Reviewed in Canada on April 24, 2016
Well, the first fifteen minutes of Sam Mendes' latest Bond effort are probably better than anything on screen at the moment, action film or otherwise. The opening sequence in Mexico is as good as any Bond movie intro has ever been, easily equal to the formidable train scene at the start of Skyfall or the foot chase scene in Casino Royale. How did Spectre rate overall? Here's my review to find out.
One aspect of the Craig-ian bonds I have to profess loving is the fact that the first two occurred within hour of one another, namely Casino Royale into Quantum of Solace. Here, with Spectre, we pick up shortly after the incidents at Skyfall. This factor gives an urgency and real time feel to the films, as well as an urge to re-watch the preceding movies. Now as with everything, there is a penchant to turn on what was perceived as innovative and groundbreaking. I cite as example, the Bond-ian lore redefining 鈥淪kyfall鈥. The movie directed by Sam Mendes and featuring a tour de force performance by Javier Bardem as 鈥淪ilva鈥 brought deep emotional depth and gravitas to the Bond mythos. It was fantastically action filled, powerfully acted, particularly with Judy Dench鈥檚 performance providing M鈥檚 swan song. It was politically charged and relevant and garnered both critical praise and financial success; earning in excess of 1 billion dollars world-wide. Familiarity breeds contempt, however, and now there is an epic amount of vitriol aimed at this movie. The vitriol now carries through to Mendes鈥 latest Bond opus, 鈥淪pectre鈥漹ia numerous reviews.
Honestly, people are fickle. As I stated earlier, the first fifteen minutes of this film have more going for them than most films depict in their entirety. The opening text about the dead being alive segues into a massive big screen celebration featuring Mexico鈥檚 Diaz de Muerta (Day of the Dead) celebrations. Bond clad in a skeleton outfit, complete with a top hat, calmly strides throughout the celebrations with his consort by his side. Moments later, he is stripped down to his perfectly cut suit prepping for an 鈥榚limination鈥 of an unknown Spanish man plotting to blow up a stadium with his associates. What ensues is madness featuring a helicopter fight that just has to be seen on big screen With this bombastic start; we return to a terse meeting between Bond (Craig) and Mallory (Ralph Fiennes) the new M. Mallory calls out Bond for wanton destruction and carrying out a violent action publicly while their division, namely the 00 division is under intense scrutiny. He questions him as to the why of his mission and suspends him when Bond won鈥檛 answer for his actions. Bond takes his suspension far too calmly, prepping the viewer for the subversive actions that follow.
The movie will probably be Craig鈥檚 last despite his being under contract to do one more. Unquestionably, and I know I might catch heat for this; Craig has become the James Bond. His combination of intelligence, epic battle prowess, ruthless cunning and just plain confidence have allowed him to surpass all those who precede him...yes....even Sean Connery. I will use one word to typify Craig鈥檚 take on Fleming鈥檚 legendary character 鈥 capable. Craig鈥檚 Bond seems, and really is, undeniably capable. The physicality he brings to this role is incontestable. The humanity measured against his calculating efficacy allows this Bond to become something more. This latest foray simply cinches his claim and legacy.
The film is rife with Easter Eggs/homages to previous Bond films, particularly the gadget-y vehicles and weapons. This is done to a lower key, however, so that it does not detract from the narrative a trap many of the older films did not avoid. The sheer task of unifying all the Craig film villains under one banner and spring-boarding the nearly familial origin of the uber threat was brilliant. Monica Belluci's Lucia Sciarra, besides appearing ageless, is simply a vessel for Bond鈥檚 obtaining information to get closer to a threat without mercy. The connection with Mr. White (Jesper Christensen), a key character in both Casino and Quantum was well played and leads our protagonist to a liaison and eventual empathetic connection long denied Bond.
Lea Seydoux gives a smoldering performance as a femme fatale whose origins don鈥檛 differ that much from Bond鈥檚. As Madeline Swann, interactions with him lack the witty play demonstrated by Vesper Lynd (Eva Green), from Casino Royale, but are still chemistry laden and resonant. The mega villain of the piece later aptly refers to Lynd鈥檚 death as 鈥渢he big one鈥 as far as losses incurred to James Bond at his hand.
There is very much a collaborative feel to this film. Bond has a proper team in this one, namely via his 鈥渕ole鈥, Moneypenny (Naomie Harris) and Q (Ben Winshaw ). The playful banter between Bond and his associates adds an injection of much needed humor. Q鈥檚 comment鈥檚 鈥淚 hate you right now鈥 and 鈥淢allory wants my balls as Christmas ornaments鈥 are delivered with perfect deadpan aplomb. M鈥檚 (Dench) former second, Tanner, played by Rory Kinnear is allowed a voice in this film as well as he works covertly with Bond, helping him fulfill M鈥檚 last wishes. Mallory too takes an active role in this film, acting against the localized threat, Max/C (Andrew Scott), against his people via an imminent reinvention of the intelligence community world-wide.
The main villains are Oberhauser (Kristof Waltz) and Hinx (Dave Bautista). Bautista, a former professional wrestler, brings an incredible physical presence in this film. After his epic last outing as Drax in the outstanding 鈥淕uardians of the Galaxy鈥, here he lets his actions speak in his stead. In fact, he only utters one word throughout the entire film. His fight scenes with Bond push the level of credulity a bit as honestly, the big man can hit and with tremendous impact. I鈥檓 just sayin鈥.
The real threat, as always, is the cerebral villain. Waltz can play such roles in his sleep. With Oberhauser, he brings an understated vileness and insanity that surpasses the character to which he pays homage. There are clues as to his identity throughout the film and with an ever ravenous fan base that cannot wait until a damn film comes out, facts better kept until the film鈥檚 release were unveiled earlier on. Either way, Waltz provides the requisite villainy without issue. A smile or simple gesture from the man is menacing. Waltz as Oberhauser simply works. Spectre is not the greatest Bond film ever made but it unquestionably top tier. If this film is to be Craig鈥檚 Bond finale, however, it is one delivered with presence, passion and oomph. Spectre is assuredly simply outstanding and well worth your time.
