“No Time to Die”

I was so worn out by the end of “No Time to Die” that I’ve put off writing this review because the film sucked away all of my energy, a ravenous leech that latched on and refused to let go for nearly three hours. I don’t have that much to say about this overblown, excessive bore of a Bond movie except that I know most readers will go see it because it’s one of the most highly anticipated of the year. That said, I don’t think many fans will shed so much as a tear for the end of Daniel Craig‘s tenure as the world’s most famous 007 agent.

James (Craig) has left active service and is enjoying a more peaceful life in Jamaica when he’s contacted unexpectedly by old CIA friend Felix (Jeffrey Wright). Felix asks for help rescuing a kidnapped scientist, and the mission is much more dangerous than expected. As he gets deeper down the rabbit hole, James encounters several villains, including a man who is in possession of a dangerous new technology that could wipe out the entire world.

There’s plenty of action, some of it good and some of it ridiculous (the motorcycle stunts towards the start of the movie look laughable). There’s a strained plot about Bond’s fairly serious former relationship with Madeleine (Léa Seydoux), which feels even more stiff because the two actors have some of the most unpleasant, unappealing chemistry for a pair who are supposed to be in love. I didn’t want them to be together, and I didn’t care. By the time the real emotional weight was trotted out, it was too late. I had already been so worn down that it had little effect on me.

This wasn’t the worst part of the film, oh no. That would be the exaggerated performances from Christoph Waltz and Rami Malek as bad guys. I eagerly raise my hand and nominate Malek for this year’s Razzie for Worst Actor. He should win by a landslide.

Bond fans will want to see “No Time to Die” to get a feeling of closure, but most will find it forgettable. The film isn’t noteworthy in any sense, and it’s more indulgent and exhausting than entertaining.

By: Louisa Moore

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