Skyfall Review
Review - Skyfall
The consensus on Daniel Craig’s tenure as James Bond so far is that he started out impressively in Casino Royale but wavered in Quantum of Solace. Here, in a Bond specifically tailored for the 50th anniversary of the series, the dangling plot-threads of Casino and Quantum are left in the wind as a more experienced, more damaged hero deals with a villain from his boss’s past. Having rebooted the franchise by depicting Bond’s first days with a license to kill in Casino Royale, this picks him up later in his career – as if he’s lived through all the films from Dr No to Die Another Day since we last saw him.
The pre-credits sequence, which coincidentally chases through a Turkish bazaar seen this year in Taken 2 and Argo, establishes that Sam Mendes – brought in to raise the tone a bit – can handle a fist-fight on top of a train as well as anyone. The boldest hire for this go-round is cinematographer Roger Deakins, who delivers the most impressive visuals this series has had since the 1960s. No one will ever mistake Skyfall for an introspective picture, though Bond’s rarely-mentioned dead parents get trotted out in a Christopher Nolanesque way which aligns him with all other orphan heroes and superheroes of current cinema.
The challenge of delivering a series entry is to present the mandatory elements – the credits sequence, the girls, the cars, the locations, the stunts, the villains, the novelty pets, the gadgets – in fresh, surprising ways. Regular screenwriters Neal Purvis and Robert Wade, augmented by John Logan, skate over their mcguffin with some computerspeak and politicking, then hit all the required notes – with sidebar-friendly anniversary nods to practically every previous Bond film, including the David Niven Casino Royale – while telling a story that doesn’t strictly adhere to the umpteenth-remake-of-Dr-No format that wore thin during the Roger Moore-Pierce Brosnan eras. Among other innovations, this is the first Bond really to make use
The consensus on Daniel Craig’s tenure as James Bond so far is that he started out impressively in Casino Royale but wavered in Quantum of Solace. Here, in a Bond specifically tailored for the 50th anniversary of the series, the dangling plot-threads of Casino and Quantum are left in the wind as a more experienced, more damaged hero deals with a villain from his boss’s past. Having rebooted the franchise by depicting Bond’s first days with a license to kill in Casino Royale, this picks him up later in his career – as if he’s lived through all the films from Dr No to Die Another Day since we last saw him.
The pre-credits sequence, which coincidentally chases through a Turkish bazaar seen this year in Taken 2 and Argo, establishes that Sam Mendes – brought in to raise the tone a bit – can handle a fist-fight on top of a train as well as anyone. The boldest hire for this go-round is cinematographer Roger Deakins, who delivers the most impressive visuals this series has had since the 1960s. No one will ever mistake Skyfall for an introspective picture, though Bond’s rarely-mentioned dead parents get trotted out in a Christopher Nolanesque way which aligns him with all other orphan heroes and superheroes of current cinema.
The challenge of delivering a series entry is to present the mandatory elements – the credits sequence, the girls, the cars, the locations, the stunts, the villains, the novelty pets, the gadgets – in fresh, surprising ways. Regular screenwriters Neal Purvis and Robert Wade, augmented by John Logan, skate over their mcguffin with some computerspeak and politicking, then hit all the required notes – with sidebar-friendly anniversary nods to practically every previous Bond film, including the David Niven Casino Royale – while telling a story that doesn’t strictly adhere to the umpteenth-remake-of-Dr-No format that wore thin during the Roger Moore-Pierce Brosnan eras. Among other innovations, this is the first Bond really to make use