We all know the basic blueprint: British Secret Service super-agent James Bond, armed with devilish good looks, an immaculately pressed suit and humor as dry as his martinis, must save Queen and country from the inexorable evil of super-villains harboring grandiose aspirations for conquest — driving fast cars, enjoying choice sexual encounters, and creating plenty of bullet holes along the way. Each flick of course has its hallmark, whether it be Oddjob’s weaponized bowler hat, the steel teeth and Herculean size and strength of henchman Jaws, or Pussy Galore’s not-so-subtle yet oh-so-memorable name. But to say that the films weren’t suffering from complacency to formulaic plot devices by the end of the Pierce Brosnan era would be inaccurate. Overblown, outlandish action sequences were becoming all too commonplace, and although Bond’s superhuman feats in the face of insurmountable odds are a franchise staple, 007 parasailing to safety on a tidal wave in Die Another Day (2002) was more digitized, comedic ridiculousness than classic Bond badass-ness. So when Daniel Craig depicted a starkly different protagonist in his first appearance as Her Majesty’s favorite spy in Casino Royale (2006), fans breathed a collective sigh of relief. By fusing the characteristic mixture of charm, lethality and wit with an unfamiliar grit and emotional spectrum, Craig gave a vital face-lift to a limping franchise as an unhinged, high-octane Bond who felt rather — dare I say it — human.

Skyfall, the latest installment in the 50-year-old franchise, plots a course that maintains old-school Bond convention while keeping with, and at times even going beyond, Craig’s Casino Royale-esque reinvention. It’s a film whose depth comes in its foray outside the standard, offering a unique take on an established espionage hero — questioning an aging 007’s competency in the field, delving into his shrouded past, and presenting a new-look villain to test his mental as well as physical stamina — all while maintaining recognizable, classic elements Bond audiences have grown to love. In his third go-round as the lead man, Craig proves once again why he ranks as one of the best actors to have carried a “license to kill.” Following up on Quantum of Solace (2008), Craig’s newest interpretation of Ian Fleming’s hallmark character could be his finest yet — he plays the role with such conviction and command, it’s difficult to imagine anyone else fighting on England’s behalf. But Skyfall owes its brilliance to a highly decorated supporting cast as well as its lead actor — Oscar winner Judi Dench as Bond’s boss, M, two-time Oscar nominee Ralph Fiennes as the Intelligence and Security Committee chairman, Gareth Mallory, and Oscar winner Javier Bardem, whose embodiment of antagonist Raoul Silva is sure to bring back chilling memories of cold-blooded hit man Anton Chigurh from No Country For Old Men (2007). Veteran cinematographer Roger Deakins, a nine-time Oscar nominee known for such film greats as The Shawshank Redemption (1994) and Fargo (1996), and Oscar-winning director Sam Mendes, whose résumé includes American Beauty (1999) and Road to Perdition (2002), complement an impressive cast with their talent behind the camera. And while Skyfall is an entirely different kind of movie from Mendes’ typical character-driven narratives, he showed off his versatility by putting together a top-notch addition to the 007 saga that is one of the most unforgettable.

Mendes gets things going right away with a fast-paced opening scene in Turkey, which includes a backhoe jammed through the roof of a moving train and a car/motorcycle chase over rooftops and through an outdoor bazaar. Things temporarily slow down after the opening credits though, as Bond disappears for a few months’ time. Suffice it to say that he still finds ways to amuse himself in his absence from the field (a drinking game involving scorpions seems to be his newest form of entertainment). However, upon hearing of a computer hacking and subsequent explosion at MI6, Bond reemerges to report for duty once again. The technological mastermind behind the strike, Silva, has much more in mind than the pyrotechnic redesign of MI6 headquarters, however, and M’s realization that the perpetrator can only be someone with intimate knowledge of MI6 raises the stakes even more.

