Sean Connery 6-Film James Bond Collection — 4K UHD review

The man who originated the role of James Bond gets an essential Sean Connery 6-Film James Bond Collection 4K UHD all his own.

The Production: 5/5

“Bond, James Bond.” With those three words in 1962’s Dr. No, actor Sean Connery cemented his place in cinema history and launched a film franchise which has endured for more than six decades, with multiple men inhabiting the role over time and substantial upgrades in the sophistication of both filmmaking technology and narrative storytelling.

Derived from author Ian Fleming’s series of Bond novels, and anchored on screen by a thrilling mixture of gadgets, girls and glamourous locations, the Bond films have enthralled generations, even if some elements of the series have aged far better than others (boys-will-be-boys misogyny of the 1960s looks positively predatory in the 21^st century, for example).

Still, anticipation was high for this six-disc set, which encompasses the entirety of Connery’s time in the role, stretched over about a decade and six films’ worth of adventures. I’ll dive into more specifics about each film below, but at a high level, I will simply say it’s wonderful to have these seminal works of spy cinema looking and sounding better than ever — a set guaranteed to leave Bond fans both shaken and stirred.

Dr. No (1962)
The opening gambit in the Bond series is based on Fleming’s 1958 novel, and of all the Bond films, feels the most threadbare. Set in Jamaica, Dr. No introduces audiences to suave British Secret Service agent James Bond (Connery), dispatched to handle his first mission for MI-6, the mysterious disappearance of fellow British agent Strangways.

In searching for the missing Strangways, Bond crosses paths with the titular Dr. No (Joseph Wiseman), a fiendish scientist bent on using a powerful weapon to wreak havoc on the American space program from afar. Teaming up with inaugural Bond girl Honey Ryder (Ursula Andress), Bond must outwit Dr. No and his diabolical plan. Feeling almost like a low-budget indie compared with subsequent entries, Dr. No still ticks all the expected boxes of a Bond film, and established Connery as a global superstar.

From Russia with Love (1963)
This sequel, which opened in the United Kingdom a year to the day after Dr. No, pulls from Fleming’s 1957 novel, and follows Bond as he works to track down an encryption device known as a “Lektor,” which has been stolen by the Russians. Cold War intrigue abounds as Bond seeks out the Russian operative Tatiana (Daniela Bianchi), who claims to have the Lektor and wishes to defect.

Bond soon finds himself enmeshed in a trap set by the sinister SPECTRE organization, as its leader, Ernst Stavro Blofeld (Anthony Dawson), lures the secret agent into an ever-more dangerous series of traps, including a brutal fistfight on a train versus an assassin (a menacing Robert Shaw). Terence Young returned as a director, working from a screenplay by Richard Maibaum, and deftly wove together the familiar strands of espionage, romance and pulse-pounding action, establishing the series as capable of going a little grittier, if so desired.

Goldfinger (1964)
Director Guy Hamilton took over for the third, and arguably most beloved, installment of the James Bond franchise, delivering this film in even less time: Goldfinger premiered in the United Kingdom 11 months after From Russia with Love. That speed didn’t diminish the final product, as it’s widely considered top-tier Bond (that Shirley Bassey title tune!). On holiday in Miami, Bond crosses paths with the wealthy businessman Auric Goldfinger (Gert Frobe), whom MI-6 suspects of smuggling gold.

Bond soon learns of his adversary’s plan to irradiate the supply of gold in Fort Knox, rendering America’s stockpile useless and his own reserves more valuable. Facing off against Goldfinger and his murderous lackeys Pussy Galore (Honor Blackman) and Oddjob (Harold Sakata), Bond must dodge lasers and serrated bowler hats to save the day. Hamilton’s fine grasp of dry quips, beautiful women and kinetic action makes Goldfinger an ageless wonder.

Thunderball (1965)
The fourth James Bond film in as many years, Connery saddles up again as James Bond, and the series finally embraces its audacious ambitions, filming in widescreen for the first time. Working from Fleming’s 1961 novel of the same name, Thunderball drops 007 into the Bahamas, where he must chase down two nuclear warheads stolen by SPECTRE, who are holding the weapons for ransom. Bond enlists the help of frequent sidekick CIA agent Felix Leiter (Rik Van Nutter) and Domino (Claudine Auger), the mistress of SPECTRE villain Largo (Adolfo Celi) to thwart the extortionate plans.

Director Terence Young returns for his third tour of duty, working from a screenplay by Richard Maibaum and John Hopkins, and embracing what would become a hallmark of the Bond series — extraordinary, real-deal stunt work, exemplified here by extensive underwater scenes. Another fine balance of danger, intrigue and romance, Thunderball, powered by its indelible Tom Jones theme song, remains a potent entry in the series.

