+2
IMO this is an unfortunate semi-sluggish whale of a film, with periods of finger-drumming indifference from the viewer, separated by some impressive chase and special effects scenes. The overall tone of the story felt like an inept requiem for Daniel Craig’s Bond. The picture was overly long, with 30 minutes that could have easily been cut out without any loss to the story.
It can be said that most of the production elements were first rate, with excellent cinematography by Linus Sandgren, keen editing by Tom Cross and Elliot Graham, and a competent music score by Hans Zimmer. As usual, most of the settings were exotic and appealing.
The acting was also good, but for the glaring miscasting of Lashana Lynch as 007’s temporary replacement. Rami Malek added star power to the film, yet his Mr. Robot ogling and cheesy vitiligo face make-up were not enough to exude wanton depravity. Previous Bond villains were far more threatening. Lea Seydoux was workmanlike in her performance, but did not show the allure she exhibited in Spectre. In fact the chemistry between she and Craig was semi superficial and inferior to their attraction in the earlier film.
It was the writing that was shockingly mediocre. It’s a toss up whether it was the story or the melodramatic dialogue which was worse. The story itself wasn’t too far off in style from some of the earlier Bond films, and might have been palatable were it not for the hammy dialogue, especially in the love scenes, which bordered on camp. Some reviewers have rhapsodized about Bond’s scenes of tenderness and introspection, but in my view his occasional histrionics --although well acted-- felt phony, artificial, and self-serving to a script that was designed to build emotion for the inevitable ending.
Neal Purvis, Robert Wade, and Director Cary Fukunaga were credited as story writers, with Phoebe Waller-Bridge added to the screenplay, writing along with the others. Purvis and Wade have been the writers on the past six Bond films, so they ought to be a reliable team. Whether it was the input from the other two that weakened the writing, or whether it was the case of too many opinions and re-writes involved remains to be seen. Reportedly Danny Boyle was originally hired to direct and co-write but left due to creative differences. One wonders if the script and filming would have been tighter with Boyle at the helm. Evidently Fukunaga was hired quickly in order to meet contractual arrangements. He became the first American director in an Eon Productions Bond film. Sam Mendes did not want to direct a third Bond film.
Since shifting the nature of the 007 films to the more serious and determined Bond of Daniel Craig, most of the high jinx, humor and campiness of the earlier pictures were cast aside to favor more dramatic stories rising above all the razzmatazz, chases, and shoot outs. But once the stories enter the realm of drama, there is a much higher bar in terms of acceptance and believability. In the case of the Bond franchise they’re treading perilously close to being pulled away from their decades highly popular stylish format toward overly wrought boy/girl entanglements, political correctness, and melodramatic sensitivity.
Daniel Craig has been a dynamic force as 007. Yet despite his excellent physical conditioning he has gotten a little long in the tooth, so he was smart to bow out on top. There will certainly be more Bond films. We hope that they’ll right the ship and add more classic quality 007 spy action yarns to the series.