For fans of the James Bond franchise, this particular film has Herculean expectations. This is after all the last Bond film that Daniel Craig will feature in and it took a lot of convincing for him to do this film too. And the release of this film has been delayed due to the pandemic. No Time To Die does not disappoint. Instead, it matches every expectation and even delivers more. The introduction sequence sets the tone for the film with a heady mix of romance, action, explosion and betrayal. The story that follows is an edge-of-the-seat drama that has one hooked to the screen. The fact that the film is 2 hours and 43 minutes long and is the longest Bond film till date seems rather inconsequential. As one is eventually left wanting more in the end of the film. This story has everything that one expects from Daniel Craig as Bond and yet also is a tribute of sorts to the good old 007 films back in the day that starred Roger Moore and Sean Connery. There are all staples one expects from the films from the franchise, be it stunning automobiles, fancy gadgets, sci-fi twists, femme fatales, pacy action sequences and macabre villains who never fail to shock you. Of course, throw in Bond trying to rescue the world too. The film sees all of Bond's allies rally for him and some old adversaries too. It tries to bring in some closure to Daniel Craig's stint as Bond. And the fact that there's also a female agent, Nomi, who has been appointed as 007 when Bond was on the break, also leaves one wondering more about what could lie ahead in the franchise, could there be a spin on the agent name in store? Also, the fact that the film has a central theme dealing with DNA and genocide when we're in the midst of a pandemic is an eerie coincidence. Remember that the film was ready long before. Speculations and theories apart, this film leaves enough and more scope for Daniel Craig fans to celebrate their hero. Not only is he in top form, but he looks better than ever too. Rami Malik, in his role as the Hannibal-esque nemesis to Bond, leaves a big impression. Cary Joji Fukunaga has given Bond fans a celebration that will be long remembered. And Léa Seydoux ensures she lives up the complexities and secrets of her character. Ana de Armas in her brief role of assisting Bond is his Cuban escapade in the film is another highlight, as is Lashana Lynch as the new 007. No Time To Die is best summed up as the perfect Bond experience. Don't miss this one in the big screens.Read full review
Time, death, past and future are a deep, recurring theme in this 25th Bond film. It also, of course, marks the end of the Daniel Craig era —that will be a very hard act to follow. For all that, No Time To Die — with no less than four screenwriters including the director himself (True Detective’s Fukunaga), old Bond hands, and the much-anticipated Phoebe Waller-Bridge addition — is much too long, much too convoluted, and much too un-Bond like. Part of the reluctance to end sooner, one suspects, has to do with the burden of saying goodbye to the actor who has moulded the character born circa World War II for the 21st century, where heroes don’t just have big hearts but also heavy ones, and wear the same on their sleeves. Craig doesn’t just bruise, he hurts. He doesn’t just ripple with muscle; he ripples with the creases that years of seeing unspeakable horrors have left on his face. And what a face that is — the crowning glory of this Bond, more than his body, which is nicely decked out variously from brief briefs to tight tuxedos. It has eyes that burn into you, it has lines that evoke its pain, it has a smile that warms your heart, it has a twinkle that few can resist, and it has tears that flow down easily. No Time To Die can’t have enough of Craig. And that is both what saves and dooms it. While we are still gasping from a pandemic that may or may not be lab-born, the story hangs on engineered DNA that has been stolen from an “off-the-books” British government facility. The enormous evil of the project (however gobbledygook the science) is breath-taking in its tone deafness. Fiennes’s M even tries explaining that “it was never meant to be a weapon of mass destruction”. Really, we want to go there? It is not just here that the film has its geopolitics all ill-thought through. While the UK is clutching onto relevance with the unfortunately named AUKUS, Britain’s centrality to saving the world is an incongruous hope, more than anything else. And even as Russia expands its influence, the film’s portrayal of it, Japan and Cuba (and the people there in) as the sites of an axis of evil, but irrelevant to destroying it, is the kind of oversight that better movies no longer make. While the contribution of Fleabag’s Waller-Bridge was meant to elevate Bond to more feminist standards, women remain similarly central but partial in the grand scheme of things. Seydoux returns as Madeline Swann, but is reduced to almost infuriating domesticity. The film’s biggest leap is in making the new 007 a woman and Black. But Lynch is more of the same, dressed in awkward pantsuits, hand tucked uncomfortably into a pocket, trying to fill ‘that man’s’ shoes. The one totally liberated woman in the entire film, Aramas’s Paloma, is dispensed with quickly. The charismatic Aramas (with Craig, she similarly crackled in Knives Out) floors a Cuba fight sequence, in a plunging neckline, a slit-to-thigh dress and stilettos, but makes you just focus on that dazzling smile. No one can resist that, not even the pining for love (and he really pines here) Bond. And then there are the insipid villains — Malek in a deformed face and kimono-ish robes really hamming it; and Waltz in a brief Hannibal Lecter-like appearance. One of them used the other to DNA-kill the world. Sometimes it is one way, then it’s the other. Whenever Malek’s Lyustifer Safin tries to give it the spin that he and Bond are two sides of the same twisted mirror, he only makes the incoherence of this idea even worse. Plus there is the final set piece, on an island with lengths and lengths of corridors, silent minions slogging away in poisonous water pools, world’s data at the fingertips of a totally ridiculous Russian scientist, etc etc. The film unfortunately makes its way there after a near-perfect clash in a misty forest and some spectacular car chases, particularly through an ancient Italian city.Read full review
