Spectre

For F*** Magazine

SPECTRE

Director : Sam Mendes

Cast : Daniel Craig, Christoph Waltz, Léa Seydoux, Ben Whishaw, Naomie Harris, Dave Bautista, Monica Bellucci, Ralph Fiennes, Andrew Scott, Rory Kinnear

Genre : Action/Crime

Run Time : 2 hrs 28 mins

Opens : 5 November 2015

Rating : PG13 (Some Violence)

The world’s greatest superspy returns to tackle his most dangerous foe yet in the 24th Bond film. While in Mexico City, James Bond (Craig) discovers the existence of a shadowy terror network known as “Spectre”. Back home, Bond’s boss M (Fiennes) is locked in a power struggle with Max Denbigh aka “C” (Scott), head of the Joint Intelligent Service who aims to abolish the Double-O program. Bond’s allies Q (Whishaw) and Moneypenny (Harris) render their support as Bond pursues Spectre. Through Lucia Sciarra (Bellucci), the widow of a Spectre hitman, Bond finds his way to a figure from his distant past, the sinister Franz Oberhauser (Waltz). Bond must protect Dr. Madeleine Swann, a psychologist with familial links to Spectre who’s working at an exclusive private clinic in the Austrian Alps, from Oberhauser and his hulking henchman Mr. Hinx (Bautista). As the staggering reach of Spectre’s tendrils become apparent, Bond races against the clock to prevent Oberhauser from enacting his devastating schemes. 

After winning a long legal battle known as the “Thunderball copyright ownership controversy”, the Bond movie producers finally secured the rights to depict the criminal organisation Spectre, integral to the Bond mythos. Fans were excited at the prospect of seeing James Bond come face to face with the éminence grise apparently lurking behind the shadows since the events of 2006’s Casino Royale. Skyfall director Sam Mendes returns for Craig’s fourth outing as 007, and it is evident that he is trying to hit as many mile markers associated with classic Bond as possible. Craig appears in a white tuxedo for the first time, there’s a scene set in a snowy locale, a scary henchman in the Oddjob and Jaws mould and a tricked-out Aston Martin. Sure enough, there are many moments in Spectre that made this reviewer cheer, but alas, after the smoke clears, it seems that the film adds up to less than the sum of its parts. 

On the level of spectacle, Spectre certainly is an accomplishment. Cinematographer Hoyte van Hoytema, succeeding Skyfall’s Roger Deakins, crafts many shots that are striking in their elegant composition and breath-taking in their scope. The film’s pre-title sequence begins with a long tracking shot which follows Bond and his companion Estrella (Stephanie Sigman) through a massive procession as part of the Day of the Dead celebrations in Mexico. Second unit director Alexander Witt and stunt coordinator Gary Powell, both Bond veterans, assist Mendes in assembling major eye candy set pieces including a skirmish to the death aboard a helicopter spinning out of control, a car chase that roars through the streets of Rome and a spectacular plane vs. Land Rover convoy battle in the Austrian Alps – not to mention the single largest explosion ever detonated for a film. This reviewer, along with the majority of Bond fans, doesn’t fully enjoy Writing’s on the Wall, the rather limp theme song performed by Sam Smith. Thankfully, the Daniel Kleinman-designed main titles do enhance its effectiveness. However, there is some imagery that undermines the overall haunting effect of the sequence: expect to hear some tittering from audience members cognisant of Japanese tentacle erotica.

While Craig (in)famously told journalists that he’d rather slit his wrists than play Bond again, he delivers an intense, committed performance, with the character finally getting into the swing of things. As expected, he acquits himself well in the many action sequences and handles the moments of humour better than he did in Skyfall. His portrayal of Bond has sometimes been decried as too self-serious, so it is amusing to see him partake in several well-judged moments of levity that are almost Roger Moore-esque. There is some brooding, to be sure, but Bond gets right in the thick of it and stays there for the duration of the movie. 

Christoph Waltz’s casting was met with much fanfare and speculation as to the true nature of his role. Waltz is fine as Oberhauser, but there’s very little here the Oscar-winner hasn’t done before in other roles and this reviewer was expecting him to have more of an impact. All of the primary villains in the Craig-starring Bond movies have been creepy European dudes, and Oberhauser is no exception. The Spectre meeting at an Italian palace, designed to evoke an arcane secret society ritual, is a genuine nail-biter of a scene and is marvellously acted by Waltz. However, when Oberhauser states his motivation, it is disappointingly contrived given all the build-up, since he’s been positioned as this ultimate baddie. Even though there’s obviously more to the character than is told to us in Spectre, the feeling of “wait, that’s it?” is pretty hard to shake. 

