Although it is perverted by use, since it serves the same way for an artistic movement as a mandarin or a fashion trend, the expression end of the cycle is the one that accurately corresponds to this James Bond , the last one that will have Daniel Craig as the protagonist. A cycle that has visibly changed the character in substance and manner, which began in 2006 with ‘Casino Royale’, which reached its peak in 2012 with ‘Skyfall’ and which ends in a coherent and faithful way to the transformations that Craig has imposed on him. the nature and soul of the character in ‘No time to die’ . What is from now on inside the James Bond suit, whatever sex it is and whatever color it is, cannot be considered otherwise than a beginning of the cycle. Before entering the elegant and spectacular rooms of ‘No Time to Die’, we stop at the ‘office’, where the ingredients are prepared and then served at the table. We know from the nearly thirty films in the series (which began in 1962 with the unsurpassed ‘Agent 007 vs. Dr. No’ and the hard-to-beat Sean Connery), that James Bond is not only in the service of Her Majesty but also the of the airs and aromas of his time, and that from his adventures oozes the sediment, thought, manners and morals that ventilate the world: from the free and daring sixties, to the ‘honest’ and sententious decade in which we live. Or to put it another way: from the frivolous, witty, libertine and cool scoundrel who played Sean Connery, to the serious, cold, romantic and tortured guy with his origin and memory that is now behind the composition that Daniel Craig has done in his five films. , and that he has a dry martini out of compromise. Between the two of them, the times modeled another type of James Bond, the phlegmatic and carefree Roger Moore who heralded the end of the Cold War and glimpsed the end of hot bellicosity, and the stunned and handsome Pierce Brosnan as a symbol of the turn of the century, millennial, sweet-eyed, or whatever. These substantial changes in the series are not only seen in its protagonist, but also in its antagonists, the villains, and in the so-called ‘Bond girls’ (also in the back room of the Intelligence Services and in the ‘gadgets’ and gadgets) , but it is not a question of distinguishing, without offending, between Donald Pleasence, Christopher Lee, Brandauer, and the latter, Christoph Waltz or Rami Malek, and much less between Ursula Andress or Carole Bouquet and Léa Seydoux and Olga Kurylenko, with new superpowers and ‘gadget’ to remove all the nonsense from the outdated machirulo that was Bond . And so begins the latter of James Bond, with the reform of what was tradition: nothing of a first scene full of action and violence, usually the most spectacular in the film, but with the calm and romantic panorama of an ex-agent 007 together with the haunting Madeleine Swan, Léa Seudoux, who gives temporal and sentimental continuity to the previous installment, ‘Specter’. A note: ‘No time to die’ should have been released a couple of years ago, but the outbreak of the pandemic delayed it until today, which makes (bad) omen the fact that the ‘macguffin’ of the plot ( previously engineered) consists of the calculated spread of a lethal disease and genetic manipulation in clandestine laboratories. Alfalfa for conspiranoids. To the usual ingredients of the old Bond films, that is, to the adventure, the global threat, the exotic settings, the unstoppable and implausible action and the exuberant and bold personality of the character in the face of the opposite ideology and the opposite sex, this The film adds, as in Craig’s previous ones, enormous doses of inner complexity, of a contradictory character, of a broken past, of passions, sensibilities and delicacies of a somewhat flirtatious James Bond, in love to the hilt of Vesper Lynd (Eva Green) in the first half of his cycle and Madeleine Swan (Léa Seydoux) in the second and final. You would have to see the curvature of the eyebrow of Roger Moore, in the mid-eighties, before the amount of soul and emotion that fit inside the suit of his Bond. The director, Cary Joji Fukunaga (to understand us, the one who made the first season of ‘True detective’), has taken a lot of time and space to make a staging packed with luxury, spectacle and action spread around the world, and also has played with mischief and grace on the future of the character (the black actress Lashana Lynch exercises in the film as new 007). There are big surprises and twists in the story, some of them crucial and unrepeatable here, but the best of all is the appearance of Ana de Armas, impressive and fun on the stretch (without a doubt short)from the stop in Cuba. The presence and packaging of Rami Malek as a villain, brilliant, repellent and toxic is also cut short, and who would have given more play to that distant Bond with a license to kill, now in a time of paperwork and extension.