Film

The World Is Not Enough

A late-period Brosnan Bond that trades some of the franchise's trademark cool for genuine emotional stakes. Sophie Marceau elevates the material as a morally compromised heiress, and there's real tension beneath the spectacle. It's earnest when it should be, fun when it counts, and proof that even mid-tier Bond can be utterly engaging.

TMDb rating3.1

Should you watch it?

Watch it if you enjoy big, glossy Bond caper where the pleasure lies in lavish set pieces and Brosnan's easy swagger more than in tight plotting.

Skip it if the plot runs on oil, pipelines and a tangle of double-crosses, so if you want a lean thriller you may find it baggy and overlong at over two hours.

What it asks of you: Settle in for just over two hours of brisk, bright set-piece action, with a busy, convoluted plot you mostly enjoy at a sprint rather than unpick line by line.

If you liked this

GoldenEye1995

Pierce Brosnan's first outing as Bond, with Sean Bean as a villain of genuine menace and the character reinvented for the post-Cold War era. Sharper and leaner than what follows.

But The CGI tank scene has aged poorly, and some of the dialogue lands harder in memory than in fact.

GoldenEye poster

Casino Royale2006

Daniel Craig's debut stripped Bond back to desperation and vulnerability. Parkour, torture, a poker game with real stakes, and a villain who actually understands him. Changes what spy films can be.

But It's 144 minutes and the final act loses momentum. Some find Craig's interpretation too grim.

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On Her Majesty's Secret Service1969

George Lazenby as Bond for one film only, making it strange and human in ways the franchise would abandon. A genuine love story, a terrifying scheme, and one of the best final moments in action cinema.

But The opening is clunky, the pacing uneven. It takes a while to find its footing.

On Her Majesty's Secret Service poster

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The wildcard

Something you would not have found on your own.

The Grifters1990

Like The World Is Not Enough, it's built on a central lie—a woman who is not who she appears, and men undone by their inability to see it. Both films understand that trust is the actual weapon.

A con-artist thriller where everyone is playing everyone, morality is a luxury, and Annette Bening runs circles around two men trying to survive her orbit. The confidence games are intricate, the betrayals real, and the ending gutting.

But It's cynical in a way that offers no comfort. No one gets what they deserve because the world doesn't work that way.

The Grifters poster
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From Russia with Love1963

Connery's second Bond stripped of gadgetry excess, playing as a real espionage thriller. Taut, witty, and confident in ways that feel almost modern. The franchise's blueprint.

But Slower than contemporary action films, with less spectacle than you might expect from Bond's second adventure.

From Russia with Love poster

Licence to Kill1989

Dalton's revenge narrative reaches its emotional peak here—Bond is furious and frightened and making awful decisions. Intimate in scope but wild in action. A revenge film that understands the cost.

But It's the darkest Bond film, and some sequences venture into genuine cruelty. Not everyone wants that from the character.

Licence to Kill poster

The Spy Who Loved Me1977

Moore's peak—he plays Bond with a wink but never loses the danger underneath. Jaws is one of the franchise's best henchmen, the locations are absurd and glorious, and it knows exactly what it is.

But The tonal balance between camp and action can feel off to modern viewers. Some found it too silly even then.

The Spy Who Loved Me poster

Skyfall2012

Roger Deakins shot a Bond film, and it shows—every frame is gorgeous. Javier Bardem's villain is a genuine threat to Bond psychologically. Craig gets to age into the role and it suits him.

But The plot is thinner than the cinematography, and some sequences prioritize beauty over clarity. It's a visual essay that sometimes forgets to have fun.

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Tomorrow Never Dies1997

Brosnan's second film, with Jonathan Pryce chewing scenery as a media mogul and Michelle Yeoh bringing martial arts credibility. Fast-paced, silly in the best ways, and genuinely entertaining.

But It's slight—the villain's plan barely survives contact with logic, and the film doesn't seem to notice or care.

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The Living Daylights1987

Dalton's debut repositioned Bond as a serious agent, not a superhero. A double-cross plot that actually works, and the film plays it straight. Tense and smart.

But If you want Bond with humour and spectacle, this is too dour. It's beautifully made but fairly conventional spy-thriller territory.

The Living Daylights poster

Atomic Blonde2017

Both films feature a spy navigating a geopolitical cold war, but where Bond treats danger as a game, Atomic Blonde treats it as mutilation. It's what The World Is Not Enough might have been if it had no sense of humour and absolute conviction in its own misery.

Charlize Theron as an MI6 agent in 1980s Berlin, delivering a performance of controlled fury. The action sequences are choreographed for bodies and consequence, not cartoon logic. It's a spy film that takes its violence seriously.

But It's relentlessly violent and grim. There's no lightness, no wit, no escape valve. It demands a specific mood from you.

Atomic Blonde poster

The Lives of Others2006

Both films hinge on a man being played by a woman he's trying to protect, and both understand that the real danger in espionage isn't the bullet—it's the moment you realize you've already lost.

A Stasi surveillance officer monitors a playwright and falls in love with the life he's meant to destroy. Quiet, morally complex, devastating—a spy film about what spying actually costs. Ulrich Mühe gives one of cinema's great performances.

But It's slow and melancholic. There are no action sequences. It demands that you sit with compromised people and feel their compromise.

The Lives of Others poster

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