Spectre

You are empty, Mr. Bond, and you live in a world full of ruins. I think this was heard somewhere, and Mendes filmed it. Spectre is lethargic in its pace, muffled by Hoyte Van Hoytema's darkened visuals. Only Newman tends to push it forward dramatically. A Bond film wrapped in squid and drenched in the ink of ruin. In many ways naive, superficial, but it kept my attention reliably for 150 minutes. Objectively, the film does not deserve to be under full fire, because in a similar rank this year, a thematically similar MI V reigns uncompromisingly. But this stumbling walk through depopulated areas before demolition concludes in a dignified way the four-part psychotherapy of the most tired Bond, who doesn't really want to be who he is. But he doesn’t know how to be anyone else... If this is the end of the series, I'm happy. Btw. props for the hidden message that Heineken is only good enough for watering mouse holes. (05/11/2015)

Probably the weakest Bond with Craig... Primarily it doesn’t make sense and yes, it’s great that it contains so much wink-wink references to older Bond movies and hidden meanings, but... it doesn’t make sense and doesn’t answer questions that the viewer asks himself during this expensive spectacle. The excellent casting is degraded by illogical changes in characters’ behavior, badly thought-through jokes in Roger Moore style Bond from the 70s which are ok for the Muppet Show, but in a dramatic action thriller this is seen as unsuitable (the villain simply says “Fuck" in the face of unavoidable death) and spoils the whole effect of an otherwise brilliantly directed scene. I don’t know if the screenwriters went on the rampage, or if Sam Mendez wanted the abandon the brand because he’s had it up to here with Bond. No consistency, just a couple of great moments that you mustn’t think too much about. It stinks of big money. (08/11/2015)

Although bad (however nicely subversive) Bond movie, but a nice watch. And it could have been much better. However, the screenplay would have to back a way to long footage without particular reason, the tension between the 007, bond girl and the bad guy would have to work better, and the whole thing would have to be at least a little more spectre-style like the opening scene. Anyway, thanks to the open end, I would like to see another Bond movie with Daniel Craig. And even with the same team. (05/11/2015)

Sam Mendes set off on a campaign that was already lost, trying to elevate everything that worked in Skyfall even higher. As such, Spectre brings a lot of quiet moments, where the viewer can hear a pin drop, a lot of nods to Craig's predecessors, and even more complex intertwining of storylines from the previous three films. After the second viewing, freed from the tense anticipation of wondering where it has yet to climb, I don't consider all the points of the film to be the best of the current Bond, but I will be one of the few who considers it even better than Skyfall. The dull spots have disappeared, the spine-chilling moments have increased, the grandiose and dangerously playful revelations do not disrupt the logic, and my beloved Léa Seydoux also receives enough room as one of the few truly worthy additions to the Bond Girl gallery in many years. Spectre has style. Individuality. It takes a while to get tuned in, but now I never want it any other way. (11/01/2021)

The most recent Craig film thus far is a very enjoyable part of the Bond franchise. A great opening reminds one of Live and Let Die, the first girl is the pleasant Monica Bellucci, the second - her complete contrast - Léa Seydoux (the fashionable Frenchwoman we primarily know for her blue hair), but the time period mainly favors Christoph Waltz's styling. Spectre flows nicely, developing the story already begun in Casino Royale, and I'm simply glad that James Bond will return. (22/08/2016)