‘Spider-Man’ and ‘Harry Potter’ Producers To Make New James Bond

007 now reports to the producers behind two of the biggest franchises in Hollywood history.

Amazon Studios has made an announcement, revealing that they’ve brought on Amy Pascal and David Heyman, renowned for their work on the Spider-Man series at Sony and Harry Potter films at Warner Bros respectively, to helm their inaugural James Bond production.

Previously, Pascal was involved in creating the Tom Holland Spider-Man films alongside Marvel Studios, as well as the acclaimed Spider-Verse animated series. Heyman, on the other hand, has been responsible for all of the Harry Potter movies with a large budget, along with the three Fantastic Beasts prequels.

The press release included this statement from Amazon MGM head of film Courtenay Valenti:

In our creative process, we’re emulating the approach taken by the talented duo, Barbara Broccoli and Michael G. Wilson, who have skillfully guided the James Bond series. These two, along with Amy Pascal and David Heyman – distinguished producers renowned for their successful management of blockbuster film franchises – form an exclusive group that has earned both box office success and critical acclaim. It’s a privilege to collaborate with them on the next installment of James Bond, and we eagerly anticipate sharing a tale that continues the prestigious legacy of this cherished character for global audiences.

It’s expected that the arrival of Pascal and Heyman will likely bring an end to a prolonged period of ambiguity for the franchise, following Amazon’s acquisition of MGM and the strained relationship with long-term James Bond producers Barbara Broccoli and Michael G. Wilson, as described in a Wall Street Journal report. Not long after that article was published, Broccoli and Wilson relinquished their roles as caretakers of the 007 franchise, opening the door for Amazon (and now Pascal and Heyman) to take charge of the series’ creative direction.

The upcoming James Bond movie still hasn’t been scheduled for release, but with producers now on board, we can expect progress to accelerate quite a bit. The last film from the series, titled No Time to Die, finally hit theaters in 2021 following a prolonged postponement due to the Covid-19 pandemic.

Every James Bond Movie, Ranked From Worst to Best

25. Die Another Day (2002)

This film is quite disorganized. The romantic interactions between Halle Berry and Pierce Brosnan are a chaotic blend of passion and confusion, yet the overall impression remains messy. The plot begins to unravel when Bond locates shady diamond dealer Gustav Graves, who is also an inventor of satellites and an aspiring Olympic fencer, in his Icelandic ice palace. Here, guests indulge in extravagant luxury amidst the cold, and are awestruck by a colossal laser beam, inviting unfavorable comparisons to the excessive kitsch of Batman and Robin. By this point, hadn’t Austin Powers already mocked lasers on several occasions? When Mike Myers is satirizing something, it’s a sign that it’s time to move on. Even at his most absurd, Roger Moore never reached these levels of silliness.

24. The World Is Not Enough (1999)

In the defense of Denise Richards’ portrayal as Dr. Christmas Jones, who was a nuclear scientist and admirer of short shorts, she often faces criticism. However, it is important to note that the overall quality of the movie, “The World Is Not Enough,” is not on par with cinematic masterpieces like “Citizen Kane.” Even in the weaker Bond films, there’s usually a memorable line or thrilling chase sequence. Unfortunately, “The World Is Not Enough” lacks these elements. Robert Carlyle’s character, Renard, had the potential to be an outstanding Bond villain, but his appearance is delayed for the first hour, and he doesn’t significantly impact the story. Interestingly, Sophie Marceau, who often gets overlooked in discussions about poorly performed Bond girls, manages to escape this label when compared to Richards. In reality, both actresses deliver less than stellar performances. The film may not be enough for the world, but I believe we’ve had our fill; let’s move on.

