Film / James Bond
From left to right and top to bottom: Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, and Daniel Craig note 

"The name's Bond. James Bond."

A long running (and certainly the best known) film franchise based on Ian Fleming's novel series about British secret agent James Bond, code-named 007. Over its decades long run, the franchise has featured six different Bonds, codified Tuxedo and Martini Spy Fiction, and ranged in tone from comedic to gritty.

Official Eon Productions Films:
  1. Dr. No (starring Sean Connery as Bond, 1962)
  2. From Russia with Love (Sean Connery, 1963)
  3. Goldfinger (Sean Connery, 1964)
  4. Thunderball (Sean Connery, 1965)
  5. You Only Live Twice (Sean Connery, 1967)
  6. On Her Majesty's Secret Service (starring George Lazenby, 1969)
  7. Diamonds Are Forever (Sean Connery, 1971)
  8. Live and Let Die (starring Roger Moore, 1973)
  9. The Man with the Golden Gun (Roger Moore, 1974)
  10. The Spy Who Loved Me (Roger Moore, 1977)
  11. Moonraker (Roger Moore, 1979)
  12. For Your Eyes Only (Roger Moore, 1981)
  13. Octopussy (Roger Moore, 1983)
  14. A View to a Kill (Roger Moore, 1985)
  15. The Living Daylights (starring Timothy Dalton, 1987)
  16. Licence to Kill (Timothy Dalton, 1989)
  17. GoldenEye (starring Pierce Brosnan, 1995)
  18. Tomorrow Never Dies (Pierce Brosnan, 1997)
  19. The World Is Not Enough (Pierce Brosnan, 1999)
  20. Die Another Day (Pierce Brosnan, 2002)
  21. Casino Royale (starring Daniel Craig, 2006)
  22. Quantum of Solace (Daniel Craig, 2008)
  23. Skyfall (Daniel Craig, 2012)
  24. Spectre (Daniel Craig, 2015)
  25. Bond 25 (Daniel Craig, 2019)

Other Films (not produced by Eon):
  • Climax!: Casino Royale (Barry Nelson, 1954) note 
  • Casino Royale (David Niven, 1967)
  • Never Say Never Again (Sean Connery, 1983)

The series has spawned legions of imitators and in many ways defined all of modern Spy Fiction, with Bond himself having become the quintessential Action Hero. In fact, many tropes featured in action films to this day can be traced back to the franchise, from the Tuxedo to the Bond One-Liner to the Cool Car.

The following tropes are best served shaken, not stirred:

  • Action Prologue: The Trope Codifier, as the series has featured dozens of openings going all the way back to the 1960s where Bond fights through a giant action set piece before the main plot is even introduced.
  • Action Girl: May Day, Pam Bouvier and Wai Lin principally. The others, despite not lacking of good moments, go more for the Faux Action Girl side, sadly.
  • Adaptation Distillation:
    • Quite a bit, as Ian Fleming was inordinately obsessed with Bond's food and drink.
    • Bond himself is a cardboard cut-out compared to the complicated, sympathetic character in the books, at least until Timothy Dalton and Pierce Brosnan came along. Daniel Craig seems to be finishing up the job nicely.
  • Adaptational Heroism: Tracy Di Vicenzo and Ali Kerim Bey are both portrayed as being far less ambiguous in the films, due to both being fairly close allies of Bond. Also, Kara Milovy, whose equivalent was the antagonist of the original short story.
  • Adapted Out: In many novels by Fleming, the villain is on the payroll of SMERSH, a (real, though actually dissolved in 1946) Soviet anti-espionage organisation that seeks to undermine Western powers at every opportunity. It wasn't until the ninth book that he introduced SPECTRE, a criminal organisation with no political ties (because he worried Soviet villains would become dated). The films either make the villains independent entrepreneurs (Goldfinger, Live and Let Die), or outright change their SMERSH allegiance to SPECTRE instead (From Russia with Love, Dr. No).
  • Agents Dating: Happens many, many, many times in the series, if you're willing to be sufficiently loose with the term "date." More details on some of the movies' pages and in the trope page.
  • The Alleged Car: The initially Cool Cars Bond is given invariably turn into this by the time that Bond is done with them, to Q's great dismay.
  • Aloof Dark-Haired Girl: The brunette Bond Girls are the ones who have a high tendency in become the Femme Fatale or/and the Defrosting Ice Queen towards Bond.
  • And Starring: The actor playing M always has the "And [name] as M" billing. He or She is usually preceded by a "With" that varies in films.
