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Features: DVD
Bond. James Bond. The suave spy has remained the world's most powerful action hero ever since his big-screen debut in 1962. Volume 2 of the James Bond: Ultimate Collection includes A VIEW TO A KILL, THUNDERBALL, DIE ANOTHER DAY, THE SPY WHO LOVED ME and LICENCE TO KILL!A VIEW TO A KILL: Roger Moore is the enigmatic 007 in this stunt-laden adventure that pits Bond against a twisted German industrialist (Christopher Walken) and his sexy partner-in-crime (Grace Jones). THUNDERBALL: Sean Connery is back as James Bond, hired to prevent madmen from exploding a nuclear device near picturesque Nassau in this explosive thriller which earned an Oscar for its special visual effects. DIE ANOTHER DAY: Pierce Brosnan returns as James Bond and crosses paths with Jinx (Oscar-winner Halle Berry). From Hong Kong to Cuba to London, Bond circles the world in his quest to unmask a traitor and prevent a war of catastrophic proportions. THE SPY WHO LOVED ME: Roger Moore as agent 007 teams with a beautiful Soviet agent (Barbara Bach) to battle Stromberg (Curt Jurgens) in order to save the world from total annihilation and a 315-pound villian, "Jaws" (Richard Kiel). LICENCE TO KILL: James Bond catapults into his most passionate adventure -- not for country, not for justice, but for personal revenge. Timothy Dalton brings urgency, charm and deadly determination to his role as 007.
"[Licence] Both the toughest Bond movie ever and the most entertaining Bond movie ever." Chuck O'Leary, Fantastica Daily
"[View] Another fine moment from everyone's favourite super-spy..." Clint Morris, MovieHole
"[Thunderball] ...represents the series in its zenith and provides excellent entertainment..." Dragan Antulov, Rec.Arts.Movies.Reviews
"[Spy] The best Bond movie of the Moore era..." Stefan Birgir Stefansson, SBS.IS
"[Die] ...easily the fastest, meanest, funniest, edgiest Bond of the Brosnan era." Todd Anthony, South Florida Sun-Sentinel
Editor's Note
This collection includes DIE ANOTHER DAY, LICENSE TO KILL, THE SPY WHO LOVED ME, THUNDERBALL, and A VIEW TO KILL. See individual titles for details.
| Features | [All] Interactive Menus | | [All] Original Theatrical Trailers | | [All] Scene Selection | | [Die] Image Database (Photo Gallery) | | [Die] Inter-Action Sequences (Multi-Angle Explorations) | | [Die] M16 DataStream (Trivia Track With Video Streaming) | | [Die] Scene Evolutions (Storyboard Comparisons) | | [Die] Title Design (Opening Credits Breakdown) | | [Die] Audio Commentary With Director Lee Tamahori & Producer Michael G. Wilson | | [Die] Audio Commentary With Pierce Brosnan & Rosamund Pike | | [Die] Audio: English DTS 5.1 Surround Sound, DD-EX 5.1 Surround Sound | | [Die] Audio: French, Spanish Dolby Digital Stereo | | [Die] Bond Special Edition Catalog Trailer | | [Die] Dubbed: French, Spanish | | [Die] DVD-ROM Features | | [Die] Featurettes: Inside Die Another Day, Digital Grading, Equipment Briefing, The Making Of Madonna's Die Another Day Music Video & The Making Of 007 Nightfire | | [Die] Music Video: Madonna's Die Another Day | | [Die] Subtitles: English, French, Spanish | | [Licence] Audio Commentary With Director John Glen & Producer Michael G. Wilson | | [Licence] Behind-The-Scenes Still Gallery Featuring Over 100 Images | | [Licence] Featurette: Inside Licence To Kill | | [Licence] Music Videos: Licence To Kill By Gladys Knight & If You Asked Me To By Patti LaBelle | | [Licence] Promotional Featurette Highlighting Stunt Footage From The Film's Exhilarating Final Scene | | [Licence] Theatrical Publicity Footage | | [Spy, Licence] Audio: French Dolby Digital Stereo | | [Spy] Audio Commentary Featuring Director Lewis Gilbert, The Cast & Crew | | [Spy] Exciting Still Gallery | | [Spy] Featurettes: Inside The Spy Who Loved Me & Besigning Bond | | [Thunderball, Spy, Licence] Dubbed: French | | [Thunderball, Spy, Licence] Subtitles: