We asked fans to vote for their favourite in the franchise, and with more than 1,000 votes cast, we can now present the full rankings to reveal the most popular film in the long-running series, according to its own fans.
But whether you agree or disagree, this list certainly makes for an interesting look at which films have stood the test of time best, according to the fans themselves.
Scroll down to find the full ranked list – along with our own official Radio Times reviews of each film from our archives.
25. The World Is Not Enough (1999)
RT Review:
In his third outing as 007, Pierce Brosnan is as comfortable in the dramatic sequences as in the action scenes, which include a spectacular boat chase along the River Thames. Sophie Marceau is excellent as the woman Bond is sent to protect, while Robert Carlyle is well cast as a Russian villain. Though everything comes gift-wrapped in production glitz, there are many touching moments to temper the adrenaline-pumping thrills. – Alan Jones
24. Die Another Day (2002)
RT Review:
Brosnan is on fine form as a betrayed and vengeful 007, combining the secret agent’s charm and throwaway wit with true toughness and a streak of venom. Such character-broadening traits ensure that the format never feels stale, while the introduction of Halle Berry as an equal, if underdeveloped, female sidekick is a coup.
However, their escapades are let down by some poor-looking CGI, while Madonna's grating theme song and cameo as a fencing instructor are simply dire. – Sloan Freer
23. A View to a Kill (1985)
RT Review:
Christopher Walken and his accomplice, girlfriend Grace Jones, are pretty scary as the baddies, but you don't get the impression that they're particularly evil.
Patrick Macnee, of TV's The Avengers fame, fares a lot better as Bond's right-hand man, and Tanya Roberts does what Bond girls do pretty well. But the plot doesn't really convince, perhaps because we've seen it or something similar so many times before. – Adrian Turner
22. Octopussy (1983)
RT Review:
All the usual gadgets are on view (including a crocodile-shaped submersible), but director John Glen (who would helm all five Bond movies made in the 1980s) never quite seems in control of either the breathless action or the overly glib dialogue. – David Parkinson
21. Quantum of Solace (2008)
RT Review:
The trail leads to Quantum, a mysterious organisation that has infiltrated the world's corridors of power and is moving to instigate a regime change in Bolivia. Marc Forster's take on 007 was hit by a writer's strike during its making, and the script suffers as a result, with the paranoid storyline as nonsensical as the Ian Fleming-inspired title.
But viewed solely as an action spectacle, there's still plenty of excitement, not least a close-up, shaky-cam fight in an anonymous hotel (très Bourne) and an artfully staged gun battle at the opera. Craig may be ill-served by the material on this occasion, but his committed performance as the spy hero remains eminently watchable. – Jamie Healy
20. Diamonds Are Forever (1971)
RT Review:
This is one of the weakest Bonds, with its plot about diamond smuggling developing rather tiresomely into a chase with Moon buggies and Connery simply going through the motions.
The Las Vegas sequences have some dash, however, and Bruce Glover and Putter Smith make an intriguing double act of the gay hitmen, Wint and Kidd, but the best idea was never used: screenwriter Richard Maibaum's proposal to cast Gert Frobe as Goldfinger's twin brother! – Adrian Turner
18=. The Man with the Golden Gun (1974)
RT Review:
Britt Ekland is funny, too, sending herself up as Bond's clueless assistant and surviving the most sexist scene in the entire 007 series: "Forgive me darling, your turn will come," Moore assures her after he's dallied with Maud Adams.
The use of the old Cunard liner Queen Elizabeth is clever, but there are major faults as well – notably the repeat of the pre-credit scene for the climax (borrowing from Orson Welles's The Lady from Shanghai) and the return of redneck sheriff Clifton James from Live and Let Die. Thailand's Phang-Nga Bay was a stunning choice of location, though it was soon to become a tourist trap. – Adrian Turner
18=. For Your Eyes Only (1981)
RT Review:
If Julian Glover is rather subdued as the number one villain, there's a colourful turn from Fiddler on the Roof star Topol as a rogue with shifting loyalties, and the eagle-eyed will spot Charles Dance as a killer. Bond veteran John Glen ensures that the set pieces are spectacular enough and thankfully plays down the gadgetry. – John Ferguson
17. Tomorrow Never Dies (1997)
RT Review:
Sadly, the second half doesn’t quite sustain the momentum, while Jonathan Pryce’s media mogul (whose motto is "There’s no news like bad news") proves to be an unthreatening villain. Flaws aside, this was at the time the best Bond movie since the heyday of Connery. – Adrian Turner
16. Spectre (2015)
RT Review:
While 007 slips MI6's leash to create his usual insurance-be-damned havoc away from home, a more thoughtful spy game emerges in London, with M (an enjoyably starchy Ralph Fiennes) coming under fire from Andrew Scott's obnoxious reforming bureaucrat. Once again, Mendes succeeds in delivering a prestige picture on a huge scale: its quality writ large in an epic pre-credits sequence set in Mexico City, a supercar chase through Rome and a train journey through the Sahara.