Seydoux’s turn as the lead Bond girl is understatedly affecting, even if the character isn’t one of the more memorable women in the Bond canon. With Madeleine Swann, screenwriters John Logan, Neal Purvis, Robert Wade and Jez Butterworth are aiming for a character who isn’t either extreme of “fragile wallflower” or “kicker of ass who can give Bond a run for his money”. Even then, the arc in which she is initially sceptical of and almost hostile towards Bond but eventually warms to his charms is very predictable. It is a wonder that the sultry, glamourous Bellucci hasn’t been in a Bond film until now, so it is even more of a let-down that she is criminally underused in an all-too-brief appearance. The Lucia Sciarra character is also little more than the “kept woman” archetype we’ve seen many times throughout the Bond films, from Domino Derval to Solitaire to Andrea Anders. 

The support system of Bond’s allies M, Moneypenny, Q and Bill Tanner (Rory Kinnear) is integrated into the plot instead of coming off as ancillary, which is to Spectre’s credit. The crisis at MI6, secondary compared to Bond’s tangle with Spectre but still pretty serious stuff, is rooted in topical security concerns, with C planning an invasive universal surveillance program. Whishaw gets several humorous moments and Q does go out into the field in this one, but it isn’t taken too far (see Octopussy). Scott, best-known for playing the dastardly Moriarty in BBC’s Sherlock, is far more restrained here, which means the character is believable but often dull. Bautista as the silent, musclebound Hinx is excellent casting. Henchmen with silly gimmicks are one of the most often-parodied elements of Bond films, so it’s commendable that Bautista manages to hark back to that without taking one out of the movie by being silly. 

This reviewer found Spectre agonising, not because it’s a bad film – not by a long, long shot – but because of how unsatisfying it is once one takes a step back. There are a few references to Bond films past that cross the line from “cute” to “smug”. In the moment, it is entertaining and thrilling and there are action sequences which stand up to the most memorable in the series, but the overarching plot, especially where it pertains to the villain, leaves a fair amount to be desired. For a film that hits so many high points, true, sublime greatness remains out of Spectre’s grasp. 

Summary: There are thrills and instantly classic scenes galore, but on peeling back the layers of Spectre, it isn’t quite the ghost with the most. 

RATING: 3.5 out of 5 Stars 

Jedd Jong 

Skyfall

For F*** Magazine, Singapore

SKYFALL

2012
Starring: Daniel Craig, Javier Bardem, Judi Dench, Ralph Fiennes, Naomie Harris

Directed by: Sam Mendes

Following MGM’s filing for Chapter 11 bankruptcy in 2010, it seemed that the sky really was falling for Bond fans everywhere. The future of the film franchise was put in jeopardy, and, for a while, it was a very strong possibility that Quantum of Solace would be the last James Bond film ever — which, for many, would have been disappointing to say the least. Thank goodness that Bond’s future seems brighter than ever with this triumphant 50^thanniversary celebration.

The film opens in Istanbul, where Bond (Craig) is thrust right into the frenzied pursuit of Patrice (Ola Rapace), a French mercenary who has stolen a hard drive containing a list of NATO undercover agents embedded in terrorist cells. Bond is assisted by field agent Eve (Harris), and the mission goes awry. The repercussions make themselves felt: the names are leaked in a YouTube video, M (Dench) comes under pressure from Gareth Mallory (Fiennes), chairman of the Intelligence and Security Committee, to call it quits, and MI6 falls victim to a vicious cyberterror attack. Bond follows a lead and tracks Patrice down to Shanghai, where he tangles with the mercenary in a high-rise skirmish. He also glimpses the enigmatic and beautiful Sévérine (Bérénice Marlohe), whom he meets again at a lavish floating casino in Macau. Bond asks to be taken to the woman’s employer, thus encountering the villain of the piece, Raoul Silva (Bardem). Silva is a flamboyant, psychopathic figure who bears quite the grudge against M, and perpetrated the attack on MI6 headquarters. Bond realizes that this mission is far more personal than it first appears — and perhaps just as much for M as it is for him.

