Ranking Every 007 Pre-Title Sequence

I made several top 10 ranking videos in the past, but I realized why just 10? Why not rank every Bond girl or villain or the henchmen, the pre-title sequences, and so on. Just like I did with my ranking of old Bond films. So, since I am currently busy remaking and upgrading my in-depth Bond film reviews, the recapping 007 series, I figured my ranking 007 series needed comprehensive remakes as well. Previously, I started with ranking every Bond girl, and today we are ranking [music] every pre-title sequence. >> [music] [music] >> Bang! Blood dribbles down. And just like that, you're launched straight into a Bond movie. Ever since the second Bond film, From Russia with Love, the franchise has opened almost every entry with a pre-title sequence. The signature Bond formula. It's the appetizer before the main course. A carefully crafted opening designed to grab your attention instantly, keep you hooked, and spark your curiosity right up until the moment the opening titles finally roll. This is what truly kicks off a James Bond film. These sequences often achieve that by generating suspense, bringing in breathtaking action, or a perfect blend of both. Sometimes the pre-title sequences play out as a self-contained mini adventure, but more often it serves to plant intrigue [music] and set the wheels of the story in motion. I don't think I've ever given myself a tougher ranking challenge. As Bond fans, we're honestly spoiled. The series is packed with pre-title sequences that are genuinely iconic and incredibly effective. So, to do this ranking justice, I rewatched every single one in isolation again and tried to pit them against each other based mainly on how well they grab your attention, maintain intrigue, and most importantly, how strongly they hook you into watching the rest of the film. Before we kick things off, a quick clarification. Dr. No technically doesn't feature a traditional pre-title sequence, and neither does the non-Eon produced Never Say Never Again. That said, I'd like to include Never Say Never Again in my rankings, and while these two films don't follow the classic pre-title format, they do still have opening sequences. Had these two been structured traditionally, Dr. No's opening titles would likely have begun after the three blind mice steal the file from the archive. While Never Say Never Again's would have rolled after Bond is stabbed at the end of the training exercise. So, for the sake of completeness, I decided to include both of these in this ranking as well. So, without delaying this any further, all do that with your fingers around your eye. I'm Roger Moore. Bang! Who are you? My [music] name is Bond. James Bond. Yes, my least favorite Bond film happens to also feature my least favorite pre-title sequence. And for me, it all comes down to tone. On paper, this sequence could have worked great. Seemingly, we're picking up directly after the death of Tracy, when Bond is on a globe-trotting revenge mission hunting down Blofeld. It sounds great. It could have been dark and emotionally charged territory. Of course, that's not what they were going for in this period of the series. Tracy is not mentioned at all, and this may as been a direct follow-up to You Only Live Twice, [music] especially because we kick things off in Japan. The moment Sean Connery's voice-over starts, this sequence already begins to feel oddly cheap and disconnected. I also never got why they sped up Connery's voice with the Bond introduction line, especially because in the trailer, they kept the original pitch. Now he's here. Who are you? My name is Bond. James Bond. Why butcher that up? And also, I love humor in my Bond films, but here, the humor is not subtle, not ironic, but just full-on silly. The mousetrap hidden in Bond's jacket pocket is a perfect example. It's played for laughs, and it sends a very clear message right from the start. This is not a serious revenge story. This is cartoonish Bond, >> [music] >> and unfortunately, that tacky tone is exactly what defines the rest of the film. We're now miles away from Connery's suave start to the series. We're entering slapstick territory. What makes this especially frustrating is that the pre-title sequence could have been powerful. It could have leaned into Bond's anger, his obsession, his grief. Instead, the danger never feels real. The tension never truly builds, and Blofeld comes across as more of a punchline than a genuine threat. As an opening to a Bond film, it fails to hook me, it fails to build suspense, and it fails to make me excited for what comes next. It does set the tone well, just not in a good way. Welcome to hell, Blofeld. Whose funeral is it? Yours. >> [music] >> Now, this pre-title sequence is a bit of an odd one, and that's largely because it's one of the very few in the entire series where James Bond doesn't even appear. Instead, we open on a sequence of mysterious deaths spread across different locations, slowly revealing a pattern, but without Bond at the center of it. On its own, this opening isn't badly made. It plays like a standard 1970s murder mystery. There's atmosphere, there's intrigue, and there's a creeping sense that something bigger is going on behind the scenes. It just doesn't feel like a James Bond opening. It lacks that immediate spark that usually defines a Bond opening. That said, I do appreciate what the filmmakers were trying to do here. This sequence does succeed in setting up the film's central mystery and introducing the supernatural tinged atmosphere that Live and Let Die leans into. The repeated killings, the tarot imagery, and the sense of unseen forces at work all quietly foreshadow what's to come. But, we're just not warmed up in a traditional Bond sense to me. Not one moment really stands out. It's not particularly iconic, there's no signature stunt or a great character introduction. By the time the