Skyfall is the twenty-third Bond film and marks the 50th Anniversary of the Bond franchise. To mark this milestone, the filmmakers tried to showcase a modern Bond while also weaving together classic elements from past films. To their credit, they pretty much succeed.
The story is seemingly routine, yet it adds some interesting elements into the mix. A super villian, Silva (played by a deliciously evil Javier Bardem), is targeting MI6 – hacking into their files, blowing up their building, and seeking to kill the head of the agency, M (Judi Dench). Bond resurfaces from an apparent death to save the day.
On the surface it seems like a standard Bond film, but what sets it a part is its emphasis on age and the changing of the times. Gone are the gadgets and girls with innuendo laden names. Bond seems to walk through the film a half step behind Silva. He seems almost lost, chasing someone he doesn’t quite understand. This is the first Bond film I can think of where Bond feels vulnerable. He’s out of shape, a rusty shot, and clearly suffering from a bit of mental trauma. These are elements virtually missing from any other Bond film – and they make Skyfall that more interesting.
This is, like many suggest, a post-Bourne Bond film. It’s gritty and rough around the edges. However, I would contend that Skyfall is just as much a post-Dark Knight film. There are shades of the Joker in Bardem’s Silva. Even Silva’s plans are very reminiscent of the Joker (not to spoil anything, but Silva is almost always one step ahead). Bond’s crumbling physical and mental state also echo Batman’s. This is not to say that Skyfall is a ripoff. It’s still a Bond film, filled with exotic locations and sweet cars. It’s just that Bond is far more grounded in reality.
Director Sam Mendes and screenwriters Neal Purvis, Robert Wade, and John Logan have created a very modern Bond film, while also perfectly setting up a new generation of Bond characters that retain the essence of the 60s films. It’s a tricky feat, and there are a few implausible moments (as with any Bond film), but it’s handled rather adeptly. The last act of the movie is particularly bold for a Bond film – but it works and it’s great. And with the addition of cinematographer extraordinaire, Roger Deakins, it’s certainly the most beautifully looking Bond film ever put to screen (a sequence in a Shanghai hotel seemingly made entirely out of glass is particularly stunning).
Is this a work of art that will sweep all the awards? No, it’s still a Bond film after all. But it’s certainly entertaining, and it’s definitely one of the better Bond films of the entire series.