SPECTRE (Rated PG-13)

The James Bond films have been around more than fifty years, and yet the latest entry in the field, the aptly-named “Spectre,” representing shades of the early glory days of the franchise, is fresh, vital and stimulating even if its roots could be considered dated in a modern world.

As any self-respecting Bond aficionado would tell you, the titular international crime syndicate trades heavily on such wicked ploys as terrorism and extortion, considering its name is Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion.

SPECTRE, identified symbolically by its menacing octopus logo, turned out to be the strategically nefarious organization that Bond had to confront head-on during the Cold War era, most memorably in the truly great Sean Connery films “From Russia With Love,” “Thunderball,” and “You Only Live Twice.”

Daniel Craig returns for the fourth time as James Bond, infusing the role with even more gravitas and commanding physical presence than before.

Unlike the more sentimental approach in “Skyfall,” this time around Craig’s Agent 007 is playing the hardcore old-school spy legend.

This hard-nosed method is absolutely essential for Bond in the eye-popping opening scene taking place in Mexico City during the Day of the Dead festivities, where the secret agent is on a rogue mission to eliminate an assassin named Marco Sciarra.

Doing his reconnaissance in a skeleton costume with a pretty girl in tow, Bond mingles with the festival celebrants, and then faster than Superman in a phone booth, he’s changed clothes into a crisply tailored suit for an exquisite foot chase that ends up in a helicopter ride.

With Sam Mendes at the helm directing the action, Bond fights his prey inside a helicopter flying perilously close to the festivities in the main square, and it proves to be the adrenaline rush that jump starts the dazzling action right from the get-go.

Meanwhile, back in London, an officious bureaucrat named Max Denbigh (Andrew Scott), codename C, has been appointed head of the Centre for National Security and immediately challenges the relevance of MI6 in a contemporary world becoming all too dependent on surveillance and drone warfare.

Since Bond left in his wake very extensive destruction in Mexico City, Denbigh seizes an opportunity to question the utility as well as probity of good old-fashioned field work, thereby putting at risk the entire Double-O section.

Bond’s superior is M (now played by Ralph Fiennes), who’s put in a tough spot to justify the venerable and true methods of MI6, and as a result, vainly attempts to put constraints on Agent 007’s free-wheeling ways.

Not surprisingly, Bond does not countenance the interference of bureaucrats who have no idea of the value of a boots-on-the-ground skirmish. Enlisting help from tech wizard Q (Ben Whishaw) and the faithful Miss Moneypenny (Naomie Harris), Bond ignores orders to stand down.

Instead, after appropriating a $3 million customized Aston Martin DB10, Bond takes off for Rome to attend the funeral of Marco Sciarra, taking time after the services to become better acquainted, shall we say, with not-so-grieving widow Lucia (Monica Bellucci).

The inevitable liaison with the Italian beauty allows Bond to ascertain the whereabouts of a secret SPECTRE board meeting, presided over by Franz Oberhauser (Christoph Waltz), a really nasty bit of business who does not countenance failure or incompetence.

A wild street chase through the streets of Rome finds Bond pursued in a tricked-out Jaguar by SPECTRE henchman Hinx (former wrestler Dave Bautista). Then it’s off to snowy Austria in search of Mr. White (Jesper Christensen), an old foe from “Casino Royale.”

The brief reunion with Mr. White puts Bond on the trail of Dr. Madeleine Swann (Lea Seydoux), practicing at a mountain top retreat that recalls another Bond film.

In the hunt for clues, Madeleine and Bond end up in Tangier, before embarking on a desert train ride rudely interrupted by a violent confrontation with Hinx.

Winding up in the middle of the Moroccan desert, Bond and Madeleine are drawn to a fortified hideaway where the secret agent’s life is greatly imperiled. Without saying too much, there’s a scene of intense torture that is disturbing to witness.

Should Daniel Craig decide that “Spectre” is his swansong for playing the role of the world’s most famous secret agent, then both he and the franchise shall benefit from the fact that the rather mediocre “Quantum of Solace” is likely to disappear from the public memory.

The spectacular strength of “Spectre,” as the vessel carrying the most essential fragments of Bond lore, is that it comes across as true to the literary roots of Ian Fleming’s novels while carving new ground consistent with 21st century sensibilities.

The most fervent James Bond fans may most certainly argue about the merits of “Spectre” and its ranking against the twenty-three other official films.

An argument is to be made that “Spectre” is even better than “Skyfall,” and this is particularly relevant for the traditionalists.

Tim Riley writes film and television reviews for Lake County News.