Spectre. Thomas Newman

A cryptic message from the past sends James Bond (Daniel Craig) on a rogue mission to Mexico City and eventually Rome. Bond infiltrates a secret meeting and uncovers the existence of the sinister organisation known as S.P.E.C.T.R.E. (Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion). Meanwhile, back in London, Max Denbigh (Andrew Scott), the new head of the Centre of National Security, questions Bond's actions and challenges the relevance of MI6, led by M. Bond covertly enlists Miss Eve Moneypenny (Naomie Harris) and Q (Ben Whishaw) to help him seek out Dr. Madeleine Swann (Léa Seydoux), who may help untangle the web of S.P.E.C.T.R.E. As Bond ventures towards the heart of this organization, he learns a chilling connection between him and the enemy he seeks.

Thomas Newman intentionally blended his personal style with David Arnold’s contemporary action riffs and some of John Barry’s jazzy instrumental touches, resulting in a score that felt fresh and exciting, even if it disappointed some traditionalists. Many of Newman’s signature instrumental ideas and compositional techniques are evident here and the innovation he always brings to the table is obvious, but the energy levels are higher than one usually expect in a film of this type. The opening “Los muertos vivos están” (The dead are alive) sees Newman endowing the James Bond theme with a cache of bass flutes, Vic Flick-style guitars, and ethnic percussion courtesy of the Mexican ensemble Tambuco.