James Bond in review - Casino Royale (Martin Campbell, 2006)

"I have no armour left. You've stripped it from me. Whatever is left of me, whatever I am, I'm yours."

Rewind to 2000. The Bond producers finally acquire the rights to Fleming's first and most influential Bond novel Casino Royale and are looking to bring 007 into the 21st century with a bang. With Brosnan's contract not quite through after the release of The World Is Not Enough at the turn of the millennium, it would be another six years before we would be introduced to a new 007 and taken back to the genesis of Fleming's spy.

Daniel Craig is 007 number seven

Whilst distinctly having a very different look to the previous 20 official films in the series, (which makes sense as this is essentially the birth of James Bond), Casino Royale is arguably one of the best films in the series. The direction is crisp and taut; director Martin Campbell returns to Bond after introducing Brosnan to audiences in great fashion in Goldeneye in 1995, the acting is also meticulous, particularly from Eva Green as the defining Bond girl Vesper and the ever brilliant Judi Dench returns as Bond's icy boss M : all the elements generally seem to click.

One of the most beautiful and the most integral of Bond's ladies - Vesper Lynd (Eva Green)

Despite a backlash from many claiming that Craig was NOT BOND he delivers brilliantly and gives perhaps the strongest debut performance of a Bond actor. Bond returned to battle the box office here and overseas once again and, surprise surprise, he triumphed, even after 44 years and six incarnations of the eponymous hero. All in all a terrific kick start to what some have suggested to be a dying franchise after the commercially successful but realistically disappointing Die Another Day. 'You know his name, you know his number', as the old Bond tagline says.

James Bond in review - The Spy Who Loved Me (Lewis Gilbert, 1977)

"Goodbye Mr Bond." "Well let's say au revoir, I have the oddest feeling we'll be meeting again sometime"

Proving the theory that bigger is sometimes better and in particular that Cubby could work as sole producer on the biggest film series of all time, without the aid of his partner of the last nine films, Harry Saltzman, the 10th Bond adventure was born. Fans would have to wait two and a half years after the release of The Man With The Golden Gun for Spy to premiere which, by today's standards, is fairly average but at the time was an agonising wait for fans of the series. Only the title of Fleming's novel was to be used which gave Broccoli and his writers an unenviable task of constructing a taut adventure story for Roger Moore's third outing as Bond.

Bond faces off against Bond heavy Jaws, a performance relished by Richard Kiel

The majority of fans disappointed by Moore's previous film and its inability to take itself even remotely seriously could now rejoice, as The Spy Who Loved Me is big, bombastic and thoroughly entertaining. The elements gel brilliantly; there is just enough humour to distance Moore's Bond from Connery whilst there is also ample opportunity for Moore to perfect some excellent dialogue, particularly Anya's short and sharp reference to Bond's short term marriage in On Her Majesty's Secret Service which Moore responds to in a subtle but very effective fashion. The sets are incredible, the women are beautiful - some of the very best in the series - and the locations, Egypt in particular, look stunning under the cinematographic eye of Claude Renoir.

Moore and Bond girl Barbara Bach hunt down Jaws in the desert

Just as it is easy to see why Connery favours the exciting, totally Fleming-like From Russia With Love, so too it is easy to see why Moore clearly enjoyed working with director Lewis Gilbert on The Spy Who Loved Me. The humour is there but the film is not reliant on the humour to drive the story forward. The film also looks unlike any Bond film released up to that point. While some draw parallels to You Only Live Twice in terms of the enormous set pieces - volcano versus super tanker - Spy triumphs as a film first and foremost because it is arguably more entertaining, the characters are more interesting, yep, even Jaws, and the film is simply more engrossing. On the series' 15th anniversary, Broccoli's gamble to pay out the big bucks and put Bond back on the big screen with a bang paid dividends. Still one of the biggest box office successes in the series, The Spy Who Loved Me proves its title singer Carly Simon right - Nobody does it better. 7/7/77 could really have only belonged to one man.

James Bond in review - Goldeneye (Martin Campbell, 1995)

"Bond... come back alive"

It's June 1994 and it has been almost five years since audiences were last treated to a Bond adventure. Timothy Dalton has kissed goodbye to his three picture Bond contract after two films and the world has changed. The Berlin wall has fallen, communism has disintegrated and the Cold War is over. With John McClane, Rambo and so many other action heroes permeating the genre, many felt that Bond had had his day. Goldeneye, thankfully, proved the naysayers wrong. The task was for Michael Wilson and Barbara Broccoli (the producers, taking over from an ailing Cubby Broccoli) to reinvent Bond for the nineties audience. The public welcomed Pierce Brosnan as 007 number five and within a year he would be deemed 'the best Bond since Connery'. Whether this is true or not it is undeniable that Brosnan's debut as Bond is as assured a return for Fleming's secret agent as anyone could have hoped for.

