Review: Spectre

T H E   D E A D   A R E   A L I V E.

So reads the opening tile of Spectre, Daniel Craig's rumoured last go at filling Bond's impeccably shiny shoes. But the living dead aren't just the characters: necromancy is pervasive throughout the film, as formerly dead ghosts of Bond films past are dragged up to serve us again.

The plot is tight. The practically geriatric MI6 is under threat from an all-new digital intelligence initiative. As the double-0 programme grapple with the idea that a drone could do James' job, Bond is being led through increasingly exotic locales chasing the spectre of, well, SPECTRE; a shadowy crime organisation that figures prominently in the Bond franchise. It's a great excuse to have Craig pout in different countries, at any rate.

Mendes and co. open with a five-minute tracking shot following Bond through Mexico City's Day of the Dead celebrations, culminating in Craig strolling across rooftops in all his usual sartorial elegance as he exchanges a beautiful woman for a sniper rifle. Backed by throbbing drums (the sound editing alone is glorious and begs for a cinema experience), the sequence ranks among the franchise's best and is classic Daniel Craig. But the Craigian era is on its way out and Spectre knows it: Mendes tries to bring things full circle by embracing all the old tropes, drawing the line between serious and shagadelic. While the simpering megalomaniac, the secret lair and the gadgets all make a welcome return, the transition from the stripped-back tone is jarring and inelegant.

I think Casino Royale's attempt to distance itself so drastically from its predecessors is Spectre's only downfall. Spectre's a terrific piece of cinema but after three films of 'the serious Bond', to suddenly bring the ejector seats and self-destructing secret bases back into the fold is a reminder of why they were taken away in the first place. An attempt to provide an explanation for them feels slightly clumsy, and it left me with the feeling that Austin Powers has a lot to answer for.

The film is very well cast. We know Craig is good at his job, but Christoph Waltz's malevolent Franz Oberhouser is a revelation. His introduction to Bond, a deeply unsettling "I see you... cuckoo..." is given even darker significance later on as his personal connections to Bond are revealed. The Bond girls play their part well, with Blue is the Warmest Colour's Lea Seydoux doing a fine job of standing back-to-back with Craig until her character gives in to Bond's usual hormonal button pressing. The silent Mr Hinx is a credible supporting character and an imposing threat, while 'team MI6' consisting of Raiph Fiennes, Naomi Harris and the excellent Ben Whishaw do wonderful jobs with what they're given.

A little bit of elegance in the transition between new and old would have elevated Spectre into five-star territory. It's a must-see and one of the best Bond films yet, but don't go in expecting Bourne. It's rare for a franchise this big to unashamedly resurrect its past, but what do you expect? After all, THE DEAD ARE ALIVE.