A cryptic message sets James Bond navigating the layers of a sinister organisation known as SPECTRE. As M continues fighting political pressures that threaten the future of MI6, Bond draws closer to uncovering a hidden truth that threatens to destroy everything he has fought to protect.
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A serviceable Bond film, but a completely forgettable one too. It's strange how quickly the arc of this iteration of Bond went from brash young upstart to over-the-hill obsolescence, which also says something about the perfunctory feel to at least two of Craig's Bond films. The action in particular is surprisingly lifeless; it's simply fashions and textures and posturing that keep me going.
For all the admonishment Roger Moore receives for his portrayal of Bond, it's clearly his tenure as 007 that looms largest for the children of the 70's. Case in point: "Spectre" suffers from a jarring tonal dissonance whenever Sam Mendes forces Daniel Craig's poe-faced assassin to indulge in the kind of winking gags that wouldn't be out of place in a vintage Moore adventure. We're a long way from "Casino Royale."
The four screenwriters - John Logan, Neal Purvis, Robert Wade, Jez Butterworth – have much to be blamed for the story’s lack of grip, but the truth is that the execution also didn’t appeal to me with its super-exaggerated scenarios and the excess of confidence of a more and more decaying super agent that once made my youth days merrier. (2.5 stars)
A stunning cinematography and pretty cool set pieces can't really save the film from its convoluted plot and uneven pace. Lots of things to love in this one, but it's also way too long and disjointed. Still, I enjoyed it.
Pity the little brother who has to live up to such high expectations: Spectre is no Skyfall, but does it matter? It's solid gold Bond, including a preposterous plot pirouette: we're asked to believe that *everything* that came before was concocted because of some sort of jealous posh boy pillow fight (a motive never properly explained anyway). Two set pieces - Mexico City and the Rome meeting - are instant classics.
Spectre = expect her. (Her: Monica Belluci> her walking away with hitmen lurking in the shadows?THE high-point. Greatness: the kick-ass opening + the Nolanesque old & crumbling MI6 building versus the new we're-NSA-and-we-know-your-IP one. Blackhat & Citizenfour really brought that to the public. Privacy is public now. Forever & until the end of time. Scarier than bombs. Detail?When it all michael bays?I dozed off.
The secret meeting in Rome where Waltz is introduced sets a stage full of potential. Yet as the layers of mystery are uncovered what's beneath them is less and less impressive. Spectre lacks depth, excitement, and suspense. Despite an assortment of locations its look is flat and monotonous, and is only partly saved by the intriguing relationship between Craig and Seydoux.
I do hope time will be kinder to Mendes' opus. I loved it. While connections to previous entries aren't as elaborate as I'd hoped, it's rich with character development, Hoyte van Hoytema's photography is mouthwatering, a surprisingly tender romance between Craig and the ever-enigmatic Léa Seydoux is handled with maturity, and set-pieces consistently dazzle. Sayonara, Mr. Craig. you're the best Bond there's ever been.