Monday, October 18, 2021

What critics say about Spectre, the new James Bond film

For anyone not planning to get a flying tumbler on opening night of Spectre, Craig’s fifth Bond film (the previous four were Spectre, Skyfall, and Casino Royale), based in Moscow, marks the culmination of years of anticipation.

Spectre is written by original Spectre co-writer John Logan, and directed by Sam Mendes, who also directed Skyfall and Spectre.

See what critics and moviegoers think of the new Bond film, directed by Sam Mendes (with Dan Bond a producer):

The Telegraph

Like all Bond films, Spectre provides a stark contrast between what the Bond man actually wants, as evinced by Raoul Silva, who campaigns for human rights and justice in the name of his tribal lands, and what he is prepared to sacrifice to achieve his ends. In this respect, Spectre is less like any previous movie than any other; a surprisingly radical step removed from an ersatz, affable style. Bond is a weaponised advert for nuclear self-interest, an illusion that Mendes skillfully wears as a fig leaf. And it’s an illusion that’s reflected in the films’ materialisms, which this time actually work.

The Guardian

These are certainly the most ingenious, ingenious scripts Bond has been given, and one imagines this is also the greatest output by a Bond screenwriter since Ian Fleming’s books. Men like to blame Craig for this, of course, and this new script credits him with one-quarter of its ingenuity, with a third going to the esteemed John Logan, the other two going to Richard Price, who had such a hand in this film. Mendes’ directing has always been exemplary.

The Evening Standard

Spectre is a terrific James Bond movie. As is the current direction of the franchise.… The sequence in the old country mansion was a real stage in which to step into a world apart from our own, and it brought out the good British in the proceedings. Cashing in on enthusiasm for movies made 50 years ago and to bring out some of the extravagance and ostentation of the main characters, this is a true 21st-century Bond.

Time Out

…all of Bond’s fantasies are incarnated here – of debauchery in the eyes of CS Lewis, of the mighty villain standing unmolested by civilisation – in four minutes and nine seconds… Still, long after it had officially played its part in the film itself, Spectre is still a beating heart of a movie that has too many delights to mention…Spectre is arguably the best of the Bond movies, a diamond to the whole franchise. As it leaves you, it will be easy to forget that James Bond once featured in an episode of Countdown.

The Independent

Spectre picks up exactly where Skyfall left off. That film’s denouement set up this movie to deliver a bigger action sequence than any before it. This is a true explosion of Bond energy, and it does not disappoint. A film about evil-doers happy to use their time to indoctrinate the weak cannot help but have some good villains to admire too, even if they are from three post-Soviet republics.

The Independent

Still a tall order, both physically and cinematically, for any film that wants to be a fresh take on a character that’s been loved and despised for half a century. Spectre manages a grandiose tone and a stunning rendition of what makes Bond so irresistibly thrilling, but Mendes’ script does not know how to sell Bond as a heroic figure. The films’ unwavering zeal for the cliche of the British tough guy does the old character no favours. As Mendes delivers more Bond adventures, it seems only the saltier: The film is certified by Sylvester Stallone.

The Express

Spectre never merges with reality. It never exists in its own world, and yet, it does in all its lavish grandeur and thrilling bravura. Daniel Craig’s last James Bond, which smashed box office records in early 2016, has pulled off something even more impossible: It can be bad and fun at the same time.

Time Out

There’s no time to die here…Spectre takes Bond to a level unseen before in terms of imagination, humour and inventiveness.

The Guardian

There are no shamelessly sentimental climaxes here. The closing scene is gripping; the first one fails to rise above a bit too much justifiable celebrity hype.


This is grand, expensive, fabulous, nasty, well-made, straining every sinew and wasting every ounce of manpower to make Bond 007 three times as fast, three times as bloody, three times as utterly dangerous.

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