Spectre

A cryptic message from Bond’s past sends him on a trail to uncover a sinister organization. While M battles political forces to keep the secret service alive, Bond peels back the layers of deceit to reveal the terrible truth behind SPECTRE.
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Credits: TheMovieDb.

Film Cast:

James Bond: Daniel Craig
Franz Oberhauser / Ernst Stavro Blofeld: Christoph Waltz
Dr. Madeleine Swann: Léa Seydoux
M: Ralph Fiennes
Eve Moneypenny: Naomie Harris
Q: Ben Whishaw
Lucia Sciarra: Monica Bellucci
Mr. Hinx: Dave Bautista
Max Denbigh / C: Andrew Scott
Bill Tanner: Rory Kinnear
Mr. White: Jesper Christensen
Marco Sciarra: Alessandro Cremona
Estrella: Stephanie Sigman
Mexican Man in Lift: Tenoch Huerta
Mexican Woman in Lift: Adriana Paz
Gallo’s Accomplice: Marco Zingaro
Q’s Assistant: Ian Bonar
SC019 Police Commander: Pip Carter
SC019 Police Officer: Simon Lenagan
Priest: Alessandro Bressanello
Moreau: Marc Zinga
Vogel: Brigitte Millar
Abrika: Adel Bencherif
Lorenzo: Peppe Lanzetta
Francesco: Francesco Arca
Marco: Matteo Taranto
Palazzo Security: Emilio Aniba
Businessman: Dai Tabuchi
Businessman: George Lasha
Businessman: Sargon Yelda
Businessman: Andy Cheung
Fiat Driver: Antonio Salines
Head of Nation: Nigel Barber
Head of Nation: Patrice Naiambana
Head of Nation: Stephane Cornicard
Head of Nation: Gary Fannin
Head of Nation: Sadao Ueda
Head of Nation: Wai Wong
Head of Nation: Joseph Balderrama
Aide: Eiji Mihara
Aide: Junichi Kajioka
Clinic Barman: Victor Schefé
Clinic Security Guard: Tristan Matthiae
Cable Car Heavy: Detlef Bothe
Cable Car Heavy: Bodo Friesecke
Snowboarder: Noah Saavedra
Snowboarder: Francis Attakpah
Snowboarder: Michael Glantschnig
Snowboarder: Marlon Boess
L’Americain Manater: Lara Parmiani
Train Waiter: Amra Mallassi
Train Barman: Ziad Abaza
Blofeld’s Guard: Derek Horsham
Blofeld’s Guard: Nari Blair-Mangat
Blofeld’s Chief Analyst: Pezhmaan Alinia
M (uncredited): Judi Dench
Lair Staff (uncredited): Kim Adis
Russian Bodyguard (uncredited): Steve Barnett
Bodyguard (uncredited): Romeo Visca
Police Marksman (uncredited): Daniel Westwood
Gallo: Domenico Fortunato

Film Crew:

