It's behind a paywall. Can you post the list?
Terrible list, but here you go
24
Quantum of Solace
One of the problems with the Craig-era Bond is that in trying to capture the pulp realism of the books, the producers have sacrificed the cartoon villainy that made the movie series such a delight. Greene is believable but actually too believable - he's about as threatening as a milkman - and Mathieu Amalric, a superb dramatic actor, is easily lost in the epic Bolivian landscape.
23
Spectre
This is a subjective pick, but I feel Spectre ruined the whole concept of Blofeld by giving him a ludicrous backstory that suggests his evil empire was motivated by jealousy towards Bond. Fleming's Blofeld is mysterious by design - he's a product of the shifting sands of 20th century European politics - but Waltz's oddly laid-back portrayal, and the modern need for a psychological explanation for absolutely everything, renders him banal. Craig-era Blofeld is less scary than his subordinates, and that's just not right.
22
For Your Eyes Only
A worthy attempt to bring Bond back down to Earth following Moonraker set a pattern for the Eighties: strong action and characterisation but villains that, precisely because they are credible, weren't always good fun. Julian Glover's Kristatos leaves no impression, but Michael Gothard's Locque, a silent bagman for the firm, is chilling and gives Roger Moore's Bond one of his few vindictive kills (entirely deserved). Some would say the best villain in the movie of course is Margaret Thatcher, who crops up in the epilogue and flirts with a parrot (it was acceptable in the Eighties).
21
The Living Daylights
Koskov is played brilliantly by the handsome Jeroen Krabbe as a self-indulgent crook utterly lacking in moral scruples, but Whitaker is a two-dimensional American gun fanatic. Neither gets enough screen time with Bond to generate tension; as with a lot of the Eighties canon, they feel almost subordinate to the plot.
20
Octopussy
Louis Jordan (Khan) was attractive and suave enough to have been a Bond himself and while he has no underground base or plan to destroy the world (he's really just a jewel thief), his plot to trigger a nuclear bomb in a circus makes for the most tense set-piece of the Moore era (and a genuinely funny moment when Khan's car looks like it might not start). Jourdan is overshadowed, however, by Steven Berkoff's deliriously self-regarding Orlov, who might have won the Cold War single-handedly if only the suits in the Kremlin had let him try. Berkoff is almost too good: he eclipses everyone else and leaves the rest of the action feeling, well, arthritic.
19
Diamonds Are Forever
Gray is definitely Bond's campest, most amusing opposite number, with some fantastic one liners (he says of the femme fatale: "Like any sensible animal, she's only threatening when threatened"). Alas, the plot is You Only Live Twice on a shoestring and his death in a submarine underwhelming. Most importantly, the movie makes no reference to the murder of Bond's wife in the previous movie. It's confusing and unforgivable: a missed opportunity to push Bond in a more adult direction.
18
Live and Let Die
This movie tried to do what Diamonds failed to, by dragging the cycle into the Seventies, where Bond didn't quite belong. When he's mincing around a post-apocalyptic Harlem in a Savile Row suit, Moore suddenly looks anachronistic and vulnerable. Yaphet Kotto's crime boss is very much of his era - a parody of Haitian dictator Francois Duvalier - and Kotto convinces nicely as a sexually jealous psychopath, but he just doesn't have enough to do, and his big idea - a drug train under the Caribbean sea - is laughable.
17
Die Another Day
Give Toby Stephens credit: here he plays a man playing another man, and the real man he's playing is Korean, which Stephens implies by narrowing his eyes as if fighting trapped wind. But this is a terrible film with a half-baked concept and Stephens only places so high because he's one of the few villains who can match Bond in a fight. He and James go at with knives in a gentleman's club, which is preposterous because a) they let women in and b) no one wears a tie.
16
Tomorrow Never Dies
At face-value, Carver is a bad guy by numbers: fangs, check; secret base, check; surrounded by Germans, check. But what elevates him above the dross is a bizarre motivation - start a war to generate headlines - and a wild performance by Jonathan Pryce. Then there's Dr Kaufman lurking in the background, a well-mannered torturer who apologises when his phone rings mid-murder. "I am just a professional doing a job," he protests when Bond points a gun at him. "So am I," says our hero.
15
Goldeneye
Sean Bean is far from believable - an upper-class spy, descended from Cossacks, with a Yorkshire accent - but he has a great backstory (betrayed by Stalin and a near equal to Bond) plus a fantastic sidekick in the brilliantly-named Miss Onatopp, who kills her victims by crushing them between her thighs. It's a living.
14
Moonraker
It might be controversial to rank Moonraker so highly, but two of my criteria are technology and threat level, and Drax builds a city in space from which to wipe out mankind. No villain has yet topped that. Plus Michel Londsdale, little known outside France, is a fine actor with some lovely one-liners ("Look after Mr Bond. See that some harm comes to him"). He keeps dobermans, fed with steak, and plays Chopin on a Steinway to his pretty guests. He's the man I've always wanted to be.
13
A View to a Kill
The only real cartoon villain of the Eighties, Zorin gets some wicked one liners, the best ever final fight over the Golden Gate Bridge (my knees go to jelly whenever I watch it) and some out of this world acting by Christopher Walken ("More power!"). But it is not a good film overall and Roger looks like he prefers his Ovaltine stirred, not shaken. When Grace Jones clambers on top of him for their love scene, he looks genuinely frightened.
12
Casino Royale
To understand why this movie ranks so high, you really have to remember what a shock/improvement Craig's Bond was: it's a leap in terms of realism and quality from Die Another Day to Casino Royale, and while Mads Mikkelsen's villain has no grand plan beyond living to the end of the week, this oddly makes the stakes much more compelling than the usual "blow up the world" scenario. In previous movies, gambling was just a set-piece; here it essential to plot and character, and a metaphor for crime and spying; two professions that have much more in common than Bond can ever admit.
