that the recent spiky, left-field themes are no longer wanted on voyage. So someone's got it in for MI6, we soon learn, and Bond returns from the dead to help M in tracking down the culprit. Many have praised Skyfall for its relatively coherent  plot, but that's just because the first hour of a Bond movie is traditionally akin to a 3-2-1 clue, with baffling and gimmicky red-herrings showcasing whichever exotic location the Broccolis have agreed to patronise this cycle. No, this is great -- I can just about reach the paninis! There's no doubting Skyfall is something of a visual treat, thanks to cinematographer Roger Deakins, and the second big action sequence -- set in a Shanghai skyscraper and featuring silhouettes punching the living shit out of each other in front of retina-searing neon backdrops -- is a corker.  In fact, it works even better if you pretend this bit was, in fact, the proper title sequence, and you forget all that rubbish with the skulls. We then move to a casino/murder-pit in Macau, with a very strange boat-only door policy, and meet our Bond girl. This is where things start to go off the rails a bit. While we're working out how long she's got left in the film, Bond makes good on his steely-eyed promise to rescue her from a life of indentured sex-work by immediately sneaking into her shower and boning her. Even for the murky world of Bondian sexual politics, this seems a bit iffy.