titles finally start rolling, you're not exactly hooked. You're just left wondering when the James Bond movie is going to start. >> [screaming] [music] >> In a way, Dr. No and Live and Let Die open on a very similar premise. MI6 agents being killed under mysterious circumstances before James Bond himself enters the story. However, it does feel slightly unfair to judge Dr. No by the same standards as the rest of the series. When this film was released, the pre-title sequence simply wasn't an established part of the Bond formula yet. And yes, I know I just said that I wanted to include Dr. No in this ranking for the sake of completeness, and I still stand by that decision. That context is exactly why Dr. No ends up ranking slightly higher than Live and Let Die for me. This was the very first Bond film, the first of its kind. There was no template to follow, no expectations of a high-octane action opening, no audience conditioning that told viewers what a Bond film should feel like within the first 5 minutes. And because of that, it's an opening that feels understandably smaller in scope, shorter, and far more restrained. The sequence is incredibly simple. Three men, a silent assassination, and a thrill of quiet intrigue. Sure, it has its limitations. The performances of the very first dialogue always felt quite wooden to me, and obviously the jump cuts and such all haven't aged well. But I'd argue that there's more charm to it than Live and Let Die's opening. But there's also something undeniably important about this sequence. [music] It established the world that Bond inhabits, one of shadows, surveillance, and quiet danger. It sets the investigative tone that defines the early part of the films and lays the groundwork for everything that would follow. So, while Dr. No's opening is basic, restrained, and dated, it [music] earns its place above Live and Let Die because of what it represents, the birth of a Bond film. Whenever you watch this, you're always so conscious that this is the first of its kind, and there's just a real charm to that. >> [music] [music] >> So, here's the other one I felt like including, [music] Never Say Never Again. I've always quite like the idea behind this opening. We start with Bond sneaking around what appears to be enemy territory, moving quietly and cautiously with a much more subdued tone than what we're used to at this time. Plus, there is virtually no dialogue for the entire duration of the sequence. [music] It's very deliberate in trying to do something different from what Eon Productions was doing with their pre-title sequences at the time. The reveal that this entire mission turns out to be an MI6 training exercise is an original idea. Eon even went on to do something very similar two decades later in Die Another Day when Bond turned out to be taking part in a VR training simulation. My main issue with this opening, however, comes down to one truly baffling creative decision, the choice to play the title song over the opening. I genuinely don't know who thought that was a good idea. Try placing the main title song over any other pre-title sequence and see what happens. >> [singing and music] [music] [singing] >> I mean, what were they thinking? It really drains the scene of any sense of danger. There's a great fan edit on YouTube uploaded by a channel called Inferno Prince that replaces the music with a more [music] traditional tension-building score in the style of John Barry, and it genuinely transforms the sequence. >> [music] >> Suddenly, the sneaking feels suspenseful. The stakes feel higher, and the opening plays like a proper Bond setup. It really goes to show how much of a difference [music] music can make. You can see that the potential was there, but as it stands [music] now, Never Say Never Again's opening just feels underwhelming because of the music. >> [snorts] >> It is a testament to the series that we're this low into the ranking, and I can already safely say that every opening from here on in feels like a Bond opening. There really is something to like or admire or gush about from here on in. For For though, that definitely is the fun twist of the widow turning out to be Jacques Bouvar himself after Bond caught the subtle moment of him opening a car door by himself. To Bond, that was enough of a giveaway that she must be a dude. >> I have come to offer my sincere condolences. My dear Colonel Bouvar, I don't think you should have opened that car door by yourself. The fight between Connery and Bob Simmons still holds up. And that finish with the fireplace poker is very raw and not played for laughs. My guess is that the jetpack may have sounded better on paper when they wrote this sequence compared to how it was executed. To be clear, it is undeniably impressive that this thing actually existed and was operational at the time. And conceptually, Bond escaping via jetpack in a 1960s Bond opening sounds fantastic. But viewed today, the execution does look a little dated and admittedly slightly comedic. The DB5 returning from Goldfinger is a welcome [music] sight and so is the fade-in into the titles by the water. It's a fun transition. It is classic '60s Bond. Good morning. My name's Bond. James Bond. For Majesty's, I always like the build-up part of the pre-title sequence more than the scene it's actually building up to. I really appreciate how George Lazenby is slowly introduced as the new Bond cruising the Portuguese coastline in his Aston through [music] a series of teasing shots. The build-up is wonderful and it's supported by the enticing John Barry score. It always just really puts a smile on my face. It builds anticipation effectively, the mystery, sort of the calm before the storm, and the sense that something is about to happen. It all works very well. However, where this pre-title sequence loses some ground for me is with the fight scene. The action has always just felt a