Never Say Never Again is one of the weirdest entries in Bond history. It’s not part of the official Eon Productions canon, but it is a Bond movie, complete with Sean Connery back in the tux over a decade after walking away from the role. It’s also a remake of Thunderball, thanks to a long and petty rights battle, which means the plot is technically recycled, but the vibe? Completely different.
This one’s a 3 out of 5 for me. I liked it… kind of. It’s more interesting than good. The action is uneven, the pacing drags, and the production values feel a little off-brand, but Connery still has that old-school Bond magic, and some of the changes are surprisingly effective.
Thunderball 2.0, Now with More Eyeliner
The story is basically the Thunderball blueprint with some 80s tech upgrades. SPECTRE steals two nuclear warheads and threatens global destruction unless their ransom is paid. Bond, who’s being dragged out of retirement like your dad who used to be a Navy SEAL, is sent to investigate and recover the warheads.
The plot moves between the French Riviera, North Africa, and the Bahamas, which is nice, but it never quite gels. There’s something stiff about the pacing—scenes feel strung together, not built into a rhythm. Still, it’s familiar territory, and that comfort carries the film more than it should.
Sean Connery: Older, Wiser, Still Cooler Than You
Let’s get this out of the way: Connery is older here, and the film knows it. There are jokes about Bond’s age, his back, his stamina. But none of it really matters, because Connery slips back into the role like he never left. He’s a little grayer, a little slower, but still magnetic.
And honestly? His performance here feels looser and more engaged than it did in Diamonds Are Forever. He’s relaxed, witty, and even a little self-deprecating. It’s fun watching him take one last spin around the Bond block, even if the car is a little rustier than usual.
Domino: Slight Upgrade, Different Flavor
Kim Basinger as Domino is a definite improvement over her Thunderball counterpart. She gets more screen time, more agency, and a stronger emotional arc. She’s still wrapped up in the villain’s world as a kept woman, but Basinger gives her vulnerability and strength. Her scenes with Connery have genuine chemistry.
She’s not a game-changer in the Bond girl canon, but she holds her own and leaves an impression.
Less Camp, More Creep
Klaus Maria Brandauer’s Maximilian Largo is a different kind of Bond villain. He’s not a world-dominating mastermind or a theatrical madman—he’s more unsettling. He’s manipulative, unpredictable, and genuinely off-putting in a way that makes him feel dangerous even when he’s smiling.
Still, he’s missing that iconic flair. He never quite becomes memorable enough to compete with the top-tier Bond villains. He’s effective, but not iconic.
Fatima Blush: The Wildcard We Needed
Now this is where the movie starts cooking. Barbara Carrera’s Fatima Blush is completely unhinged in the best possible way. She’s a psychotic assassin, part dominatrix, part cartoon character, and all chaos. Every time she shows up, the movie gets a jolt of energy it desperately needs.
She’s over-the-top, but never boring. Her death scene, where she forces Bond to write down that she was the best lover he ever had before she gets blown up by a pen grenade? Peak ridiculousness. Peak fun.
Action and Set Pieces: Hit or Miss
This is where Never Say Never Again struggles the most. The action scenes feel flatter than Eon Bond films. The chase sequences lack momentum, and some of the editing is just clunky. There’s a fight at a health spa that’s decently brutal, and the underwater finale is fine, but the standout for all the wrong reasons is the infamous video game duel between Bond and Largo.
It’s supposed to be tense, but it’s unintentionally hilarious. Watching Connery grimace and convulse while holding Atari joysticks is not the look of a suave superspy.
A Little Off-Key
The score by Michel Legrand feels completely out of place. It’s jazzy, elevator-y, and totally wrong for a Bond film. It saps tension from scenes and never quite clicks with the action. Without the iconic Bond theme to anchor the film, it often feels like you’re watching a very elaborate spy parody that forgot to wink.
The production design is fine, but a bit generic. It’s missing the glamour and flair of the official franchise, which makes a big difference.
Curious, Clunky, and Kind of Cool
Never Say Never Again is a Bond oddity. It’s not great, and it’s definitely not essential, but it is fascinating. Watching Connery return to the role one last time, outside the machine that made him famous, is worth the price of admission alone. Some parts work surprisingly well, others fall completely flat—but as a curiosity, it’s still a good time.
It’s Bond, but from a parallel universe.