You Only Live Twice (1967)
From the sea to the stars — the fifth Bond film trades the depths of the Bahamian ocean for the endless expanse of space over our heads. Connery returns as 007 as he works to unravel a SPECTRE plot, spearheaded once more by Ernst Stavro Blofeld (now played by Donald Pleasence) to provoke war between nations by hijacking spacecraft. In an effort to thwart SPECTRE’s heinous plans, Bond — whose “death” early on still jolts, even if you know the outcome — enlists the help of the Japanese secret service, personified by Aki (Akiko Wakabayashi) and Kissy (Mie Hama), to help infiltrate Blofeld’s hidden base inside a dormant volcano.

Nothing less than staving off World War III are the stakes confronting Bond, who cracks wise, wields his trusty Walther PPK pistol and battles his way through SPECTRE henchmen in style. Director Lewis Gilbert takes over here — working from a Roald Dahl screenplay! — doing a fine job balancing the spectacle of the locations (Twice filmed in Spain and Japan), and Connery’s trademark mannerisms.

Diamonds Are Forever (1971)
The seventh film (and sixth overall for Connery) follows the star’s brief hiatus — George Lazenby took over for a one-and-done turn as Bond in 1969’s On Her Majesty’s Secret Service — and the well-established formula, pulling from Ian Fleming’s 1956 novel of the same name, feels a bit weary in Connery’s hands. Still, there’s a bit of life left in the spy, as he investigates a diamond smuggling ring, allied with SPECTRE and Blofeld, using its ill-gotten gains to finance dangerous weaponry. Director Guy Hamilton returns for his second film in the series, which overflows with characters (Plenty O’Toole; the athletic assassins Bambi and Thumper) and sequences (a Ford Mustang navigating an alley on two wheels) which tip over into camp.

Wit is a key ingredient throughout the Bond franchise, but the jokes here aren’t especially funny, and Connery, in particular, doesn’t seem as though he’s game for one last mission. While it’s not a memorable swan song for the actor who originated this character, Diamonds Are Forever still manages a few sparkling moments — not least of which is Shirley Bassey’s ferocious theme song.

Video: 5/5

3D Rating: NA

A brief summary before diving into more specifics about each film below: The restorations featured on this six-disc set are not the previously released Lowry Digital masters created over 20 years ago and used for prior DVD and Blu-ray releases. The six films included in this set were restored in 4K from the original camera negatives, and each was given a Dolby Vision high dynamic range (HDR) grade.

Dr. No (1962): Presented in its original theatrical aspect ratio of 1.75:1 anamorphic widescreen in 2160p resolution and sporting a Dolby Vision high dynamic range (HDR) grade, the debut Bond film looks largely magnificent. There is some softness evident in the image in various spots, but overall, the finely resolved grain, vivid colors and rich detail evident in facial features, clothing and buildings make this the definitive home video presentation. Black levels are rock solid throughout, and there is a pleasing liveliness to the image.

From Russia with Love (1963): Presented in its original theatrical aspect ratio of 1.75:1 anamorphic widescreen in 2160p resolution and sporting a Dolby Vision high dynamic range (HDR) grade, this sequel’s look befits the grimier, edgier nature of the story. That said, Love also sports finely resolved grain, vivid colors and rich detail evident in facial features, clothing and buildings, making this the definitive home video presentation. Black levels are rock solid throughout.

Goldfinger (1964): Presented in its original theatrical aspect ratio of 1.75:1 anamorphic widescreen in 2160p resolution and sporting a Dolby Vision high dynamic range (HDR) grade, this iconic film looks the best it ever has on home video. Those golden hues fairly glow every time they’re on screen, and elsewhere, the transfer’s terrific black levels, finely resolved grain, vivid colors and rich detail evident in facial features, clothing and buildings make this the definitive home video presentation.

Thunderball (1965): Presented in its original theatrical aspect ratio of 2.35:1 anamorphic widescreen in 2160p resolution and sporting a Dolby Vision high dynamic range (HDR) grade, this transfer, which is almost like watching this particular film for the first time, is where the films begin to really shine. Going widescreen allows for what seems to be even richer colors and sturdier black levels, while not losing the tightly resolved grain and fine detail evident in the other films in the set. Still, an audible “wow” escaped my lips a few times while watching Thunderball — this disc is unquestionably the best this film has ever looked at home.

