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Part of the fun of being a spy is using nifty spy gadgets to accomplish your mission. As perhaps the most famous spy in cinema, James Bond gets to use all sorts of these crazy gadgets, courtesy of Q branch. But what about the rest of us? When do we get to play with all of these cool gizmos?
This is a collection of James Bond gadgets that I think would best translate into real-world use. Granted, most of James Bond’s gadgets are usually some sort of covert explosive or fancy way to kill somebody, but there are a select few that are not lethal. These are gadgets that, if technologically possible, would help make our lives easier. If only we had a Q in real life...
Gadget: Miniature Rebreather
As Seen In: Thunderball, and Die Another Day
Is It Possible? No
The idea behind the rebreather is that »
- firstname.lastname@example.org (G.S. Perno)
The Bond title sequences are an important tradition for the franchise. Join us as we count them down from worst to best.
The title sequence is a trademark of the Bond franchise. It sets the tone for the film while using artistry to bring important themes and ideas to audience’s periphery. It’s more than just guns and girls, it’s a calling card that gives the Bond films a sophistication and uniqueness that its competitors and impostors lack. Through the years, these sequences have become more complicated and sophisticated, but the goal is the same: wow the audience.
Below we've listed the title sequences of all of the Eon Productions/MGM Studios films from worst to best based on the following criteria:
Song Rating = How good/memorable is the song?
Creativity = Have we seen it before?
Wow-Factor = The impact on the viewer.
Execution = How well made is it »
- email@example.com (G.S. Perno)
Chicago – James Bond is back in his latest adventure, “Spectre,” but what about his movie life before this film? Spike Walters of HollywoodChicago.com ranks the 24 official James Bond films from worst to first, an overview of 007’s movie and cultural presence from 1962 through today.
The legacy of James Bond began in 1953, with the release of the first in a series of novels detailing the spy’s escapades, written by Ian Fleming. The British agent with a “license to kill” designation (007) was featured in 12 novels and two short story collections. In 1962, the first of the 24 official films – “Dr. No” – was released, starring Sean Connery, and began a series that maintains its popularity to this day. Many fans of the series consider Connery the essential James Bond, but many other actors followed him as Bond in the official film canon – George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan and the current 007, Daniel Craig. »
- firstname.lastname@example.org (Adam Fendelman)
Directed by Irvin Kershner
Written by Lorenzo Semple Jr.
United Kingdom, 1983
Never Say Never Again is, in many ways, the red-headed stepchild of the Bond family. Made by a different set of producers than the other 23 Bond films that had been made previously, the movie cannot be found on any Bond boxset, and really shares nothing with its fellow Bond films outside of the names of certain characters, as by 1983, Connery himself had long since hung up the tuxedo in favour of Roger Moore (whose Octopussy, which did come from Albert Broccoli and Co. , had been released earlier that very year, giving audiences a good chance to compare the two actors playing the same character). The primary question of this movie, then, becomes whether or not the Bond franchise benefits from being molded by a different pair of hands at its very core, and the answer »
- Deepayan Sengupta
Dialogue can make or break a film. However beautifully photographed the picture might be, however stimulating, thought-provoking or thrilling the story is, however captivating the score, if what the characters say is poorly conceived, that movie is operating on a significant handicap. The Roger Moore tenure in the 007 film franchise is indeed often criticized for be being the weakest of all the actors who played the part, but more for its frequent silliness…and the fact that Moore was 57 years old by the time his last outing, A View to a Kill, was made. Say what one will about Moore’s versatility as an actor (although doubters should either re-watch For Your Eyes Only or arguably his best non-Bond film, The Man Who Haunted Himself), the man was among the best in delivering witty, comical lines, often peppered with some sort of sexual innuendo. That alone should qualify for something, »
- Edgar Chaput
Directed by John Glen
It wasn’t guaranteed that the Daniel Craig films would successfully reboot James Bond, in part because such a restart had already been tried before. After 1985’s A View To a Kill, in which age had begun to
show on both Roger Moore as Bond and Lois Maxwell as Miss Moneypenny, the first real reboot was attempted. Timothy Dalton – who had turned down On Her Majesty’s Secret Service because he felt that at 24 he was too young to replace Sean Connery – was brought on and a script was commissioned to return Bond to his Cold War roots. The result was The Living Daylights, which doesn’t quite work as a reboot but makes for deeply enjoyable viewing.