Original Music Composer: Thomas Newman
Director: Sam Mendes
Set Decoration: Anna Pinnock
Screenplay: John Logan
Production Design: Dennis Gassner
Characters: Ian Fleming
Editor: Lee Smith
Music Editor: Bill Bernstein
Co-Producer: Daniel Craig
Costume Design: Jany Temime
Hairstylist: Eithné Fennel
Casting: Debbie McWilliams
Producer: Barbara Broccoli
Line Producer: Roberto Malerba
Music Editor: Peter Clarke
Sound Designer: Christopher Assells
Supervising Sound Editor: Per Hallberg
Stunt Coordinator: Franco Maria Salamon
Casting Associate: Nicole Schmied
Stunt Coordinator: Gerardo Albarrán
Screenplay: Robert Wade
Screenplay: Neal Purvis
Executive Producer: Callum McDougall
Screenplay: Jez Butterworth
Supervising Art Director: Chris Lowe
Assistant Art Director: Roxana Alexandru
Makeup Effects: Jo Grover
Casting: Stéphane Foenkinos
Camera Operator: Lorenzo Senatore
Stunts: Marvin Campbell
Line Producer: Wolfgang Ramml
Orchestrator: J.A.C. Redford
Associate Producer: Gregg Wilson
Producer: Michael G. Wilson
Line Producer: Zakaria Alaoui
Director of Photography: Hoyte van Hoytema
Visual Effects Coordinator: Daniel Jeffery
Main Title Designer: Daniel Kleinman
Special Effects Coordinator: Franco Ragusa
Camera Operator: Luis David Sansans
Stunt Double: Gordon Alexander
Hairstylist: Letizia Carnevale
Camera Operator: Peter Field
Stunts: Omar Ayala
Art Direction: Neal Callow
Art Direction: Mark Harris
Visual Effects Editor: Billy A. Campbell
Co-Producer: Stacy Perskie
Visual Effects Producer: Laura Schultz
Stunts: Nina Armstrong
Hairstylist: Gerardo Perez Arreola
Camera Operator: Kenji Katori
Stunts: Mauro Aversano
Stunts: David Anders
Stunts: Nick Chopping
Art Direction: Ben Collins
Casting Associate: Tusse Lande
Makeup Artist: Donald Mowat
Costume Supervisor: Ken Crouch
Art Direction: Andrew Bennett
Visual Effects Coordinator: Sean McGrath
Foley: Dan O’Connell
Visual Effects Supervisor: Mark Curtis
Sound Re-Recording Mixer: Gregg Rudloff
Associate Producer: Jayne-Ann Tenggren
Sound Re-Recording Mixer: Scott Millan
Script Supervisor: Nicoletta Mani
Foley: John T. Cucci
Camera Operator: Sebastian Meuschel
Steadicam Operator: Julian Morson
Foley: Peter Michael Sullivan
Visual Effects Producer: Ken Dailey
Sound Designer: Ann Scibelli
Camera Operator: Clive Jackson
Script Supervisor: Susie Jones
Still Photographer: Jasin Boland
Art Department Coordinator: Jennifer Lewicki
Greensman: Ian Whiteford
Visual Effects Producer: Kilou Picard
Stunt Coordinator: Gary Powell
Helicopter Camera: Hans Bjerno
Dialogue Editor: Daniel Saxlid
Wigmaker: Alex Rouse
Visual Effects Editor: Anik Seguin
ADR & Dubbing: Michelle Pazer
Hairstylist: Sharon O’Brien
Hairstylist: Angelo Vannella
Camera Operator: Łukasz Bielan
Supervising Sound Editor: Karen Baker Landers
Sound Designer: Peter Staubli
Helicopter Camera: John Marzano
Helicopter Camera: Adam Dale
First Assistant Editor: Emma McCleave
Makeup Designer: Naomi Donne
Makeup Effects: Susan Howard
Gaffer: David Smith
CG Supervisor: Joel Green
Makeup Artist: Norma Webb
Makeup Artist: Nuria Mbomio
CG Supervisor: Laurent Hugueniot
Visual Effects Producer: Tim Keene
Matte Painter: Gurel Mehmet
Hair Designer: Zoe Tahir
Visual Effects Editor: Conor Byrne
Hairstylist: Estrella Lorrabaquio
Animation Supervisor: Catherine Mullan
Hairstylist: Elena López Carreón
Visual Effects Editor: Crystal Hadcroft
Hairstylist: Francesca Crowder
Theme Song Performance: Sam Smith
Makeup Artist: Matteo Silvi
Animation Technical Director: Marlene Chazot
Visual Effects Editor: Struan Farquhar
CG Supervisor: Daniel Pastore
Stunt Driver: Dean Bailey