  • Anti-Hero:
    • Bond was all over the scale since his beginnings. His probably most harmless (that is, most heroic impersonation) was probably during the Moore era, and that is saying a lot. Bond has never been above killing people while they were unarmed, down, at his mercy, or with their backs turned to him (Brosnan-era Bond often even did so with a playful smirk), and had more than once been playing dirty while doing so. The films also show Bond taking pleasure in killing his opponents when it was personal for him, as seen in From Russia with Love and For Your Eyes Only.
    • Daniel Craig's Bond is probably the most stone-cold, although that seems to reflect the overall turn in direction of the films. In his first appearance ever, he casually admits to his target that his first kill was "difficult,"note  to which the target replies "The second one will be..." (presumably "easier") before Bond shoots him, and responds with no emotion whatsoever other than perhaps bemusement, "Yes, considerably." While playing word-association with a psychiatrist in Skyfall, the psychiatrist says "murder" to which Bond replies "employment." To this Bond, killing is just a job, like filing reports.
  • The Atoner: This is a thread throughout the Brosnan era. Trevelyan straight up asks Bond, "...if you find forgiveness in the arms of all those willing women for all the dead ones you failed to protect." Bond's attitude throughout Tomorrow Never Dies, The World Is Not Enough and Die Another Day (specifically his desperate attempt to resuscitate Jinx) indicates that this statement has left him pretty rattled.
  • Badass in a Nice Suit: Bond almost always wears a handsome suit.
  • Bat Scare: A few of the Disturbed Doves in the 1980s films are this (such as in For Your Eyes Only, where Bond is climbing the mountain and the doves come out of a hole). This is a trademark of director John Glen, who directed all five of the Bond films in the 80s, from For Your Eyes Only to Licence to Kill.
  • Beauty Is Never Tarnished: Both Bond and his ladies usually keep tidy despite everything they face. Exceptions for 007 are Dr. No (after he's imprisoned and beat up), Licence to Kill (he ends up covered in blood, sweat and sand), Die Another Day (after the Action Prologue, he spends 14 months being tortured and looks like Cast Away) and the first two Daniel Craig movies, since those are essentially a two-parter Darker and Edgier Continuity Reboot.
  • Billed Above the Title: The credits always pays tribute to two of the creators of the franchise first—"Albert R. Broccoli's EON Productions Limited presents followed originally by "[actor] in Ian Fleming's [title]", later expanded to " James Bond 007 in Ian Fleming's..." at the beginning of Roger Moore's tenure; this was switched around to " Ian Fleming's James Bond 007 in..." for The Spy Who Loved Me (which was not really based on the book), switched back for Moonraker, and switched around again permanently from For Your Eyes Only onwards.
  • Blonde, Brunette, Redhead: Being a Long Runner film series, there has been a Bond Girl in every hair spectrum. Dark-haired is the majority, followed by the blondes.
  • Bloodless Carnage:
    • Well, they are rated PG-13. There was a famous sequence in A View to a Kill where Christopher Walken mowed down dozens of miners with a Uzi, and they didn't even use squibs.
    • Averted in Licence to Kill.
    • In GoldenEye, Xenia dies when the chopper she's rappelling from is shot down. The result yanks her safety harness into the crotch of a tree, which ought to have torn her in half. Instead, she writhes about and dies beautifully.
    • Although, to be fair, the Daniel Craig films are VERY hard PG-13s. Cold-Blooded Torture is utilised more than once, and the lack of explicit blood doesn't stop them from being BRUTAL in their violence.
  • Blue Blood: Bond's family is strongly hinted as coming from Scottish nobility. In On Her Majesty's Secret Service, Bond's history is explored, and it's noted that he has a family crest and motto, evidence of noble standing. Skyfall drives this point home, with the title itself referring to Bond's ancestral home.
  • Bond Gun Barrel: Trope Maker, of course. Used to open all the movies prior to Daniel Craig's era (in the first, it precedes the credits; in the other two, it closes the movie instead). It finally returned to the opening for Spectre.
  • Body-Count Competition: Bond probably has the highest on-screen body count of any film character ever, counting all 24 official movies. Unsurprisingly for an action hero/government assassin, he kills at least one person in every film, and more commonly a lot of people. He has canonically killed 362 people. Roger Moore has the highest body count of the Bonds, with 121 kills. Pierce Brosnan gets the close second with 103, which is quite remarkable because he appeared 3 fewer movies than Moore and it was noted that Brosnan's Bond tended to get his hands on automatic weapons a lot.
