There is something that I cannot stop thinking about and that is:
WHAT THE HELL IS WRONG WITH SPECTRE?
The anticipation for this one was huge. At first, it was announced as the last Bond film of the epic saga that started all the way back in the 60s with Sean Connery. After having revolutionized the franchise with a more serious approach to the series in 2006’s Casino Royale, Bond was supposedly reborn. Casino Royale, Quantum of Solace, Skyfall and finally Spectre are the films that all gave a new feeling to the name, Bond. Big time directors like Sam Mendes stepped up to the task and delivered. But not this time. Something about Spectre is incredibly off. It feels cartoonish, tired, pointless and utterly uninspired.
Some main points from my part;
- NO CHARACTER ARCH
– what made Casino Royale, Quantum of Solace (in its mediocrity) and Skyfall special is that with the ‘reinvention’ of James Bond as a meaty, grown character was his development. Casino Royale made Bond lose everything he had, everything he loved. Quantum of Solace made him gain his strengths, while Skyfall made him come back to life, fight for what’s his and yes, lose something too. People became fans of these ‘serious’ Bond films precisely because Bond developed and wasn’t the usual handsome ladies man that cracks a joke and kills the bad guys. He was vulnerable, he experienced pain and loss. He was one of us. In Spectre, yes, Bond loves, has memories, has a past, but you don’t feel it pulsating in every frame. In Casino Royale you could feel the threat of losing Vesper at all times. In Skyfall you could sense the slow passing of M. Here, you have nothing. It’s just Bond solving what should be considered as ‘the ultimate case’, the last riddle, the last piece of the puzzle. It’s what we’ve seen a thousand times before. Same formula, over and over and over.
- WOODEN ACTING
– when James Bond was getting his balls crushed with a rope in Casino Royale we suffered. When M was bleeding to death, we suffered. When Silva was aiming a flintlock pistol at an innocent woman in Skyfall, we felt the tension. What about Spectre? You can feel the actors just not giving a single crap about the movie. It feels like a side project. You have Craig who publicly announced that he wanted to stop playing Bond after Skyfall was wrapped up, you have Monica Bellucci who probably had nothing better to do, since she is in the movie for what, 6-7 minutes? There is also Ralph Fiennes, who plays the new M this time around. After giving some great, great performances in Grand Budapest Hotel, Hail, Casesar! and A Bigger Splash I don’t blame the man for taking some time off and playing this over-used role of the boss who at first doesn’t trust his agent and then discovers that he should have trusted him from the very beginning. Then you have Christoph Waltz, who as of late has me feeling very unimpressed. It’s always the same sarcastic, sneaky character just with a different name. The only bright spot is the always reliable Léa Seydoux, who is a gem of an actress, who unfortunately is forced to play the cliché character of a Bond chick. At least she tries to give it some depth, which leads me to….
- THE ATROCIOUS SCREENPLAY
– do I really need to go over this? Look, even the Pierce Brosnan Bond movies had better screen-writing than this movie. At least they had some really funny, sarcastic lines that worked whenever they were given a try, but here… you have FOUR screenwriters working on this project. FOUR. There is no sense of time, there is no link between certain key characters, questions are left unanswered, ending is predictable and uneventful, the whole story is quite simply forced out in order to presumably end this series. It feels like it all leads up to what the writers probably considered the apex of their writing capabilities and that is: “You’re a kite dancing in a hurricane, Mr. Bond.”
- NO ARTISTIC FREEDOM
– I give a big thumbs up to Sam Mendes and Hoyte van Hoytema (the cinematographer) for making that first opening sequence in Mexico City work like it does. It looks absolutely brilliant; a tracking shot that pans across a mass of people, follows characters around into elevators, passes through doorways, exits through balconies and finally reveals to us what Bond is up to. It’s great. It’s ambitious and I wish it set the tone for the rest of the movie. It shows who is in charge of the movie. Unfortunately the directorial and cinematographic brilliance doesn’t last very long and you can almost feel the studio’s influence crawling into every frame of it. No wonder that Mendes announced he won’t be coming back to direct Bond25, if there will ever be one. Mendes’ experimental direction and van Hoytema’s clean, neat images seem too big of a gamble for such a massive Hollywood project that cost around $250 mln. The viewer can easily see when the director is in charge and when the producers are. Mendes directs from various interesting angles. He moves the camera step by step, he likes silences instead of cheesy soundtracks, he prefers panning rather than cutting. But then again, it’s not his movie. And we know it. The way the story is visually told is the same procedural crap we see on a daily basis.
- THE MOST UNUSED BOND VILLAIN
– Okay, you cast Christoph Waltz as a Bond villain, who is supposed to incarnate the ultimate evil of the franchise. He is the man who’s taken everything from Bond. He’s the one responsible for every tragedy in Bond’s life; M, Vesper, his childhood. He is the devil in a man’s skin. He is the reason for Bond’s thirst to kill. HE IS EVIL. And what do we get? We get this guy who has no real reason for doing all the things he’s done. He had a bad childhood, that’s it. That’s his big motif. The screenwriters think that’s what they can offer us to wrap up this series. Waltz, as I said before, doesn’t do anything special. He is just Waltz playing Waltz, but come on, give this villain something to hang on. We see him for a couple of minutes at the beginning and for another few minutes at the very end. He is supposed to be this ghost who has always loomed over Bond’s life but his presence is incredibly shallow and all in all, he’s extremely uninteresting. Not that Silva in Skyfall was great, or Greene in Quantum of Solace had a haunting presence, but a guy like Le Chiffre in Casino Royale had indeed some backbone. Here, the big antagonist is nothing special. It’s just another guy who wishes to blow everything to hell. Wow.
After finally having seen Spectre, I can honestly say: this franchise should end right now. There is nothing more to offer other than an assured box office hit. But again, you people want this, right? You’ll pay for whatever has loud explosions and characters getting their heads split wide open. Okay, then. have it your way.