little awkward and weightless to me. Maybe it's in the way it's edited. It seems like 1 second Bond is on the beach, and seemingly just one punch later, he's suddenly fighting in the middle of the ocean. Yes, it's raw, but in execution, it has always just struck me as less impressive than it seems to be for the majority of fans. And to be clear, I fully recognize that many Bond fans would rank this opening significantly higher. It's an iconic start to a film many Bond fans consider one of the gems. I always say I wish I was more of a fan of this film than I am, but it just doesn't land quite as strongly for me. Longtime viewers of my channel will already know that I'm also not particularly fond of the "This never happened to the other fellow." line, either. I know why it exists. I know the behind-the-scenes inside joke behind the line, but for me, it slightly breaks the immersion rather than enhancing it. That said, it is undeniably a very Bondian opening. The atmosphere, the introduction of the new Bond, and the sense of mystery surrounding the Bond girl. The ingredients are there, it just doesn't quite hit the same heights for me as some of the entries that are still yet to come. Exactly 1 minute 52 seconds. That's excellent. The first traditional pre-title sequence, From Russia with Love's opening, is very effective in what it tries to achieve. Setting up a a adversary that will be a threat to Bond in the story and tricking us for a moment in believing Bond gets killed by him until it turns out to be just some guy with a convincing Sean Connery mask. One detail I've always appreciated is Connery's performance within that deception. He deliberately doesn't play this character as James Bond. There's a subtle lack of confidence in his expression, a slight hesitation in his movements. It's never spelled out but subconsciously you can feel that something is off. A quiet intelligent way of planting the clue without giving the game away. The tension in this sequence is also beautifully constructed through John Barry's score. The music doesn't rush the moment. It slowly builds layering unease and anticipation. Grant's presence feels inevitable like a predator closing in and the music reinforces that sense of looming danger perfectly. He closes in, he strikes, the lights go on and it turns out we were just watching a SPECTRE training exercise. It's a wonderfully charming opening that has aged very well. >> [music] >> Essentially, The Man with the Golden Gun goes by the same premise as From Russia with Love's opening introducing the villain that Bond will be dealing with throughout the story. It is of course the opening dedicated entirely to introducing Francisco Scaramanga, The Man with the Golden Gun himself. But in my opinion, it's done a bit better than From Russia with Love's opening. We are introduced to a lot of elements that will later come up in the movie. Scaramanga's island, his mistress Andrea, his servant Nick Nack, and his [music] funhouse hidden on his island. But then we also find out that he is routinely challenged by random hit men coming to the island hoping to make a name for themselves by killing the world's greatest assassin. And there's a chilling understanding that Nick Nack is not to announce these challengers. Scaramanga wants to hunt to begin on his own terms, keeping his senses sharp all the time. The build-up of the gangster quietly walking into the funhouse thinking he's got this one in the bag. And Scaramanga finding out there is someone present who tries to kill him, then slowly walks into his trap of the disorienting funhouse. [music] It already foreshadows us that Bond will eventually have to walk these steps as well. [music] And will he fare any better? As an introduction, this pre-title sequence doesn't just tell us who Scaramanga is, it shows us. His intelligence, his arrogance, his professionalism, and his complete lack of mercy are all communicated without a single word of explanation. Then it also shows us that he has a Roger Moore James Bond mannequin featured prominently in his funhouse signaling all that we need to know. This movie is about world's greatest assassin versus Britain's finest secret agent. A lovely appetizer to the rest of the film. I thought you'd never get back. Well, there was a heck of a crowd on the piste. As we're moving up in the ranking, you may notice that I prefer the action-packed pre-title sequences, which became the new standard of how a pre-title sequence was handled from The Spy Who Loved Me onwards. To me, it's the perfect way to warm you up to a Bond movie. And A View to to has a fun action-packed opening. It has great build-up, intrigues you through the death of an ancient, and teases the microchip plot. John Barry's soundtrack is fantastic, and I love how the action builds up. We go from shooting to skiing to skiing on one ski to hijacking a snowmobile, and it's all fantastic. But, whenever you talk about the pre-title sequence of A View to a Kill, you inevitably end up talking about the Beach Boys song. It's a real shame, and it prevents this opening from ranking higher for me. It actively pulls away all the momentum the scene had built up up until that point, all for a cheap laugh that honestly never landed for me. It is a shame because snowboarding reached the peak of popularity during the '80s when this was released, and it's honestly a really impressive stunt. It's like the slide whistle in The Man with the Golden Gun, totally the cutting the genius behind that stunt. But, does it ruin the entire sequence for me? No, it does not. There is still plenty to appreciate and enjoy. The way Bond disposes the helicopter is still cool, and only Roger's Bond could end up in an ice block that turns out to be a submarine with the Union Jack hatch popping up with some blonde bombshell. This is why we love Bond. It still launches you into the movie with a smile, and that smile