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Dc spectre film3/18/2023 SPECTRE only brings up Quantum of Solace when it absolutely has to and ignores it the rest of the time, which to be fair is how the rest of the world treats Quantum of Solace, but I digress. So SPECTRE may have misfired a bit when it doubled down on plot, deciding that all of the previous Daniel Craig movies in the James Bond cycle were leading to something terribly important and suggesting that perhaps we all should have been paying closer attention. And at the end, as the story of Bond’s true love tragically concluded, you felt something more powerful than “I wish I could afford a cooler car.” That film had all the superficial glamour you could ask for but you could also tell what the hell was going on, and not just because Giancarlo Giannini interrupted every two minutes to explain the rules of poker. I suspect this is why Casino Royale was such a rousing success. (Maybe it was a mistake to test out the gun part.) It just seems as though the most memorable aspects of a typical Bond film are the stunts, the styles, the locations, the gadgets and sometimes the villains. I’ve asked a lot of people and most of them couldn’t remember the plot to an average James Bond movie if you put a gun to their head. Related: Ranked | All of the James Bond Theme Songs We are instead supposed to stare slack jawed at high-priced product placement and GQ masculinity and all the attractive women who mostly exist to seduce or be seduced, or threaten or validate that GQ masculinity. We are rarely meant to feel something meaningful when we watch a James Bond movie, and when we do that one usually becomes a classic ( Casino Royale, On Her Majesty’s Secret Service). The plot of a typical James Bond movie (with notable exceptions) is complicated enough that it hides the fact that the characters (with notable exceptions) have no emotional depth to them. It’s kind of fun but do we really need dozens of these with only minor variations between them? Then the story proceeds apace, riddling the audience with plot hole after plot hole, distracting us with stunts and set pieces and – if we’re lucky – cackling maniacs bent on world domination. Bond always begins with a POV shot from the inside of a gun nozzle, as if that ever made sense, and proceeds to dazzle us with hallucinogenic imagery of women in various states of sensual yet rarely erotic poses, as if giving us a peek into our hero’s hollow, superficial, sexist psyche.
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