Hairstylist: John Nollet
Still Photographer: Jonathan Olley
Assistant Art Director: Sami Gaidi
Visual Effects Supervisor: Stuart Bullen
Sound Effects Editor: Russell Edwards
Costume Supervisor: Stefano De Nardis
Stunts: Gary Arthurs
Animation Supervisor: Greg Fisher
Costume Supervisor: Abderrahim Benkhayi
Set Costumer: Rachid Aadassi
Additional Camera: Carlos De Carvalho
Assistant Costume Designer: Vivienne Jones
Digital Intermediate: Kim Honeyman
Carpenter: Paul Duff
Property Master: Ben Wilkinson
Special Effects Coordinator: Lynne Corbould
Casting: Amal El-Farfachi
Casting Associate: Celebrity Booker
Casting Associate: Lucy Hellier
Assistant Costume Designer: Richard Davies
Sound Effects Editor: Ando Johnson
Armorer: Greg Corke
Researcher: Amin Rharda
Armorer: Joss Skottowe
Makeup Artist: Charlie Hounslow
Makeup Artist: Lucy Friend
Researcher: Gina De Ferrer
Assistant Art Director: Lydia Fry
Assistant Art Director: Liam Georgensen
Assistant Art Director: Hugh McClelland
Carpenter: John Allen
Carpenter: Eddie Murphy
CG Supervisor: Carlos-Christian Nickel
CG Supervisor: Chris Petts
Visual Effects Coordinator: Hugh Brompton
Visual Effects Coordinator: Jillian Brooks
Visual Effects Coordinator: Geraint Hixson
Visual Effects Coordinator: Shawn Smolensky
Visual Effects Coordinator: Todd Whalen
Visual Effects Coordinator: Alysia Wildman
Visual Effects Coordinator: Sam Girdler
Visual Effects Coordinator: Samantha Dark
Visual Effects Editor: Ty Gibson
Visual Effects Editor: James Mann
Visual Effects Producer: Leslie Lerman
Visual Effects Supervisor: Steven Begg
Visual Effects Supervisor: Zave Jackson
Visual Effects Supervisor: Jonathan Knight
Visual Effects Supervisor: Alex Wuttke
Visual Effects Supervisor: Mark Bakowski
Visual Effects Supervisor: Paul Round
Gaffer: Stefano Marino
Gaffer: Hanz Kawson
Stunts: Odin Ayala
Stunt Driver: Danilo Capuzi
Stunt Driver: Mirko Zamperla
Concept Artist: Corran Brownlee
Stunts: Ignacio Arteaga
Visual Effects Coordinator: Fern Hodgson
Visual Effects Coordinator: Sam Hodge
Stunt Double: Nicola Berwick
CG Supervisor: Bryan Litson
VFX Editor: Robin Hinch
Visual Effects Coordinator: Simon Bennett-Leyh
Stunts: Paolo Antonini
Makeup Artist: Doone Forsyth
3D Modeller: Indranil Bhattacharya
Creature Technical Director: Waikit Wan
Matchmove Supervisor: Michael Karp
Makeup Artist: Belinda Hodgson
Stunt Driver: Federico Benvenuti
Visual Effects Coordinator: Ahman Hung
Grip: Jim Philpott
Matchmove Supervisor: Simon Pynn
Makeup & Hair: Julia Wilson
Stunts: Teresa Arteaga
Sequence Supervisor: John Seru
Stunt Driver: Mohamed Attougui
Hairstylist: Zineb Bendoula
Makeup Artist: Cristian Perez Jauregui
Makeup Artist: Luca Mazzoccoli
2D Sequence Supervisor: Julien Ducenne
Compositing Supervisor: Daniel Rauchwerger
Compositing Supervisor: Anton Yri
Compositing Supervisor: Dan Snape
Compositing Supervisor: Jan Dubberke
Matchmove Supervisor: Stacie Hawdon
Matte Painter: Kobi Moldavski
Matte Painter: Aline Nordmark
Matte Painter: Asuha Yasuda
Pipeline Technical Director: Lawrence Bennett
Pipeline Technical Director: Andrew Leeuwenberg
Pipeline Technical Director: Wajid Raza
Pre-Visualization Supervisor: Brad Blackbourn
Sequence Supervisor: Brad Floyd
Visual Effects Coordinator: Joseph O’Sullivan
Visual Effects Coordinator: Jane Simons
Visual Effects Coordinator: Natalie Cooke
Visual Effects Coordinator: Timothy Trimmings
Visual Effects Coordinator: Yishan Koh
Stunts: Elaine Ford
Stunt Driver: Daniele Chiofalo
Stunts: Mark Archer
Stunts: Alejandro Avendano
Stunts: Christopher Bowdern
Stunts: Maurice Chan
Dressing Prop: Buddie Wilkinson