You Only Live Twice (1967):  Presented in its original theatrical aspect ratio of 2.35:1 anamorphic widescreen in 2160p resolution and sporting a Dolby Vision high dynamic range (HDR) grade, the fifth film here is as strong as its counterparts, showcasing finely resolved grain, vivid colors and rich detail evident in facial features, clothing and buildings. Black levels are unimpeachable throughout this, the definitive home video presentation.

Diamonds Are Forever (1971): Presented in its original theatrical aspect ratio of 2.39:1 anamorphic widescreen in 2160p resolution and sporting a Dolby Vision high dynamic range (HDR) grade, Connery’s final outing might feel phoned in from a plot or acting perspective, but the visual presentation here is no slouch. As elsewhere, the garish Vegas setting allows for finely resolved grain, vivid colors and rich detail evident in facial features, clothing and buildings, making this the definitive home video presentation. Black levels are fantastic throughout.

Audio: 5/5

Dr. No (1962): The debut Bond film is outfitted with a Dolby Atmos soundtrack, which is most keenly felt in the score and sound effects, but does a fine, restrained job of updating a decades-old film to feel modern without sacrificing its character. The film also includes the original theatrical audio, offered in DTS-HD MA 2.0 stereo, alongside Spanish and French Dolby Digital 5.1 tracks and a Dolby Digital English Descriptive Audio track. The film favors the front channels, but there are plenty of nice surround touches throughout, and the theatrical audio sounds superb, with no discernible drop-out or distortion. Optional English, Spanish and French subtitles are included.

From Russia with Love (1963): The second Bond film is also outfitted with a Dolby Atmos soundtrack, which is most keenly felt in the score and sound effects, but does a fine, restrained job of updating the film to feel modern without sacrificing its character. The film also includes the original theatrical audio, offered in DTS-HD MA 2.0 stereo, alongside Spanish and French Dolby Digital 5.1 tracks and a Dolby Digital English Descriptive Audio track. The film favors the front channels, but there are plenty of nice surround touches throughout, and the theatrical audio sounds superb, with no discernible drop-out or distortion. Optional English, Spanish and French subtitles are included.

Goldfinger (1964): The third Bond film is also outfitted with a Dolby Atmos soundtrack, which is most keenly felt in the score and sound effects, but does a fine, restrained job of updating the film to feel modern without sacrificing its character. The film also includes the original theatrical audio, offered in DTS-HD MA 2.0 stereo, alongside Spanish and French Dolby Digital 5.1 tracks and a Dolby Digital English Descriptive Audio track. The film favors the front channels, but there are plenty of nice surround touches throughout, and the theatrical audio sounds superb, with no discernible drop-out or distortion. Optional English, Spanish and French subtitles are included.

Thunderball (1965): The fourth Bond film is also outfitted with a Dolby Atmos soundtrack, which is most keenly felt in the score and sound effects, but does a fine, restrained job of updating the film to feel modern without sacrificing its character. The film also includes the original theatrical audio, offered in DTS-HD MA 2.0 stereo, alongside Spanish and French Dolby Digital 5.1 tracks and a Dolby Digital English Descriptive Audio track. The film favors the front channels, but there are plenty of nice surround touches throughout, and the theatrical audio sounds superb, with no discernible drop-out or distortion. Optional English, Spanish and French subtitles are included.

You Only Live Twice (1967): The fifth Bond film is also outfitted with a Dolby Atmos soundtrack, which is most keenly felt in the score and sound effects, but does a fine, restrained job of updating the film to feel modern without sacrificing its character. The film also includes the original theatrical audio, offered in DTS-HD MA 2.0 stereo, alongside Spanish and French Dolby Digital 5.1 tracks and a Dolby Digital English Descriptive Audio track. The film favors the front channels, but there are plenty of nice surround touches throughout, and the theatrical audio sounds superb, with no discernible drop-out or distortion. Optional English, Spanish and French subtitles are included.

Diamonds Are Forever (1971): The final Connery installment is also outfitted with a Dolby Atmos soundtrack, which is most keenly felt in the score and sound effects, but does a fine, restrained job of updating the film to feel modern without sacrificing its character. The film also includes the original theatrical audio, offered in DTS-HD MA 2.0 stereo, alongside Spanish and French Dolby Digital 5.1 tracks and a Dolby Digital English Descriptive Audio track. The film favors the front channels, but there are plenty of nice surround touches throughout, and the theatrical audio sounds superb, with no discernible drop-out or distortion. Optional English, Spanish and French subtitles are included.

Special Features: 5/5

Even casual James Bond fans will be hard-pressed to gripe about the abundance of supplemental material gathered here. This six-disc set preserves nearly all of what came before on prior, individual releases, and also includes a digital movie code, redeemable for all six films (albeit on Fandango at Home).

