I think I see a certain consensus forming here. For what it’s worth, here’s how I see them:
Casino Royale
From Russia With Love
Goldfinger
Dr. No
On Her Majesty’s Secret Service
On a given day in a given mood, any of these could be #1. *Casino *really marked a renewed effort to tell a story and show aspects of the main character. *Russia *is probably the closest the series ever got to real espionage; NATO vs. Warsaw Pact is all a sham, SPECTRE (much like many third world nations of the time) plays them off of each other. * Dr. No *shows Bond at his most responsible and territorial. Connery either hasn’t found his voice here yet, or he absolutely has and all the subsequent films are compromises. *OHMSS *is the first attempt at a sea change, and the character takes on a more human dimension; Lazenby has been thoroughly screwed by history. Goldfinger set the mold for every film afterward, with a singular focal villain and a spectacular massing of forces at the denouement. If you like the Bond series as it played out, this is the best Bond film.
The Living Daylights
The Spy Who Loved Me
Licence To Kill
Dalton was able to put a rough edge back on the character after years of Moore’s cuteness. The films are good, but EON had gotten too lazy to make them great. Barbara Bach makes The Spy Who Loved Me; FINALLY we get a woman who’s halfway interesting (well, since Diana Rigg).
Quantum of Solace
Thunderball
You Only Live Twice
Near misses. *Thunderball *marks where the series settled into a formula; I find it forgettable, not unlike YOLT. Quantum of Solace may have marked a return to that formula; we shall see.
Live and Let Die
GoldenEye
The Man with the Golden Gun
Diamonds Are Forever
The World Is Not Enough
Die Another Day
Misses, though they have their redeeming parts. *LaLD *is plotted well, but a little too cute to be a good film. *GoldenEye *showed real potential, but isn’t really impressive. *Golden Gun *is kind of a dumb movie, but a must-see because it pits Bond against Dracula/Sauron/Count Dooku and Tattoo. *Diamonds *has enough dead spots to fill a family cemetery–does Connery standing on an elevator really impress anybody? Why the hell doesn’t Blofeld just shoot the guy already instead of ordering him to reinsert that damn cassette? Partial redemption comes in a great opening sequence and the luscious Jill St. John–but my God, that character is too dumb to live. Likewise, the actresses in *TWINE *are appealing (Marceau is singularly sexy and exotic), but the story falls flat, and Denise Richards, for all her attributes, is the opposite of convincing. Die Another Day is an interesting idea for a movie, with the homages throughout tempting a smile, but the innuendo and cameos are forced and distracting.
Tomorrow Never Dies
Moonraker
A View to a Kill
Octopussy
For Your Eyes Only
Not good. The kung-fu in *Tomorrow *is kinda neat, and you gotta love Walken, but everyone involved in these is just phoning it in.