Daniel Craig is seen running from rooftops and snaking past the sugar skull painted crowds of Mexico City to stalk a deadly assassin during the colourful Dia de los Muertos (Day of the Dead festival). There are many of them fitted in between the intense dialogue driven scenes that are so beautifully shot, including the one at the very start of the film.
That being said, the action sequences of "Spectre" are expectedly exhilarating. However, the latest Bond instalment doesn't disappoint (much) and offers another great story latching onto the most serious Bond to date.ĭaniel Craig returns for his fourth outing as 007, James Bond, but this time shots of him to wow in his tailored suits can't hide all of the belligerence he has faced through his past missions, as this time Bond appears hardened and troubled by all that's haunting him, finally ready to give it his all to end things once and for all. The Good, the Bad, and the Writing's on the Wall:įrom the theme song itself, "Spectre" feels a few notches below reaching the great heights that was "Skyfall" in terms of its story, villains and Bond girls.
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Ben Whishaw presents the cutest 'Q', Naomie Harris imbues Moneypenny with bouncy life while Fiennes pulls off an ageing agent, each character carrying smartly-tailored dialogues.īut the story has long, loose threads, including Blofield linked to Bond's babyhood, plus references to murdered dads and lost loves.
Happily, Craig pleases, part-swagger, part-shudder, drawling one-liners - "I think we're supposed to be impressed." - with wry aplomb.
The action leaves you breathless as choppers burst, cars drown, a plane explodes on a Christmas cake landscape and Hinx breaks necks - but while Spectre's hand-to-hand is thrilling, its tepid mouth-to-mouth, Bond's kisses censoriously chopped, leaves you feeling the world is certainly not enough. Traditional Bond imagery - golden roulette wheels, blush-red casino carpets, silky gowns falling upon ivory floors - are replaced with starker, darker shots. Spectre features haunting cinematography, pale, misty lakes, snow-clad hills, helicopters gleaming like malevolent wasps, wicked shadows on glass walls. But what happens when Bond finds The Pale King is Blofield - a shadow from his own past? And when the new 'M' (Fiennes) faces top bureaucrat Max Denbigh (Scott), who believes the '00' department - and democracy - must bow before drones.Ĭan Bond save the world? And the '00' program too?
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