James Bond Ultimate Collection, Vol. 1 (1964)

"[World] The most satisfying Bond movie in a very long time.  David L. Beck, San Jose Mercury News
"[Diamonds] Big, silly and essential Bond.  IGN FilmForce
"[Goldfinger] The best Bond gets the best treatment.  James Rocchi, NetFlix
"[Living] ...underrated Bond entry with an absolutely classic theme tune by A-ha.  Luke Y. Thompson, New Times
"[Man] ...more maturity, fewer gadgetry gimmicks, and more humor.  Variety

Editor's Note This collection includes GOLDFINGER, THE MAN WITH THE GOLDEN GUN, DIAMONDS ARE FOREVER, THE LIVING DAYLIGHTS, and THE WORLD IS NOT ENOUGH. See individual titles for details.

	Britt Ekland
	Charles Gray
	Christopher Lee
	Denise Richards
	Gert Frobe
	Honor Blackman
	Jill St. John
	Joe Don Baker
	John Rhys-Davies
	Lana Wood
	Maryam d'Abo
	Maud Adams
	Pierce Brosnan
	Robert Carlyle
	Roger Moore
	Sean Connery
	Shirley Eaton
	Sophie Marceau
	Timothy Dalton
	Guy Hamilton - [Man, Goldfinger, Diamonds] Director
	John Glen - [Living] Director
	Michael Apted - [World] Director

ReelViews 7 of 10
[Man] Few will argue that The Man with the Golden Gun is the silliest of all the James Bond motion pictures (Casino Royale excepted). From the return appearance of Sheriff J.W. Pepper (Clifton Davis) to the ridiculous martial arts fight where two schoolgirls best dozens (while Bond stands by and looks amused), this 007 adventure consistently skirts self-parody. Yet, after the dreariness of Live and Let Die, the upbeat change-of-pace is refreshing. And, while million-dollar-a-shot hitman Scaramanga (Christopher Lee) isn't a typical Bond villain, he's closer than anyone from the previous film. - James Berardinelli

DVD Verdict 8 of 10
[Diamonds] Featuring Sean Connery's final appearance as 007, Diamonds Are Forever mines the riches of Las Vegas for a Bond film that takes itself not at all seriously yet does not quite have the energy and zest of other films in the series. However, this disc is still an entertaining romp with another cool, charming turn by the inestimable Mr. Connery...A good middle of the road entry in the franchise, Diamonds Are Forever strays farther from the serious thriller mold of many of its compatriots but thankfully stops short of self-parody. Is the trade-off of serious dramatic action for a more cartoonish, fun feeling worth the exchange? I think so, but only as an occasional change of pace to keep the series from getting too beholden to Bond traditions. - Nicholas Sylvain

Washington Post 9 of 10
[Living] Dalton, no waffler, develops the best Bond ever. He's as classy as the trademark tuxedo, as sleek as the Astin-Martin. Like Bond's notorious martini, women who encounter his carved-granite good looks are shaken, not stirred. Dalton does not play a pompous, mean-spirited Bond like Sean Connery or a prissy, sissy Bond like Roger Moore. Both were as aggressively heterosexual as pubescent Playboy subscribers...Gadgets, such as an exploding "ghetto blaster," are supplied by Desmond Llewelyn, who returns as Q. Robert Brown is also back as the tweedy intelligence chief, but the actress who played Bond's secretary has been put out to pasture. Caroline Bliss is a newly minted Miss Moneypenny, pert and professional opposite the new, improved Bond...still licensed to thrill. - Rita Kempley

Chicago Sun-Times 10 of 10
[Goldfinger] Of all the Bonds, "Goldfinger" (1964) is the best, and can stand as a surrogate for the others. If it is not a great film, it is a great entertainment, and contains all the elements of the Bond formula that would work again and again. It's also interesting as the link between the more modest first two Bonds and the later big-budget extravaganzas; after this one, producers Albert "Cubby" Broccoli and Harry Saltzman could be certain that 007 was good for the long run...Connery had the sleek self-assurance needed for the role, and a gift with deadpan double entendres. But he had something else that none of the others, save perhaps Dalton, could muster: Steely toughness. - Roger Ebert

Variety 7 of 10
[World] "The World Is Not Enough," and neither is this new entry in the James Bond cycle. Although not without its moments, particularly an exciting pre-credits high-speed boat chase and some solid work by the nicely matched Pierce Brosnan and Sophie Marceau, 19th assignment of Bond's 37-year screen career sees 007 undone by villainous scripting and misguided casting and acting in a couple of key secondary roles...Action grows murky and rather tiresome in the second half, with at least one set piece too many -- pic is far too infatuated with a pair of buzz-saw-dragging helicopters -- and excessive liberties taken with Bond invisibly transporting himself from one remote location to another in the blink of an eye. - Todd McCarthy

The Washington Post 9 of 10
[Living] Dalton, no waffler, develops the best Bond ever. He's as classy as the trademark tuxedo, as sleek as the Astin-Martin. Like Bond's notorious martini, women who encounter his carved-granite good looks are shaken, not stirred. Dalton does not play a pompous, mean-spirited Bond like Sean Connery or a prissy, sissy Bond like Roger Moore. Both were as aggressively heterosexual as pubescent Playboy subscribers...Gadgets, such as an exploding "ghetto blaster," are supplied by Desmond Llewelyn, who returns as Q. Robert Brown is also back as the tweedy intelligence chief, but the actress who played Bond's secretary has been put out to pasture. Caroline Bliss is a newly minted Miss Moneypenny, pert and professional opposite the new, improved Bond...still licensed to thrill. - Rita Kempley