  • Broad Strokes: Essentially the only times there was strict continuity was from 1962-1967, and again the Craig era, which was a reboot.note  Since then, it's just been getting messier. New actors, explicitly different settings and "soft" reboots are only some of the continuity problems. All fans have their own theories or lack thereof.
  • Cartwright Curse: Every girl Bond has a relationship with is gone by the next film if they aren't already dead.
  • Catch-Phrase:
    • "The Name is Bond, James Bond"
    • "Vodka martini. Shaken, not stirred."
    • Just before Q explains Bond's gadgets, he'll start with, "Now, pay attention, 007..." He usually finishes the explanation with am admonition to Bond to bring his equipment back "in pristine order" (which Bond never does). And of course there's the ever-popular "Grow up, 007."
    • The end credits for all the films from Dr. No to Octopussy have concluded with the phrase "James Bond will return in..." followed by the title of the next film. This tradition stopped with A View to a Kill, in which the end credits simply say "James Bond will return." Due to the limbo-like nature of the franchise since the 80s, all subsequent films have ended with "James Bond will return."
  • Chekhov's Armoury: The sections with Q, where the film's gadgets, weapons, and/or car are revealed and have their uses explained. Some may qualify as Chekhov's Boomerang if he uses it more than once.
  • Chickification: Strong, independent female characters from the books often appear as bimbos in the first four films (with the exception of Pussy Galore). For example, Bond's Jamaican ally Quarrel is much more of a subordinate in Dr. No, mirroring Honey Ryder's dependence on Bond for protection, and being transformed into her simply walking out of the sea, then shortly afterwards, needing sex.
  • Chronically Crashed Car: Bond destroys nearly every Cool Car Q provides him.
  • Chuck Cunningham Syndrome: For every movie you see, you can bet that you will never see the Bond girl again. From that point on they will almost never even be mentioned. The few aversions are:
    • The first-ever movie Bond Girl Sylvia Trench. After Dr. No, she's there again early in From Russia with Love. After that, though, she's never heard from again.
    • Tracy Di Vicenzo gets a Call-Back from time to time, being Bond's legal wife and apparent greatest love in the original continuiry.
    • Vesper Lynd, featured in Casino Royale (2006), remains plot-relevant in Quantum of Solace.
    • Maud Adams, the actress who plays the secondary Bond Girl in The Man with the Golden Gun, went on to play the primary Bond Girl in Octopussy, but they are distinctly different characters, and no reference to the actress' first appearance is made in the second.
    • "Eve" (Naomie Harris) plays the role of "Bond Girl" for the majority of Skyfall, and only at the end is it revealed that she is Moneypenny.
    • Non-Bond Girl examples:
      • Jack Wade is seen in the first two Brosnan films and isn't mentioned afterwards. He was most likely a replacement for:
      • Felix Leiter, who is last seen (not counting his reboot appearances in the recent films) in Licence to Kill. Though it can be assumed he was forced into retirement after being dismembered by a shark. His newlywed wife wasn't so lucky.
    • The books averted this. Each previous adventure was referenced in the next book and previous Bond girls were also referenced as well.
  • Chummy Commies: In one of the series' ultimate ironies, Bond, one of the prototypical Cold War Warriors, teams up with the USSR in an Enemy Mine situation more often than working directly against them. In fact, For Your Eyes Only and the pre-titles of GoldenEye are the only times in the entire series where the USSR is outright antagonistic, and not a fellow Unwitting Pawn that 007 must make a hasty alliance with in order to save the world. In both The Spy Who Loved Me (USSR) and Tomorrow Never Dies (China), he even works together with a female communist agent to save the day.
  • Clothes Make the Legend: James will wear a tuxedo at some point in each movie. (The gun barrel doesn't count.) The only times where it is averted are in You Only Live Twice and in Live and Let Die, the latter where Roger Moore isn't seen in a tuxedo at all (except for the gun barrel sequence, that is) to fill on the gritty look the producers wanted on Moore's debut.
  • Cool Car: Varies from film to film, but you can usually count on at least one per film. The Aston Martin DB5 is crtainly the most memorable. Introduced in Goldfinger and brought back for a cameo in Thunderball, the car was later featured in both the Brosnan and Craig films, with it playing a major role in Skyfall.
  • Corrupt Hick: The first two Roger Moore films feature the same racist sheriff from Louisiana—even though the second film takes place in Thailand.