Dr. No (1962): An audio commentary, moderated by the Ian Fleming Foundation’s John Cork, and featuring director Terence Young, actors Ursula Andress, Lois Maxwell, Eunice Gayson and Timothy Moxon, editor Peter Hunt, composer Monty Norman, set designer Ken Adams, former United Artists president David Picker, art director Syd Cain and sound designer Norman Wanstall is included, as are numerous featurettes: “The Guns of James Bond” (5:07; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Premiere Bond: Opening Nights” (13:08; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Exotic Locations” (2:36; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen); “Inside Dr. No” (42:08; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen); “Terence Young: Bond Vivant” (17:56; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen) and “Dr. No” (8:41; Dolby Digital 2.0 stereo; 1.33:1 fullscreen). A series of theatrical trailers — four in all (10:58 in aggregate; Dolby Digital 2.0 stereo; 1.75:1 anamorphic widescreen) — alongside a pair of TV ads (1:24 in aggregate; Dolby Digital 2.0 stereo; 1.33:1 fullscreen) and six radio ads (6:33 in aggregate; Dolby Digital 2.0 stereo) completes the disc.

From Russia with Love (1963): An audio commentary, moderated by the Ian Fleming Foundation’s John Cork, and featuring director Terence Young alongside cast and crew is included, as are numerous featurettes: “Ian Fleming: The CBC Interview” (7:43; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Ian Fleming & Raymond Chandler” (5:12; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Ian Fleming on Desert Island Discs” (5:11; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); an animated storyboard sequence (1:28; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Exotic Locations” (3:14; Dolby Digital 2.0 stereo; 1.75:1 anamorphic widescreen); “Inside From Russia with Love” (33:45; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen) and “Harry Saltzman: Showman” (26:43; Dolby Digital 2.0 stereo; 1.75:1 anamorphic widescreen). A series of theatrical trailers — three in all (7:41 in aggregate; Dolby Digital 2.0 stereo; 1.33:1 fullscreen and 1.75:1 anamorphic widescreen) — alongside a trio of TV ads (1:36 in aggregate; Dolby Digital 2.0 stereo; 1.33:1 fullscreen) and a trio of radio ads (1:34 in aggregate; Dolby Digital 2.0 stereo) completes the disc.

Goldfinger (1964): Two audio commentaries — the first featuring director Guy Hamilton and actors Sean Connery, Desmond Llewelyn, Lois Maxwell, Michael Mellinger and Honor Blackman, moderated by Lee Pfeiffer, author of The Incredible World of 007, and the second, moderated by the Ian Fleming Foundation’s John Cork, and featuring stuntman George Leech, optical effects supervisor Cliff Culley, stuntman and Connery double Alf Joint, draughtsman Peter Lamont, composer John Barry and crew members Joe Fitt and Burt Luxford — are included, as are numerous featurettes: “Sean Connery from the Set of Goldfinger” (3:11; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Theodore Bikel Screen Test” (5:38; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen); “Tito Vandis Screen Test” (4:12; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen); “On Tour with Aston Martin DB5” (11:42; Dolby Digital 2.0 stereo; 1.75:1 anamorphic widescreen); “Honor Blackman Open-Ended Interview” (3:58; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Exotic Locations” (3:15; Dolby Digital 2.0 stereo; 1.75:1 anamorphic widescreen); “The Making of Goldfinger” (26:05; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen) and “The Goldfinger Phenomenon” (29:13; Dolby Digital 2.0 stereo; 1.33:1 fullscreen). The film’s theatrical trailer (3:08; Dolby Digital 2.0 stereo; 1.75:1 anamorphic widescreen), alongside a trio of TV ads (1:46 in aggregate; Dolby Digital 2.0 stereo; 1.33:1 fullscreen) and a Connery radio interview and 31 radio ads (30:42 in aggregate; Dolby Digital 2.0 stereo) completes the disc.

Thunderball (1965): Two audio commentaries — one featuring director Terence Young, cast and crew, and the other featuring editor Peter Hunt, screenwriter John Hopkins and other crew members — are included, as are numerous featurettes: “The Incredible World of James Bond” (50:55; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “A Child’s Guide to Blowing Up a Motor Car” (17:10; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “On Location with Ken Adam” (13:09; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Bill Suitor: The Rocket Man Movies” (3:57; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Thunderball Boat Show Reel” (2:50; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen); “Selling Bonds” (2:09; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Exotic Locations” (33:18; Dolby Digital 2.0 stereo; 2.35:1 anamorphic widescreen); “The Making of Thunderball” (27:32; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen); “The Thunderball Phenomenon” (31:01; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen) and “The Secret History of Thunderball” (3:54; Dolby Digital 2.0 stereo; 1.75:1 anamorphic widescreen). Three theatrical trailers (8:37 in aggregate; Dolby Digital 2.0 stereo; 1.33:1 fullscreen and 1.75:1 anamorphic widescreen), alongside five TV ads (3:38 in aggregate; Dolby Digital 2.0 stereo; 1.33:1 fullscreen) and 11 radio ads (5:17 in aggregate; Dolby Digital 2.0 stereo) completes the disc.

