The latest Bond picture is enjoyable enough with plenty of action, classic elements of the last 22 chapters, and the usual gorgeous locations, sets, cars, and gadgets, but is way too talky. Though the definition of chick flick is "too much talking and not enough hitting," this two and a half hour extravaganza could use a trim of at least 20 minutes of each.
The opening sequence doesn't disappoint, taking place this time during a Day of the Dead festival in Mexico City. In the music mix are kettle drummers, reminding me of the ones I loved in Mad Max: Fury Road, who can be heard offscreen later. In the action mix are some impressive stunts/computer generated effects with a wildly swinging helicopter. Other fabulous locations include Rome, Tangier, a snow-filled rural Austria, and, of course, London.
Daniel Craig returns, still pouting, for the fourth time under the directing hand of Sam Mendes for his second (both were last blogged in Skyfall). Much has been made of Monica Bellucci's (among her many credits I liked Malèna (2000), She Hate Me (2004), The Passion of the Christ (2004), and The Private Lives of Pippa Lee; I omitted the Matrix movies because I didn't particularly enjoy them but she was in them all) being the oldest Bond girl--she is now 51--but she's not in the movie very long. Léa Seydoux (most recently in Blue Is the Warmest Color) has lots more screen time, but what did you expect? She's thirty! Christoph Waltz (last in Big Eyes) also has abbreviated scenes as a villain.
Composer Thomas Newman (most recently in these pages for scoring Bridge of Spies) naturally uses the "James Bond theme," with royalties going to Monty Norman, and pays homage to John Barry and other past Bond composers. You can stream the whole soundtrack, half as long as the movie, from this link.
Rotten Tomatoes' critics and audiences are averaging only 64/66 for this installment. You fans know who you are, and have probably already seen it on the big screen.
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