Pierce Brosnan sets the screen alight as 007 number six

Daniel Kleinman has modified the traditional Maurice Binder gun barrel to give it a 3D effect and created a memorable title sequence playing on the fall of Communist Russia and dictatorship whilst taking care to incorporate the titillating images of scantily clad women with guns now synonymous with the world of the Bond titles. It is Eric Serra's score that proved most controversial with its electronic synthesizers arguably tearing the traditional Bond theme to shreds in favour of sporadic melodies and musical jumps that feel somewhat out of place in the Bond universe. There are some classic action cues but the best thing about the music in Goldeneye is the brilliant Tina Turner belting out Bono and The Edge's lyrics in the title song in true fashion reminiscent of the mighty Shirley Bassey in the early Bond years.

Bond and his ally 006 (Sean Bean) in the pre-titles sequence

First and foremost, Pierce Brosnan gives a strong debut performance as the secret agent. He has the wit and self deprecating nature of Bond to a tee even if he does at times appear a little young to play the spy - Brosnan was 42 in Goldeneye though you would never guess it! Backing up Brosnan are the strongest supporting cast of any of his Bond films. Famke Janssen is a brilliant femme fatale and Izabella Scorupco is a gorgeous and resourceful leading lady who is crucial to the story and forms a strong relationship with Bond. There was a time when I felt Sean Bean's portrayal of 006 Alec Trevelyan and Janus was a 'play it safe' performance but on further viewing it is clear that he plays this assertive, conflicted character with great nuance and vengeance. Brosnan and Bean work very well together on screen - the break in to the Arkangel plant in the pre-credits demonstrates their buddy relationship brilliantly which makes the betrayal all the more convincing in the film's second half. The only weak casting link is Alan Cumming, hamming up the unnecessary role of Boris Grishenko. The character is played for laughs and comic relief but rarely generates either.

The film's two leading ladies - Onatopp (Famke Janssen) and Natalya (Izabella Scorupco)

The star of the picture is both the sparkling dialogue from Michael France - particularly between Bond and the new M (played effortlessly by Dame Judi Dench) and in the graveyard confrontation between Bond and Janus, but also New Zealand-born director Martin Campbell. Here is a man who it would be hell to work with due to his no nonsense approach to directing and short fuse but nevertheless a man with a keen eye and enough understanding of the Bond character that he can reinvent the wheel with a new Bond not once but twice, most recently in 2006 with Daniel Craig's Bond debut in origin story Casino Royale. Both are conflicted Bonds - Brosnan's for the guilt in watching Trevelyan 'die' and then in having to hunt him down, as well as adapting to changes in society in the nineties, Craig's in falling in love and being betrayed by the woman he was prepared to give up his life for.

With Goldeneye fans could ultimately relax. Quite the antithesis to M's insistence that Bond is a "relic of the Cold War", 007 ignited the box office on release in November 1995 making more than $350 million domestically, the best Bond film gross since Thunderball 30 years previously. James Bond had returned, and in hindsight, Cubby must be smiling from the grave. An impressive debut for Brosnan and a welcome return for the world's greatest secret agent. It is perfectly justifiable to say that had Goldeneye failed at the box office we would not now be nearly celebrating half a century of James Bond. 'The trick is to quit while you're still ahead" suggests Onatopp. "That's one trick I've never learned" quips Bond. Quite!

James Bond in review - For Your Eyes Only (John Glen, 1981)

"The Chinese have a saying. Before setting out on revenge, you first dig two graves."
"I wouldn't expect you to understand, you're English. But I'm half Greek, and Greek women, like Elektra, always avenge their loved ones."

After the mildly entertaining but hardly engrossing Moonraker, Cubby delivered to fans that which he had promised at the close of The Spy Who Loved Me; that James Bond would return in For Your Eyes Only. Thankfully the wish of so many Bond fans craving a harder edged, more realistic Bond was fulfilled and audiences could hardly be disappointed. Lifting moments from Fleming's Live And Let Die (the thrilling shark keel hauling sequence) and elements of short story Risico, Moore is launched into action as Bond in the 12th adventure, and his 5th. Notably beginning to show his age, Moore gives ironically his best performance as Bond. John Glen, a trusted second unit director and editor most notable for his work for On Her Majesty's Secret Service and The Spy Who Loved Me is given his chance to display his directing skills and what a brilliant job he manages. The principal cast are all terrific and the story is sped along at a sensible pace, ensuring that audiences can enjoy the film as well as be thrilled at the same time.

