Agent 007 creeps into the limelight once again with “Spectre,” the newest installment of the James Bond series. The dapper Daniel Craig (“Skyfall”) stars as the infamous British Secret Service agent with a thirst for thrill, and wastes no time in his womanizing conquests.
While showcasing an award-worthy presentation of ravishing cinematography, “Spectre” is simply another generic tale of the great James Bond with sexist undertones.
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Chasing a trail of mysterious clues regarding a notorious criminal, Bond finds himself in the grips of a deadly dilemma. Discovering the existence of a secret criminal organization by the name of Spectre, he promptly engages in its ultimate takedown.
The film introduces its dazzling mastery of art direction and cinematography immediately through the first sequence. Mexico City’s Day of the Dead festivities, with their massive array of colors and people, are certainly fit for an engaging introduction. Single moving shots of dizzying yet exquisite visuals seize the audience’s attention, and the distant echo of a percussive score contributes to this stimulating beginning.
These impressive qualities are not only present in its opening, but throughout its duration. As Bond travels across Europe to a myriad of beautiful landscapes and architectural sites, cinematographer Hoyte van Hoytema (“Her,” “Interstellar”) demonstrates his artistic prowess.
While there is an undeniable presence of purified cinematic beauty, “Spectre” has its necessary share of fantastic explosions and legitimate action sequences with skilled combat. After all, Bond enthusiasts should expect nothing less.
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Upon witnessing the splendid visual activity within the film, one’s mind must spin in circles when considering the time and work involved. With complex editing, an elaborate movie set and stunning art direction, “Spectre” excels as an aesthetically appealing work.
The engaging visuals continue into the bizarre yet mesmerizing opening title sequence fit very appropriately with the background song and lasts for its duration. The original song for this Bond film, “Writing’s on the Wall” by Sam Smith, is effectively haunting with strings and grandiose percussion. As was the case for Adele with her Bond song “Skyfall,” Smith may find himself in the realm of Oscar recognition for his alluring single.
But, despite Smith’s crooning, there is something unsettling in the title sequence. As with other Bond movies, the title sequence sets the stage for the objectification of women throughout the film. Mirrored images of women caressing a shirtless, chiseled Daniel Craig and close-ups of kissing lips and women’s bodies promptly litter the screen.
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Even for the tried-and-true Bond formula, courting multiple women while embarking on yet another secret mission can fall flat. Unfortunately, the superb cinematography of “Spectre” is not enough to mask its generic storyline. There are zero standout moments of soul-piercing dialogue or the tugging of heartstrings. Without the necessary component of emotional appeal, “Spectre” falls flat.
Was “Spectre” entertaining? Sure. After all, it’s Bond — James Bond. Is another sit-through of the two-and-a-half hour film worth one’s time or even remotely appealing? Probably not. Maybe muting the movie and solely focusing on the visuals and direction will help one sit through another bland story about a debonair Brit and his legions of fawning women.
