Spectre has style and Craig, but lacks lustre and adrenaline — the trademark of a Bond movie. If you can digest the meandering screenplay and some flaws, you can still have fun.

Since Mendes already dealt with humanizing Bond in Skyfall, this time the filmmaker gives us the Bond from the Roger Moore era. Which means everything that was ludicrous and over the top in Bond movies makes a grand return in Spectre.

This 007 is neither shaken nor stirred, but simply frozen in time.

Casino Royale and Skyfall suggested there were still ways left to tell a Bond story that weren’t archaic or rehashed. Spectre, though, is simply a case of middle-of-the-road big-budget franchise furthering. Studio logic might dictate that it’s time for another reboot. But how many times can something be rebooted before the batteries give up the ghost?

Perhaps it’s my own fatigue with the Bond franchise and the knowledge of exactly where it will go and how things will turn out that makes the old-fashioned and nicely campy Spectre not as gripping a ride as I would have wanted it to be.

What really makes “Spectre” a great movie is the way it wrapped up all the major and minor details from previous Craig’s series of Bond movies and comes out with an unexpected yet radiant conclusion.

The new James Bond movie adventure, directed by Sam Mendes, is as traditional as it gets. Were it not for its superior technical quality, Spectre might have been classified as a 1980s production.