  • Couch Gag: Between the 1960s and the early 1980s, it was standard for the film to end with some variation of the on-screen message "James Bond will return in..." and the next film title announced. On several occasions, however (following Thunderball and later following The Spy Who Loved Me) the wrong title was announced as EON decided to adapt a different book or story when the time came to actually make the next film. Octopussy also got it wrong, but only by one word. James Bond was said to return in From A View To A Kill, which was the title of a Fleming short story. However, when the movie was actually released, the From was dropped from the title.
  • Darker and Edgier: After the end of the Moore era the films have been progressively getting darker and grittier.
    • Licence to Kill is by far the darkest entry. When an Ax-Crazy South American druglord brutally maims an old friend of Bond on his wedding night and murders his bride, Bond sets out on a Roaring Rampage of Revenge which sees him (with the help of tough-as-nails Action Girl Pam Bouvier) becoming a Rogue Agent and carving through the cartel in gory fashion. It's something of a Contested Sequel as a lot of viewers were put off by the sheer violence, but it comes closest to emulating the tone of the novels.
    • Casino Royale (2006), as a Continuity Reboot, sees a return to brutal and bloody fight scenes, gritty realism, Bond being even more of an Anti-Hero than usual, and the story taking on elements of a political thriller. Skyfall gets even darker by throwing in plenty of Deconstructions, Bond's Dented Iron status, questions on his sanity and the good guys' victory over the villain being hugely pyrrhic.
  • Death by Adaptation: Several: Rene Mathis in Quantum of Solace is perhaps the most notable example. Also, Dikko in You Only Live Twice, Kronsteen in From Russia with Love, Lisl in For Your Eyes Only, Saunders, the equivalent of Sender in the short story in The Living Daylights, as well as the agent that is transformed into the villainous General Koskov for the film, who is probably executed after the events of the movie, Gettler in Casino Royale (2006). More recently, the death of M in Skyfall, as no M has ever been killed off in the books.
  • Death by Sex: Quite a lot of the women Bond sleeps with meet unfortunate ends.
  • Death Trap: Not the creator, but certainly a codifier.
  • Design Student's Orgasm:
    • Every movie title sequence.
    • And any Bond film that contains a set design credit for one Ken Adam.
  • Disposable Love Interest: Bond Girls. Some entries even have more than one of them.
  • Disposable Woman: Bond's enemies kill Tracy, Paris Carver and all women with whom Daniel Craig sleeps before Spectre—Vesper, Fields, and Severine; in the latter's case, it's a deconstruction.
  • Distressed Dude: For a badass secret agent, Bond sure ends up in sticky situations a lot.
  • Dirt Forcefield: Both Bond and his ladies usually keep tidy despite everything they face. Exceptions for 007 are Dr. No (after he's imprisoned and beat up), Licence to Kill (he ends up covered in blood, sweat and sand), Die Another Day (after the Action Prologue, he spends 14 months being tortured and looks like Cast Away) and the first two Daniel Craig movies, since those are essentially a two-parter Darker and Edgier Continuity Reboot.
  • The Don: On Her Majesty's Secret Service has Marc-Ange Draco, head of the Union Corse.
  • Early Installment Weirdness:
    • Dr. No lacks many of the trademarks that the franchise is known for. A Cold Open, the Cool Car, gadgets and many others are all absent. Dr. No also contains the infamous scene where Bond murders Professor Dent; even Fleming never had Bond act so cold-bloodedly in the books, and for all intents and purposes Bond wouldn't act this way again until 2006's Casino Royale (2006), which was, like Dr. No, the start of a new continuity.
    • Could be said of the early ones in general, due to the fact that the series spans 50 years, for those younger viewers. Bond is very much a man of his time, and the early Connery's being rooted in Rat Pack culture, must seem odd for those who grew up with Brosnan.
    • In retrospect, Live and Let Die and The Man with the Golden Gun could be this with the Moore era. The comedic elements that peppered Moore's run are there, but the writers at the time seemed indecisive about whether or not to make the series more humorous or playing them like the earlier films.
  • Everyone Loves Blondes: The blonde Bond Girls are usually the ones who are eager to hop on bed with Bond, sometimes more so than Bond himself.
  • Evolving Music: The iconic theme tune has changed over the years.
  • Expository Theme Tune: Most of the films' opening sequences comes with plot-relevant music (typically to go with the silhouettes foreshadowing the plot).
  • Famous-Named Foreigner: The KGB Chief is called Gogol, and his sucessor's name is Pushkin.
