As a formulaic Bond film, “Spectre” adequately performs. It still outshines most Pierce Brosnan installments, save “GoldenEye.” But as the sequel to “Skyfall,” hands down the best 007 story of all time, Daniel Craig’s fourth and possibly last contribution to Ian Fleming’s legendary saga, is too simple.

Daniel Craig, as James Bond, follows Marco Sciarra through a Dia de los Muertos procession in Tolsa Square, Mexico City in the action adventure “Spectre.” (Photo courtesy of Sony Pictures)

After that first trailer, hype was everywhere. A shadowy villain, played by Christoph Waltz, declares himself “the author of all James’ pain.” This is the guy behind the death of James’ (Craig) first love. He helped a former agent blow up MI6’s home base. If you’re excited about how the previous three films will tie together, don’t hold your breath. The explanation is superficial, and the man’s reasons are trivial.

James Bond learns of a secret organization, the one behind everything terrible in his personal life and profession since “Casino Royale.” He follows the breadcrumbs across the world, all the while MI6 faces hostilities among world leaders more trusting of computers than individual agents with “a license to kill,” or “not kill” as M (Ralph Fiennes) states in defense of those analog boots on the ground. So the debate continues, and in the meantime, 007 is on his own. But, really, that’s the way he likes it.

While Craig initially signed a contract for five films, he isn’t shy about how tedious he finds them. Add to that director Sam Mendes’ decision to exit the franchise after “Spectre,” his second film, and it all feels like the end. Waltz as the big bad guy seems a worthy foe – someone as maniacal as Bond is smooth. So why does it all feel so shallow, like bottom-shelf vodka in a martini double shaken to mask the cheap flavor?

Perhaps the action sequences are too big and dumb. I must admit, Mr. Bond’s ability to crash a plane into several cars while saving the damsel feels a touch over the top. More so, his ability to shoot down a helicopter with that tiny gun of his is highly suspect. Then again, the previous villain redirected a subway train into Bond’s path – an awesome, near Heath Ledger Joker accomplishment. So I can’t rightly blame the big explosions.

The treatment of female characters is actually better than previous films too, though for a second time, the filmmakers don’t know how to effectively use Moneypenny (Naomie Harris). And Monica Bellucci as Lucia only serves as another notch in James’ toppling-over bedpost.

Lea Seydoux stars as Madeleine Swann in “Spectre.” (Photo courtesy of Sony Pictures)

Madeleine Swann (Léa Seydoux) at least serves as more than eye candy. She wishes to avoid the life of violence her father, Mr. White (Jesper Christensen), once resided in, but she still knows how to use a gun. She even resists that horny secret agent’s charms for a while. But when she gives in it’s hard not to see her as little more than a subordinate figure in need of James’ love and protection.

As for Bond, 007 himself, I can’t tell if he is an even more cryptic character than usual, or Craig just really didn’t want to be on set and decided to provide as little energy as possible for the role. Sure, he finally learns how to run (watch “Skyfall” again, his trot is peculiar), but he can’t seem to speak in full sentences anymore.

Minimalism is the primary currency here. Bond never argues when his boss M chastises him for destroying a city block in Mexico or when the latest bureaucrat C (Andrew Scott) declares all spies irrelevant in a world with drones. Even his latest nemesis Hinx (Dave Bautista) never says a word while he fights, a quaint homage to so many silent-but-deadly opponents over the decades.

But that silence is rather deafening during the film’s two-and-half-hour runtime. Normally, I enjoy lengthy films, but this one needs more story, far fewer introspective moments and about 10 minutes less screen time.

And when Waltz finally arrives for more than a tease in the first act, he just yammers on, monologuing his entire plan for world domination. It’s all weathered territory. Bond knowingly walks into a trap and uses a special gadget made by Q (Ben Whishaw) to escape. Gone is the cat-and-mouse game in “Skyfall” and rich character development for both the protagonists and the antagonists.

I want to be excited about “Spectre,” but “Writing’s on the Wall,” the new song by Sam Smith played during the credits, is just as dull and void of energy as the performances, editing and storytelling that only appear out of obligation to a studio and some semblance of closure to characters that deserve more than this.