Spectre opens with one of the most dazzling sequences in the franchise’s history: a single, unbroken shot through a riotous Day of the Dead parade in Mexico City that ends with Bond nonchalantly collapsing a building and hijacking a helicopter. It’s stylish, suave, and ominous—everything Spectre sets out to be.
I give it a 4 out of 5. I really liked it. It’s big, moody, and ambitious, with a true attempt to tie a bow around the entire Craig era. Not everything lands (we’ll get to the “brother” reveal), but the atmosphere, action, and return to classic Bond iconography make it one of the more enjoyable entries in Craig’s run.
Plot: Shadows, Secrets, and Surveillance States
After the events of Skyfall, Bond is operating off the books—again. He’s following a posthumous lead from M (the Judi Dench version), which sets him on a globe-hopping trail that uncovers a secret criminal organization: SPECTRE. Yes, that SPECTRE.
Meanwhile, back at MI6, M (Ralph Fiennes) is fighting bureaucratic consolidation in the form of C, a smug security overlord pushing a global surveillance initiative that would make Snowden shiver. Eventually, Bond discovers that SPECTRE and its mysterious leader, Franz Oberhauser (a.k.a. Blofeld), have been behind every villain he’s faced since Casino Royale.
It’s a grand conspiracy plot, filled with callbacks and connections, and while it occasionally strains credibility, it’s fun to see the Craig era try to come full circle.
Daniel Craig: Cooler, More Composed, Slightly Tired
Craig’s Bond here is more confident and in control than ever. He’s sharper, more composed, and surprisingly flippant—like someone who’s finally gotten used to his license to kill. He’s still brooding, but less haunted. That’s a nice change of pace after three films of emotional wreckage.
But Craig also looks a little… exhausted? Not in a bad way—more like a guy who’s been through hell and is over it. His Bond is still effective, still dangerous, but you get the sense he’s thinking about how nice a normal life might be. That weariness adds some quiet depth.
Madeleine Swann: Cool, Capable, and Complicated
Léa Seydoux’s Madeleine Swann is a different kind of Bond woman. She’s not a field agent or a damsel—she’s a psychologist, used to dissecting broken men like Bond. Their relationship feels like it wants to go deep, and at times it does. But the script doesn’t give it enough runway before deciding she’s the one.
That said, Seydoux is fantastic. She plays Madeleine as sharp and emotionally guarded, and her chemistry with Craig is believable—if a bit rushed. She’s one of the more grounded and capable romantic interests the franchise has offered.
Blofeld: The Return of the Cat, and the Problem of Legacy
Christoph Waltz as Franz Oberhauser—who dramatically reveals himself to be Ernst Stavro Blofeld—is both a blessing and a bit of a letdown. He’s perfectly cast, all eerie calm and smug cruelty, but the film doesn’t use him as well as it could.
His motivation? A twisted jealousy of Bond dating back to childhood. Yes, Bond and Blofeld are “brothers” in a foster-kid-in-the-snow sort of way. It’s the weakest element of the film, and it feels like a desperate attempt to make the stakes more personal when they didn’t need to be. Blofeld doesn’t need a tragic backstory—he just needs to be evil and smart.
Still, the reveal of SPECTRE’s full reach, and Blofeld’s quiet menace, work well enough to anchor the plot.
Action and Style: Grand, Classic, and Gorgeous
From the train brawl (a brutal callback to From Russia with Love) to the Rome car chase and the alpine clinic assault, Spectre delivers on spectacle. The cinematography is cold and elegant, evoking old-school Bond while keeping that grounded Craig energy.
The score leans into the traditional Bond soundscape, and Thomas Newman’s compositions help bind the past and present. It’s sleek, confident, and steeped in legacy.
Tone: A Love Letter with Some Scribbles
Spectre wants to be everything: a spiritual sequel to Skyfall, a Craig-era wrap-up, and a nostalgic homage to Connery and Moore. And while it juggles most of those plates admirably, it does stumble. The script wavers between serious introspection and campy villainy, and some twists feel more obligatory than earned.
But overall, the tone works. It’s big, a little silly, and richly atmospheric. You can feel Mendes reaching for something operatic—and when it lands, it’s glorious.
Final Verdict: Imperfect, But Bold and Beautiful
Spectre doesn’t hit the same emotional highs as Skyfall, but it brings Bond back to a place of style, confidence, and classic espionage drama. It’s ambitious, moody, and often gorgeous. Not every idea works (looking at you, foster brother plot), but it’s still one of the most enjoyable and confidently made films of the Craig era.
It’s Bond embracing his legacy—and not apologizing for it.