is only rising by the banger of a title song. It just doesn't get more Bond. Good afternoon, Mr. Bond. Don't concern yourself with the pilot. We're now flying remote control airways. Ah, yes, the opening that features Blofeld who can't be named Blofeld but is very obviously still Blofeld. Legal gymnastics aside, the intent is clear. And honestly, I quite enjoy how unapologetically strange this whole sequence [music] is. What really elevates this opening for me is how it opens at Tracy's grave. It's an unexpected callback to Majesties and a powerful reminder that despite changes in actors and tone, we're still following the same character. Bond's past matters. His loss still lingers. From there, the sequence shifts gears into full-blown action. The idea of a helicopter being controlled remotely is a wonderfully original threat. It feels inventive without tipping into outright absurdity. The action itself is spectacularly filmed with strong aerial photography that sells both the danger and the scale. One moment I've always loved is when Bond manages to regain control of the helicopter. It's immensely satisfying, and the music that kicks in deserves a special mention here. Bill Conti's score fits this new era of Bond perfectly. It's energetic, modern for the time. In fact, I often find that when Bond steps away from John Barry, the music can feel especially refreshing, and this is a prime example of that. Of course, the sequence is somewhat cartoony, too. Bond patting Blofeld's head and disposing of him in a chimney is a little bit silly, especially when you consider that he's responsible for the death of his wife. It would have been more satisfying, maybe, if it was something [music] as dark as, for example, the killing of Lock in the same movie. The tone of this opening, compared to the rest of the film, truly is night and day. But for what they were going for with this opening, somehow it does work. Why do Chinese girls taste different from all other girls? I've always really enjoyed the opening of You Only Live Twice. The space capture goes into fun, but acceptable 60s sci-fi territory that really reminds me of my favorite childhood show, Thunderbirds. Both in the fantasy element behind the spacecraft, as well as the way it's filmed. It just hits that same level of 60s media that I love. Even Thunderbirds voice actor, Shane Rimmer, makes his first Bond appearance in this opening. >> London Tower from Thunderbirds 1 approaching London Airport height 2,500 ft. Airspeed 7.5 thousand miles per hour. Will be touching down in 2 minutes. Lost already on contact. We've also lost him on the scope. Ah, and that voice just always hits me right in the childhood. I also love that our man is on top of things, sort of transition to Bond. And yes, he's with a lady. >> [laughter] >> Yeah, yeah. He's he's necking with her. And we end on an interesting cliffhanger of Bond supposedly being killed, which definitely is a [music] great start of the film. It raises intrigue. How is he going to survive this? Where is this going? That sort of thing. It offers an intriguing opening filled with mystery, a showcase of the turmoil starting between the world nations, and 007, of course, with some exotic girl in Asia. A perfect 1960s opening to a Bond film, in my book. >> [music] >> It's worth pointing out that quite a few Bond films I personally consider among the weaker entries in the [music] series still feature fantastic pre-title sequences and Quantum of Solace is a perfect example of that. The opening throws us straight into a high-speed car chase through Italy. It's fast, aggressive, and absolutely loaded with adrenaline. There's no easing into this film. It hits the ground running and never looks back. You feel the speed, the collisions, [music] and the desperation of Bond trying to stay one step ahead. That said, whenever you talk about Quantum of Solace, you inevitably end up talking about the editing. This sequence is cut at a relentless pace. Sometimes too relentless. Shots flash by so quickly that you barely have time to register what you're seeing, let alone fully appreciate it. There's a constant sense that the action is working overtime to overwhelm rather than to immerse and it slightly robs the sequence of clarity. It's frustrating because there's genuinely great work here. You can tell there are moments of fantastic stunt choreography and visual storytelling buried within this chaos, but the rapid-fire editing often prevents those moments from truly landing, at least for me. As a personal appendix though, I am a huge Alfa Romeo enthusiast and the bad guys were driving the latest Alfa Romeo 159 at the time, which had me absolutely gushing in the cinema. While today this is an older car, it's always been a dream car to me, which is why it's still my personal road car as of today in 2026 and I think the car aged very well, if I do say so myself. Seeing them get crushed and driving off a cliff still slightly hurts me when I see this, but hey, at least it's, you know, it's the bad guys. I also absolutely love the reveal and the punchline of Mr. Wint turning out to have been in the trunk this whole time. It's time to get out. Bond falling out of the plane without a parachute. That is an absolute ingenious idea for a spectacular opening that grabs your attention and keeps you hooked. What makes this opening even more impressive is the sheer amount of real stunt work involved. The filmmakers had to jump out of the plane dozens of times to capture the footage for this sequence, and that commitment shows. Even today, the free fall sequence holds up as an exhilarating piece of filmmaking. Yes, some of the insert shots have aged a little, and yes, the stuntman doubling for Bond and Jaws are very obvious in some shots, but despite that, the scale and the ambition of what's happening on screen is undeniable. Watching two figures hurtle through the sky at a