"The dead are alive": Spectre is a gift for Bond fans and a great action thriller with a surprising amount of complex and contrived heart.

Rating: 10/10 (25 October 2015)

This review will be mostly spoiler free because despite all the problems that the production and the writing suffered this movie is a self conscious sleight of hands between all the things you think you know about the plot mixed with dark and funny surprises that pave their way through around the final half. And that's an incredible triumph over all the odds that must be experienced in bare bones. It's a terrific Bond film (more Bondish than Skyfall in a gloriously preposterous way)that has the equals in production values, score (Thomas Newman mixing Skyfall cues with new ones fits well), direction, performances and the brave narrative decisions taken in its script. But let me say this in advice: it may not exactly reach the same smart and complex, deeper and meaningful way achieved in the very personal Skyfall.
The priceless opening sequence: Masterful. Eye popping. Five minutes (or so) in one tracking shot. Never seen before in the franchise. Maybe the best prologue EVER. This is how you start a movie in a truly rip- roaring fashion.
Opening credits: It's a special affair to take part. Sam Smith tune has a little to compare with the epic scoop from Adele, but as a slow burning ballad is terrific for the movie (and very gorgeously designed for it, culminating in a very special opening titles). Is about a man who is an assassin but at the same a time a human being with his flaws (more or less in a way like Dench's M wants for Bond at their first face to face in Casino Royale) and his uncertain demise to find someone pure and up to him
The rest of the movie (If I'd reveal anything, I would deserve a ban from all the users of this site): it takes a little of time at some parts and it probably would affect in direct comparison to its predecessor. But this movie is able to live up the plot of Skyfall by deeper extravaganza and funnier build up even if it tries to rehash elements rather than add other news (wait a while in order really meet the villain, spy games in MI6 office, Bond has to operate in the shadows again). Taking its basis as a somewhat follow up (it starts as an extended epilogue indeed with a special message from someone of the past brought back from dead "for a few moments") it develops its own big story with style, patching the whole Craig's era so far and even paying homage to certain iconic moments of his run (there's a cracking torture scene this time too that may push the rating a bit too far) and the franchise overall (the fight in the train, a cat, iconic action sequence in the snow). Just when you think that the script is falling in a familiar territory, the film suddenly subverts your expectations using human drama (very effective for Bond and Oberhauser) instead the action or the fatigue. And the reveals make these characters even more likable and interesting. This smells like the truly 50th anniversary but 3 years later due to finding itself very encouraged to include references of the whole 007 story than the personal previous outing: It 's a thrilling and tragic Bond film, with best of Connery/Moore (and Lazenby) roots (gadgets included) but without becoming too campy or an absurd parody of itself. The performances (Fiennes, Whishaw, Harris, the twisted Andrew Scott, Monica Bellucci in her little amount of screen time "without mercy" and obviously the Bond "new" main interest: Léa Seydoux) are top notch as we could expect from Sam Mendes (even better in the direction). But Christoph Waltz (as insanely brilliant as we were looking for even if falls short to be as resonant as Silva and being closer to a more billed Le Chiffre), Dave Bautista (perfect, brutal, ruthless and iconic) and Daniel Craig (he nails it: operatic complex, dark, emotional and riveting-best Bond EVER) are the three best things that could ever happen to the movie in performances terms.
From its orgasmic start in Mexico City to his hard hitting conclusion in London, Spectre is a gift for newcomers and classics Bond fans and a great action thriller with a heart. I don't know if it's the best Craig's Bond movie (Casino Royale is still a modern classic and Skyfall maybe fell in a better context and expectations in comparison with this one), but is a perfect entertaining and that was the same exciting affair happened to the two ones mentioned. While its deep psychological punch may not being so surprising nor original this time and the effectively reliable political urgency that made Skyfall so unique is left a little underweight with the M vs. C plot, Sam Mendes and the whole team can breathe relaxed. They have wrapped up their story in a new whole level and in a spectacular victory fashion by succeeding presenting a riveting story in terms of pure emotion and action. And if this is the real farewell to Daniel Craig's run he couldn't really ask for any better final outing, as well to thank to the producers and writers to have gifted him the greatest Bond era of all. He really leaves the tux (and the broken soul inside it) on a beautiful high. I'm even afraid if he agrees to come back (with almost the same team or another) even being my favorite Bond Because to surpass this is going to be a hell of a difficulty.