A cryptic message from Bond's past sends him on a trail to uncover a sinister organization. While M battles political forces to keep the secret service alive, Bond peels back the layers of deceit to reveal the terrible truth behind SPECTRE.
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A cryptic message from the past sends James Bond on a rogue mission to Mexico City and eventually Rome, where he meets Lucia, the beautiful and forbidden widow of an infamous criminal. Bond infiltrates a secret meeting and uncovers the existence of the sinister organisation known as SPECTRE. Meanwhile back in London, Max Denbigh, the new head of the Centre of National Security, questions Bond's actions and challenges the relevance of MI6 led by M. Bond covertly enlists Moneypenny and Q to help him seek out Madeleine Swann, the daughter of his old nemesis Mr White, who may hold the clue to untangling the web of SPECTRE. As the daughter of the assassin, she understands Bond in a way most others cannot. As Bond ventures towards the heart of SPECTRE, he learns a chilling connection between himself and the enemy he seeks.
In order to complete the London scenes involving low-flying helicopters, the production had to send out 11,000 letters to residents and businesses that fell within the fly zone. Supervising Locations Manager Emma Pill says: "The biggest challenge, however, was to light the river at night. This involved weeks of preparation. We lit under each arch of Vauxhall, Lambeth and Westminster Bridge, 17 arches in total. These lights then remained in position for five weeks. We also lit the river from 10 rooftops along the bank of the Thames from Vauxhall Bridge to Hungerford Bridge, working with Lambeth Palace, Tate Britain, and the Royal Parks to gain permission. We also worked very closely with the House of Commons, County Hall and The London Eye to keep various lights on/off, or to change the color of their lights for each night-shoot." Each night-shoot involved a location team of nearly 200 personnel that included marshals, security, traffic management and police officers. Pill laughed adding: "That's a lot of radios to hand out and coordinate on a night, but it ran extremely smoothly each time." See more »
Bond & Madeleine have endless clothing/gowns/wardrobe items at their disposal wherever, whenever throughout the movie. Train scene or example, dressed very casually, asked the butler to press the tux, (where did he get it?), wears the white tux for dinner, fights with Hinx, comes off the train with a new shirt and brown tie etc... See more »
With occasions of triteness, Spectre is satisfactory but not stupendous like Casino Royale
Resuming where Skyfall left off, Spectre points James Bond on a quest to discover and unearth truths behind the sinister organization responsible.
The 00 organization is under duress as the Centre of National Security attempts to take over control of all clandestine undertakings in the protection of the nation. Bond is on his own and off grid as he follows Spectre across the globe, with one mission in mind, to terminate it at the source. Much has changed for Bond since his first mission in Montenegro where he fell for the beautiful Vesper Lynd. On guard, 007's seductive charisma is set aside as he fervently pursues vengeance for M and truth for himself.
Daniel Craig has been James Bond for close to ten years now, a near unbelievable fact until you go back and realize the first film, Casino Royale, was released in 2006. Opening with a strong action sequence set during the Day of the Dead festivities in Mexico City, Spectre starts promisingly intense. Set in exotic locations with transcendentally tactile productions, Spectre satiates the audience's wanderlust craving. Something happens once Sam Smith's "Writings on the Wall" concludes, and the dark gritty James Bond we've grown to be enamored with takes several steps back toward the triteness of the 90s.
It was always going to be difficult for director Sam Mendes to supersede expectations set from the wildly successful Skyfall. The narrative had taken a complicated turn with deceit and bloodshed interwoven with treachery and malice. Mendes had teased us with a captivating scene set in a wintry tundra where a cloaked man compared Bond to a 'kite dancing in a hurricane'. It was enigmatic but furtively beguiling. Desperately longing for Spectre to capture this essence for the totality of its duration, it fails to meet expectations.
There is something intangibly weary about Spectre as a whole. The amorous allure inherently exuding from Bond is overdone and forced, injected into the plot to satisfy token assumptions. His unflinching execution of his license to kill has softened, leaving Bond to feel less like 007 and more like IMF agent Ethan Hunt who participates in a similar journey this year.
Do not mistake these criticisms of Spectre as a conclusion for it being substandard. The hand-to-hand fight sequences are marvelously intense and brutal, especially those against Dave Bautista. The narrative plots across Mexico, Rome, Austria and Morocco and does so without sacrificing the story too much. It just ends up feeling drawn out, as if it were going through the motions.
Spectre is vastly superior to the Pierce Brosnan 007 films, it is just in comparison to its peers that it fails to measure up and is more akin to them than the Craig films we've grown to love. With rare occasions of cheesiness that make you more laughably amused (especially at the senseless love scenes) than suspensefully entertained, we can only hope for a sensational Bond 25.
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