terminal velocity, grappling midair, it is still breathtaking. This was the first Bond film I ever saw as a child, and I distinctly remember being amazed by this opening and my father explaining how Bond was able to move faster through the sky by tilting forward. I had never seen anything like this as a child. That's exactly the kind of effect a good Bond opening should have. The moment where Jaws' parachute is torn, only for him to survive by conveniently landing on top of a circus tent, is undeniably cartoony. It turns a jaw-dropping stunt sequence into something far more comedic, almost Looney Tunes in its execution. And while I understand that kind of tone the filmmakers were going for, it does take away from the sheer impact of what we've just witnessed. Instead of heading into the title sequence feeling completely blown away by this extraordinary stunt work, you're left with a sense of, "Huh. Well, that got a bit silly." It reframes the opening as lighter and more comedic than perhaps it needed to be. Other than that, solid opening. His name is James Bond, a British assassin. Die Another Day is yet another example of having a fantastic pre-title sequence attached to one of the weaker Bond films. Packed with elements never seen before in a Bond film, such as Bond serving his way onto the North Korean coast. A genuinely impressive sequence. North Korea itself is a uniquely bold location for the series, too. And it immediately makes this opening feel fresh. I always loved the switch that Bond makes with the diamond smuggler and the cheeky smile he gives off. It reminds me of Bond posing as Peter Franks or with General Toro in Octopussy. And then, there's the hovercraft chase. This is where the sequence truly comes alive. Hovercrafts are slow and bulky, and inherently awkward [music] vehicles, and yet the filmmakers somehow managed to make them feel fast, aggressive, and thrilling. A huge part of why this works so well is David Arnold's score. It just always gets your head bobbing along to the Bondian sound. >> [music] >> If I had to give one minor complaint about this sequence, it's the back projection shots during the fight between Bond and Moon near the end of the chase, which I don't feel live up to the 2002 standards and are very noticeable. Also, the color grading of the entire pre-title sequence is a bit blueish and maybe that comes down to personal taste, but I didn't think they have to go for that if you ask me. Again, minor complaints to an otherwise superb and action-packed Bondian opening. And ending it with Bond getting captured leading into the 14 months of torture was another never-before-seen element in Bond that pumped you up for the film full of surprise. If only the rest of the film lived up to its brilliant setup. >> [music] >> We're now really getting into the strong ones and this [music] and the next entry are both openings that could have sat comfortably in my top 10. The problem isn't quality. It's just that the Bond series has so many great pre-title sequences to choose from. The Living Daylights feels especially fresh coming after two decades and seven films of Roger Moore. From the very first moments, there's a conscious effort to reset the tone and it works beautifully. Opening with a double-o training exercise kick-started by a skydive onto the Rock of Gibraltar is a great and original idea. The first proper reveal of Timothy Dalton as Bond is just cool. The framing, the timing, the confidence of the shot, it tells you everything you need to know. This is a Bond who feels focused, physical, and grounded. [music] Musically, the opening is an absolute triumph. Of all of John Barry's Bond scores, The Living Daylights is my personal favorite. The way the theme is introduced and woven into the action here is phenomenal. And one of the other refreshing aspects of this pre-title sequence is how clearly Dalton is doing the action himself. You see him in the stunts, you feel his physical presence, and [music] coming straight after the stunt double galore that was A View to a Kill, that authenticity really stands out here. It grounds the action and reinforces the tougher, more hands-on Bond that Dalton was clearly aiming for. The final stunt serves as a perfect punctuation to the action, and of course, he needed to land on a yacht that just happened to have a beautiful woman, making it a typical Bond opening that launches you into the movie pumped up with a big smile. Which is exactly what a good Bond opening should do. I have nothing but praise for this one. Won't you join me? Better make that two. Let's go fishing. And that takes us to Dalton's second Bond film, another one I have nothing but praise for. Longtime fans of my channel know that Licence to Kill is my favorite Bond film, and it absolutely kicks off with a strong opening. Right from the start, the film [music] plants its flag. We're immediately introduced to one of the most chilling Bond villains in the entire series. Franz Sanchez, played by Robert Davi. The moment where he has a random guy's heart cut out for sleeping with his girlfriend is brutal, shocking, and completely deliberate. Immediately, you know you're no longer watching the campy era of Bond and that this movie won't be messing around. Seeing Bond team up with Felix Leiter on this mini mission to capture Sanchez feels incredibly satisfying. It reinforces their friendship and makes the events that follow later in the film hit so much harder emotionally. The action itself, fantastic. The helicopter sequence is tense, dynamic, and beautifully staged, lifted up more by Michael Kamen's unique rendition of the Bond theme. I just think that one is phenomenal. And Bond and Felix parachuting straight into Felix's wedding is such a cool way to start the film. Who wouldn't want to enter a wedding in such style? And speaking of style, Goldfinger absolutely had to be in my top 10. From Russia with