SPECTRE, the new Bond film
starring Daniel Craig and directed by Sam Mendes, continues and perhaps
completes the rebooted Bond narrative, which began with the 2006 production of
Casino Royale. Symbolized by the octopus, which features prominently in the gorgeous
opening credits, this shadowy international organization, whose
tentacles reach into everything from terrorism to the green movement, has been a Bond staple for
decades; but in this film is exposed in a way never seen before.
SPECTRE continues the new tradition of Bond applying a more
visceral approach to intelligence work, albeit enacted in a more measured manner (keeping the body count to a minimum). This seems
in keeping with Mendes’ most graceful camera work, and the wearing of Tom Ford's top flight suits, which somehow remain nicely pressed, even after Bond flies a
wingless airplane into two menacing SUVs.
The acting is solid, with Ralph Fiennes and Christopher
Waltz, among others, turning in top notch performances. But the locations are what make the film, with
Mendes supplying surpassing elegance and a calm confidence to the direction,
steadying the helm well amidst the havoc and mayhem he’s devised for his
international set-pieces.
Alongside the main narrative of Bond vs. SPECTRE, a parallel subplot emerges, as once again MI-6 and the “00” programs are under scrutiny by meddling bureaucrats. In a referendum on the efficacy of modern intelligence, these agencies are in danger of being shut down in favor of a draconian computer network which would eliminate personal privacy on a world wide scale. Once again, in an increasingly familiar move, Craig’s Bond goes off- grid (causing his co-workers no shortage of distress), in a move that makes one nostalgic for the days when your nation’s trusted assassin could just slip off in his requisite Aston Martin, without the chip in his arm alerting seventeen agencies.
Alongside the main narrative of Bond vs. SPECTRE, a parallel subplot emerges, as once again MI-6 and the “00” programs are under scrutiny by meddling bureaucrats. In a referendum on the efficacy of modern intelligence, these agencies are in danger of being shut down in favor of a draconian computer network which would eliminate personal privacy on a world wide scale. Once again, in an increasingly familiar move, Craig’s Bond goes off- grid (causing his co-workers no shortage of distress), in a move that makes one nostalgic for the days when your nation’s trusted assassin could just slip off in his requisite Aston Martin, without the chip in his arm alerting seventeen agencies.
SPECTRE is in many ways the quintessential Bond film, remaining true to the new style, while incorporating classic elements from the past. Both series fans and casual movie goers should find it thrilling in the main. If there is any criticism, it's that the film runs a bit long at two and half hours, and seems to jettison its dramatic stakes concerning the fate of the entire free world, reducing them to a personal conflict between one villain and his protagonist. But that is a small qualm, considering the dashing excitement delivered by SPECTRE. No other franchise provides action and elegance on a scale like this. Here’s hoping Daniel Craig comes back for a fifth film! (4/5 Stars)
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