23. Octopussy (1983)

The various elements such as Fabergé eggs, octopus cults, lethal yo-yos, nuclear bombs, backgammon, and robotic crocodiles may seem unrelated at first glance. However, they are all brought together in the film “Octopussy,” which weaves them into a confusing narrative with numerous villains and little reason to engage emotionally with any of them. The movie is not much more bizarre or extraordinary than the later Bond films by Roger Moore; what’s missing for most of the film is a tangible sense of danger or urgency. In essence, Bond spends much of his time in India playing board games and antagonizing an arrogant man who desires an exotic trinket. Despite having mere moments to prevent a nuclear catastrophe that could ignite global conflict, Bond oddly squanders valuable time disguising himself as a clown and even applies full clown makeup (as depicted in the image). Unfortunately, this encapsulates many of the problems plaguing the Bond franchise at this stage in the series. I’m sorry, Rita Coolidge; this certainly isn’t a peak performance for 007.

22. Quantum of Solace (2008)

The sequel to “Casino Royale,” titled here due to a writers’ strike, was produced without a completed script, setting it up for failure from the start. As stated by Daniel Craig himself and evident in the movie, he and director Marc Forster were improvising the screenplay on set. The issues were compounded when Forster took Bond too close to Jason Bourne, creating an excessively grim hero and overly disjointed chase and combat scenes. The film notably lacks the skilled editing touch of Stuart Baird, who was instrumental in cutting “Casino Royale” and “Skyfall.” Although attempting to give James Bond more depth and complexity is commendable, without a well-structured script, “Quantum of Solace” fails to provide 007 with a legitimate reason to brood.

21. Moonraker (1979)

In this interpretation of Bond, there’s minimal resemblance to its original Fleming content, instead mirroring the massive success of Star Wars as the top galactic film a few years back. The plot is uninspired, featuring yet another eccentric tycoon planning to annihilate humanity for a chance to remake it in his likeness. The spectacle is grandiose, leading up to Bond engaging in a laser fight in outer space – an event that follows closely a pigeon’s puzzled reaction as Moore navigates a Venetian gondola convertible. At least Ken Adam was back to create stunning set designs; it’s often better to overlook the countless identical jumpsuit-clad henchmen exchanging fire in weightless slow motion, and instead appreciate Hugo Drax’s impressive space station.

20. Live and Let Die (1973)

Live and Let Die may not accurately depict every black man in America as being involved in a massive criminal conspiracy, but it comes close. The film’s portrayal of Bond during Roger Moore’s debut was influenced by the blaxploitation movement, although it missed the mark, with 007 finding himself amid drug dealers, voodoo rituals, and dialogue containing offensive racial slurs. Disregarding the questionable race politics, the plot and action are uninspired at best, and they introduce one of Bond’s most detestable characters, Sheriff J.W. Pepper, played by Clifton James. Despite these flaws, Roger Moore seemed natural in the role of James Bond, and the filmmakers soon capitalized on his talent for delivering even the dirtiest double entendres with an air of innocence. For instance, when Jane Seymour’s character Solitaire asked Bond to stay in bed instead of venturing back into danger, he replied with a dry wit, “Of course. There’s no sense going out half-cocked.” Ironically, much of Live and Let Die feels just as half-hearted; a theme this strong deserved a more compelling movie.

19. For Your Eyes Only (1981)

In a somewhat surprising turn, For Your Eyes Only, featuring Roger Moore’s ski chase with a motorcycle on a bobsled track and Margaret Thatcher conversing with a parrot, is considered his “serious” Bond film. However, the term “serious” might not be the most fitting; “Perfunctory” would be more accurate as this movie lacks the impact of either a great Connery or Craig Bond performance and the over-the-top excitement of Moore’s more outrageous films. The villain, gadgets, sidekicks, female co-stars, and plot are all rather forgettable, along with the storyline about a stolen missile launcher (who really cares?). Nevertheless, the ski chase through the bobsled track, despite its absurdity, is quite thrilling (and expertly filmed by John Glen’s action team). Additionally, it’s worth mentioning that James Bond has never looked worse than he does in this movie, sporting a puffy belted snowsuit and a quilted gilet. #notmyBond.

