Cary Joji Fukunaga | 163 mins | cinema | 2.39:1 | UK & USA / English, French, Italian & Russian | 12A / PG-13
Britain’s most famous secret agent is Craig, Daniel Craig for the final time in the 25th James Bond film. It’s also the fifth and (presumably) final instalment in an ongoing narrative within the series; the kind of internal continuity never before attempted in the franchise’s 59-year history. Sure, there have been some hints at continuity in the past — Connery’s Bond was almost always up against some agent of SPECTRE, and Diamonds Are Forever is technically a sequel to On Her Majesty’s Secret Service — but never to this degree, and never with such keenly-felt emotional effects on our hero.
Much fuss has been made in some quarters of Quantum of Solace being the first true sequel in the Bond canon, because it very much continues storylines from Casino Royale. If that’s the case, No Time to Die may be classed as the second such sequel, because it picks up on various hints and threads left dangling in Spectre and weaves them into its narrative. (You could also argue Spectre is a “true sequel” for the way it tries to tie together the entire Daniel Craig era, but I think No Time to Die is even more directly connected to its immediate predecessor.) All of this is primarily of note to fans of the series, mind, because it marks a change of form for this particular series. In the wider world of film franchises, that kind of continuity is nothing new. For all that it’s been a massively-popular trailblazer over the past six decades, the Bond films can be surprisingly reactive, often seeking to incorporate things that are successful in the wider filmmaking space — witness Moonraker coming on the heels of Star Wars, or Casino Royale and (especially) Quantum incorporating styles and techniques from the Jason Bourne films. All of which is really just to say that Bond is not some monolithic island unto himself — these films exist in context, just like any other.
Perhaps the single most influential trend on No Time to Die is one for closure. Once upon a time, heroes carried on having adventures forever — whatever challenges they faced in one tale, they overcame and ‘rode off into the sunset’ ready to go again. Not nowadays. When Christopher Nolan decided to give Batman an ending to complete his trilogy in The Dark Knight Rises, it was seen as a radical move; an exception to the rule, just for this special case. Now, it’s de rigueur — look at Marvel bothering to wrap-up the stories of Tony Stark and Steve Rogers in Avengers: Endgame, for example. They could have had these guys toddle off only to come back with an unexplained new face, just as has happened throughout movie franchise history, but instead they pay off the audience’s investment by giving them an ending. Spectre sort of did this, giving Craig’s Bond an ambiguous conclusion where he sort of seemed to retire and drive off with the girl. But that kind of ambiguity doesn’t cut it nowadays, and so No Time to Die finds that, yes, Bond did retire, but now he’s pressed back into service so we can get a more definitive fullstop on his story.
To discuss the specifics of that ending would be to get into spoiler territory, of course, which I’m not going to do here (the film is out in most regions now, but won’t hit some markets until much later in the year; and I can understand if some people are still reticent to return to cinemas and so will wait for a home release. It’s fine — there’ll be plenty of time to talk about the ending in month and years to come, because it is, again, no spoiler to say this is an ending that will be discussed for a long time, one way or another). What I will say is that I, personally, wasn’t wholly convinced by it. I don’t know if it was the right move. I’m not entirely sure how it makes me feel. Others may have a more definitive reaction — I haven’t sought out other people’s specific thoughts, and they’re hard to stumble upon because everyone is (rightly) avoiding spoilers. That said, the mostly positive reception, from both critics and regular viewers, suggests that it’s not an outright problem — maybe people mostly love the finale, but even if they don’t, they’re like me in thinking it doesn’t undermine the quality of the rest of the film.
And quality is in abundance throughout No Time to Die. When it emerged that it ran nearly two-and-three-quarter hours, some were concerned that was far too long for a Bond film, especially after Spectre’s two-and-a-half hours was deemed a slog by many. Such concerns prove unfounded, because No Time to Die moves at a solid lick throughout, never feeling its length — like all the best movies, whether they be 80 minutes or four hours, it’s just as long as it needs to be. In many ways it’s your standard Bond fare: there’s a nefarious villain out there planning to do something evil on a massive scale, and Bond is roped in to stop them. If it ain’t broke, don’t fix it. And yet, the Craig era has tried to ‘fix it’. Casino Royale consciously dismantled the Bond formula, riffing on some of its famous tropes rather than including them properly (cf. his response to “shaken or stirred?”), but the subsequent films have sought to rebuild the style we knew and loved. It’s arguable whether they truly have returned Bond to his previous ways — every one of these movies subverts ‘the Bond formula’ in some way, large or small — but I think No Time to Die might be the closest. That’s not a criticism.