A befittingly grand farewell party for Daniel Craig in his final outing as James Bond, No Time To Die has no time for half measures. It goes all out to give fans of the franchise the highs they are looking for and the actor who has stamped his class on the role since 2006's Casino Royale gets the send-off he deserves. The 25th Bond film in 60 years barrels through the whole gamut of tropes that the world has come to associate with the MI6 superspy and his exploits: dizzying chases, turbocharged action sequences and an unrelenting parade of cars, gadgets and weapons. But since No Time To Die is Daniel Craig's last hurrah, there is in addition of a whole lot of emotion buried in its heart. Riding on crucial scenes that bring out the turmoil that love, longing and loss usher into the life of a secret agent who cannot afford to show any weakness, it stands apart from the Bond movies that have gone before despite being no different from any of them in visceral and visual terms. Hans Zimmer's score, as always, propels the action along. Swedish cinematographer Linus Sandgren (La La Land) captures a wide bandwidth that spans from the snow-covered landscape of an instantly captivating prelude to the brown expanse of an Italian city where Bond faces off against men from SPECTRE to the innards of futuristic labs and factories. His camera imparts to each setting a distinct and tactile texture. Director Cary Joji Fukunaga infuses the unusually dense plot with doses of humanity - a trait that Craig's 15-year, five-film run has thrived on in a marked departure from the contours that earlier Bond impersonators gave the character. If there is anything that No Time To Die lacks it is a villain who can do justice to a James Bond thriller designed as a finale of the Daniel Craig era. The fault cannot be laid at Rami Malek's door, though. The screenplay by the writing team (Neal Purvis, Robert Wade, Fukunaga and Phoebe Waller-Bridge) simply does not give the strikingly monikered Lyutsifer Safin the sort of menace and firepower his name would suggest. There is, however, so much else to savour in No Time To Die that it is pointless nitpicking over what could have been better. The action sequences - the first one in Matera, Italy, is as fine as any we have seen in a Bond movie in a long, long time, no matter how familiar it might seem - are staged with wonderful panache and a keen sense of occasion. We know the actor who has done more than anybody to redefine the Bond persona for the post-Cold War era will not be doing all this ever again. So, it better be bloody good. For the most part, it is. The Louis Armstrong theme - "We have all the time in the world" - is woven into the narrative to perfection from beginning to end. As Bond goes for a spin with Madeleine, the latter urges him to step on the gas. "You want me to go faster," James retorts. "We have all the time in the world." Ironically, the actor playing Bond has everything but that. Much later in the 163-minute saga, Madeleine says, "We need more time." James' reply is the same: "You have all the time in the world." This time, he is right. The Bond universe is now set to begin a fresh phase. It will soon acquire a new face. Only time will tell how the two, the phase and the face, will look. It will, for sure, reflect a changed world. In visually stunning pre-credits sequence of No Time to Die, which instantly draws the audience into the movie, we get a glimpse into the past of Dr. Madeleine Swann (Lea Seydoux), Bond's beloved, and its link with the villain, a man who himself has a traumatic past that explains why he has turned into what he is - a manic misanthrope out to poison the whole world. Seydoux brings to her role an infectious intensity as a psychiatrist doing her job, as a lover desperate to clear her name and a mother fiercely protective of her daughter. The French actor is one of the pillars of this Daniel Craig swan song because her role and her performance give the film its emotional depth. She isn't the only in No Time To Diewho boosts woman power in what has for long been a man's world. With James Bond falling off the grid following his retirement post-Spectre (2015), M16 has got itself an energetic new female 007, Nomi (Lashana Lynch), a symbol of the modern era of the James Bond franchise. There is just a hint of rivalry between her and Bond when the latter comes out of retirement to help his CIA agent-pal Felix Leiter (Jeffrey Wright) rescue a Russian scientist. The time factor is invoked once again. "You are a guy who has time to kill and nothing to lose," Nomi quips, a reference to the five years that Bond has spent in the wilderness, if Jamaica can be classified as wilderness. Bond and Nomi soon form a great team as things heat up for M (Ralph Fiennes) and his chief of staff Bill Tanner (Rory Kinnear) and the action shifts to a World War II base on a remote island "in disputed waters" between Russia and Japan. Coming back to the disappeared scientist Valdo Obruchev (David Dencik), he is in the custody of SPECTRE, which is still led (through a hyperconnected Bionic Eye, no less) by Ernst Stavio Blofeld (Christoph Waltz, brilliant in the one long sequence that he has in the film with Craig) despite his incarceration in a high-security British prison. There is also early in the film an all-too brief appearance by Ana de Armas as a young CIA agent who helps Bond in a mission in Cuba. Craig's chemistry with his Knives Out co-star is palpable and has you asking for more. It is sad that she vanishes as quickly as she appears and makes an indelible mark. Daniel Craig, no longer the gun-toting, womanizing secret agent, loses no opportunity to demonstrate why he has had such a salutary impact on the evolution of James Bond. He blends his roguish charm with the emotive wrenches that help the insuperable spy shed some of his inscrutability. In No Time to Die, his Bond is more impulsive, sensitive and passionate than ever before even as the gunfights are brutal and the chases life-threatening. Dr. Madeleine Swann says to Bond in one scene: You know the worst thing about you? The first option James offers by way of an answer is "timing". Well, timing was never a problem with the James Bond series until the Covid-19 pandemic forced the release of No Time To Dieto be delayed by 18 months. The film's central conflict is predicated on a destructive bioweapon and the power that flows from it. They fall into hands that cannot be trusted. In a world hounded by disease and hate, No Time To Die has a resonance that stretches way beyond the purview of a spy thriller. For Daniel Craig - and his fans - No Time To Die is an unerring parting shot.Read full review
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