18. Spectre (2015)

As a lifelong fan of the Bond franchise, I found myself perplexed by Sam Mendes and team’s decision following the thought-provoking narrative of Skyfall, which questioned whether James Bond remains relevant in today’s world. The subsequent film, Spectre, seemed to revisit similar thematic territory, once again questioning Bond’s place in the modern era. It left me scratching my head, wondering if perhaps the creators of these movies were uncertain about Bond’s enduring presence – a doubt that, in any other franchise, would imply the character’s imminent demise. Craig is undeniably an exceptional 007 when given the chance to shine, but if the creators are so unsure of his purpose, shouldn’t that uncertainty be reflected in the storyline?

17. Licence to Kill (1989)

Timothy Dalton’s second James Bond film deviated from the norm; for most of the movie, Bond is a freelance agent instead of a secret one. He resigns his position at MI6 and goes off-book on a mission of vengeance after a drug lord in Latin America maims his friend Felix Leiter (David Hedison). The storyline has more resemblance to the film ‘Yojimbo’ than any of Fleming’s novels. Bond manages to infiltrate Sanchez’s organization, then dismantles it from within. However, unlike Kurosawa’s films or most Bond movies, there is less of a dark and playful atmosphere. The climactic action scene stands out; otherwise, it’s just a lot of people fighting over cocaine hidden inside gasoline tankers. ‘Licence to Kill’ was the last Bond film for six years due to legal disputes over rights, marking a significant transition. This movie was not only Dalton’s final appearance as Bond, but also the last featuring contributions from Maurice Binder (title designer), Richard Maibaum (screenwriter), and John Glen (director). While some appreciate this film’s gritty tone, I believe the classic Bond team was starting to run out of steam.

16. Tomorrow Never Dies (1997)

007 goes up against Rupert Murdoch-like character, offering an action that’s as thrilling as you might expect. While it’s not entirely off the mark to depict a world of media consolidation controlled by a few wealthy elites, it doesn’t offer anything groundbreaking. This Bond flick is standard fare, neither good nor great. A notable highlight is the car chase scene and Michelle Yeoh’s portrayal of a strong female character who can hold her own in combat. She plays a Chinese secret agent partnering with Bond to thwart Jonathan Pryce’s Elliot Carver as he attempts to destabilize his country. In essence, Tomorrow Never Dies is typical of the Brosnan Bond series: Glossy, loud, exaggerated, and lacking a unique identity.

15. Diamonds Are Forever (1971)

Diamonds may endure indefinitely, yet the actors portraying Bond often have a more limited career span. Sean Connery put away his Walther PPK following “You Only Live Twice,” but was lured back from retirement to star in one more (official) Bond film due to the lukewarm reception to his successor, George Lazenby, in “On Her Majesty’s Secret Service.” His reason for returning was straightforward: money, specifically a salary of £1.25 million, which was an impressive amount at the time. It’s fitting that he returned for a story centered around diamonds and Las Vegas, as the film beautifully depicts the city in all its gritty early ’70s splendor. Connery, who was past his prime, showed less enthusiasm than in “You Only Live Twice,” but his somewhat disinterested demeanor fits the Bond character of this movie, who has lost his wife, avenged her murder (or so he believes), and seems unconcerned about his work.

14. You Only Live Twice (1967)

Perhaps the most memorable Bond film, yet undeniably the most racially insensitive. In this instance, James Bond travels to Japan to thwart a SPECTRE plan aimed at igniting World War III, and inexplicably assumes the guise of a rural Japanese peasant (a role that appears more like Connery in a hunchback Mr. Spock costume). The film halts for approximately 20 minutes as Bond undergoes training to become a ninja (apparently the world’s top secret agent was deemed unqualified to infiltrate a villain’s secret hideout?). This lengthy segment is followed by an intricate Japanese wedding ceremony. Regrettably, the film’s narrative suffers due to this prolonged sequence, but the sets designed by Ken Adam are truly spectacular. Each interior is a masterpiece, reaching its pinnacle with the iconic volcano lair that included a functioning monorail.

