With Casino Royale out on DVD this week, our two bloggers have come up with their own personal Top Ten Bond Films lists and it has already stirred up plenty of debate and controversy, so see what you think and add your own...

THE EDITOR

1. You Only Live Twice
By this stage, Sean Connery WAS Bond (the poster even said as much), and Roald Dahl's fantastic script gave him the best lines of any Bond film (including the innuendo-ridden line 'don't get soap in my eye' which Connery seems to get great delight in saying whilst being bathed by Japanese ladies). Donald Pleasance's Blofeld set the standard by which all villains are measured, and John Barry's soundtrack is simply stunning. The perfect Bond film.

2. Goldfinger
This was the film that established 007 as a global phenomenon and it's easy to see why, with so many iconic scenes and lines. How they got away with having a character called Pussy Galore remains a mystery, but pretty much everything about Goldfinger is classic, with Connery wearing Bond like a second skin and exuding charm and danger like no-one that has followed him.

3. Live And Let Die
After the fiasco with George Lazenby and Connery's slightly off-beat return in Diamonds Are Forever, the franchise needed to come back strongly with its third 007, and Roger Moore got off to a flying start with this voodoo-riddled classic. He even manages to keep that pesky eyebrow in check, and with George Martin and Paul McCartney coming up with a timeless theme song, Bong was back on track.

4. The Living Daylights
Reaction to this was muted at first, with the Bond series in trouble after Moore had gone on at least a couple of films too long, with View To A Kill being the weakest in the whole series. Timothy Dalton's portrayal was a sea change for the character, dispensing with Moore's sardonic humour and being, well, a bit grumpy. However, it works really well and a much more grounded Cold War plotline meant that this was a welcome shift in direction for Bond.

5. License To Kill
Followed by an even more dramatic shift. License To Kill is sometimes criticised for being '007 Does Die Hard' and it's a fair cop, because it's the most obvious attempt by EON to appeal to an American audience, with almost the entire film set in America and featuring a rather un-British story about drugs and vengence. It's also much more violent, ushering Bond into the modern era, and while it still gets a mixed press, it's done very well and Dalton's final performance certainly stands up.

6. Casino Royale
Daniel Craig was under so much pressure to perform here that the initial reaction was almost hysterical relief that it was so good when expectations had been lowered by so much negative press. Rather over-long and at times ponderous, Casino Royale is still a massive improvement over some of the silliness of the later Brosnan films (though they were all ok), bringing it back down to earth, though hammering the final nail into the coffin of any kind of continuity in the series...

7. From Russia With Love
A big step forward from the iconic but flawed Dr No, From Russia With Love was where Bond got his wings. With a genuinely menacing baddie in Red Grant and the sexiest Bond girl in Tatiana Romanova, this is an excellent spy film as well as a great Bond film. John Barry's score is classy, and while it gets lost a bit during the scenes in Turkey and the gypsy camp, it's easy to see why so many would put this at number one.

8. The Spy Who Loved Me
Very much along the same lines as You Only Live Twice in terms of plot, The Spy Who Loved Me is one of the most ridiculous Bond films, but also one of the most enjoyable. It introduces one of the most iconic villains, Jaws, as well as one of the most popular cars, the Lotus Esprit that goes underwater. Maybe it was a step in the wrong direction, leading to the even sillier Moonraker, but it's still a lot of fun.

9. The World Is Not Enough
Probably a controversial choice just ahead of Dr No, this film has been rather unfairly dismissed in the grand scheme of Brosnan Bonds. A return to form after the slightly iffy Tomorrow Never Dies (a media baron? come on...) and much more grounded than Die Another Day, it has a great villain in Robert Carlyle and a great vampy villain girl in Sophie Marceau, as well as Judi Dench's first really good performance as M. And a really underrated theme tune to boot.

10. The Man With The Golden Gun
Lulu's campy theme tune tends to be used as a brush to tar this whole film, with Sheriff J W Pepper's second appearance rather grating, but it's still an excellent Bond film. It's got Christopher Lee as the bad guy for crying out loud. And he's got a third nipple! And The Man With The Golden Gun also has that spiral jump car stunt. What more do you need?

THE WRITER

1. From Russia With Love
Goldfinger has the iconic set-pieces, but From Russia With Love can boast a raw edge which its sequel lacks. Connery’s on top form, bringing charm to the casual brutality he displayed in Dr No, and for the first time we’re introduced to the pussy-loving (ahem) Blofeld.

2. Goldfinger.
Magnificently mad, the third outing for 007 really should collapse under the weight of its own silliness. That it’s gone on to become the template for all future entries is testament not only to Connery’s charm but also director Guy Hamilton’s deft, Boy‘s Own sense of fun.

3. Casino Royale
Perhaps it’s a little premature to put a film which was only released five months ago this high, but Casino Royale really is that good. Eva Green was born to play a Bond girl and Daniel Craig brought a dark but compassionate edge to the character which had not been seen since Timothy Dalton. Speaking of which…

4. Licence to Kill
If Casino Royale’s success proves anything it’s that Dalton was ahead of his time. The Hot Fuzz star may only have two films to his name, but with Licence to Kill, he was given a depth entirely absent from the Moore era. The only problem is that the best line of the entire series (“he disagreed with something that ate him”), goes to the villain.

5. You Only Live Twice
Roald Dahl scripts, Connery stars and Blofeld hollows out a volcano in the final truly great Bond since Dalton donned the tux. Escapist, but still grounded with Connery’s earthy edge, it’s only scuppered slightly by some dubious political incorrectness.

6. Goldeneye
With Communism long since consigned to the history book, James Bond had to quickly find his feet in the 1990s and did so with the energetic Goldeneye. Easily Pierce Brosnan’s best film, it benefits from two cracking set-pieces (the opening bungee jump and the St Petersberg tank chase) and has fun in recasting M as a woman. Shame the other Brosnan Bonds never hit the same heights.

7. The Spy Who Loved Me.
This is where myself and The Editor differ greatly. He likes the Moore era, I loathe it, so that’s why he makes his first appearance at number 7. The Spy Who Loved Me is easily the best of the Moore era thanks mostly to the first appearance of Jaws and the best Bond girl yet in the shapely form of Barbara Bach’s Anya Amasova. Agent Triple X indeed.

8. Live and Let Die.
The second and last Moore film to appear on this list, Live and Let Die actually contains the reason I dislike most of his entries into the series. In the film’s opening, he seduces a woman in typical fashion, using a magnetic watch to unzip her dress. It’s meant to be Bond at his most suave, but thanks to Moore’s false charm it comes off more lecherous than debonair as he utters the dire words: “sheer magnetism, darling.” Despite this, and an obvious Bond goes Blaxploitation plot, the film’s enjoyable nonsense which culminates in the stupidest villain death ever. Damn those compressed-air bullets.

9. Dr No
It’s a pity that Bond’s first big screen adventure is largely overlooked these days, because it’s a cracking little spy story with plenty of mystery and intrigue. It’s also the only one that feels like an actual film, rather than a BOND FILM, with Connery and Ursula Andress sharing what so few other Bond couplings do: chemistry.

10. On Her Majesty’s Secret Service
Yes, it’s camp. Yes, George Lazenby is more wooden than a table leg. And yes, it’s got some terrible continuity errors. But OHMSS is a glorious anomaly in the Bond franchise with a neat sting in the tale. Shame it was ruined by the opening of For Your Eyes Only. Damn you Roger Moore.