Love may have introduced the very first pre-title sequence, but Goldfinger is the film that truly defined what a Bond pre-title sequence should be. Director Guy Hamilton famously described it as a wonderful piece of nonsense. And isn't that a really perfect way to sum it up? The entire sequence is designed to do one thing exceptionally well. Tell the audience to relax, buckle up, and simply enjoy the ride. Bond emerging from the water with a seagull on his head, the wet suit unzipping to reveal a perfectly pressed white tuxedo underneath, lighting a cigarette at the exact moment the explosion goes off behind him. It's stylish, ridiculous, confident, and completely self-aware. This is why we love Bond. It's the perfect mini adventure. It's self-contained, playful, [music] and effortlessly cool, while also setting the tone for the rest of the film. From this point onward, audiences knew what to expect from a Bond opening. Spectacle, humor, elegance, and a touch of absurdity. All delivered with absolute conviction. Shocking. Speaking of mini adventure pre-title sequences completely unrelated to the rest of the film, Octopussy has the one that does that the best. Like Goldfinger, it's another sequence that just invites you in to have fun through another wonderful piece of nonsense. Jackets are turned inside out to reveal entirely different disguises. Bond's hot assistant is seducing the soldiers as a distraction so Bond can strike. And of course, the absolute showstopper, the badass acrostar minijet suddenly bursting out of the horse trailer, surprising everyone. I love this thing, and boy, does it still put a smile on your face. The action itself is wonderfully staged and gets a bit more tense with Bond being chased by a heat-seeking missile. Bond flies through the hangar, makes the impossible escape, outsmarts all of the soldier, and completes his objective and it's just still so excitingly fun to watch. It's yet another a great example of why we watch Bond films. And the final beat before easing into the opening titles also is just perfect in the way Bond just casually rolls up to the gas station. Fill her up, please. >> [music] >> Second is Yes. Considerably. Easily the most unique pre-title sequence in a series. With Casino Royale came the reboot and with the reboot came an entirely different way to open a Bond movie. It's black and white. It's moody. And it starts without any music. Yet, it immediately grabs your attention as soon as Bond utters his first line. M really doesn't mind you earning a little money on the side, Dryden. She'd just prefer it if it wasn't selling secrets. It's a short pre-title sequence, but an incredibly powerful one. In just a few minutes, it shows us how Bond earned his double-0 status. Something the franchise had never visualized before. We're thrown into a brutal, almost uncomfortable bathroom fight that immediately establishes the darker, more grounded tone this film is going for. This isn't the polished super spy yet. This is Bond learning how to kill and learning what that costs. What I especially love is how the tension is constructed in the office scene with Dryden. For a brief moment, when we realize Dryden has a gun, the film kind of tricks us into thinking he might actually have a chance against Bond. It's such a smart reversal. Bond outsmarts not just Dryden, but us as well. And then comes that stone cold execution. Have you ever noticed the blink and you miss it frame showcasing the picture of Dryden's family falling down as he's being shot? It's such a subtle way to get across that Bond didn't just kill some random goon. He killed a person. Someone that had a life beyond this moment. And then that badass shot of the gun barrel launching straight out of the scene and into the titles. It already feels timeless, raw, iconic. It's the perfect bridge between the old Bond and the rebooted new era. It's such a powerful opening. There was a time, shortly after the release of Spectre, where I thought this was the greatest pre-title sequence I [music] had ever seen in a Bond film. It just felt so fresh when this was just released. I have put that in perspective since, but I do still think it is an absolute highlight to the film, still completely deserving a top 10 spot. You got to appreciate the ambition that Sam Mendes brought to make it seem like the first half of the opening was all filmed supposedly in one take. Something he of course later ended up expanding for a full feature length for his film 1917. Also, and I never saw this mentioned, and I'm just guessing here, [music] but when Bond exits that building in Istanbul in the opening of Skyfall, in the way the camera briefly follows him down and the music slowly starts to build up as he goes outside, it always feels like he wanted to insert a tracking shot already here, too, but he didn't go along with it anyway, because Bond had to enter a car. Ah, what do I know? >> [music] >> In any case, the way it's handled in Spectre is just fantastic. And it's definitely among the reasons I ranked this sequence so high. I love [music] that moment of Bond taking off that mask, the Mexican woman getting ready on the bed, and Bond casually slipping out of the window. I won't be long. >> [music] >> The way he's walking on that ledge, as if he's just doing some everyday chore, looking the business as he's adjusting his cuffs, the way he effortlessly puts the silencer on his gun. He walks around like he's just checking an email on his phone or something. But then, the building collapse, the foot chase with Sciarra, and the spectacle of the Day of the Dead. The amount of extras it must have taken to film this sequence is mind-blowing. And then the climax with that well-choreographed fight aboard of the helicopter, doing insane stunt work that genuinely looks dangerous, all set above this huge crowd. It's such an heart-achingly well-made pre-title sequence that