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When Ben Whishaw debuted as the new, young Q in Skyfall, his arrival marked a welcome change for a character who had grown stale and silly. In Spectre, she’s relegated back to what is essentially an assistant role - a researcher rather than a rival. In Skyfall, Moneypenny was given an elevated role as a field agent (though she ultimately got benched). Then there are the stalwart Bond characters of Q, Bond’s gadget maker M, Bond’s superior and Moneypenny, the spy agency’s longtime secretary. The whole thing comes across as unintentionally ridiculous - and a far cry from the jazzy, energetic swagger of the opening titles for Craig’s first outing as Bond, Casino Royale. With its slithering sea arms and an overlay of kaleidoscopic coloring, it ultimately feels like an Apple ad for tentacle porn. It's set to Sam Smith’s overwrought chamber pop ballad "Writing’s on the Wall," an unfortunate song that doesn’t work with the visuals. The sequence is built around octopus imagery, with goopy tentacles weaving and waving their way through scenes from the forthcoming movie. No and the gilded, surrealist innuendos of Goldfinger.īut Spectre’s credits are just weird.
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Bond movies have long been known for their innovative, avant-garde opening titles, dating back to the mod design work of Dr. The problem is that it handles most of them the wrong way. Directed by Sam Mendes (who also helmed Skyfall), it features all of the franchise’s familiar elements and characters. Spectre is the 24th film in the James Bond series, and the fourth to feature Daniel Craig as 007. Spectre handles familiar elements in all the wrong ways
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Indeed, while the stunning opening sequence offers a succinct demonstration of all the ways a Bond movie can go right, what follows mostly serves to illustrate all the ways Bond movies can - and do - go wrong.
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Related How to fix the James Bond franchise: make it more like Mission Impossible It's just too bad the rest of Spectre is such a disappointment - relative not just to its opening scene, but to other recent Bond films, which scrambled the Bond formula in ways that produced two of the series’ best entries: the taut, brutal Casino Royale (2006) and the breathtakingly beautiful Skyfall (2012).
It’s everything you want from a modern 007 film. It’s a perfect Bond sequence: sexy, thrilling, stylish, extravagantly elaborate, and marvelously over the top. It’s the single greatest shot in Bond film history, and it sets incredibly high expectations for the duration of the two-hour, 30-minute runtime.
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The film's brief glimpses of Mexico City suggest a dusky, haunted urban landscape full of mystery and death.īut the investment certainly paid off for moviegoers. I’m not entirely sure that city officials got what they paid for. It's a scene that pulls double duty as a high-octane opener and a backdoor fundraiser for this $300 million spy extravaganza: It was reportedly reworked in order to qualify for as much as $20 million in tax credits from the Mexican government, which wanted Spectre’s producers to feature the city in a positive light. Set during Mexico City’s Day of the Dead festival, the sequence introduces a longer pre-credits action set piece, complete with crashing buildings and a vertiginous hand-to-hand encounter in an out-of-control helicopter.
It makes for a gorgeous, foreboding, and incredibly tense sequence, staged and paced with Hitchcockian wit and precision - and that’s before stuff starts blowing up. The jaw-dropping single shot is an incredible technical accomplishment.
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