In Skyfall, Bond is asked what his hobby is. “Resurrection” is his reply — and this is resurrection of the most glorious kind. Skyfall sets right many perceived problems viewers had with the previous installment. This being the 23^rd official Bond film, some might say he’s a little long in the tooth, but Skyfall examines and proves the character’s relevance. With Oscar-winning director Sam Mendes at the helm, this is a very stylish, good-looking film; nine-time Oscar nominated cinematographer Roger Deakins serves up startlingly gorgeous imagery. Adele’s theme song is many times better than the Jack White/Alicia Keys trainwreck “Another Way to Die,” and it plays over Daniel Kleinman-designed opening credits that make strong reference to plot points throughout the film, instead of serving as a mere light show. Many wrote off the first two Daniel Craig-starring Bond films, Quantum in particular, as vainly aping the Bourne movies. Well, that’s definitely no longer the case (even though Bourne alumnus Albert Finney is in this too), as Skyfall’s tone strikes a near-perfect balance between the tough and gritty and glamorous and smooth, with a strong emotional current running through it all.

Daniel Craig is back in the saddle, the days of fans crying foul over his casting as the iconic character well and truly behind him. There’s a moment in the opening action sequence that’s in the trailers: Bond uses an excavator to tear the roof of a train carriage open, climbs on the excavator’s arm, leaps into the train and adjusts his cufflinks after he lands. That pretty much sums up Bond’s characterization: he’s willing to get his hands dirty and is rather brash, but at the same time is growing into the slick, suave agent he should be. This film also does something traditionally considered rather taboo in Bond films — delving into the character’s past, and it does so pretty well.  Many Bond films struggle with fitting M into their stories. Well, one could go so far as to say Skyfall is really M’s story, with Bond happening to become embroiled in it. Judi Dench is better than ever as the character; a woman hardened by years in a particularly challenging line of work, and someone who has to reconcile personal sentiments with duty. Also at MI6 is Ben Whishaw as the new incarnation of Q, Bond’s quartermaster, and, traditionally, the curmudgeon who begrudgingly hands out his gadgets to him. While former Qs John Cleese and, before him, the late Desmond Llewelyn were slightly older gentlemen, Skyfall runs in the opposite direction with a rather young, “adorkable” Q, whom Bond almost immediately writes off because of his youth. Whishaw and Craig share remarkable chemistry, and it would be a sin not to have this Q continue to appear in future Bond movies. The ever-dependable Ralph Fiennes ties it all together as the meddling bureaucrat who might not be that big of a jerk after all. This film also does something traditionally considered rather taboo in Bond films, delving into the Bond character’s past — and it does so pretty well.

So, how about the Bond villain and the Bond girls? Oscar-winner Javier Bardem puts in a spine-chilling performance as Silva, the villain. He’s proven he can play unhinged in No Country for Old Men, but Silva is a psycho of a different stripe. Bardem’s over-the-top portrayal is sometimes comic and harks back to villains of old. Silva is something of an impetuous child, but behind the loudness and the posturing lays a bitter, broken soul. Not every actor can convincingly inhabit a character of this sort. Naomie Harris has a nicely playful chemistry with Daniel Craig; Eve and Bond’s mutual flirtation providing much respite from the rather intense proceedings. Bérénice Marlohe makes for a stunning, exotic Bond girl and gets to share a scintillating shower scene with 007 himself. However, this isn’t a Bond film that will be primarily remembered for its women.

What it will be remembered for is its ending, a showdown which I’ve been kindly told not to spoil. If there’s one “issue” with the film, one which is reinforced by the ending, it’s that this is clearly a movie best enjoyed by Bond aficionados. It’s less action-driven than one might expect a modern-day Bond film might to be, and is a love letter to Bond in commemoration of his 50 years onscreen. As such, more casual viewers might feel just a teeny bit left out. It doesn’t attempt to chuck out everything the older Bond movies are remembered for; instead teasing some of those elements and building upon them. The Aston Martin DB5 from Goldfinger appears, complete with the same license plate and all the frills from that film — a symbol of the healthy nostalgia Skyfall possesses. By the movie’s end, it seems as if the Daniel Craig-starring Bond movies have found their footing at last, having incorporated more classic motifs into their framework – and fans can toast their martinis to Bond’s sterling return.

SUMMARY: Skyfall is a Bond film that’s worth the wait, one that’s worthy of marking Bond’s golden anniversary, and one that Bond devotees will welcome with open arms. Here’s to 50 more years at the movies, 007!

RATING: 4.5 out of 5 STARS

Jedd Jong