Silva makes his entrance about halfway through the film, and in regal fashion, cinematographically speaking; during a beautiful minute-and-a-half-long single shot, he delivers a menacing monologue while slowly approaching a handcuffed 007 from the opposite end of the room, both introducing us to the soft-spoken yet sinister psychopath and showcasing Bardem’s superb acting. Silva’s arrival is also accompanied by overwhelming anticipation. Indeed, super-sexy Bond girl Sévérine (played by French actress and relative film newcomer Bérénice Marlohe) makes us think he could be the devil himself — when Bond assures he knows all there is to know about fear, Sévérine whispers, “Not like this…Not like him.” There’s credibility to her warning, too, because Silva is a new prototype of Bond villain. His use of sophisticated cyber warfare is a type of weaponry relatively unknown to past films in the series (and is a nice way to keep the material current, as well). His endgame — revenge — seems rather small-scale compared to the usual megalomaniacal aspiration for insane wealth, world domination, total destruction or a combination of these. And the kicker is that he is very much 007’s counterpart. Disillusioned after what he calls a “betrayal” by MI6, Silva has clearly chosen the path of evil, almost like MI6’s fallen angel. Bond, roughly the same build, height and weight as Silva, and clearly M’s favorite operative in the present day, certainly resembles the antihero (minus the bleached-blond hair), except he’s on the other side of the moral compass. Throw Bond’s thirst for revenge into the mix — Quantum of Solace chronicles his desire to avenge the death of Casino Royale lover Vesper Lynd — and we’re presented with two men who are eerily similar.

This time around, the stakes are higher than just toppling a threatening criminal. There’s a more personal element involved, and the film becomes not just one of Bond versus Silva, but also Bond versus himself. Age is a recurring theme throughout Skyfall, whether through constant verbal reminders about Bond’s veteran status, his uncharacteristic gray beard stubble, or even artwork in a London museum portraying an old, battered ship. In other screen appearances, 007’s age and ability are hardly called into question — it’s always assumed he’s the best man for the job, and he has always proven to be just that. The Skyfall saga, however, depicts a protagonist who’s strangely vulnerable and mistake-prone. Much hinges on Silva’s defeat — a personal vindication of worth, dispelling notions of obsoleteness, not to mention the reining-in of a cyber-terrorist who threatens to raze M16 to the ground.

Unfortunately for 007, he must confront his past as well, which up until now hasn’t been reel-worthy — at least, according to the screenwriters. The screenplay — written by John Logan, Robert Wade and Neal Purvis – delves much deeper into Bond’s roots and childhood, helping to elucidate a character whose life before MI6 was seemingly stricken from the record. That’s not to say that Skyfall outlines Bond’s full family tree, but the little background information provides an atypical character development for a man more or less unchanged in nature since Sean Connery’s inaugural performance in Dr. No (1962), making for more than just the next 007 installment but rather something richer and more meaningful.

As much as Skyfall is a chapter different than the others, it stays grounded with a few throwback elements. Gadget guru Q (played by Ben Whishaw) and MI6 secretary Moneypenny (Naomie Harris), who enjoys a brief stint as a field agent in this film, make their first appearances since Craig took the helm, and with a distinctly youthful look. Whishaw, 32-years-old, is indeed the youngest actor to have portrayed Q, and Skyfall marks the first time ever in a Bond movie that MI6’s resident techie is younger than 007. And if the introduction of integral Bond characters isn’t enough of an old-school feel for you, there’s always the vintage Aston Martin to fill the void.

While arguably one of the best Bond films to date, Skyfall wasn’t without its disappointments. For one, the film teases the audience with Sévérine’s introduction. Her character is as mysterious as 007’s past and it appears for a while as if she’ll be relegated to a much more central role than that of Bond’s sexual intrigue. However, after they become acquainted (in more than just a social capacity) and Sévérine serves the purpose of bringing Bond to Silva’s base of operations, she’s shoved out of sight, which is a shame considering her character’s depth and Marlohe’s first-rate performance. Furthermore, Silva, for all the evidence of his technological-mastermind status, ultimately opts for firepower over intelligence to win the battle against 007, taking potentially one of the best franchise villains and downgrading him a few notches toward the commonplace goon. Intellect, not muscle, is Silva’s strength, and yet he goes in with guns blazing — not so smart for anyone vaguely familiar with 007’s skill with a Walther PPK. These shortcomings aside, however, Skyfall is a dazzling piece of cinema, a visually stunning, wonderfully acted James Bond chapter whose brilliance comes not just from the characteristic Bond flair, but mostly from its deviance from the norm. As Bond says to Silva, his hobby is “resurrection,” and with the fresh take on a five-decade-old franchise, it appears he takes his hobby to heart.

Rating: 3.5 out of 4 stars

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