Spectre of Doubt: What Makes a Bond Film Soar or Sink and What the New Film Should Have Learned From the Old

Bond and M Spectre
’s big back-half twists play so egregiously that the rest of the film seems pristine in comparison. Nostalgia for the bland airplane/car chase from Act II is totally understandable when set against Ernst Blofeld’s self-parodic monologue (in which Christoph Waltz spouts all manner of bullshit, including a lift of the very plot twist that killed Austin Powers, Mike Myers’s titanic Bond-parody franchise).

But while the execution and implications of the twists are devastating across the board, they are something of a tangible detail when it comes to diagnosing the movie’s failings. For all the pre-release discussion of problems with the script’s third act, the issues with Spectre start at the very beginning, and offer a helpful guide to just what makes the best Bond films work so well.

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