8. The Opening Sequence Is (Obviously) Not As Good
Released in the weeks leading up to the films themselves, the four-or-so minute opening song for a Bond film is dissected and declared good or bad long before the MGM lion roars. For Spectre it was the turn of Sam Smith to be put under scrutiny, with his Writing's On The Wall getting a pretty mixed reception (I personally quite liked it - the song feels like a Bond theme and is very much tied to the plot of this film). The problem with this advance notice is that so many people have passed judgement on the song, and by extension the opening sequence, before even seeing the other key part of the titles - the typically-psychedelic visuals. And in this area Spectre does... OK. Adele's Skyfall (already a great Bond song) was accompanied by a great montage that name-checked many of the key parts of the upcoming film (including some cheeky foreshadowing of M's death and that the title referred to Bond's childhood home) with culturally-suitable style. It'd be hard to top, but Spectre doesn't really seem to be trying. The opening animation here is certainly well done, but it is a bit weird. Experimental would be the best way to describe it, and like anything trying out crazy ideas not all of them hit. There's a great recurring giant octopus (Spectre's logo) ensnaring Bond, his past and loved ones, but also some rather bizarre elements, like a topless Craig being caressed by women with burning hands. Writing's On The Wall haters will not be convinced.