I've held in high regard ever since first seeing this. You're late, double-0 7. I had to stop in the bathroom. Speaking of pre-title sequences I have always held in high regard, GoldenEye immediately takes your breath away by throwing one of the most impressive stunts at you straight out of the gate. That bungee jump isn't just memorable, it's iconic. It's one of the most defining [music] stunt moments in all of Bond. People sometimes point out how Brosnan's first reveal of hanging upside down in that toilet stall isn't exactly >> [music] >> the strongest way to introduce a new Bond actor, but have you seen all the shots of him straight after? You see him standing like this and you think, "That's James Bond. That's my dude." Tell me he doesn't look like the coolest guy here. Then the rendezvous with 006 and the teamwork [music] they pull off together. It's so cool to see on screen. Never before did we see two 00s work together in a mission in this professional way yet. Before we jump outside, there is also another moment that always puts a smile on my face. The quietness and awkwardness behind this shot is so funny, yet tense. And then Bond makes the brilliant escape outsmarting the entire platoon of soldiers. Yes, now we all point out how it's inconsistent to first have Bond jump down from a dam, go down even further into the facility, [music] and then somehow end up on top of a mountain in a completely different area. But looking through this through the wonderful piece of nonsense lens again, you're way too entertained to let that bother you. The jump from the cliff on the bike is cool and while the blue screen that comes after that definitely is a bit distracting and hokey, it does make for a solid punctuation and an awesome [music] way to kick off the '90s Bond. >> 007, [music] are you all right? Just changing carriages. Between the two Sam Mendes Bond films, I used to think Spectre had the better pre-title sequence, but having recently watched them again back-to-back, I think Skyfall has a slight upper hand actually and is just that little bit more special. They both feature brilliant openings. Skyfall features a gorgeously shot string of action that just keeps on moving through Istanbul and its outskirts. We follow Bond and Eve through the streets in a car chase, a shootout, a bike chase that still features some of the best-looking shots in all of Bond over the rooftops at the Grand Bazaar, amazing stunt work that eventually moves Bond and Patrice on top of the train where a fast-paced fight scene takes place. Also, the way Bond and Moneypenny are in close contact with MI6 throughout the entire sequence felt very fresh and wasn't exactly something we had ever seen before in Bond. It gave the scene an extra dimension and they also utilized it well for some humor. What was that? BW Beasly. I think. And then moving the action along from the train to the crane, it just never lets go of its momentum and keeps you on the edge of your seat. And it doesn't get more Bondian than that cuff adjustment where he's changing carriages. The climax of the scene hits a high note with Eve hesitating to take the shot, informing MI6 the shot is not clean, and then M taking the call. >> Take the bloody shot. And then, silence. The audience gasps. Bond has just been hit and it's definitely the best out of all the openings that try to trick you into Bond getting killed within the first minutes. Sam Mendes truly succeeded in updating his Bond film as well and giving it an entirely new feel while still feeling like a Bond film. It's an amazing opening. Filthy habit. Tomorrow Never Dies just has that pre-title sequence that feels both modern day and classic at the same time. It's one of those openings that just throws together all the ingredients needed for an exhilarating start to a Bond film. The premise is super simple. Bond is at an illegal arms bazaar and the Navy orders it to be destroyed. But then the stakes are raised through the revelation that there are nuclear weapons present and it gets even more nerve-racking when they find out they can no longer abort the missile as it's out of range. >> [music] >> It's a wonderful race against the clock element that the franchise always manages to utilize successfully and is done so well with this opening. Brosnan looks confident and cool as ever and you know he's going to pull it off. You just want to see how. Then taking that fighter jet, escaping the impact of the missile in the very last instant. Then the dog fight. I mean it's nearly 30 years later and man does all of this stuff just hold up so well. And the movie also manages to achieve to give you that smile with its brilliant payoff. Backseat driver. White knight to White Rook. I've evacuated the area. Ask the Admiral where he'd like his bombs delivered. You just go into this movie thinking, "My man." Again, this is why we are Bond fans. There's something I need to tell you. I bet there is. No Time to Die is yet another example of heavily critiqued Bond films featuring an absolute stellar opening. Also currently the record holder for having the longest pre-title sequence, but it never drags and manages to keep your attention. The opening chapter with Safin visiting Madeleine's childhood home is easily one of the creepiest sequences the Bond series has ever produced. It leans fully into tension and atmosphere, and the casting of the young Madeleine is so spot-on. She's uncannily believable as a younger version of Léa Seydoux. And in just a few minutes, we're confirmed with layers of trauma, the loss of her mother, the intrusion of a silent masked killer, the desperate act of self-defense, and the terrifying moment under the ice. None of this is incidental. It all echoes throughout the film. But, it's all the stuff featured in Matera that I think makes this opening so powerful. Craig and Seydoux managed to convince me of their love within the opening