Solitaire (a stunning 20-year-old Jane Seymour in an early role).

Producers and Goldfinger director Guy Hamlton really had to get this right, or the fate of the franchise could have gone south. Live and Let Die is an exciting and distinct action thriller, successfully homaging blaxploitation films of its era and even bringing accents of the supernatural to Bond while never abandoning the spy-movie milieu fans had come to expect. Paul McCartney‘s thunderous title track became the first Bond song nominated for an Academy Award.

10. ‘The Living Daylights’ (1987)

Directed by John Glen

Why do the Timothy Dalton films keep getting better and better? Not just his performance, but the movies, too. Dalton was long courted by Bond producers to don the tux, since the early days, and fate would finally have it that the late ’80s would see a rock-solid if-all-too-brief Dalton era. The Thespian of stage and screen reportedly prepared via reading all of Fleming’s book, in contrast to his predecessors, and the result is arguably the most book-accurate screen Bond of all.

Dalton’s first appearance as Bond is a refreshingly focused, romance-heavy espionage thriller that sees Bond caught in the midst of a Cold War conspiracy involving a warlord (Joe Don Baker) and a beautiful cellist (Maryam d’Abo). Dalton’s Bond isn’t particularly humorous, but this is a surprisingly warm film, featuring some of the series’ best stunt work. The Living Daylights is awesome.