13. A View to a Kill (1985)

In my humble opinion as a film critic, the frequent criticisms of this underappreciated Bond flick, often relegated to the bottom of many Bond rankings, seem unfairly ageist – as if it’s improper for men in their 50s to find Grace Jones attractive. Let’s set aside such narrow-minded views. Was Roger Moore too old to portray the world’s greatest secret agent at 57? Perhaps, if ‘A View to a Kill’ was meant to be a realistic portrayal of international espionage. But it isn’t; by this point in the series, Bond was as far removed from actual spy work as ‘Danger Mouse’. Duran Duran delivers an exceptional theme song, and every scene featuring Christopher Walken as Zorin and Grace Jones as his henchwoman May Day is a precious gem. Even in his late middle age, Moore exudes an air of still enjoying the thrill of saving the world and baking quiches for beautiful young women. Moore was the ideal choice for this Bond, a slightly comical adventure about a globetrotting action grandfather. Unlike most Bond films catering to boys’ fantasies, ‘A View to a Kill’ feels more like an elderly man’s dream – a rather appealing one. That might explain why I appreciate it more with each viewing.

12. No Time to Die (2021)

In “No Time to Die,” Daniel Craig’s final performance as James Bond showcases some of his most thrilling action scenes and an endearing supporting role from Ana de Armas as CIA agent Paloma. Despite her limited screen time, her character is one of the few elements that isn’t brief in this lengthy 163-minute film. The second hour, however, seems to drag on due to numerous dialogue scenes, making the movie feel sluggish at times. Despite its prolonged runtime, the film does offer a fitting conclusion for Daniel Craig’s Bond. It’s just that it takes too long to reach that point, which ironically, is hinted at by the title itself.

11. Thunderball (1965)

The legal battle over this novel prolonged for years; Kevin McClory, a producer, took Ian Fleming to court over transforming their jointly written but unproduced screenplay into the original Thunderball book. The court case eventually granted McClory the film rights, allowing him to re-make it with Sean Connery as the less official Bond in Never Say Never Again. Despite the production’s rocky history, the movie flows seamlessly, mirroring the elegance of Bond’s Rolex Submariner watch. However, the film’s excellence as a 007 movie is hindered by an overabundance of underwater footage; SPECTRE has hidden several nuclear bombs at the bottom of a coral reef near the Bahamas, and scenes featuring them pilfering, retrieving, moving, and then battling over these bombs become repetitive. While some of these sequences are impressive, excessive slow-motion underwater shots almost sink the entire film.

10. The Spy Who Loved Me (1977)

Generally considered Roger Moore’s finest portrayal of Bond, and rightfully so. By this stage in the franchise, the edge had softened, but the film more than made up for it with stunning, creative flair – such as that awe-inspiring ski jump sequence, and Bond’s iconic Lotus Esprit, capable of converting into a submarine. Despite its storyline bearing no resemblance to Fleming’s novel, the same name suggests a certain predictability, mirroring aspects from ‘You Only Live Twice’, like the villain in a beautiful yet perilous lair, aiming to provoke global powers against each other for dominion over the aftermath of a catastrophic nuclear war. Though formulaic, it retains a comforting familiarity – much like a favorite dish made from a cherished family recipe.

Roger Moore’s best Bond performance is often acknowledged, and deservedly so. The series may have lost some intensity by this point, but it compensated with an abundance of imaginative grandeur – for instance, the breathtaking ski jump scene, and Bond’s legendary Lotus Esprit, which could magically transform into a submarine. The film shares no connection to Fleming’s novel with the same title, accounting for its somewhat repetitive narrative structure, borrowed from ‘You Only Live Twice’, featuring a villain in a stunning but precarious hideout who attempts to instigate war between global powers so he can rule over the remnants of a nuclear apocalypse. Despite being formulaic, it still offers a cozy familiarity – like a well-loved dish prepared according to a treasured family recipe.