of No Time to Die more than the entirety of Spectre ever managed to do for [music] me. There's more baggage behind her character now, and both her past and Bond's past comes into play, and I feel their chemistry is just stronger this time around. That moment of Bond visiting Vesper's grave still is a welcome sudden callback that I wasn't expecting. A moment I found to be emotionally powerful after all this time. And I certainly wasn't expecting the Spectre booby trap after that either. All the action that follows is just so well done. Bond escaping the Spectre goons, the jump from the large bridge, and then later followed by the bike jump, and then having the DB5 in the opening. The DB5 has been in more Bond films than Roger Moore appeared in them by now. But, if I have to name the film that utilized the DB5 the best, I'd say it's No Time to Die for me. The chase scene is superb, and while the car is definitely overused at this point, they still manage to give it a new angle through never-before-seen gadgets. That moment Bond presses the badass button and pulls out the Gatling guns with that spin is just the coolest. And again, it's one of those moments that just puts that smile on your face that you want to have with the opening of a Bond film. But, it also manages to go a little deeper than that. Bond and Madeleine torn apart, manipulated through Spectre, and separated under heartfelt circumstances with her reaching to her belly, foreshadowing her pregnancy. It's a densely packed, expertly crafted pre-title sequence. But, James, I need you. So does England. If you were to ask any Bond fan to name the most iconic pre-title sequence, they would answer with The Spy Who Loved Me. It's the opening that for many fans [music] instantly comes to mind when you say the words James Bond pre-title sequence. Goldfinger may have set the standard of allowing a pre-title sequence to be a wonderful appetizer for the film, but it was from The Spy Who Loved Me onwards that a standard was set that Bond pre-title sequences needed to be action-packed and it hits all the boxes. Setting the plot in motion of the nuclear submarine being stolen, the fun transition to Bond who of course is with a lady and only Roger Bond could get a message printed from a digital watch, then throw on a striking yellow ski suit and still look this cool. Then the marvelous ski chase, that unique Bond 77 soundtrack of Marvin Hamlisch bursting out and it's just timelessly cool. >> [music] >> And then comes the moment, Bond skis off the cliff, absolute silence, you're holding your breath. That pause is everything and then the parachute opens, revealing the Union Jack. It's a moment so perfectly timed, so audaciously confident, it's one of the most glorious moments in all of Bond. This was the franchise taking a literal leap of faith and brought Bond back to being an indestructible cinematic icon. For sheer impact, confidence and legacy, The Spy Who Loved Me's pre-title sequence is untouchable and objectively should have maybe deserved the top spot, but for me, there's just one pre-title sequence that impacted me even more as a child and is still as exhilarating as an adult. >> [music] >> Stop! Stop! You didn't finish. Go! >> [music] >> And yes, you are probably able to deduce that The World Is Not Enough has the ultimate pre-title sequence to me. I can't begin to explain how this opening blew me away as a 9-year-old when this film released, but even now, in my mid-30s, it's still an exhilarating Bond opening >> [music] >> that simply has all I'm looking for as the ultimate appetizer to a Bond film. [music] Yes, I am aware that director Michael Apted originally intended the pre-title sequence to end after the Bilbao sequence, and he made the right call in bringing the Thames chase forward before the opening titles as the real opening of the film. It's Bond chasing down a cigar girl in that fast-paced Q-boat, launching himself into the action from the MI6 building, that truly gets your blood pumped up. I look at this today, and I don't just feel nostalgia for liking this scene so much as [music] a child, I still think, "Yeah, man, this sequence is awesome." The sheer speed of that boat, the sound it makes, the shooting that ensues. It's hard to explain what makes me place this over The Spy Who Loved Me's pre-title sequence, but it largely comes down to the feeling it gives me. Both openings exhilarate, but here you can see that Brosnan is not just sitting in front of some back projection. He put in the hours and genuinely sped across that river. We always like to credit Dalton for getting engaged with the action, but look at Brosnan go here. It does so much to the believability of this sequence. That's really him getting splashed by the Thames water. There's humor in there with Bond splashing the traffic wardens. There's badass moments in there through the stunt work and the soundtrack and there's the combination of both like with this moment. >> [music] >> I mean, come on. This is what it's all about and believe me when I say I carefully contemplated this ranking. Had to look at myself in the mirror, but yes, I truly came to the conclusion that The World Is Not Enough has the pre-title sequence that was my favorite as a kid, but actually still is the one that simply exhilarates me the most. It has to be my favorite opening to any Bond film. But that of course is my opinion. What is yours? Feel free to share your thoughts on this video in the comments section below and share your own rankings of the pre-title sequences. It would help tremendously if you could drop me a like and subscribe if you haven't already. And if you're a die-hard fan of the channel, check out the Patreon page if you're interested in supporting my channel. I would like to thank you for sitting through an hour of hearing me gush about all these Bond openings. See you guys in the next video. >> [music] [music]