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Hoyte van Hoytema shoots with digital cameras and renders the locales in flat, muted colors, from the equally rusty hues of Mexico City, Rome, and Tangiers, to the whitewashed brightness of Austria. The story drags somewhat in the middle, while the visual presentation seems less dynamic than Skyfall.īeautiful and varied by locale, the lensing in Skyfall came courtesy of cinematographer Roger Deakins, who did not lend his talent nor his insistence on 35mm cameras to the production this time around. To be sure, just because Spectre is the longest (148 minutes) and most expensive (upwards of $250 million) Bond film to date doesn’t mean it’s the best.
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This incredible opener is followed by a dull title sequence, always the silliest part of any Bond film with a lackluster song by Sam Smith and laughable octopi-laden animations, it’s the least enjoyable few minutes of the film. Before long, buildings are collapsing and helicopters are defying the laws of physics. It’s a breathless shot, even if the filmmakers used computers to artificially piece it together. One of them is Bond, and we follow him into a bedroom with a willing female companion (Stephanie Sigman), until he steps out the window with a sniper rife in hand. In Mexico City, during the height of Day of the Dead festivities, a wowing tracking shot flows over crowds and settles on two men in masks. The film opens with one of the most bravado sequences in any 007 chapter.
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Donald Pleasance ( You Only Live Twice, 1967), Telly Savalas ( On Her Majesty’s Secret Service, 1969), Charles Gray ( Diamonds are Forever, 1971), and Max Von Sydow ( Never Say Never Again, 1983) each played Blofeld in classic Bond titles. Evil supervillain Ernst Stavro Blofeld, who often appeared in earlier films only from the shoulders down, stroking his white cat. Whereas Casino Royale and Skyfall repurposed these familiar Bond conventions into something innovative and fresh (while Quantum of Solace can be shrugged off altogether), Spectre feels more dependent on previous films-specifically in its use of “Spectre” and that organization’s Dr. As always, James Bond is about places, chases, and faces. He beds sultry women and faces-off against sizeable bad guys, both categories portrayed by an impressive ensemble. He captains all manner of transports including planes, trains, and automobiles, and a couple helicopters too. Played by Daniel Craig in his fourth turn as 007, Spectre features Bond globetrotting from Mexico City to London, then off to Rome, Austria, and Tangiers. Along with several nods back to the Sean Connery and Roger Moore days by placing the titular terrorist organization back at the center, the film uses nostalgia as adhesive, connecting us to Bond, and him to the often exaggerated, but nonetheless thrilling spy action. In keeping with the moody tone of the franchise reboot in 2006 with Casino Royale, complete with a tragedy-ridden hero marked by personal loss, Spectre dwells on the iconic character’s dark past and continues his futile search for peace, or revenge, or whatever comes first. This direct follow-up returns Skyfall‘s creative team behind the camera, including director Sam Mendes and screenwriters John Logan, Neal Purvis, and Robert Wade. Celebrated by audiences and lauded by critics, that film was the highest-grossing ($1.1 billion worldwide) and arguably best entry in the entire 53-year franchise.
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Spectre, the 24th entry in the James Bond franchise, has considerable shoes to fill after its brilliant predecessor, Skyfall.