Movie Reviews:

cutprintchris:
In hindsight my excitement for Spectre seems a bit foolish. After Skyfall, director Sam Mendes openly stated that he wouldn’t direct another Bond movie. And even so, Skyfall wasn’t the best of the new Bond films by any measure – dragging on for much too long. But somehow I got sucked into the hype of Mendes’ vision for an homage to the classic Bond, with that somewhat iconic poster of Craig mimicking Roger Moore, and trailers the emphasized a kind of retro re-visitation of some old villains and themes. But Spectre is none of those things, instead it is a film where everyone involved feels like they are just going through the motions. Spectre tries very hard to be an homage to the vintage James Bond classics, but instead ends up feeling more like a mockery of the series.

For starters the script is outrageously weak and predictable. Bond goes from shootout, to chase, to sex scene, saying and doing the exact same things he has done for the last 23 movies. Instead of a complete story, the film is just a collection of set pieces and scenes loosely stitched together. And while some of them work well on their own, by the second or third fight scene, you won’t be able to stop yourself from yawning. When you aren’t yawning you’ll be laughing, and not in a good way. The dialogue is downright cheesy. Gone is all of Bond’s smooth charm and ability to sting his opponent’s with his tongue just as much as with his gun. Instead at one point, he throws a watch bomb and says: “Time flies!”

Bond is one a secret mission, assigned to him by M (Judi Dench) via a video message delivered after her death. The film doesn’t ever attempt to invest the audience in this mission, or in Bond’s motivation for seeking out Oberhauser (Christoph Waltz) – which apparently has something to do with his foster-father and his childhood, again – but it never seems important to the story or to James. Meanwhile, a new joint secretary, Max or C as he is known (Andrew Scott), is attempting to unite the world’s intelligence under one surveillance network – and through doing so making the Double-0 program obsolete. Lucky for him, Sam Mendes is already doing that for him.

However, Spectre is a beautiful film. There are about five or six huge set pieces, all of which are wonderfully filmed. And if you are just in the mood the veg out and watch Bond cruise through the streets of Rome in a prototype Aston Martin, than this is the movie for you. But things go on for entirely too long, which would be fine if something of interest were happening. But almost nothing does. Bond gets in a situation and gets out, all while throwing a few pithy, laughable, lines out.

Daniel Craig has never been more disconnected from the character James Bond, than he is in Spectre. I must say first, that I love Craig as an actor and as James Bond – he is my favorite of all the Bonds. But here, he is uncharacteristically not James Bond. A scene for instance where bond throws his gun into the river, is done in such a fancy foppish way that I cringed. It is tough to properly convey how Craig misses the mark in Spectre, but when you see it, you won’t be able to help feeling the same way.

Maybe Sam Mendes and screenwriter John Logan did succeed at creating a perfect homage to the Roger Moore era Bond films? Because in reality, none of those films standout as great movies. From start to finish, Spectre feels like someone filling out a madlibs of Bond scenes, and praying that when they read it back, it makes some sense.

Frank Ochieng: Well, cinema’s most treasured and resilient British spy guy is back as the legendary James Bond makes his twenty-fourth outing on the big screen in the highly anticipated and slickly-made Spectre. Worldwide Agent 007 fans understandably maintain their embedded expectations and vision as to what calculating and cunning mission their suave and sophisticated gun-toting, martini-sipping espionage thrill-seeker will encounter in his latest globe-trotting episode. Whatever Bond enthusiasts have in mind for the future twenty-fifth entry of the “licensed to kill” Lothario they should simply settle for the present stimulating currents that trickle as mind-bending material in the polished and percolating Spectre.

As for the dynamic performer that have served his time with action-oriented cinematic sensibilities through three previous super-charged James Bond installments, the steely-jawed and diligent Daniel Craig is back on the saddle again for his fourth stint as the crafty 007. Naturally both ardent and casual Bond followers can rattle off the filmography of Craig’s on-screen tour of duty as the debonair and daring secret service operative and even rate the previous films as they compare and contrast each edition. Some may give special attention to Craig’s first foray into stepping inside Bond’s explosive shoes for 2006’s Casino Royale that is considered a spectacular introduction for the dramatically trained actor. In 2008’s Quantum of Solace, it was a mixed bag at best as Bond followers for the most part gave this second 007 rendition an ambivalent sign of approval (not too many were thrilled with the awkward movie title either). Thankfully, 2012’s Skyfall bounced back for Craig’s take on the roguish Bond and made for some exceptional brownie points as the cagey spy returning to creative prominence. Now 2015’s Spectre hopes to make some hearty tie-ins to Craig’s past big screen adventures as the stoic jet-setting dynamo ridding the world of masterful riff raff.