Too many of the old Bond conventions remained for The Living Daylights to be a true »
- Mark Young
A View To Kill
Directed by John Glen
As soon as Roger Moore took over the role of James Bond, the franchise quickly devolved into a state of ridiculousness that rendered the entire series beyond parody. A View To a Kill, Moore’s final film as Ian Fleming’s influential character, could easily be seen as a franchise grasping for relevancy with the younger generation of its day. It tries to tone down the kitsch elements whilst still retaining a core sense of the Bond series for the millions of returning viewers not yet bored by the increasing stupidity of the onscreen antics. Younger audiences were to be greeted with a plot about microchips, because the younger generation have a burgeoning obsession with technology, as well as a supporting turn from offbeat pop sensation Grace Jones and a Duran Duran theme »
- Alistair Ryder
Following James Bond’s out of this world experience in the financially successful (665 million, adjusted for inflation) if artistically vapid Moonraker, the series’ sole producer, Albert Broccoli, thought it best to venture in a different direction, one that would feel slightly more grounded, all the while still playing on the strengths of his star: cool wit, affable mannerism and charm. A new director in John Glenn was now on board, who would go on to direct every single entry from the 80s, including Timothy Dalton’s two adventures. A new production designer in Peter Lamont was also now in charge of sets. Both had worked their way up in the ‘Bond family business’ so to speak, and, along with the leftover story elements from the far grittier Ian Fleming novels, the 007 films of the early 80s would take on a different tone and feel from the voodoo, space travel and »
- Edgar Chaput
Oh, "Spectre," you vex me. You vex me mightily. There is a sense as you're watching the first half of the film that they're having fun playing with the iconography of the entire series, staging scenes that nod at moments from a number of the other films. There's one in particular, a sort of brutal homage to the fight with Robert Shaw on the train in "From Russia With Love," that I think might be the best moment in the film. In those moments, "Spectre" is enjoyable and a fitting entry to celebrate the history of Bond on film. But the things that the film gets wrong, it gets so powerfully wrong that I can honestly say they have retroactively ruined the Daniel Craig films for me. I will have to actively ignore the information and ideas that are introduced here if I'm going to enjoy the three films that have already been released. »
- Drew McWeeny
Directed by Guy Hamilton
One hallmark of the venerable Bond franchise is its willingness to change with the times. Sometimes the changes feel organic, like the shift to a more brutish Daniel Craig after international terrorism took center stage in the early 2000’s. Other times, however, you can smell Bond’s desperation to stay relevant. Such is the case with 1974’s middling entry, The Man with the Golden Gun.
Guy Hamilton’s fourth turn as Bond director (Goldfinger, Diamonds Are Forever, Live and Let Die) is a study in uncertainty. As Bond, Roger Moore is still searching for the debonair persona he would find in the upcoming classic, The Spy Who Loved Me. Surrounding Moore’s tentative performance are a collection of unfocused action set pieces, a less-than-formidable duo of Bond girls, and the most repugnant character in the series’ history. »
- J.R. Kinnard
Let’s face it. The songs are the best parts of the James Bond movies. Throughout 007’s five decades, the title tracks are each film’s one hope of rising above dubious casting choices, retreads of old villains, and grandiose plots for world domination that will inevitably be foiled. And like all that other stuff, we like the songs because they’re another expected element in a series that’s filled with them, a pop cultural barometer for measuring the secret agent’s standing in the zeitgeist.
Bond songs can be aged bygones of their time with poetically vague lyrics that don’t add up to much, but the best ones rise above their period trappings to comment and reflect on their respective films. With Spectre set to hit American theaters this week, let’s look back at each and every title song in Metro Golden Mayer’s canon:
24. Rita Coolidge »
- David Klein
Directed by Guy Hamilton
Released September 1964 by United Artists
Even if you had never seen this film, just as with Ursula Andress rising from the waves like a bikini-clad version of Botticelli’s Venus in Dr. No, you’d recognize the iconic image. The girl, the bed, the gold paint. The sight of gilded Shirley Eaton spread out on the sheets is so evocative that – like Ursula – it was subjected to an ironic nod in a later Bond film. If Halle Berry wore the updated bikini in Die Another Day, instead of gold Gemma Arterton did sheet-duty wearing nothing but a coat of oil for Quantum of Solace.
Gold was the symbol of wealth in 1964, but in today’s world of global warming and fuel station queues, hydrocarbons have taken its place in the cultural lexicon. And »
- Cath Murphy
At the beginning of (and throughout) every month, Hulu adds new movies and TV shows to its catalogue. Here is a quick list of several that you might be interested in. Some of these may also have previously been on Hulu, only to have been removed and then added back. Feel free to note anything we've left out in the comments below.Of human bondage:Diamonds Are Forever (1971), For Your Eyes Only (1981), From Russia With Love (1963), Goldfinger (1964), License to Kill (1989), Live and Let Die (1973), The Living Daylights (1987), Man With The Golden Gun (1974), Moonraker (1979), Never Say Never Again (1983), Octopussy (1983), On Her Majesty's Secret Service (1969), The Spy Who Loved Me (1977), Thunderball (1965), A View to a Kill (1985) Like a demonic supervillain, Hulu has acquired a gigantic catalogue of Bond movies in time for the release of Spectre on November 6. “Do you expect me to stream all of these before then?” you ask. »
- Jackson McHenry
James Bond is finally back in Spectre and, like all Bond films, it boasts a high-profile theme tune from an artist-of-the-moment. But where does Sam Smith sit in the illustrious ranks of Shirley Bassey, Paul McCartney and Rita Coolidge (!)? We've gone back through every single 007 song to find out which ones are earworms and which need their 00 status revoked.