One of the most famous Moore Bond poses as he pursues Locque's car to the top of the cliff face

That For Your Eyes Only was the highest grossing Bond movie of the 1980s is no surprise - this is a tight story with beautiful touches to Bond's past adventures (see the pre-credits graveyard visit to Diana Rigg's Tracy Bond - We have all the time in the world) and the somewhat less successful dispatching of a bald villain stroking a cat who fans can only assume is Blofeld, though this is never explicitly stated. This scene aside, the humour is less obvious which is a great thing considering the implausibility and double-entendre-heavy previous Moore Bond outings and there are no gigantic set pieces: everything is simple yet startlingly effective.

One of the most beautiful actresses to be a Bond girl and later a model, Carole Bouquet

Alongside The Spy Who Loved Me, this is Roger Moore's best Bond because firstly it is very watchable and secondly because the characters are well rounded, particularly the vengeful Melina. It is a brilliant directorial debut for Bond veteran John Glen and safe assurance for the fans that the 1980s would be another exciting decade for 007, even if it would later feature a 58 year old Moore trying to bed Grace Jones and dressing up in a clown outfit! The only thing that is still puzzling is why For Your Eyes Only is so under regarded by critics and glossed over by many a Bond fan. You want Moore's closest depiction of Fleming's Bond, then look no further people. Forget Octopussy, For Your Eyes Only is Moore's 'All Time High.'

Shrek Forever After

After nearly 10 years and three films that would be justly considered a mixed bag, in particular 2007's weak Shrek The Third with its abundant pop references and lack of steady pacing, it is finally time for Shrek and co to go out with a bang. With wonderful references back to the moments that made the first Shrek so brilliant interweaved within a clever It's A Wonderful Life-esque plot of Shrek signing his life away in a contract, the fourth Shrek film concludes this story in style. All the players are here, Donkey is perhaps the funniest he's ever been with Eddie Murphy on top form - particularly in his renditions of You've got a friend and Whitney Houston - yes, you heard me correctly. Even Puss in Boots who I haven't taken to since his first appearance in Shrek 2 shines as it appears that since Shrek was never born, the once fiesty swahbuckling feline has let himself go and has a large paunch on his little ginger self. The cat that got the cream you might say, considering he is the pet of Fiona in this ulterior universe, who is herself a noble protector of ogre kind.

All the old characters are there and even one or two new ones, the best of the bunch being the sly Rumpelstiltskin brilliantly voiced by Walt Dohrn who is also part of the writing team behind the fourth Shrek film. What is splendid this time around is how all the story elements are tied together. We return to the castle with Shrek as he wonders who has rescued Princess Fiona from the clutches of the Dragon and we watch the brilliant comic interplay between two characters who have become best friends, Shrek and Donkey, and by the end of the final chapter are definitely best buddies. We have taken a long journey with these characters over the last decade and it is brilliant to see the creative team behind the films bring the series to a satisfying conclusion. There are plenty of laughs, some moments that may make you well up just a little and Harry Gregson Williams returns with a score that blows the socks off the rest of the music for the previous Shrek films. Yes, True Love's Kiss has never sounded better. There are no gimmicks, there's thankfully no Justin Timberlake voice added to the cast and little product placement, it's all about the story, which is essentially what made the first of these films so special back in 2001.

The glorious thing about the last of the Shrek films is that ultimately the narrative purpose of these films is turned on its head. Back in 2001 the notion was to create a family friendly parody of the classic fairytale and the effect was a well honed, clever, original film. In tieing the series up the team working on the films, whether they intended to or not, have gone against their own sense of parody. Essentially, Shrek's redemption is his family. He is a family man and is just looking to hold on to love and life. That's about the best fairytale ending you could possibly imagine. Dreamworks animation are without a doubt on a high. Shrek set the high standard and in the last few years we have seen films like Kung Fu Panda and the incredible How To Train Your Dragon demonstrating the capability of the studio to capture our hearts and raise our spirits. Shrek Forever After can be proudly added to that high pedastal. 9/10

James Bond in review - Licence To Kill (John Glen, 1989)

"I want you to know this is nothing personal. It's purely... business"

Sanchez's chilling words to an ill-fated Leiter couldn't be further from how you would describe the 16th Bond adventure. Daring, provocative and the highest certified film by the BBFC in the series, Licence To Kill harkens back to the roots of the 007 character created 37 years previously by Fleming as Dalton injects a brilliant sense of humanity and a no-nonsense attitude to the British secret agent we've come to love.

Timothy Dalton is the new James Bond

Licence To Kill works on many levels not least of all as an intriguing, intricately detailed and engrossing thriller, but almost as a stand alone film - a rogue agent on a personal revenge mission against the man who murdered and mutilated his friends. In his second and unfortunately final appearance as 007, Dalton shines. He will never be like his predecessors just as Moore never consciously tried to emulate Connery but it is fair to say that our current noughties Bond, Daniel Craig, owes a great deal to Timothy Dalton. Both give very human portrayals of Fleming's character; characters who show emotion, pain, anger, frustration and loss through their detailed, meticulously crafted personifications of James Bond. You can imagine Dalton having to ruthlessly kill if the situation demanded it, which you would never believe of Roger Moore's Bond.