11
The Spy Who Loved Me
This is my favourite Bond movie and Stromberg has one of the best bad guy bases of all time - it rises from the sea so convincingly you wouldn't guess it was filmed in a bathtub - plus he feeds people who've disappointed him to his pet sharks, which we'd all like to do. Alas, he is also typical of the 2D characters of the Seventies in that he has little backstory and no development and sports a completely unnecessary deformity that you'd miss if you blink (he has webbed hands). Stromberg does, however, prove his smarts by hiring Jaws - a thug with metal teeth and a face that looks like its been hammered with an anvil - and it's this precious little flower who pushes the movie up the rankings.
10
Skyfall
Here's a bad boss with a good backstory: former British spy, caught by the enemy, tortured, turns on M, comes back with a loopy plan for vengeance that involves blowing up the London Underground. There is even a moment, unique in Bond, when he flirts with our hero and elicits a friendly response (presumably a matter of good training).
9
Dr. No
DR NO
Joseph Wiseman, a Jewish Canadian, plays a Chinese German with metal arms living in Jamaica. Never let anyone tell you Bond isn't multicultural.
As the first ever Bond villain, Dr No establishes a template in dress, style and massive underground base - and he haunts the production even when not on screen. His attempt to kill Bond with a scorpion in the bed is both tense and a delicious metaphor for corrupt evil.
8
The World is Not Enough
Robert Carlye's Renard is a stock Bond baddie (his gimmick is that a bullet in the brain stops him feeling any pain) but Elektra has one of the best backstories in the entire series - a nasty case of Stockholm Syndrome - and her interactions with Bond give Pierce Brosnan a rare chance to act (rather than just looking good in a suit). Her torture of choice - a chair that throttles the sitter - is iconic, and her psychology so complex that she could as easily be regarded as a victim rather than a villain. Bond, very unusually, has cause to regret the kill.
7
Licence to Kill
The movie isn't memorable, but Sanchez is by far the most complex and (almost) likeable villain in Bond movie history. He loves money, power and beautiful ladies, yes, but loyalty matters to him most - and Bond exploits this brilliantly, worming his way into his organisation and persuading him that he is surrounded by traitors. Timothy Dalton was a bit PC as Bonds go, which meant that Sanchez was given some of the one-liners and blatant sexism we normally associate with the movie's hero. As such, he is almost more appealing than 007 himself.
6
Thunderball
The Sixties are really the golden age for villains because, like the decade, they had ambition and style. The moment Adolfo Celi's Largo walks into Spectre headquarters - physically powerful and sporting a camp-as-knickers eye patch - we sense that Bond has met his match. He steals nuclear weapons; he keeps sharks as pets; he gets off on taunting his employees. He also hires the stunning Miss Vulpe as his sidekick, a sexy psychotic who Bond memorably uses as a shield to stop a bullet, and the Freudian symbolism of her post-coital collapse into Bond's arms is unmissable. Thunderball proves that the early Bonds could be just as psychologically complex as Daniel Craig's without sacrificing colour and wit.
5
Goldfinger
And just to prove the complexity of characterisation, we have in podgy Mr Goldfinger a latter-day Midas and compulsive cheat, a banal and ironic characterisation that you just don't see in any movies anymore. One of the best ever scenes in Bond involves no sex or violence: the bad guy simply tries to steal a golf game, and James beats him to it. Oddjob, Goldfinger's butler, crushes a golf ball in his bare hands; in a later scene, Bond's crown jewels are threatened with a giant laser. "Do you expect me to talk?" he winces. "No Mr Bond," replies Auric, "I expect you to die!"
4
The Man with the Golden Gun
3
On Her Majesty's Secret Service
With a different Bond - i.e. one that could act - this could've been the best Bond movie ever, aided by the most convincing Blofeld the series produced and probably the closest to Ian Fleming's characterisation. His plan is magnificently mad (starve the world to death unless it recognises some aristocratic title he bought off eBay) and Savalas' ability to switch between feline and thug is compelling. This gives the movie one of its best ever fights, a gruelling toboggan run, as well as some of the best smoking ever put on screen. Savalas knows how to work a cigarette; he uses it to threaten, to seduce and to conduct the madness around him. It's the performance of a master.
2
You Only Live Twice
Intriguingly, Pleasence wasn't the first choice: the producers flew in German actor Jan Werich to play Blofeld but he turned out to be too avuncular. Pleasence replaced him and experimented with a hump, a limp and a beard before choosing a scarred eye that, as Roger Ebert said, made his head look like a cracked egg. Blofeld is only physically on screen for a few minutes, but the moment he is unveiled, poking his head out from behind the buttocks of a teutonic henchman, it's impossible to shake the image from one's mind. Followed by dozens of imitators, Pleasence established in our minds not just the archetype of a Bond villain but of any lunatic with too much money who wants to rule the world, from Austin Powers to Pinky and the Brain. "Kill Bond. Now!"
1
From Russia with Love
Bond sometimes gets dwarfed by gadgets and underground bases: the moment of purest Bond is the fight between 007 and Spectre agent Red Grant on the Orient Express. Again, bad wine is the giveaway: Grant, masquerading as a British agent, picks a red with fish in the restaurant car and thus exposes himself as a prole, leading to a catfight that is brutal and painful to watch. Perhaps the best villains bring out what's best in a particular Bond, and in his scenes with Robert Shaw, Sean Connery is at his most vulpine. But even Grant is topped, for my money, by the most vile character ever to grace a Bond movie: Rosa Klebb, played by venerable German actress Lotte Lenya. She is a traitor and a sadist, an assassin with a poisoned shoe, and even her death is perverse, her groans of pleasure implying that she rather enjoyed it.