  • Fatal Flaw: Many of the Big Bads in the franchise have remarked upon 007's fatal weakness for women, and they exploit it against him to varying degrees.
  • Fiery Redhead: The redheaded Bond Girls have a tendency to be quite feisty.
  • Getting Crap Past the Radar: The films from The '70s feature silhouetted nude women with visible nipples and pubic hair in the opening credits, none of which was pixellated or black-barred out when broadcast on network TV.
  • Girl of the Week: Or, in Bond's case, more a Girl of the Movie — though some movies have two, often one good and one evil.
  • Go-Karting with Bowser: The various villains inevitably have Bond over for dinner or cards.
  • Graying Morality:
    • Dr. No and From Russia with Love are actually pretty grey movies; it becomes lighter with Goldfinger, but has light and dark moments throughout. The series is more cyclical as far as this trope goes—it starts off grey, but then becomes progressively more outlandish and lighthearted, before going becoming Darker and Edgier again.
    • The Craig reboot seems to have started out grey.
  • Greater-Scope Villain:
    • With the exception of Goldfinger, SPECTRE and its leader Ernst Stavro Blofeld in the first handful of films. Blofeld is also the overall villain in the Daniel Craig era.
    • Quantum has been this during two of Craig's films. In Spectre, it's later revealed that Quantum was actually a faction of SPECTRE.
    • The Soviet Union may also count in some of movies there (For Your Eyes Only and A View to a Kill for instance). Much more so in the original novels (for example in the Casino Royale novel, Le Chiffre is backed by the USSR).
  • Heel–Face Turn: Often happens with Dragons.
  • Hellish Copter: Every movie but the first has a scene with a helicopter. Most times used against Bond, and going down in an spectacular fashion.
  • Heroes Want Redheads: Though only three of them, one of which Bond had killed.
  • Iconic Outfit: The tuxedo. Indeed, actors who are contracted to play Bond are forbidden to wear tuxedos in other movies.
  • Iconic Sequel Character: Arguably, "Q," since this character was referred to as "Major Boothroyd" in the first film, and was not played by the instantly recognizable Desmond Llewlyn until the second film, From Russia with Love. Definitely in the books, where this character does not come up until the sixth book.
  • Incredibly Long Note: The title themes tend to end in a suitably epic fashion. Especially Shirley Bassey's songs, and of course, Tom Jones fainted on the last note of Thunderball.
  • In Love with the Gangster's Girl: Many of the Bond Girls start out as the girlfriend/wife/mistress of the Big Bad or The Dragon. Unfortunately for them, this often results in the Big Bad deciding to Murder the Hypotenuse.
  • Innocent Fanservice Girl: A few here and there—although most of the ladies are pretty shameless and like to showcase their fan service.
  • It May Help You on Your Quest: The most useless-seeming gadget Bond is supplied with is usually the one that saves his life.
  • Jerkass: Sure, he's a hero and he saved the world on numerous occasions, but Bond is an asshole. Just how much is subject to change with every actor. Good thing the villains tend to be even bigger Jerkasses.
  • Just Between You and Me: Probably better named "Before I Kill You, Mister Bond...". Actually averted in nearly every movie- Bond almost always figures the gist of the plan on his own, and what the Big Bad tells him is usually more like a Motive Rant, explaining the profit in their otherwise senseless act of mass murder or seemingly mundane criminal enterprise that Bond was trying to stop anyway. Goldfinger is the only movie that comes close to playing this straight, and it actually zigs-zags it a lot anyway, starting with Bond overhearing the villain explaining his plan to somebody else, and not even telling them the real plan anyway (partly by being interrupted) as well as murdering them afterwards. Sort-of played straight when Bond confronts him with apparent holes in his scheme and Goldfinger tells him he didn't get the whole plan, then confirms Bond's alternate theory- its still possible Bond had an inkling of what was really going on anyway, and would have / had figured out the real scheme, and was just manipulating Goldfinger into confirming his suspicions.
  • Lantern Jaw of Justice: While all of the actors who play Bond have fairly impressive jawlines, George Lazenby's chin is the most exaggerated.
  • Large Ham:
  • Laser Cutter: May have codified the laser cutter portable gadget.
  • Latex Perfection: The Teaser of From Russia with Love. Subverted in Live and Let Die, which has a perfectly realistic example.
  • Licensed Pinball Tables: Two of them — James Bond 007, which was based on The Spy Who Loved Me (somewhat), and GoldenEye.