Carey Lowell is beautiful and determined as Pam Bouvier

Not only is this film a chance for Dalton to shine but Desmond Llewellyn's Q gets his longest screen appearance in the series, injecting some well timed and not too blatant comic interludes into the serious proceedings. The stand out character of the film is clearly Robert Davi's sadistic villain Sanchez, a man who rewards loyalty- at a price. Just don't double cross him or you'll end up like Krest. Much like Moonraker I have never given much time to Dalton's second Bond outing perhaps largely because of its critical responses and insistence from ardent Bond aficionados that the film strays too far from the established Bond formula and is too real in its depictions of violence. On closer inspection, this is ironically the finest move made by the Bond producers since they decided to bring Bond back down to Earth in For Your Eyes Only. This and Eyes Only present John Glen at his directing best and whilst The Living Daylights introduces Dalton's Bond to the screen with style, it is not until Licence To Kill that he really does prove his worth.

Robert Davi is one of the series' best villains since Robert Shaw

Had the box office not been populated by Batman, Lethal Weapon and Indiana Jones - incidentally all focussing on heroic protagonists - Bond 16 would have achieved bigger business on general release in the summer of 1989. Regardless of this, the film is one of the best of the later Bond films and arguably the best Bond of the 1980s. It holds up brilliantly after more than 20 years. "How many times can one man leave you breathless?" Well, in answer to the demanding teaser trailer voiceover, lots! Relive one of the grittiest and all out entertaining Bonds of the lot - "bless your hearts!"

James Bond in review - Moonraker (Lewis Gilbert, 1979)

" I'm tempted to say yes immediately!"

After the superb showcase of the Bond formula from the series' newly appointed sole producer, Cubby, for The Spy Who Loved Me, the decision to take Bond "beyond" was met with trepidation by ardent fans of Fleming's gritty novels. Would Bond make a mistake by entering the newly world-popular sci-fi genre? Alternatively, would Moonraker exemplify the big budget, escapist fantasy adventure ethos that audiences have come to expect with each new Bond release? The answer proved to be a little bit of both.

Richard Kiel pops up for another bite as Jaws

Having shown sparing regard for Bond's 11th mission in the past, it was somewhat refreshing to return to 'that one where Bond goes to space and Jaws becomes a goodie!' The film was never going to get awards for Christopher Wood's often disjointed screenplay but it deservedly received an award for the special effects, which, contrary to Associate Producer William Cartlidge's views on the DVD commentary, look tremendously advanced even now over 30 years on. Moore, in his 4th appearance as Bond, is now perfectly at home in the role, providing just the right tongue in cheek comments without going overboard. He is also clearly the best character in Moonraker.

Bond and Miss Goodhead venture into space and dispatch Drax

Bond's conquests total four in this film, space included! The ladies themselves are one of the weakest set in the series. Lois Chiles commits herself fairly well to the role even if her character's persona works completely against her outrageous name, Holly Goodhead. Corinne is played well by French actress Corinne Clery; the death sequence at the mercy of Drax's vicious Dobermans against the dark hues of a forest is one of the most haunting sequences in the Bond series. It is Bond's aide Manuela, played with just the right amount of naivety by the lovely Emily Bolton that remains the film's best Bond girl, even though her screen time is unforgivably limited. Michael Lonsdale's thesping approach to the role of Hugo Drax undermines the character and thus provides Moore's Bond with a fairly easy match as the film's central villain. It is Chang, Drax's bodyguard, that provides far more physical threat to Bond - the centrifuge scene being a standout action sequence and his demise, laced with the wonderful Casablanca reference "play it again Sam" is played nicely by Moore.

Moonraker is one of the most quotable films in the Bond canon and that is all thanks to the level of humour exuded throughout the proceedings. Where else would you get away with unbelievable irony in Moore's line "There's never a 70 year old around when you need one!" Time to look in the mirror mate. You're not the most athletic you've ever been, but then again, you are in your 50s playing a secret agent. To summarise, Moonraker is harmless fun. If, like me, you have your misgivings for Bond's mission in space, put the DVD on and analyse it for what it is: escapist entertainment. Bond is fantasy after all. It is not quite Moore's weakest Bond entry but it is also far from the best. That accolade goes to Spy or For Your Eyes Only, the two films incidentally either side of this. Regardless of this, 30 years on, Moonraker is far from a disaster and it still holds up fairly well. Let Bond "take [you] around the world one more time" - you may just enjoy it!