SPECTRE
At one point in Spectre, one of the expendable Bond girls says, “You’re a good man.” He’s not. He’s good at what he does, and that is a very different thing indeed. Quantum of Solace and Skyfall showed Bond with the glamorous façade rightly removed. He was a haunted, hardened man, fixated on fighting for a mother country that was as ready to betray him as embrace. In the process, he left a trail of used (and often dead) women in his wake.

Those movies actually brought me back to the Bond franchise, because they rightly showed that nobody can do what Bond does without chipping away at one’s soul. Bond was no longer the man we admired because we wanted his life; he was the man we wincingly accepted because we recognize that sometimes it takes monsters to fight monsters.
Spectre wipes away the grimy image of the recent Bond and recreates the myth. He’s bigger than life, handsome, and suave; he’s always smarter, always better, and in the end he always gets the girl (even if he’s just killed her husband – which was, frankly, one of the more unsettling seductions in the Bond canon). Spectre is getting great reviews for resurrecting the ghost of Bond’s past. I wish they had let the old Bond rest in peace.