9. The Man With the Golden Gun (1974)

The success of Bond’s images relies heavily on their villains, and “The Man with the Golden Gun” boasts one of the franchise’s finest: Francisco Scaramanga, a legendary assassin who serves as James Bond’s sinister counterpart. His scheme is relatively straightforward (he aims to dominate the solar energy market during the ’70s energy crisis), and his island hideout is a classic example of Bond film production design (designed by Peter Murton, under Ken Adam). The movie has an unsettling, dreamlike quality, particularly in its portrayal of Scaramanga and his preferred method of killing victims by leading them through his personal haunted house. Even the frequent cultural references are effectively utilized in this instance. However, it has a few significant drawbacks: A less-than-impressive Bond girl (Britt Eklund as the clumsy Mary Goodnight), a recurring character who is the unsavory Sheriff J.W. Pepper, and the fact that Scaramanga’s golden gun does not possess the lethal auto-activate powers it does in the “GoldenEye” Nintendo 64 game.

8. On Her Majesty’s Secret Service (1969)

It’s consistently bothersome that Blofeld fails to recognize James Bond upon his arrival at his Swiss estate, given their prior encounter in the film “You Only Live Twice,” a meeting that transpired only one movie ago. (It’s said that the original screenplay for this film featured a scene where Bond undergoes plastic surgery to deceive his adversaries, but this idea was ultimately discarded without adjusting subsequent details.) Overlooking this minor inconsistency, this film stands out as a strong entry in the Bond series, offering more depth than many of its counterparts. (The theme of time fleeting is subtly woven into the opening credits, the moving Louis Armstrong-performed theme song, and recurring images of ticking clocks.) Director Peter R. Hunt, who had edited all previous Bond movies, delivers particularly well-executed fight sequences and chases in this installment. While some diehard Bond fans may exaggerate their praise for its romantic storyline (which enframes the main plot, where Bond romances several beautiful women at Blofeld’s clinic), most viewers would agree that it is not overly lauded.

7. GoldenEye (1995)

In my opinion, the first Bond movie that captured my heart as a teenage boy is “GoldenEye”. My father took me to watch it when I was 14, and it sparked my lifelong love for the Bond franchise. But “GoldenEye” isn’t just nostalgic; it’s an excellent movie from start to finish. The opening sequence, featuring two thrilling stunts (a bungee jump from a bridge and a leap off a crane into a plummeting plane), sets the tone for the action-packed adventure that follows. Tina Turner’s sultry theme song adds to the film’s allure, while Sean Bean offers a formidable challenge as Bond’s adversary. The spectacular tank chase and Famke Jannsen’s memorable performance as a steel-legged henchwoman round out an impressive cast. While Pierce Brosnan may not have reinvented the James Bond character, his cool demeanor and iconic lines (like “No more foreplay” to Xena Onatopp) made him seem like the most amazing person I had ever imagined as a 14-year-old boy.

6. Dr. No (1962)

Despite some initial issues like a lack of cold opening, rough editing in the title sequence, and no appearances of Q or gadgets, it’s quite impressive how many elements of the James Bond formula were already established in the first film. From his iconic introduction, preference for dry martinis, and unexpected encounters with villains at fancy dinners (which, in this case, aligns with the plot as Dr. No is attempting to recruit him into SPECTRE), it’s a testament to the power of Ian Fleming’s original stories, as there were already nine Bond novels published by 1962. The producers, Harry Saltzman and Albert R. Broccoli, along with director Terence Young, who directed three of the first four Connery films, played a significant role in shaping this early Bond. Although Bond would later evolve into a superhero, in Dr. No, he remains recognizable as a secret agent, focusing on espionage and casework. Interestingly, Dr. No pays more attention to tradecraft than any of the 23 films that followed, and while the Bond series grew larger, it seldom surpassed this early film in quality.

5. The Living Daylights (1987)

20 years prior to Daniel Craig’s debut as James Bond, we find an early model for his complex, romantic portrayal of the character. For Connery and Moore, Bond used sex as a tool; however, for Dalton’s interpretation, it was his vulnerable point. When tasked with protecting a Russian defector (Jeroen Krabbé), he struggles to kill a rival assassin due to an unexpected emotion – she was a captivating woman (Maryam d’Abo). After the KGB recovers the defector, Dalton instead pursues the assassin in Bratislava, developing a profound obsession. The plot, involving the defector and a mad black market arms dealer, is amusingly convoluted, yet remains somewhat clear throughout. Dalton’s Bond was undervalued, blending Craig’s intense passion with Connery’s self-assured swagger. It’s unfortunate that he only received one more film (with flaws) before being replaced; given better scripts, Dalton could have become fans’ preferred Bond. Instead, he became a largely forgotten figure in the Bond series.