  • Lighter and Softer: Moore's tenure was decidedly less graphic, at least until his last movie (which he hated). The actor fought against a scene in For Your Eyes Only where Bond boots a henchmen's car off of a cliff, but it was included anyway. Tellingly, in the opening gun barrel scene, Moore's gun has no muzzle flare. Ironically, however, Moore's Bond personally (and occasionally cold-bloodedly—see Stromberg) personally killed virtually all the villains he encountered (Kristatos being an exception). Connery's Bond killed only Dr. No—everyone else either got away (including Blofeld) or the Bond girl did the nasty work.
  • Loving a Shadow: Most if not all of Bond's romances could be seen as this on the part of the ladies, with a few exceptions (Tracy, Paris Carver, Vesper...).
  • Made of Explodium: Seen throughout the whole series, but particularly evident during the Brosnan era, when any vehicle that impacts with anything else will explode. Except for the vehicle Bond is driving at the moment, of course.
  • The Magic Poker Equation: Very often, usually in baccarat, when Bond has a ridiculously high probability of getting 9 at any key point. Taken Up to Eleven in the final poker hand in Casino Royale (2006), when the four remaining players show an ace-high flush, a full house, a better full house (Le Chiffre), and a straight flush (Bond).
  • Married to the Job: James' work ethic is a combination of this, being addicted to the thrill, and genuine loyalty to MI-6/England as a subtitute parental figure.
  • Metallicar Syndrome: James Bond's Aston Martin DB5 could rotate the license plates to choose between 3 different versions to distract the villains. Even as the 1960s lacked computer databases of cars, even a thick-headed villain might have understood there couldn't have been too many silver Aston Martins in a given town, leave alone in the relative poverty of most European countries at that time. A real London-based spy in 1964 probably would've driven a gray Morris Minor.
  • Minor Crime Reveals Major Plot: The plot always starts with something minor.
  • Moment Killer: Bond's final romantic clinch with the Bond Girl is often interrupted by either the bad guy or his henchman seeking a last bit of revenge, or by his superiors either trying to make sure he's still alive or pass on the hearty congratulations of some high-ranking official for saving the world again.
  • Mood Whiplash: Very much so in the Brosnan era, but present in the Connery and Moore films too. There's a bit of it in Skyfall too, especially at the end.
  • Mr. Fanservice: Bond himself—comes with being a Sex God.
  • Ms. Fanservice: Multiple examples across every film.
  • No, Mr. Bond, I Expect You to Dine: The Trope Namer. Although it's more prevalent in the earlier films than the new ones.
  • Non-Indicative First Episode:
    • Dr. No lacks many of the trademarks that the franchise is known for. A Cold Open, the Cool Car, gadgets and many others are all absent. Dr. No also contains the infamous scene where Bond murders Professor Dent; even Fleming never had Bond act so cold-bloodedly in the books, and for all intents and purposes Bond wouldn't act this way again until 2006's Casino Royale (2006), which was, like Dr. No, the start of a new continuity.
    • In retrospect, Live and Let Die and The Man with the Golden Gun could be this with the Moore era. The comedic elements that peppered Moore's run are there, but the writers at the time seemed indecisive about whether or not to make the series more humorous or playing them like the earlier films.
  • Non-Violent Initial Confrontation: Common throughout the franchise. Given that espionage involves obfuscation of identity so often, this only stands to reason.
  • One-Man Army: All of the Bonds are this to a certain extent, but Brosnan's takes the cake because he has the highest body count on average per movie.
  • Paid Harem: One of the perks of being a Bond Villain.
  • Plot Tailored to the Party: Gadget variation.
  • Porn Names:
    • Quite popular among the Bond Girls. One of them was named Pussy Galore for heaven's sake, which—despite debuting fifty years ago—is still something you might not be able to get away with saying on network television.
    • Almost as blatant: Dr. Holly Goodhead. Also Xenia Onatopp (say it out loud) who kills with sex.
    • Lampshaded in Casino Royale (2006) when Bond makes up a porn-sounding alias for Vesper, "Stephanie Broadchest" (let's just say that it was very accurate), much to her annoyance.
  • The Pornomancer: Bond. It's one of his defining traits. The Dalton and Craig eras, being Darker and Edgier, play with it. Bond practically has to be dragged into bed in the teaser for The Living Daylights, and stays monogamous throughout that movie and more-or-less so in Licence to Kill. In the Craig era, he actually doesn't sleep with or even romance the main Bond girl of Quantum of Solace, a first for the franchise.
  • Pretty in Mink
  • Product Placement: A lot. It has been joked that Bond has a License To Shill.
