Spectre

Although bad (however nicely subversive) Bond movie, but a nice watch. And it could have been much better. However, the screenplay would have to back a way to long footage without particular reason, the tension between the 007, bond girl and the bad guy would have to work better, and the whole thing would have to be at least a little more spectre-style like the opening scene. Anyway, thanks to the open end, I would like to see another Bond movie with Daniel Craig. And even with the same team. (05/11/2015)

Skyfall was already a precise reflection of our times and an homage to the current intelligent high-budget blockbuster. It didn't have the pull, emotion and inner strength of Casino Royale or Quantum of Solace, but it's clear why; there was something going on there. But the Vesper references are very much evident in this fourth mashing of the plot, which was fully capitalized on in Daniel Craig's very first Bond, and it became a complex and full-bodied film that took the story of Agent 007 a level further in the film industry. It became a mass appeal, not a fan thing, thanks to its means of expression. Logically, there are not many ways they can go without taking it in a completely different direction, which Spectre fails to do, and it even wasn't intended to, unfortunately. Fans will try to "find it there" for the entire 150 minutes, but they won't. The few iconic scenes that warm the heart or dazzle with their sophistication are just carbon copies of previous episodes (most of the train scenes, the base in the desert). It's clear that filming the same thing twice in a row the result will not be the same. After a second viewing, the rating has to go up. Essential and visually incredibly lavish and sophisticated filmmaking. Emotionally, it's not the ride that Casino Royale was, and Léa Seydoux is no Eva Green, but Spectre assaults the other senses and does so excellently as well. (07/11/2015)

Different than Skyfall, perhaps slightly weaker, but still very, very good. Spectre reminded me most of Connery's From Russia with Love, which also doesn't have many action scenes, but has an interesting plot that is a joy to watch. Once again, everything flows beautifully, the film is lovely to watch and although there is a lot of talking, it is never wasted and the characters always have something to say. When it comes to action, it's typical Bond (plus the train fight is a reference to From Russia again), when it comes to women, it's typical Bond... The quiet, eerily calm atmosphere is atypical - but atypical certainly doesn't mean bad. I have to especially praise all the scenes with Blofeld, during which I almost didn’t even breathe, and I couldn't help but be pleased with the reasonable use of references to older Bond films (Connery's white tuxedo from Goldfinger, Bond's disguise as the villain from Live and Let Die, the Aston Martin DB5, the Thunderball-like funeral...). The only thing I could criticize is Thomas Newman's woefully unimaginative music (which is mostly apparent when listening to the soundtrack on its own); otherwise, I'm surprised at all the low ratings and bad reviews.___P.S. It's set up nicely for a sequel, which could easily be some sort of sly remake of On Her Majesty's Secret Service. (06/11/2015)

An orgasmic opening and pleasantly lavish set designs, supported by bold footage, which did not bother me – on the contrary, it gave the film a large-scale, sweeping reach (Hoytema and Mendes turned out to be a good team). I was pleased with the connection with Craig’s other Bond films, action scenes and little things like the brutal surprise on the train and waiting at a desert station (a reference to Hitchcock’s North by Northwest). Thanks to these things, I forgive the film even the use of a likeable comedian in the role of a wannabe alpha villain (WTF?!), the climax lazily borrowed from The Dark Knight (as if there wasn’t enough inspiration from Nolan), and Bond’s fling with a wrinkled MILF (while he left the only really beautiful woman of the movie in the opening, lying fully dressed on the bed). (03/12/2015)

Probably the weakest Bond with Craig... Primarily it doesn’t make sense and yes, it’s great that it contains so much wink-wink references to older Bond movies and hidden meanings, but... it doesn’t make sense and doesn’t answer questions that the viewer asks himself during this expensive spectacle. The excellent casting is degraded by illogical changes in characters’ behavior, badly thought-through jokes in Roger Moore style Bond from the 70s which are ok for the Muppet Show, but in a dramatic action thriller this is seen as unsuitable (the villain simply says “Fuck" in the face of unavoidable death) and spoils the whole effect of an otherwise brilliantly directed scene. I don’t know if the screenwriters went on the rampage, or if Sam Mendez wanted the abandon the brand because he’s had it up to here with Bond. No consistency, just a couple of great moments that you mustn’t think too much about. It stinks of big money. (08/11/2015)