English, French | | [Thunderball, Spy] Radio Spots | | [Thunderball] Audio Commentary, Featuring Director Terence Young | | [Thunderball] Audio: French Dolby Digital Mono | | [Thunderball] Behind-The-Scenes Still Gallery Featuring Over 150 Images | | [Thunderball] Featurettes: The Making Of Thunderball, The Thunderball Phenomenon & Inside Thunderball | | [Thunderball] Second Audio Commentary By The Cast & Crew | | [View, Murderball, Spy, Licence] Audio: English Dolby Digital 5.1 Surround Sound | | [View, Thunderball, Die, Spy] Television Spots | | [View, Thunderball, Spy, Licence] Collectible "Making-Of" Booklet | | [View] Audio Commentary Featuring Director John Glen & Members Of The Cast & Crew | | [View] Audio: Spanish Dolby Digital Stereo | | [View] Dubbed: Spanish | | [View] Featurettes: Inside A View To A Kill & The Music Of James Bond | | [View] Music Video | | [View] Never-Before-Seen Deleted Scene | | [View] Subtitles: French, Spanish |
| Technical Info
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Release Information
| | Studio: Foxvideo |
| Release Date: 5/12/2009 |
| Original Release Date: 1965 | | Catalog ID: 112057 | | UPC: 00027616060051 | | Number of Discs: 10 |
Audio & Video
| | Original Language: English | | Available Audio Tracks: English | | Video: Color |
Aspect Ratio | | Anamorphic Widescreen 2.35:1 |
| Cast & Crew
| Awards |
Nominee (2003) | | | Golden Globe, Madonna, Mirwais Ahmadzai, [Die] Best Original Song - Motion Picture | |
Winner (2003) | | | Image Award, Halle Berry, [Die] Outstanding Supporting Actress in a Motion Picture | |
Nominee (2003) | | | MTV Award, Halle Berry, [Die] Best Female Performance | |
Nominee (1986) | | | Golden Globe, John Barry, Duran Duran, [View] Best Original Song - Motion Picture | |
Nominee (1978) | | | British Academy Awards, Marvin Hamlisch, [Spy] Anthony Asquith Award for Film Music | | | British Academy Awards, Ken Adam, [Spy] Best Production Design/Art Direction | | | Golden Globe, Marvin Hamlisch, [Spy] Best Original Score - Motion Picture | | | Golden Globe, Marvin Hamlisch, Carole Bayer Sager, [Spy] Best Original Song - Motion Picture | | | Grammy, Marvin Hamlisch, [Spy] Best Album of Original Score written for a Motion Picture or Television Special | | | Oscar, Ken Adam, et. al., [Spy] Best Art Direction-Set Decoration | | | Oscar, Marvin Hamlisch, [Spy] Best Music, Original Score | | | Oscar, Marvin Hamlisch, Carole Bayer Sager, [Spy] Best Music, Original Song | |
Nominee (1966) | | | British Academy Awards, Ken Adam, [Thunderball] Best British Art Direction (Colour) | |
Winner (1966) | | | Oscar, John Stears, [Thunderball] Best Effects, Special Visual Effects | |
Image Award (2003) |  | Halle Berry, Winner, [Die] Outstanding Supporting Actress in a Motion Picture | |
MTV Award (2003) | | | Halle Berry, Nominee, [Die] Best Female Performance | |
Golden Globe (2003) | | | Madonna, Mirwais Ahmadzai, Nominee, [Die] Best Original Song - Motion Picture | |
Golden Globe (1986) | | | John Barry, Duran Duran, Nominee, [View] Best Original Song - Motion Picture | |
British Academy Awards (1978) | | | Ken Adam, Nominee, [Spy] Best Production Design/Art Direction | |
Oscar (1978) | | | Ken Adam, et. al., Nominee, [Spy] Best Art Direction-Set Decoration | | | Marvin Hamlisch, Nominee, [Spy] Best Music, Original Score | |
Golden Globe (1978) | | | Marvin Hamlisch, Nominee, [Spy] Best Original Score - Motion Picture | |
Grammy (1978) | | | Marvin Hamlisch, Nominee, [Spy] Best Album of Original Score written for a Motion Picture or Television Special | |
British Academy Awards (1978) | | | Marvin Hamlisch, Nominee, [Spy] Anthony Asquith Award for Film Music | |
Golden Globe (1978) | | | Marvin Hamlisch, Carole Bayer Sager, Nominee, [Spy] Best Original Song - Motion Picture | |
Oscar (1978) | | | Marvin Hamlisch, Carole Bayer Sager, Nominee, [Spy] Best Music, Original Song | |
