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'You Only Live Twice' (1967) -James Bond and the Japanese Secret Service must find and stop the true culprit of a series of space hijackings, before war is provoked between Russia and the United States. Agent Emilio Largo in an international extortion scheme. 'Thunderball' (1965) -James Bond heads to the Bahamas to recover two nuclear warheads stolen by S.P.E.C.T.R.E.

'Goldfinger' (1964) -While investigating a gold magnate's smuggling, James Bond uncovers a plot to contaminate the Fort Knox gold reserve. 'From Russia With Love' (1963) -James Bond willingly falls into an assassination plot involving a naive Russian beauty in order to retrieve a Soviet encryption device that was stolen by S.P.E.C.T.R.E. No' (1962) -A resourceful British government agent seeks answers in a case involving the disappearance of a colleague and the disruption of the American space program. Produced by EON Productions / Michael G Wilson and Barbara Broccoli Segmentsġ. If only to broaden your horizons.It was rebooted once, but there will never be a good reinvention of Bond again.

Like Salvidor Dali meets The Pythons, but odder. 'So then the flying-saucer kidnaps Mata Hari and James Bond's love-child, and then James Bond who's David Niven and James Bond who's Woody Allen face-off, and meanwhile James Bond is being tortured with insane hallucinations and someone has snuck into his delusions with a machine-gun bagpipe and through all this Deborah Kerr was a French Scotswoman!' Much less a true story than very funny surrealist art. And the fun of trying to explain it to someone afterwards is immeasurable. It goes beyond funny, and becomes a matter of being shocked into admiration for the sheer silliness of it all. So watch this for the crackling one-liners, ridiculously pretty women, lurid sets and the most completely unself-conscious approach to making a comedy that I have ever seen. This movie will challenge many who cannot break-out of the mold of needing a firm plot and some commonsense, but in this regard it is much like a comedic version of a David Lynch film, and I enjoyed Twin Peaks: The Movie even if I still don't get it. It is not really a story, so much as every conceivable joke that could be thought of, thrown into an editing studio and spat out the other end as gold. It is this that it aims for, and this that it achieves. Chiefly, the mish-mashed, ridiculous, over-blown insanity of it is the entire point.

To watch this movie, one must understand something that many appeared to have missed.

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