    • Became an issue with Licence to Kill, to the extent that the makers were forced to include the American Surgeon General's warning against smoking into the closing credits due to its use of a recognizable cigarette brand in one scene, yet the visible presence of a Players Tobacco poster in Die Another Day—intended to be a Shout-Out to something from the original Thunderball novel—garnered no such concern.
    • Some critics referred to Die Another Day as 'Buy Another Day', which is why product placement was toned down for Casino Royale.
    • Despite the above-mentioned toning down for Casino Royale, much mileage was given to a scene in the film where Bond goes looking for security camera footage that plays out as an ad for Sony DVDs. (Funnily enough, this was made while the "LaserDisc vs. DVD" war was still waging.)
    • There was outrage when Heineken got product placement in Skyfall, because everyone knows Bond only drinks vodka martinis. The cosmic irony is that, while rooted in a few such drinks making appearances in the novels, the association of Bond with vodka largely comes from the product placement of a vodka company in the 1960s.
    • Even Bond's Weapon of Choice isn't immune to this. Walther is a big endorser of the films and, on two occasions, Bond's PPK is swapped out for the latest pistol Walther is trying to advertise.
  • Protagonist Title: None of the film thus far have used "James Bond" as part of their titles, but the franchise as a whole is refered to as the James Bond franchise. In some countries, the titles of the films are preceded by Bond's code number, 007.
  • Recurring Character:
    • Q, M, Moneypenny and Felix Leiter are the ones who appear the most. (Though it should be noted that M and Q are titles passed around between different individuals over time.)
    • Blofeld, about a fair bit, on the other side of the fence, until Roger Moore dropped the former down a smokestack before the opening credits in For Your Eyes Only. However, since the copyright issue about Blofeld has been settled with MGM getting the full use of the character again, it's more than likely he and SPECTRE will be back to challenge Bond again. As of recent events, SPECTRE is back.
    • The Q played by Desmond Llewellyn is in more Bond films than any other character save Bond himself. If one ascribes to the Bond-as-reused-code-name theory, he shows up more than any of the agents!
  • Recurring Extra:
    • In the Roger Moore films The Spy Who Loved Me, Moonraker and For Your Eyes Only, the man who keeps seeing Bond do crazy stuff in Italy, probably without ever realising it is the same man (emerging from the sea in his car-sub; driving around the streets of Venice in his land-gondola; and escaping from armed assassins on skis in the Italian alps, respectively). In each case he is drinking and in the first two, finds what he's seeing so bizarre that he seems to wonder if he's been drinking too much (though not enough to stop, evidently). Played by Victor Tourjansky, who was the assistant director for these Italy-set scenes in all three films.
    • Producer Michael G. Wilson, Albert Broccoli's adopted son, has several cameos as various different characters, mostly extras or single-scene appearances; in Tomorrow Never Dies, for instance, he's the one Carver tells to blackmail the President. Wilson's first cameo was way back in Goldfinger, and he has since become the Alfred Hitchcock of the series, with his walk-ons considered part of the tradition.
  • Red Right Hand: Frequently.
  • Revisiting the Roots: Looks to be the case with the franchise as of Skyfall: besides the reintroduction of Q, by the end of the film, MI-6 has moved into the Universal Exports offices from the older films, Moneypenny is reintroduced and there's a new (male) M.
  • Storming the Castle: Bond's preferred method of dispatching his enemies.
  • Strictly Formula: To the point that when it was decided to bring Roald Dahl to add an original plot in You Only Live Twice to solve the lack thereof in the novel, the producers allowed him to do so only if he made sure to follow a few trends and include a few elements set by the other movies. Although there are a few variations, a James Bond movie usually goes something like this:
    • The Bond Gun Barrel; a stylized gun barrel tracks Bond (usually wearing a tuxedo, in later films at least) across the screen from right to left until he reaches the centre of the screen, at which point he spins around and shoots at the camera. The gun barrel slowly shifts from full colour to a red filter that gradually covers the screen from the top downwards (as if the person holding the gun has been shot and is bleeding out), at which point we segue to:
    • An Action Prologue, often involving either Bond in action on a mission. Said mission may or may not have some connection, even if tangential, to the main plot of the movie or something which establishes the main villain's plot (this is more common in later Bond movies than earlier ones). Once that's out the way and something's blown up, we go to...