A quick point to note: we've discounted instrumentals so the opening credits pieces from Dr No and On Her Majesty's Secret Service are not on the list.
The first and only duet in the entire Bond theme back catalogue, on paper this sounded great but what emerged was a sludgy, lifeless and unremarkable track that went in one ear and out the other.
Compounding the horror of her on-screen cameo in this stinker of a »
Here are the songs that were considered forJames Bond themes but ultimately rejected. Some of them aren't half-bad, too...
Bond title songs are an intrinsic part of the series. But did you know that there were often unused tracks that were considered but rejected? Some of them are damn good too. This is bound to lead to comparisons and what if… discussions, and that's what we are here to encourage today.
As soon as we try to define what makes a great Bond song, we run into the problem that dogs any criticism of the series – every aspect of it is extremely divisive. Whatever element you nominate as a high point, best actor, score or film, for example, is someone else's least favourite and vice versa. The same goes for the Bond theme songs: some people like a bouncy pop song with a nice brass arrangement. For others, »
The film: Brilliant first half, problematic second. But even the second half is still pretty good. Manages to celebrate the traditions/clichés of the franchise without ever descending into parody. Stunning set-pieces in Istanbul, Shanghai and Macau showcase the globetrotting and glamour that has served the franchise so well (naturally, we end in Scotland). The plot disappears halfway through and finale is again underwhelming, although less so than the previous Craigs. Ultimately Skyfall is a great Bond film on first watch, a very good one thereafter.
The Villain: A fine antagonist, although certainly not the best ever. The first camp baddie since Wint and Kidd in Diamonds Are Forever (and they were only henchmen). Silva is a heap of fun. His deep, sexy voice charms you, but those cold »
Ricky Church continues his countdown to Spectre with a review of A View to a Kill…
Roger Moore’s time as James Bond 007 comes to a close in his final film, A View to a Kill. Moore’s era had its ups and downs and is most remembered for its camp value and Moore’s lighter performance as the secret agent. A View to a Kill exemplifies Moore’s Bond and is a bit of an odd movie; it’s not really good, yet it’s not that bad either, kind of hovering around ‘its so bad its good’ territory. The film does not hold back on the campiness in some areas thanks to the help of Christopher Walken.
Bond is sent undercover to investigate Max Zorin, a highly intelligent industrialist involved in the manufacture of microchips, who he suspects is selling their microchips to the Soviets. Zorin, however, plans on destroying Silicon Valley, »
- Ricky Church
The group recorded the theme for A View to a Kill back in 1985, which we recently ranked as the best ever Bond theme.
"I caught a little bit of it, it's not my favourite - I prefer ours," Simon Le Bon told Gigwise.
"But he's Sam Smith, he's got a beautiful voice and I'm a big fan of him. I support him and what he stands for," he went on.
Le Bon isn't the only one that hasn't taken to Sam Smith's 'Writing's on the Wall'.
John Newman recently told us he was underwhelmed by the theme and that he'd like to hear a more uptempo number.
"I wouldn't want it to go into a place that becomes ballads every time. It would be nice to have an »
While Daniel Craig’s less cartoonish take on the iconic secret agent might have eschewed some of the sillier 007 touches, he’s still not above impressing the ladies with his wit. As Spectre is about to be declassified, can you remember Bond’s most provocative one-liners?
“I always enjoyed learning a new tongue”
Tomorrow Never DiesThe Living DaylightsThe Man With the Golden GunA View to a KIll
“Now put your clothes back on, and I’ll buy you an ice cream.”
For Your Eyes OnlyOn Her Majesty’s Secret ServiceTomorrow Never Dies
“How do you kill five hours in Rio if you don’t samba?”
“Let me try and enlarge your vocabulary.”
“There’s something I’d like you to get off your chest.”
Dr NoLive »
- Benjamin Lee
Roger Moore has joked that he would love to play James Bond again.
"Why don't they have a geriatric 007? I'll come back!" he said.
But Moore also reserved praise for Craig, commenting: "I think he's terrific. He's a great Bond. He looks like a killer, he really does. Frightens me!"
Watch a trailer for the movie below: »
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