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Movie Review

‘Skyfall’ With Daniel Craig and Naomie Harris.

More about Skyfall Film

Director : Sam Mendes.
Producer : Barbara Broccoli & Michael G. Wilson.
Writers : Neal Purvis, Robert Wade.
Stars : Daniel Craig, Javier Bardem and Naomie Harris.
Distributed : Columbia Pictures.
Release Date : Nov 9, 2012.Genre : Action, Adventure, Crime, Thriller.
Runtime : 143 minute.

When James Bond dashed into Buckingham Palace in July to pick up Queen Elizabeth so they could parachute into the Olympic opening ceremony, it was tough to picture what he could do for an encore. Zip line into the next European summit meeting with Angela Merkel tucked under his arm? Wrestle nude on the frozen banks of the Volga with Vladimir Putin? Turning Britain’s royal octogenarian into a Bond girl was a stroke of cross-marketing genius that profited queen and country both, while also encapsulating the appeal of the 007 brand in the age of aerial drones.

It’s the human factor, to borrow somewhat perversely a phrase from Graham Greene, who worked for Britain’s foreign intelligence agency MI6. In his novel “The Human Factor,” about a double agent, Greene sought, he said, to portray the British secret service unromantically, with “men going daily to their office to earn their pensions.” Bond is wearing a silver-gray suit when he powers into “Skyfall,” the latest 007 escapade, but it isn’t cut for office work. The suit is seductively tight, for starters, and moves like a second skin when Daniel Craig in his third stint as Bond races through an atavistic opener that with bullets buzzing and M (Judi Dench) whispering orders in his ear puts him back on mortal, yet recognizably Bondian, ground. 

And just in time too, given that he looked as if he were on the Bataan Death March in his last film, “Quantum of Solace.” Directed by a surprisingly well-equipped Sam Mendes, “Skyfall” is, in every way, a superior follow-up to “Casino Royale,” the 2006 reboot that introduced Mr. Craig as Bond. “Skyfall” even plays like something of a franchise rethink, partly because it brings in new faces and implies that Bond, like Jason Bourne, needed to be reborn. The tone is again playful and the stakes feel serious if not punishingly so. This is a Bond who, after vaulting into a moving train car, pauses to adjust a shirt cuff, a gesture that eases the scene’s momentum without putting the brakes on it.

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