In actuality, Spectre is serviceable in that it is an elaborate and excitable reminder of the preceding Bond films where bits of nostalgic elements from yesteryear are sprinkled throughout its presentation. Sure, some wily 007 fanatics may spot a few of the tossed in nods to the aforementioned Casino Royale and Quantum of Solace in particular as the proceedings unfold. For the most part, Spectre acts as a mere bridge to the launching of the upcoming 25th Bond actioner in waiting. To be fair the other Bond films have served as a welcome mat to the next chapter of the late Ian Fleming’s engaging and charismatic man of action so why should not Spectre be any different in this regard? Still, this spy caper has its signature swagger that Bond aficionados relish with familiarity: heart-pumping action sequences, exquisite locales, desirable and devious Bond women, majestic car chases, larger-than-life villains and their loyal henchmen, imaginative gadgets and inventive technology and yes…the indomitable James Bond at your service. Nevertheless. the minor knock on Spectre is that it could have risen to the occasion more than it did as it occasionally feels as if it is going through the mischievous motions. It never resorts to the levels of Bond-ish drudgery in Quantum of Solace so that certainly is a relief in that aspect.

Spectre does incorporate its share of opulence, mystery, suspense, shadowy tension and perilous plight. However, where the standard Bond film-making characteristics are somewhat consistent and captivating (i.e. the breathtaking opening sequence of the Day of the Dead celebration in Mexico City) there is also a questionable consideration for the weak-kneed Bond theme song in Sam Smith’s “Writing’s on the Wall” which seems so inadequately suited for a James Bond signature tune. Even the indifferent observers of the James Bond film franchise for the last five decades can attest to the two most important stamps of a Bond film–its opening scene and surging theme song. Thankfully, Spectre’s grand opening sequence obeys traditional Bond practices but Smith’s doggedly tired-sounding “Writing’s on the Wall” feels as it belongs attached to an old televised After School special from the mid-70s. Wouldn’t you give your kingdom for Paul McCartney and Wings’ “Live and Let Die” or Carly Simon’s “Nobody Does It Better” or perhaps even Sheena Easton’s “For Your Eyes Only”?

One thing that can be said about Craig’s Bond in Spectre and that is his image transformation has been elevated to that of a fashion plate whose GQ stylized look has taken quite a step up. Not since Roger Moore’s Bond has there been a clear case of dazzling attire on display for Agent 007 to strut his stuff in spiffy clothing accessories throughout his ventured travels. Craig, billed as a “blue-collar” Bond whose demeanor is more blunt and workman-like, takes comfort in basking in the finesse shadows of a classic Agent 007 almost foreign to his distinctive spin on the iconic spy. In fact, the overall vibe for Spectre seems to lie in the middle of old school and new school James Bond mythology where the shading suits both camps of the ever-lasting film franchise.

Director Sam Mendes, who handled the direction for the previous Skyfall, finds the right tone and temple for Spectre that certainly shows off its lavish and ambitious production values as the set designs, scenic locations, fabulous pre-credits action sequence are all indescribable in majestic scope. No one can accuse Spectre as to not holding its own in visual functionality. Wisely, Mendes does not forget his Skyfall background players as they reunite with Craig’s Bond and partake in the sensationalized cat-and-mouse caper. It is refreshing to see Ralph Fiennes back as “M” not to mention Ben Wishaw’s “Q” front and center. And a Craig-fronted Bond film would not be the same without Naomie Harris as Miss Moneypenny.

Agent 007 fans will find a common “Bond” with Daniel Craig and his fourth outing as the licensed to kill Lothario in the stunning and kinettic SPECTRE
Agent 007 fans will find a common “Bond” with Daniel Craig and his fourth outing as the licensed to kill Lothario in the stunning and kinetic SPECTRE
It is a given that the diabolical criminal network known as SPECTRE has always had its affiliation with the Bond universe especially in the classic Sean Connery Bond-age years. Instinctively, SPECTRE’s evil heart and soul was pumped continuously by that organization’s dastardly mastermind Ernst Stavro Blofeld. Oscar winner Christoph Waltz does the sordid honors of taking the reins as Bond’s nemesis Franz Oberhauser in Spectre with devilish delight and is more colorfully corrupt thanks to his handy go-to muscular minion Mr. Hinx (ex-professional WWE wrestler and “Guardians of the Galaxy” star Dave Bautista) echoing the memories of beloved brute Jaws (played by the late Richard Kiel) from The Spy Who Loved Me and Moonraker).