Oscar (1966) | | John Stears, Winner, [Thunderball] Best Effects, Special Visual Effects | |
British Academy Awards (1966) | | | Ken Adam, Nominee, [Thunderball] Best British Art Direction (Colour) |
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| | Professional Reviews | DVD Verdict 9 of 10
[Spy] The Spy Who Loved Me asks quite a few questions. Can Bond work with his female equal? Can 007 not drive Q crazy and get his high-tech toys back in one piece? And speaking of pieces...can our gentleman spy bed down his usual array of women? The answer to these and many more pressing matters await in The Spy Who Loved Me. Because, after all, nobody does it better...The Spy Who Loved Me raised the bar of expectations as to what Bond movies should have, especially in the way of stunts and exotic locales. From the opening ski jump off a mountain to the underwater action sequence featuring a Q converted Lotus automobile, everything about TSWLM is big, big and bigger. - Harold Gervais
ReelViews 7 of 10
[View] A View to a Kill is often numbered among the worst of the series, but, upon closer inspection, this film is a vast improvement over Octopussy. Even though Moore sleepwalks his way through the part, making it apparent that he should have departed two films ago, and Tanya Roberts can't act to save her life (although she certainly can scream), we're back to a more conventional, straightforward Bond than the convoluted mess of the previous movie. The stunts are more spectacular than ever, Christopher Walken is a chilling psychopath (a role he has become intimately familiar with over the years), and Grace Jones is viciously effective as his sidekick. - James Berardinelli
Reel.com 9 of 10
[Thunderball] Sean Connery is back in Thunderball as the sexiest of all the Bonds. This time, Agent 007 battles the agents of SPECTRE from the pristine beaches of Nassau (in the Bahamas), as he races against time to uncover the nuclear weapons stolen by SPECTRE agent Number Two, Emilio Largo (Adolfo Celi) in SPECTRE's attempt to blackmail the world...Production designer Ken Adam outdid himself in creating slick underwater crafts and gadgetry that add flavor to the underwater scenes. The final climactic battle between the forces of good and evil, shot by underwater-camera ace Lamar Boren and directed by Ricou Browning, is a sensational underwater ballet pitting man against man and man against fish. - Pam Grady
Chicago Sun-Times 9 of 10
[Licence] My favorite moments in all the Bond pictures involve The Fallacy of the Talking Killer, in which the villain has Bond clearly in his power, and then, instead of killing him instantly, makes the mistake of talking just long enough for Bond to make a plan. The fallacy saves Bond's life two or three times in this movie - especially once when all that Davi has to do is slice his neck...[Dalton] makes an effective Bond - lacking Sean Connery's grace and humor, and Roger Moore's suave self-mockery, but with a lean tension and a toughness that is possibly more contemporary. The major difference between Dalton and the earlier Bonds is that he seems to prefer action to sex. But then so do movie audiences, these days. "Licence to Kill" is one of the best of the recent Bonds. - Roger Ebert
Variety 7 of 10
[Die] James Bond celebrates his 40th birthday on the bigscreen in "Die Another Day," a midrange series entry that sports some tasty scenes, mostly in the first half, but also pushes 007 into CGI-driven, quasi-sci-fi territory that feels like a betrayal of what the franchise has always been about...Brosnan once again proves more than up to the task of filling Bond's shoes and, especially in the early going, gives the character some dark and nasty shadings that reveal a welcome desire to take Bond back to Ian Fleming-based basics. After the promising beginning, unfortunately, most of what Berry is called upon to do is pretty generic action stuff. - Todd McCarthy
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