You Only Live Twice (1967): An audio commentary featuring director Lewis Gilbert, alongside members of the cast and crew, is included, as are numerous featurettes: “Welcome to Japan Mr. Bond” (52:22; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Whicker’s World” (5:21; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “On Location with Ken Adam” (13:58; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Inside You Only Live Twice” (30:22; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Silhouettes: The James Bond Titles” (23:23; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Plane Crash” animated storyboard sequence (1:37; Dolby Digital 2.0 stereo; 1.33:1 fullscreen) and “Exotic Locations” (4:05; Dolby Digital 2.0 stereo; 1.78:1 anamorphic widescreen). A trio of theatrical trailers (9:00 in aggregate; Dolby Digital 2.0 stereo; 2.35:1 anamorphic widescreen and 1.33:1 fullscreen), alongside a TV spot (:58; Dolby Digital 2.0 stereo; 1.33:1 fullscreen) and a handful of radio ads (5:42 in aggregate; Dolby Digital 2.0 stereo) completes the disc.

Diamonds Are Forever (1971): An audio commentary, moderated by the Ian Fleming Foundation’s David Naylor, and featuring director Guy Hamilton, co-writer Tom Mankiewicz, composer John Barry, actors Jill St. John, Joe Robinson, Marc Lawrence, Lana Wood, Bruce Glover, Shane Rimmer, Trina Parks, Jimmy Dean and Putter Smith, production designer Ken Adam, set decorator Peter Lamont, continuity supervisor Elaine Schreyeck, stuntman George Leech and lyricist Don Black, is included, alongside numerous featurettes: “Sean Connery 1971” (5:13; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Lesson #007: Close Quarter Combat” (4:36; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Oil Rig Attack” (2:22; Dolby Digital 2.0 stereo; 2.35:1 anamorphic widescreen); “Satellite Test Reel” (1:55; Dolby Digital 2.0 stereo; 2.35:1 anamorphic widescreen); “Explosion Tests” (1:54; Dolby Digital 2.0 stereo; 2.35:1 anamorphic widescreen); “Vegas Car Chase” (4:37; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Moon Buggy Chase” (3:13; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Bambi and Thumper” (3:24; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Bond Arrives on the Oil Rig” (1:52; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Inside Diamonds Are Forever” (30:40; Dolby Digital 2.0 stereo; 1.33:1 fullscreen); “Cubby Broccoli: The Man Behind Bond” (41:23; Dolby Digital 2.0 stereo; 1.33:1 fullscreen), and “Exotic Locations” (4:24; Dolby Digital 2.0 stereo; 2.35:1 anamorphic widescreen). Five different alternate and expanded angles of certain sequences (2:43 in aggregate; Dolby Digital 2.0 stereo; 2.35:1 anamorphic widescreen), as well as seven deleted scenes (7:38 in aggregate; Dolby Digital 2.0 stereo; 2.35:1 anamorphic widescreen), a theatrical teaser trailer (:58; Dolby Digital 2.0 stereo; 2.35:1 anamorphic widescreen), four TV ads (3:45 in aggregate; Dolby Digital 2.0 stereo; 1.33:1 fullscreen) and a handful of radio ads (2:06 in aggregate; Dolby Digital 2.0 stereo) completes the disc.

Overall: 5/5

“Bond, James Bond.” With those three words in 1962’s Dr. No, actor Sean Connery cemented his place in cinema history and launched a film franchise which has endured for more than six decades, with multiple men inhabiting the role over time and substantial upgrades in the sophistication of both filmmaking technology and narrative storytelling.

Derived from author Ian Fleming’s series of Bond novels, and anchored on screen by a thrilling mixture of gadgets, girls and glamourous locations, the Bond films have enthralled generations, even if some elements of the series have aged far better than others (boys-will-be-boys misogyny of the 1960s looks positively predatory in the 21^st century, for example).

The thought, care and attention given to these films for their 4K UHD debut is deeply appreciated — it’s easy in an era of physical media’s resurgence for studios to dump sought-after product on the market in sub-par sets, but that is emphatically not this release. The Sean Connery 6-Film Collection is an essential piece of any film fan’s library, and a must-own for James Bond die-hards.

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