James Bond is one of Britain’s most iconic institutions. But more than that, on a personal level he’s been a family institution for as long as I can remember.
Growing up, and indeed right until I left England and came to Bahrain three years ago – my dad and I used to watch all the Bond films through in order every couple of years.
I’m a Bond geek more than I’d like to admit, and I’ve absorbed untold amounts of useless trivia about the series. There’s no other movie series, except perhaps Star Wars, that gets me as excited for a new release.
So I bounded down to the premiere held at Novo Cinemas with rabid enthusiasm and got that giddy feeling as the opening gun barrel sequence and classic theme tune kicked in. And, I’m glad to report, the excitement continued through most of the film, although there are a few issues which prevent Spectre from joining the pantheon of the very best in the series.
‘Spectre’ is very much the theme throughout the film. There’s, of course, the clandestine terrorist group, finally back in the series after a gap of more than 40 years, pulling the strings from the shadows, but on a more literal level, the spectre of James Bond’s past looms large over this latest instalment.
There are old scores which need to be settled, long departed characters speaking from beyond the grave, and an opening title card which announces ‘The dead are alive’, as if the point needed to be driven any further.
A staple of the Bond series, the opening pre-credits sequence sees Bond chasing down a baddie during the Dia de los Muertos parade in Mexico City. It’s as adrenaline-packed as you’d expect, and ends with a thrilling punch-up inside a cartwheeling helicopter.
Sam Smith’s Writing On The Wall theme song – definitely NOT one of the best – gives us a brief respite before the real plot kicks in. Bond’s international incident provides further proof that the Double-0 programme is outdated, and British intelligence is in the midst of radical re-design where agents are replaced by drones and constant surveillance, headed by the shady and smarmy Max Denbigh.
If that’s a very modern plot point, Bond’s side of the story focusses on the past where the events of the previous Craig-era films since Casino Royale are revealed to be linked to the mysterious organisation SPECTRE, and its head, Frank Oberhauser (Waltz). Bond’s mission, involving the tried-and-tested formula of gadgets, girls and exotic locales, becomes intrinsically linked with events in London as the film intertwines the past and present over its two-and-a-half hour run time.
The action scenes and car chases are still as thrilling as they’ve always been, particularly in the explosive finale, while Craig continues to make the role more his own with every passing movie.
Spectre does somewhat draw out its plot beats – it’s the longest film in the entire series – and if you weren’t already a fan then this film won’t convert you. One of its main disappointments is how formulaic it is. Bond heads to Rome for a sequence where he protects and then seduces a beautiful woman (Monica Bellucci) and picks up clues which sends him to Austria, where he meets, protects and seduces another beautiful woman (Lea Seydoux), who provides clues to lead him to Tangiers where … got the idea yet?
This mix has made the film the global phenomenon it is, but it’s no surprise that the best moments are the brief respites where the film goes off-piste, such as the hilarious conversations between Bond and Q and a candle-lit meeting on board a train that’s more the Southport-to-Manchester Northern Rail service than the Orient Express. The long-established characters in this franchise are the greatest components of these films, but all too-often they’re put to the side for another fight or chase.
Of course, a Bond film is only as good as its baddie, and the much-hyped Oberhauser shares some great scenes with Bond. The two go toe-to-toe as 007 endeavours to understand his past to deal with this very present threat. But while Waltz infuses the character with the charm and dry humour that’s become his trademark, he seems a little too goofy and never displays the menace to legitimise the claim that he’s the terrifying monster he’s built up to be.
Spectre smartly ties up Craig’s arc so far. It remains to be seen whether he’ll return or whether the role will pass down to a new face (hopefully the former for at least another movie or two), but he can be pleased with his body of work that’s brought Bond into the modern era with a more serious and relevant tone.
While this film never packs the emotional punch of Skyfall and doesn’t offer as many thrills or edge-of-the-seat drama as Casino Royale, there’s still the spectacle, humour, characters and cinematography that makes this quintessentially Bond. He will return, and so will I.
Showing at Cineco, Seef I & II, Saar, Al Jazira, Awal, Novo Cinemas, Dana Cineplex
Kristian’s Verdict: 4/5