4. Casino Royale (2006)

15 years ago, I may have underrated the first Daniel Craig Bond film upon its release, as it seemed even more exceptional following the final Pierce Brosnan movie, the over-the-top and cartoonish Die Another Day. Now, it’s evident that this is a top-tier 007 production and one of the finest reboots in cinematic history. Director Martin Campbell, back for his second Bond adventure, orchestrates one masterful action sequence after another, including an unforgettable parkour chase through Madagascar, arguably the best pursuit in all 24 Bond films. What truly sets this film apart is its portrayal of James Bond as a real, human character. Unlike any of the previous 20 Bond films, Craig’s Bond endures numerous near-death experiences – his face is disfigured and bruised, he narrowly survives poisoning, and his adversary Le Chiffre (the imposing Mads Mikkelsen) brutally tortures him by crushing his testicles with a bullrope. The games of Texas Hold ‘Em between Le Chiffre and Bond are less successful, but the emotional bond between Bond and Vesper Lynd (Eva Green, luminous) culminates in an ending that is genuinely heart-wrenching.

3. Skyfall (2012)

The movie Casino Royale reinvented James Bond, yet it didn’t ponder whether this was a wise choice or not; instead, it assumed his enduring significance. It required two more films for the series to re-examine what Bond symbolized in the 21st century – and even entertain the notion that he might be irrelevant to contemporary audiences. The villain’s scheme, especially its flawless, seemingly impossible timing, might not have made any logical sense, but casting a former spy (Javier Bardem) seeking revenge on his ex-boss M (played by Judi Dench for the last time) allows Skyfall to delve deeper into what Bond stands for than any previous film. Its recurring themes of death and aging would have been more impactful with an older lead actor (Daniel Craig was 43 during filming; Roger Moore didn’t make his first Bond film until he was 45), but it undeniably presents the most contemplative Bond, and thanks to the superb cinematography of Roger Deakins, it is the most visually stunning.

2. From Russia With Love (1963)

This continuation was initiated by Dr. No. It features the initial cold opening, the inaugural title sequence decorated with scantily-dressed women, the debut of Desmond Llewelyn as Q and the introduction of Bond’s arch-rival, Ernst Stavro Blofeld. Despite its significant role in the series, From Russia with Love stands out as a stylish and sophisticated spy film, brimming with 1960s Cold War suspense and allure. It also marks the first time Bond is equipped with an array of gadgets and becomes entangled in a SPECTRE plot. Yet, it preserves a sense of authenticity, and Connery delivers an outstanding performance, making it challenging not to be captivated by this Bond movie.

1. Goldfinger (1964)

As a devoted film enthusiast, I can confidently assert that “Goldfinger” holds a special place in my heart as the epitome of Bond films. Its influence stretches far beyond the 007 franchise, shaping countless action movies that followed. It’s one of the most impactful movies of the 20th century, and its legacy is evident whenever we see a debonair hero emerge from a scuba suit into a crisp tuxedo, or watch a high-tech car dispose of enemies.

In just 110 minutes, it’s one of the shortest Bond movies, yet it’s packed with unforgettable moments, characters, and dialogues that have become cinematic icons. Pussy Galore (Honor Blackman) with her judo moves, Oddjob (Harold Sakata) and his lethal bowler hat, the iconic Aston Martin DB5, and Bond’s sharp quips after each kill – these are just a few examples.

If you’re one for nitpicking, you might argue that Goldfinger should have killed Bond instead of playing golf with him, or even taking him on a mini-vacation. But the pros far outweigh the cons in this film. In virtually every category that Bond fans rate – love interest, villain, gadgets, car, title sequence, Sean Connery’s hairpiece – “Goldfinger” reigns supreme.

Thrilling, witty, and unexpected, the movie delivers a punch (but a delightful one) that feels like a laser to the crotch, if you catch my drift.

2025-03-25 23:56