No Time to Die [IMAX]

What a send-off!! All the feels...brilliantly directed by Cary Joji Fukunaga, beautifully lensed by Linus Sandgren and effortlessly manipulated by Hans Zimmer's score. This final instalment of Daniel Craig's James Bond was a highly satisfying conclusion to his five-films arc. 

It had great action (as expected and of course adrenaline-pumping car-chase scenes, although there were no singular, big standout sequences) but it was also emotionally resonant and genuinely funny (in that typical dry, wry British way with glimpses of Fleabag, no doubt thanks to Phoebe Waller-Bridge's involvement). However, surprisingly, it was also the most sexless of all the James Bond films. The Bond Girls were still there, but this time round they all had distinct characters (Ana de Armas and Lashana Lynch) and agency (Léa Seydoux). 

Running at 163 minutes long, it was inevitable that the film had some moments of sagginess and bloat. Thankfully, Fukunaga managed to keep that to the minimum and the film actually moved along at a good pace. Although, some of the dramatic moments in the second act felt too heavy-handed and excessively melodramatic. That will of course lead to comparison with Sam Mendes' more intimate approach (a tad surprising given Fukunaga's calling card was the small, intimate drama Jane Eyre). Also, Fukunaga and his co-writers may have gone a bit too much with the foreshadowing and the repetitive drumming in of the theme of "time" and "death" - it is in the damn title already!

But what Fukunaga really excelled in was crafting mood and atmosphere. Seriously, that cold open was fantastic! Creepy, tense, unsettling and absolutely reeled you into the film. Just with that scene, I wished we had gotten Fukunaga's version of It. Then, we also had the boat scene, the foggy forest scene and the finale set piece.

As aforementioned, there were the usual action sequences in the film. Although nothing big and flashy like Mendes' Dia de Muertos sequence in Spectre or the Istabul train sequence in Skyfall. Nonetheless, they were still exciting enough and Fukunaga seemed to rely more on practical stunts and effects rather than CGI. The hand-to-hand combat moments were also exceptional. Fukunaga and Sandgren's camera changed and put us right in the fight. All gritty and messy, yet clearly choreographed and shot.

The biggest problem with this film - and the franchise as a whole - was the villain. Firstly, Rami Malek added nothing to the role. He played the villain as he would a disfigured Elliot from Mr. Robot, flat with an undeterminable accent. Secondly, his villainy had no reason. His craziness was unfounded. There was no motivation to his reason for world domination. This was an antagonist that we could not care for nor be bothered about. Sure, they did explain a bit of his backstory, but what about his mid-story and current story? Why is he so angry? Why is he so crazy? In the end, he was just a face and a figure for Bond to go after.

At least, we could still take comfort in our usual roster of supporting players/actors. Ralph Fiennes, Rory Kinnear, Naomie Harris and Ben Whishaw. Uniquely in this final instalment, Bond did not work alone much. Team MI6 was there to support him throughout his final mission. 

The Americans, Jeffrey Wright and Billy Magnussen were great too. The former gave a gravitas to the role of Felix Leiter, and the latter had a couple of standout moments.

Armas had a brief but memorable scene. I could see Waller-Bridge's fingerprints over much of that sequence. She would be interesting to do a spin-off of.

For all the hype, Lynch's new 00 agent was given a rather short shrift. After her introduction, she was relegated to giving exposition and it appeared that her addition to the film was more symbolic (even in that final fight sequence) than a substantive change of inclusivity.

Seydoux and Craig had good - but not great - chemistry and her character actually drove much of the story. Here was not a damsel in distress, but an almost-equal to Bond. Some progress at least.

Craig has been Bond for 15 - 16 years now. His Bond had evolved through this time and has helped to usher in a new era for the British spy. More modern, more sensitive and less misogynistic. Craig's Bond had always bordered on moody and broody, but in this instalment, he got to display more emotional range and depth. Although the calls for some sort of award recognition may be a tad overblown.

Zimmer's score was quintessentially Zimmer-esque. Exciting when it need to be, plaintive and emotional at other times. It accompanies the narrative, pushes and nudges it along and unabashedly used to manipulate - successfully - your emotions. But it will be his score for Dune that will get him an Oscar nomination. But who knows, he might get two.

Of course, Billie Ellish's theme song will also get a Best Original Song nod. It might even win too, following in Adele's and Sam Smith's footsteps.

Cinematography was by Sandgren who got an Oscar for his work in La La Land and may be poised to get another nomination for his gorgeous work here. Although we will see his work again later with Adam McKay's Don't Look Up.

No Time to Die was definitely a big-screen experience and IMAX was worth it for the few scenes that maximised the technology. Thankfully, it did not go straight to streaming. 

There was a post-credits placard of interest for those willing to sit through it all.