But the film over-congratulates itself with a surfeit of in-jokes and knowing references – and this game of Bond Bingo soon becomes a distraction. Whereas Skyfall owed much of its success to its downbeat mood and the vulnerability of its hero, Spectre forgoes that for a more bulletproof depiction of Bond and outlandish sense of escapism. However elegantly those recycled thrills are dressed up, the spy clichés sometimes veer dangerously close to Austin Powers-style parody. – Jamie Healy
15. Moonraker (1979)
RT Review:
Roger Moore is at his least convincing as Bond, Michael Lonsdale makes a lacklustre master criminal and Richard Kiel, the towering henchman Jaws from The Spy Who Loved Me, is reduced to comic relief.
Venice and Rio make for attractive stopovers, but too much of the budget is wasted on overblown spectacle, without enough attention being given to the basics. – Adrian Turner
14. Thunderball (1965)
RT Review:
Adolfo Celi makes a worthy opponent, playing a Spectre bigwig, but Claudine Auger is one of the least memorable Bond girls. Director Terence Young never quite solves the pacing problems posed by filming underwater, but John Stears's Oscar-winning special effects more than compensate. – David Parkinson
13. You Only Live Twice (1967)
RT Review:
The film has one of the all-time great screen villains in Donald Pleasence’s cat-stroking Blofeld, and director Lewis Gilbert keeps the pace up, while the script (co-written by Roald Dahl) is suitably arch. But this is really production designer Ken Adam’s triumph: the secret volcanic base, where the film’s explosive climax unfolds, remains definitive and much parodied. – Andrew Collins
12. No Time to Die (2021)
RT Review:
It’s arguably Craig’s most human portrayal in the franchise, a flawed and weary Bond dogged by regrets yet primed for the inevitable heroics, with assistance from paramour Madeleine Swann (Léa Seydoux) and Ana de Armas as a scene-stealing CIA agent.
Malek isn’t entirely convincing as the soft-spoken overlord intent on genocide (and is considerably less chilling than Christoph Waltz’s reprisal of Ernst Blofeld in a Hannibal Lecter-style cameo), but the wonderfully white-knuckle stunts and action sequences don’t disappoint. – James Mottram
11. The Living Daylights (1987)
View Green Video on the source websiteRT Review:
He sweats, he bleeds and, unusually for the sleep-around spy, he falls in love – with Czech cellist Kara (Maryam D’Abo). It’s a freewheeling, romantic adventure with a sweetly staged prologue, nods to the gadget brigade and a hair-raising aerial scrap – one of the best of the series.
In common with many of the superspy's outings, the villains themselves are colourless but there’s a killer henchman – in this case the sleek, wordless Necros (Andreas Wisniewski). The hero’s warmongery is iffy and the finale a little lame; otherwise this is a savagely underrated escapade. – Mark Braxton
9=. Licence to Kill (1989)
RT Review:
Indeed, John Glen’s fifth (and final) Bond film as director has more in common with the more visceral, bloody violence of Lethal Weapon and Die Hard than the wry silliness of the Moore era. You know you’re in virgin territory when Bond resigns the day job to go and get the brutal drugs lord (Robert Davi), who’s just fed his best mate to a shark on his wedding day.
It’s a watchable adventure boosted by impressive action sequences and a fiery climax with a bone-crunching punch-up. Pity Dalton didn’t have another crack at proving his secret-agent credentials. – Jeremy Aspinall
9=. Dr No (1962)
RT Review:
There was also the sex, of course, and bikini-clad Ursula Andress couldn't have asked for a better star-making entrance. Looking back, it's easy to see why this caused so much excitement as it was entirely different from anything else. Sean Connery is just perfect as the dashing, debonair and ruthless secret agent with a licence to kill. – Alan Jones
8. Live and Let Die (1973)
View Green Video on the source websiteRT Review:
Boasting as many cliff-hanging moments as a Saturday-matinée serial, this tale of a plot to flood the US with drugs allows Bond's adversaries – among them sharks, snakes and crocodiles – to be as mechanical as Moore himself.
