Review by C.J. Bunce
If you’ve been too busy buying your advance tickets for Star Wars: The Force Awakens and forgot to get to the theaters to see the latest James Bond film, here’s your wake-up call. Get thee to the theatre before it’s gone! For every new Bond actor there is a handful of films that are forgettable. SPECTRE is not one of those Bond movies. In fact SPECTRE is on the heels of being as good a James Bond formula piece as Daniel Craig’s Casino Royale. It will be hard for any Bond movie to top that one, since it was as close to perfection as an action vehicle can get.
So why is SPECTRE a cut above the rest?
Let’s start with the required action scene opener. We begin with Bond and his attractive companion Estrella, played by Stephanie Sigman, at the Day of the Dead festival in Mexico City. Bond is in pursuit of an assassin, for a reason yet to be disclosed to the viewer, and the result is some of the best action in any Bond movie. Ever. Bond in a skeleton suit is still unmistakably Daniel Craig’s Bond. We get an inadvertently blown-up building. A foot chase through a parade culminating in a hand to hand fight in a helicopter over the crowded festival. Want exciting? This scene has it all.
Gone is the tired, old, worn-out Bond emphasized in the plot of Skyfall. Gone is the disheartened Bond of Quantum of Solace. This is Bond as he is supposed to be–confident, cocky, and calm. And physically Craig could still out-match all prior Bond actors at any age.
Bond’s main “Bond Girl” is a well-developed character this time around.
Léa Seydoux’s Dr. Swann is compelling and interesting, closer to Eva Green’s engaging Vesper Lynd than any Bond Girl since.
The villains are perfect, starting with Dave Bautista’s Mr. Hinx and his Groot-like single word of dialogue, and Christoph Waltz’s mastermind is as classic a Bond villain as you’ve ever seen. He’s creepy, but not too creepy like Javier Bardem’s villain in Skyfall. Also well-written are the classic Bond supporting roles: Ben Whishaw’s Q gets more, key screen time than any prior Q, Naomie Harris’s Moneypenny gets more backstory, and Ralph Fiennes’ M gets to take on his own parallel fight against villainy.
