Sunday, November 29, 2015
It opens with such a confused series of scenes and dialogue it's impossible even for those who have seen the previous film to figure out who's who and what's what. Characters are introduced as incidental than the dialogue seems to indicate they're really important and then they're dead before we can make any attachment to them.
And whoever decided to make the actor who plays the mate Lawrence's character ends up with the pivotal figure of the flick should fire themselves. Lawrence is such a towering screen presence with the most natural sense of realistic expression that she needs someone who is her equal to be her love interest(s), not boyish actors who are hardly believable as men let alone as her match.
So, as you might be getting, I'm highly recommending you skip this one.
Friday, November 27, 2015
Thursday, November 26, 2015
Wednesday, November 25, 2015
The opening scene—which seems to be a seamless tracking shot but done from all different heights and perspectives so probably just an editing trick—is worth the price of admission for my movie-lover taste. As is the scene in the train (homage to classic 1940s Hollywood) with Seydoux in the gown above and Craig in a white dinner jacket if I remember correctly.
A spectacle, as Bond films always are, and worth watching on the big screen for that alone, as well as the above. The weakest element is the screenplay, which is—my Hollywood friends tell me—the result of the franchise's producers' cheapness, they know they can get away with it.
But it is interesting that the sometimes inexplicable plot of SPECTRE revolves around an evil conspiracy to spy on all of us in ways that I assume is already being done. Somewhat relevant and timely given the recent terrorist attacks and the political arguments about how far to go in invading citizens' privacy in order to supposedly protect them.