    • The Opening Credits, often highly stylized and abstract, set to a catchy theme song by a major recording artist. Frequent motifs involve guns, beautiful women writhing about in (semi-)undress, playing cards and martinis, something thematically linked to the villain's plot or theme (lots of gold for Goldfinger or oil to reflect the villain's oil-based plot in The World Is Not Enough, for example) and Bond himself.
    • A scene/series of scenes where Bond flirts with Moneypenny, receives his assignment from M, and receives his gadgets from Q.
    • Bond arrives in his first exotic location (often driving his current car), meets a contact, crosses paths with the Bond Girl (or one of them if there's more than one), and begins to seek out the bad guy. He usually doesn't do so very subtly, allowing the bad guy's henchmen to pick up on him, which leads often to...
    • A fight with some henchmen. Bond may encounter The Dragon at this point.
    • Bond meets the 'main' Bond Girl. If they've already met, or if there's more than one, this is when it's made clear who Bond is going to end up with at the end of the movie.
    • The bad guy may become aware of Bond's presence around this point if he's not already. They meet and exchange veiled threats, after which...
    • Bond's contact is killed, and / or Bond and the Bond Girl are attacked or captured. They may be put in some kind of 'inescapable' Death Trap. If so, they escape, which in turn leads to...
    • A Chase Scene in an exotic location. This often shows off Bond's flashy car in some way. Once Bond has shaken / killed his pursuers, he now has to...
    • Find and infiltrate the villain's headquarters, often a Supervillain Lair of some description, in another exotic location. This generally leads to a battle with the bad guy's forces; Bond will kill plenty of Mooks, but he and the Bond Girl will be captured, leading to...
    • A confrontation with the bad guy, during which the bad guy will reveal the plot. After which, Bond is put into another 'inescapable' Death Trap and left to his 'assured' doom by the bad guy. Naturally...
    • Bond escapes, rescues the Bond Girl, and begins to sabotage the bad guy's base with her help, leading to...
    • The Final Battle. Reinforcements may be called in, but it will almost certainly end with Bond confronting the bad guy face to face. Spoilers: the bad guy ends up dead, at which point...
    • The bad guy's lair blows up. Bond and the Bond Girl just make it out, usually with the help of The Cavalry. If s/he hasn't already been dealt with, Bond dispatches The Dragon around this point. Finally...
    • Bond and the Bond Girl have a final romantic moment (Oh, James...). Simultaneously, Bond's superiors may be trying to contact him either to make sure he's still alive or to pass on the hearty congratulations of some high-ranking official. This may or may not result in an inadvertent cock-blocking of the final romantic moment.
    • End Credits. Usually set to the same pop song as the main credits. If it's different, then it'll be another catchy song but one which is often slower and more mellow than the main theme. By the end of the credits, we will usually be reassured that James Bond Will Return.
  • Supervillain Lair:
    • Most films feature one, the best of which, like the volcano rocket base in You Only Live Twice, were designed by legendary production designer Ken Adam.
    • On The Spy Who Loved Me DVD commentary around the time Bond and XXX are brought before Stromberg aboard his supertanker, there's a funny exchange between screenwriter Christopher Wood and director Lewis Gilbert. Wood wonders how anybody could build these great villains lairs without anyone noticing. Gilbert asks what about the huge staff and army the bad guy always seems to have. Does anybody write the next of kin whenever one of them gets killed? (The latter is lampshaded in the first Austin Powers movie.)
    • It was also lampshaded in a Saturday Night Live sketch where an interviewer talked with Blofeld, Goldfinger and Largo. For example, they mention how contractors tended to jack up the price of gadgets (like electric chairs) when they find out a Bond villain is the customer.
    • Averted in Skyfall where the villain just straight up stole an island, which was left in major disrepair after being abandoned decades ago when the population evacuated in a mistaken chemical accident scare.
    • Ironically, The Spy Who Loved Me actually does feature a moment where Stromberg, having whacked two henchmen he doesn't need anymore, orders a letter to be written to their next of kin explaining that they've been killed. Being a bit of a dick, he uses the opportunity to throw in a Post-Mortem One-Liner at their expense:
      Stromberg: [After blowing them up in a helicopter above the ocean] Tell their next of kin that they were killed in an unfortunate accident. The burial was at sea.
  • Tall, Dark, and Handsome: All but Daniel Craig has dark hair and stands 6 feet and above.
  • Technology Porn: Any scene in Q's workshop where he demonstrates his latest gadget for Bond to use on his next mission. A great example is in Goldfinger where he shows 007 his new Aston Martin DB5 with all kinds of hidden weapons and features.

The End... but James Bond will return...