Certainly, it has enough new going on to not feel like a throwback. Some of that is surface level, like the new 00 being a Black woman, played perfectly by Lashana Lynch. It’s an important bit of progressiveness, for sure, but in plot terms, replace her with a white man and everything still functions the same. Again, I don’t feel like that’s a criticism — sometimes the devil is in the details, and details matter. “Making that character a Black woman instead of a white man doesn’t affect the plot” is a reason to make such a change, not an argument against it. Conversely, Léa Seydoux’s Madeleine Swann somewhat upends the traditional Bond girl role by having a secret past that has significant bearing on both the plot and Bond’s emotional state. The former may not be so new (there have been Bond girls with secrets in the past), but allowing Bond to actually have emotions, and be challenged by them, is very much a Craig-era phenomenon. Again, you can find specific examples of this throughout the series — OHMSS is the biggest example, but you could argue Brosnan’s Bond is affected by Elektra in The World Is Not Enough — but it’s never been done with such consistency, such centrality, as in the Craig era.
Aside from all this borderline-groundbreaking stuff, No Time to Die serves up a load of traditional Bond thrills. There are exotic locales, beautifully lensed by Linus Sandgren — he may not be as big a name as Roger Deakins, but his work makes this rival Skyfall for prettiest Bond film. There are epic action sequences — the series may have lost its rep for outrageous done-for-real stunts to Tom Cruise’s Mission: Impossible-funded death wish, but it can still pull together an outstanding car chase or shoot-out. The pre-titles in Italy; a party in Cuba; a chase through Norwegian woods — all could be franchise highs in the set piece department. And the production design, by series newcomer Mark Tildesley, harks back to Bond of old too, not least in the villain’s island lair. Oh yes, the villain has his own island — proper old-school Bond.
Said villain is Safin, played by Oscar-winner Rami Malek. He’s not bad by any means, but he’s weirdly miscast (it’s not obvious until you think about it, but the character is meant to be 20+ years older than the actor) and he has little to do: Bond’s on his trail for most of the film, only confronting him in the final act. Maybe that’s not so different to many older Bond films either, but it’s out of place in the Craig era, where most of the villains have directly challenged Bond throughout the movie. Still, while he may not hit the highs of Mads Mikkelsen’s Le Chiffre or Javier Bardem’s Silva, he’s slightly less “villain by numbers” than Christoph Waltz’s disappointingly underwhelming turn as Blofeld, and more memorable than Mathieu Amalric’s Dominic Greene (not the actor’s fault, I don’t think — Quantum tried so hard to keep Bond grounded and he suffers for that). In fact, he’s such a Macguffin of a villain that I’m not even sure of his motivation — I get how he intends to do A Very Bad Thing (the mechanics of it are very important, for several reasons), but I don’t recall the film ever bothering to tell me why.
It’s this kind of little niggle that loses No Time to Die its edge. Make no mistake: this is an immensely entertaining Bond film. I haven’t even mentioned some of its other highs, like all-too-brief supporting turns from Jeffrey Wright, returning as Bond’s CIA chum Felix Leiter, or Ana de Armas as a rookie agent who, it turns out, is as skilled as she is gorgeous, but is most memorable for being the most amusing part of the film — you’ll wish she was in it more. For all that, I foresee the film settling in as a well-liked entry in the series, and I’m sure it will cement a reputation as the greatest last-Bond-film for any actor (its only real rival in those stakes being Licence to Kill, which barely counts as it was only Dalton’s second). But, on the flipside, it doesn’t quite hit the dizzying heights of Casino Royale or Skyfall. Is that a problem? Nah. Not everything has to be “the greatest ever” to have merit.
No Time to Die is in cinemas everywhere (except Australia and China) now.