Realização:
Sam MendesCâmara:
Hoyte van HoytemaMúsica:
Thomas NewmanElenco:
Daniel Craig, Christoph Waltz, Léa Seydoux, Ralph Fiennes, Monica Bellucci, Ben Whishaw, Naomie Harris, Dave Bautista, Andrew Scott, Rory Kinnear (mais)Streaming (3)
Sinopses(1)
A cryptic message from the past sends James Bond on a rogue mission to Mexico City and eventually Rome, where he meets Lucia Sciarra (Monica Bellucci), the beautiful and forbidden widow of an infamous criminal. Bond infiltrates a secret meeting and uncovers the existence of the sinister organisation known as Spectre. Meanwhile back in London, Max Denbigh (Andrew Scott), the new head of the Centre for National Security, questions Bond's actions and challenges the relevance of MI6, led by M (Ralph Fiennes). Bond covertly enlists Moneypenny (Naomie Harris) and Q (Ben Whishaw) to help him seek out Madeleine Swann (Léa Seydoux), the daughter of his old nemesis Mr White (Jesper Christensen), who may hold the clue to untangling the web of Spectre. As the daughter of an assassin, she understands Bond in a way most others cannot. As Bond ventures towards the heart of Spectre, he learns of a chilling connection between himself and the enemy he seeks, played by Christoph Waltz. (Columbia Pictures US)
(mais)Vídeos (14)
Críticas (14)
Uma abertura orgásmica e um conceito narrativo globalmente agradável, apoiado pela duração ousada que não me incomodou — pelo contrário, deu ao filme um grande alcance (Hoytema e Mendes foram uma combinação perfeita). Fiquei satisfeito com as ligações aos outros filmes de Bond de Craig, as cenas de ação, e pequenas coisas como a dura surpresa no comboio ou a espera na estação de comboio no deserto (um lembrete de Intriga Internacional de Hitch). Eles também me fazem perdoar o comediante simpático no papel dum pretenso vilão alfa (WTF?!), o final preguiçosamente roubado de O Cavaleiro das Trevas (como se a inspiração Nolan não fosse suficiente), e o facto de Bond ter relações com uma MILF enrugada (enquanto deixa a única mulher verdadeiramente bela do filme deitada na cama vestida na abertura).
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It’s not as dark as Skyfall. Actually, objectively it is significantly worse than Skyfall. James Bond is like a walking robot in this one. He knocks down everyone who just look at him the wrong way. Nobody can stop him, and I literally mean nobody. Count on it being much worse than usually. Plus there is a huge amount of cool lines. Even though there are no emotions, it shows that kind of harshness possessed by old action heroes in the nineties, which I’ve never seen in any Bond movie with Daniel Craig before. It’s a pity that the title song is so extremely slow that it’s really a pain in the ass. Similarly, the arch enemy Christoph Waltz was not really scary. The only strong positive of this movie is Léa Seydoux, who was a great fit. Maybe because I’ve known her for a while now and she is nice to look at. A little bit different Bond movie, but when it comes to the good old action movies, it fulfilled my long-time desired dream.
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An essential Bond film. I could have plenty of reservations about it (everything people hate is objectively true), but here, reason loses out on points because when all the important proprieties slowly begin to emerge from the shadows in that rambling style, and you enthusiastically tick them off, it carves itself out in the end into a full-blown epilogue of one acting decade that has reached a complexity beyond most other things.
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You are empty, Mr. Bond, and you live in a world full of ruins. I think this was heard somewhere, and Mendes filmed it. Spectre is lethargic in its pace, muffled by Hoyte Van Hoytema's darkened visuals. Only Newman tends to push it forward dramatically. A Bond film wrapped in squid and drenched in the ink of ruin. In many ways naive, superficial, but it kept my attention reliably for 150 minutes. Objectively, the film does not deserve to be under full fire, because in a similar rank this year, a thematically similar MI V reigns uncompromisingly. But this stumbling walk through depopulated areas before demolition concludes in a dignified way the four-part psychotherapy of the most tired Bond, who doesn't really want to be who he is. But he doesn’t know how to be anyone else... If this is the end of the series, I'm happy. Btw. props for the hidden message that Heineken is only good enough for watering mouse holes.
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Although bad (however nicely subversive) Bond movie, but a nice watch. And it could have been much better. However, the screenplay would have to back a way to long footage without particular reason, the tension between the 007, bond girl and the bad guy would have to work better, and the whole thing would have to be at least a little more spectre-style like the opening scene. Anyway, thanks to the open end, I would like to see another Bond movie with Daniel Craig. And even with the same team.
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