Riffs on Bond's place in the modern-world; his role as anachronism: connecting the usual espionage & intrigue to a political narrative that is frighteningly relevant. There's a moral complexity here too often lacking in other Bond productions; the villain is grounded & sympathetic, while protagonists are ruthless & unfeeling. This is a Bond film that begins 'big’ then closes in to something more intimate & cinematic.
Après une époustouflante course-poursuite en moto et en ouverture, sur les toits stambouliotes et quelques prouesses annexes sur un convoi ferroviaire, le film baisse de rythme et d'intérêt, en se fourvoyant dans d'inutiles connotations oedipiennes, de sentencieuses considérations psychologiques sur l'âge et la vieillesse, pour finalement s'égarer dans le giron matriciel d'un vieux manoir écossais. www.cinefiches.com
Skyfall doesn't find its footing until after the hour mark with Bardem's character, then it gets quite good. The character is akin to the sympathetic nature of Batman's Two-Face, but is still underused. In that first hour, Skyfall sadly takes from the recent spate of overdone action films that show their aging hero past their prime before it's Bond by way of Nolan doing Peckinpah in the 2nd, and is much more tense.
The best Bond film ever, with the worst Bond ever. Daniel Craig has never been good as Bond even if he's doing a good performance. But Javier Bardem,Judi Dench, Naomi Harris and Ralph Fiennes saves the acting by miles; and of course Roger Deakins cinematography is gorgeous.
The Bond producers finally wake up and realise that if you put a great director together with a great script, you can elevate the character to new heights. Potentially the best Bond film ever made - bold, beautifully shot (love the almost dialogue free Shanghai scene) and solves the existential crisis that the franchise found itself in post Bourne.
Trademark frantic OTT chases and shoot-outs in fairly opulent surroundings, particularly Shanghai. Mendes balances a passionate war-on-terror indictment with the need for accountability in those govt agencies operating from the shadows. The film thrashes some Bond mythology and shows a more realistic human facet. Bardem makes a terrific impersonation of a Bond villain despite his brief time on screen & poor accent.
After two entries that went out of their way to reinvent Bond as a lethal agent who didn't give a damn if his martini was shaken or stirred, I find it odd that that the filmmakers tie themselves in knots trying to turn Daniel Craig into 'that guy' we all know from 50 years of pop culture. The incessant callbacks to Bond history prove distracting, as does the film's blase' attitude about Bérénice Marlohe's fate.
My first Bond on a big screen. I loved to travel the world, bright skies, dark nights, misty Skyfall. Adele 's song matches perfectely this atmosphere. Well Craig is to much a boxer for my taste. I wish he could move his head ... But at least he shows more than ever that Bond is the child of a consumerist, bold headed, white and male oriented society.
Not only the best of the Daniel Craig Bond films, but the best Bond film period. Everything comes together perfectly in this one: a strong central performance from Craig, a great and thrilling screenplay, smart and confident direction, a great bond villain in Javier Bardem, beautiful cinematography, etc. This one really pushes forward in story and action, and it’s the masterpiece of the franchise.