Finally, Dying Can Wait arrives next week in theaters. The25th film of the James Bond license was desired. While it was originally scheduled to be released in May 2020, the COVID_19 pandemic delayed its release. Expected on October 6, this new 007 marks the last appearance of Daniel Craig in the skin of the British agent. Review of an opus that will divide opinions:
Dying Can Wait: A Hybrid Film
Universal has entrusted the direction of this 25th film to Cary Joji Fukunaga, famous for having directed the series True Detective and Maniac. A heavy task for the filmmaker who chooses to offer fans a film of more than 2h40. Sacred piece for this opus which is placed as the longest of the franchise. Inevitably, as usual, the film offers a credits this time sublimely interpreted by Billie Eilish. Dying Can Wait submits an intoxicating first hour, which connects the story to the previous installments of the license. The treatment of the action offers some impressive sequences of mastery and visual beauty. The tone, as well as the rhythm are of a precision reminiscent of the effectiveness of Skyfall. Daniel Craig is still impeccable in the skin of Agent 007, while the actress Ana de Armas enters the saga in a sensational way. 
We will remember some stunning action sequences, once again in the first part of the film. The shootouts are successful, and hand-to-hand combat is at the top of the basket of blockbusters of the genre today. Unfortunately, Cary Joji Fukunaga does not really know on which foot to dance, between a desire to offer arguments and an ambitious and surprising plot, and his obligation to remain in the usual shackles of the saga.
A narrative that spreads out too much
However, wanting to stretch his plot too much, Cary Joji Fukunaga signs a work too long, despite his colossal ambition. The middle of the film drags on, the fault of endless dialogues and too talkative to really excite. Similarly, the action becomes messier, less relevant, and gets bogged down in a repetitive staging as possible. The film, eventually suffering from the same problems as the disappointing Spectre, becomes soporific and incoherent, which lengthens and weighs down the overall product. All this justifies the establishment of a grandiose finale to which we will return later. 
It should also be noted that the secondary characters lack thickness. Léa Seydoux is unable to raise her level of play compared to Spectre. Lashana Lynch in the skin of the short story 007 does not bring much extra to the mythology and is unfortunately more there to make feminist showcase. Rami Malek stomps on the role of the big bad guy. The actor totally collapses in the role of this antagonist who places himself as the worst of the Daniel Craig era. Whether because of his writing problems or the total lack of talent of the actor in the role, Lyutsifer Safin is a walking caricature.
An amazing conclusion!
Cary Joji Fukunaga nevertheless has a real desire to deconstruct the saga. Whether in the writing of its characters or in the setting up of certain situations, Dying Can Wait gives a middle finger to the James Bond tradition. A bias that will undoubtedly divide, seducing some and putting off others. Some choices destroy 007's memory, especially on the fate of some secondary characters. 
But one thing is certain, the conclusion of the work will inevitably date in the history of the license. Cary Joji Fukunaga totally dismantles James Bond, through a denouement with new emotional springs and incredible power. Dying Can Wait is worth its conclusion alone, unique and unprecedented in the history of the franchise. This is simply unheard of. In short, Dying Can Wait will divide fans, which has hardly ever happened in the past. https://youtu.be/4tMUxY9h1b4