We can never forget that along with Agent 007 folklore comes the responsibility of being labeled a treasured Bond babe. And although the latest sultry women represented in Spectre will never make us forget the iconic likes of Dr. No’s Ursula Andress (Honey Ryder) or Casino Royale’s Eva Green (Vesper Lynd) for that matter they still hold their own and give a measure of titillation to both Bond and the vast amount of male admirers wishing they carried a gun and wore expensive tuxedos while being at the receiving end of a provocative smooch by these vibrant vixens. Lea Seydoux’s Madelene Swann and Italian siren Monica Bellucci’s Lucia are on board as the Bond bombshells for hire.

As a whole, Spectre has its up and down moments and never is quite sure about standing alone as an independent Bond story or being dismissed as a pit stop for 007-related flashbacks and reference bits ode to yesteryear’s glory of the super spy’s engaging and raging exploits. The verdict is that Spectre ultimately satisfies one’s craving for the invincible James Bond whether you can to relive his vintage reputation or look forward to a millennium-enhanced production that will grow with the ageless wonderment pertaining to Fleming’s literary ladies man-turned movie-making mainstay of action-packed cinema for half a century. As one-time Bond songbird Carly Simon would attest in her soothing lyrics, “nobody does it better…” Yet in the dimensional escapist world of James Bond this particular go-around could have been a tad bit better.

Spectre (2015)

Sony Pictures

2 hrs 28 mins.

Starring: Daniel Craig, Christoph Waltz, Lea Seydoux, Naomie Harris, Ben Whishaw, Dave Bautista, Monica Bellucci, Andrew Scott

Directed by: Sam Mendes

MPAA Rating: PG-13

Genre: Spy-Espionage Caper/Action & Adventure/Suspense Thriller

Critic’s rating: ** 1/2 stars (out of 4 stars)

Andres Gomez: A “correct” Bond movie. All the expected stereotypes are included, Waltz is an OK bad guy and the intro scene is something really impressive.

Nothing else really new …

Reno: > Not your usual Bond movie, but still a good entertainer.

What I liked from a couple of last Bond movies was they were off the regular 007 style, like not overly rely on spy’s special gadgets. This change has been since the day one of Daniel Craig as a famous British spy, James Bond. Anyway, he’s the most fittest (muscular) Bond I’ve ever seen and he’s celebrating 10 year anniversary with this film release. But the question is whether he to do another film or done with the franchise. The doubt after the confusing end of this film.

The end was quite clear on the story perspective, so I kind of felt it was a farewell for Craig. But, later I came to know that the official source says Bond25 will be his fifth and so on till he opts out himself. ‘Spectre’ was a very simple Bond movie I have ever seen, but I can say the production quality was so good that you can’t resist the enjoyment. The actors, they were also good, but not as I anticipated. Maybe many scenes were very ordinary for a Bond movie, that’s comparable with the nowadays action movies, otherwise it was not as bad as critics expressing their disappointment.

You can’t believe what I was disappointed, you know when they say what the C stands for – is that the best word they come up with against the M for Moron? Anyway, James Bond movies have always had ups and downs, the last film ‘Skyfall’ was a mega hit and now this has not stood up to that standard. But very entertaining with all the actions and unexpected turns in the narration. As a spy movie, it was okay, but as a Bond movie is what might upset you, so its upto you how you look at it. But to be honest, I enjoyed it.

7/10

MSB: FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/spectre-spoiler-free-review
“Spectre fails to reach the tremendous potential of its intriguing narrative and fascinating antagonist, but Sam Mendes still pulls off a decent James Bond flick.

The screenplay raises significant issues with an incredibly dull subplot that deeply affects the pacing of a bloated runtime. In addition to this, Christoph Waltz’s lack of impactful screentime is disappointing, to say the least, despite a brilliant performance from the actor.

Fortunately, the jaw-dropping action set pieces elevate the overall film, which also benefits from gorgeous cinematography (Hoyte van Hoytema) and exceptional acting across the board. Daniel Craig and Léa Seydoux’s characters relationship is emotionally compelling, making Bond’s mission feel more like an interesting personal journey.

One of the best movies of the franchise is buried somewhere under the messy screenplay, but what can be found at the surface has much to appreciate.”

Rating: B

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