There are some splendid action sequences, notably a speedboat leap that set a new world record, as well as the usual array of gadgetry and gizmos. – Tom Hutchinson
7. The Spy Who Loved Me (1977)
RT Review:
It’s far-fetched mayhem, of course, but with a welcome accent on character rather than just spectacle – although the pre-credits ski-jump stunt is one of the franchise’s best. Carly Simon’s theme song has stood the test of time, too. – Alan Jones
6. GoldenEye (1995)
RT Review:
The film also marked Judi Dench’s debut as the first female M, while Famke Janssen makes an eye-watering impression as a baddie who crushes her victims between her thighs. A stunning chase between car and tank through the streets of St Petersburg is among the action highlights, and the success of the film led to Martin Campbell returning to the director's chair to help launch Daniel Craig as Bond in Casino Royale a decade later. – Adrian Turner
5. From Russia with Love (1963)
This was Sean Connery's own favourite of his six films in the role, and few would deny that it's a pretty good pick. Although Goldfinger narrowly beats it as the highest ranked here, in truth these films are both as close to perfection as the franchise got – films that introduced elements that continue to define the franchise all these years later.
Superbly shot on location in a pre-touristy Istanbul, and closely following Fleming's original story, the film has Sean Connery's spy duped into smuggling a top-secret communist decoding machine, along with alluring Russian clerk Daniela Bianchi, from Turkey to the West via the Orient-Express.
Lotte Lenya is unforgettable as villain Rosa Klebb, and Robert Shaw is an impressive hitman who commits a terrible faux pas in front of 007 by ordering red wine with fish. – Adrian Turner
4. On Her Majesty's Secret Service (1969)
RT Review:
Irrespective of his shortcomings – and who wouldn’t have them compared to Connery – the sixth outing for 007 is a magnificently memorable adventure that sees Bond out to stop the dispersal of a killer virus by a bevy of beauties brainwashed by Telly Savalas's villainous Blofeld. The script throws up superb action sequences, nerve-frazzling suspense and breathtaking locations, and takes 007 to places he’s never been before emotionally.
Add the perfect heroine in Diana Rigg (fresh from playing Mrs Peel in TV’s The Avengers) as a wilful mobster’s daughter who’s every bit the suave spy’s equal in spirit, bravery and fighting chops; one of John Barry’s most evocative scores; and the incomparable Louis Armstrong singing We’ve Got All the Time in the World, and you have an adventure that’s right up there with the best of the franchise. – Jeremy Aspinall
3. Goldfinger (1964)
View Green Video on the source websiteRT Review:
And let's not forget some hilariously OTT gadget designs from art director Ken Adam; the best name for any Bond girl in Pussy Galore (enthusiastically played by ex-Avenger Honor Blackman); and that Shirley Bassey theme song.
But what makes these individual facets so memorable is the way in which they're unshowily integrated into the gripping storyline by director Guy Hamilton, who even managed to revive Connery's flagging interest in 007 to coax his best performance of the entire series. – David Parkinson
2. Casino Royale (2006)
View Green Video on the source websiteRT Review:
The plot is essentially an origins story, as a rough-around-the-edges Bond gains his two zeros (the two authorised kills he needs for his infamous licence) before tackling villain Le Chiffre (a splendidly thin-lipped Mads Mikkelsen) in a game of high-stakes poker.
Craig’s humanised, more flawed interpretation of the role balances Campbell’s physical direction and co-writer Paul Haggis’s sparing wit, while Eva Green provides an alluring love interest. Apart from a chaotic and overlong last act, this proved to be a triumphant new beginning for the franchise. – Adam Smith
1. Skyfall (2012)
RT Review:
Likewise, the future of M (an outstanding Judi Dench) is called into question by a parliamentary committee eager to see her made accountable for her department's failings. Although Mendes is still best known for the Oscar-winning American Beauty, any doubts that he can deliver on the thrills front are quickly put to rest by a breathless pre-credits sequence through Istanbul’s Grand Bazaar.
The sheer class of the production is felt in Roger Deakins’s polished cinematography, Adele’s emotionally charged theme song and a beautifully judged appearance by that ultimate Bond accessory, the original Aston Martin DB5. Released 50 years after the first Bond film Dr No this production not only pays tribute to the series in style but paves the way for its form in the future. – Jamie Healy
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