Mendes is a fanatic for arthouse system, a love letter he writes to Fleming, I wonder who will do the same to him.
Mendes is a local seller. This time, breathing pure England-ness and all the patriotism towards it, the director, Sam Mendes is going global with household methods. And to me, it is an ode to this franchise. Never has been a film so formal and personal altogether, like this. Many have come and gone, including his own version in the previous round, but no one was this professional. They have been claiming James Bond’s excellence and superiority in his work shamelessly, and never had even cared to prove it. But with a clean polished job comes Mendes, with a neatly poised futuristic world i.e. the present one in which we are living. His huge set pieces gives away the clues. Armed with a huge production budget, Mendes colors the film with ravishing locations and Ridley Scott’s Blade Runner-isc captivating tone.
Calculative steps and a simple pragmatic way out, from those steps, Daniel Craig is carrying a much heavy weight on his shoulder. Reinventing the character after a complete arc, he is given everything gift wrapped and untouched. And his version of sober Bond leaves a safe air in the room that is soothingly quiet and cathartic. Christoph Waltz, a mere pawn of the game, no matter how much he brags himself to be the puppeteer, he always stays a puppet.
Despite of a brief appearance, Monica Bellucci casts an unbreakable spell on us from which even the lead, Lea Seydoux couldn’t free us. Personally, I feel for Ralph Fiennes, hiding someone else’s mistakes and correcting his own, to bring down an evil empire Spectre, his job is to justify all the chapters of the franchise keeping in contrast to the materialistic world, this current generation is drawn to, “A license to kill is also not a license to kill.” he concludes.