Spectre

Apertura orgásmica y en general un concepto narrativo agradable, respaldado por un metraje audaz que no me molestó, al contrario, le dio a la película una grandiosidad cinematográfica (Hoytema y Mendes compaginaron). Me complació la conexión con las otras películas de James Bond con Craig, las escenas de acción y pequeñas cosas como la dura sorpresa en el tren o la espera en la estación en el desierto (un recordatorio de Con la muerte en los talones de Hitchcock). Gracias a ellas, les perdono al simpático comediante en el papel de supuesto villano alfa (¿WTF?), el final de Darkknight perezosamente robado (como si no hubiera suficiente inspiración de Nolan) y el hecho de que Bond tuvo algo con la MILF arrugada (pero en la apertura deja vestida a la única mujer realmente hermosa acostada en la cama). (03.12.2015)

An essential Bond film. I could have plenty of reservations about it (everything people hate is objectively true), but here, reason loses out on points because when all the important proprieties slowly begin to emerge from the shadows in that rambling style, and you enthusiastically tick them off, it carves itself out in the end into a full-blown epilogue of one acting decade that has reached a complexity beyond most other things. (15.11.2015)

It’s not as dark as Skyfall. Actually, objectively it is significantly worse than Skyfall. James Bond is like a walking robot in this one. He knocks down everyone who just look at him the wrong way. Nobody can stop him, and I literally mean nobody. Count on it being much worse than usually. Plus there is a huge amount of cool lines. Even though there are no emotions, it shows that kind of harshness possessed by old action heroes in the nineties, which I’ve never seen in any Bond movie with Daniel Craig before. It’s a pity that the title song is so extremely slow that it’s really a pain in the ass. Similarly, the arch enemy Christoph Waltz was not really scary. The only strong positive of this movie is Léa Seydoux, who was a great fit. Maybe because I’ve known her for a while now and she is nice to look at. A little bit different Bond movie, but when it comes to the good old action movies, it fulfilled my long-time desired dream. (12.07.2018)

You are empty, Mr. Bond, and you live in a world full of ruins. I think this was heard somewhere, and Mendes filmed it. Spectre is lethargic in its pace, muffled by Hoyte Van Hoytema's darkened visuals. Only Newman tends to push it forward dramatically. A Bond film wrapped in squid and drenched in the ink of ruin. In many ways naive, superficial, but it kept my attention reliably for 150 minutes. Objectively, the film does not deserve to be under full fire, because in a similar rank this year, a thematically similar MI V reigns uncompromisingly. But this stumbling walk through depopulated areas before demolition concludes in a dignified way the four-part psychotherapy of the most tired Bond, who doesn't really want to be who he is. But he doesn’t know how to be anyone else... If this is the end of the series, I'm happy. Btw. props for the hidden message that Heineken is only good enough for watering mouse holes. (05.11.2015)

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. (06.11.2015)

Sam Mendes set off on a campaign that was already lost, trying to elevate everything that worked in Skyfall even higher. As such, Spectre brings a lot of quiet moments, where the viewer can hear a pin drop, a lot of nods to Craig's predecessors, and even more complex intertwining of storylines from the previous three films. After the second viewing, freed from the tense anticipation of wondering where it has yet to climb, I don't consider all the points of the film to be the best of the current Bond, but I will be one of the few who considers it even better than Skyfall. The dull spots have disappeared, the spine-chilling moments have increased, the grandiose and dangerously playful revelations do not disrupt the logic, and my beloved Léa Seydoux also receives enough room as one of the few truly worthy additions to the Bond Girl gallery in many years. Spectre has style. Individuality. It takes a while to get tuned in, but now I never want it any other way. (11.01.2021)

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)

The most recent Craig film thus far is a very enjoyable part of the Bond franchise. A great opening reminds one of Live and Let Die, the first girl is the pleasant Monica Bellucci, the second - her complete contrast - Léa Seydoux (the fashionable Frenchwoman we primarily know for her blue hair), but the time period mainly favors Christoph Waltz's styling. Spectre flows nicely, developing the story already begun in Casino Royale, and I'm simply glad that James Bond will return. (22.08.2016)

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)

Very satisfied. Spectre may be a step backwards from the more sophisticated and distinctive Skyfall, but on the other hand it’s a magnificent bridge between the classic Bond universe and the modern agent with a license to kill, but most importantly to keep alive. Mendes approaches the narrative methodically and variably, at times with murderous action fervour and cold-bloodedness, and then with detachment and dry wit, just like the character of the hero he creates. The seemingly banal scene of 007's torture takes on new values as it functions as a reference to the traditions and laws of the genre, while at the same time succeeding in making the viewer empathise with Bond and his pain. It's a pity that the obligation to adhere at least partly to established genre tropes leads the script to an overly extensive and inconsistently presented criminal motif, but otherwise, as a James Bond film, it cannot be faulted from the position of a modern viewer. The film throughout wisely alternates audiovisually thrilling action sequences, which this time often resemble nostalgic classics (plane in the snow), with atmospheric narration and the development of a relationship with a fateful and narratively significant Bond girl. It's really rare to see such a cleverly structured, yet seemingly simple and effective spy film these days. 80% (25.11.2015)

From the twenty-fourth Bond movie, I got exactly what I expected. There is great action, some crazy scenes, fantastic Bond romance, excellent gadgets. True, it's not as dark as the previous installment, but the script tries to make sense of what was seen before. I am satisfied and enjoyed the movie fully at the cinema. (09.11.2015)

Most of the negatives you read about the movie are true. But that’s completely beside the point, because Craig is by far the best Bond and Spectre is the most classic of all classics. The movie has everything that so many fans have come to expect from Agent 007, including some questionable logic, luxury cars, exploding watches, beautiful women, martinis (shake, don't stir), a vengeful villain, some badass muscles, a secret organization, an inflated budget, and a white fluffy cat. (15.11.2015)