JaMes Bond

Rating: 8/10 (22 November 2012)

Despite at times being convinced I was consuming a prolonged commercial for Sony electronics, the 23rd Bond instalment exceeds the expectations in almost every way possible. Rather than tick off everything the film did well and express Minor negative criticism, I will instead proceed to articulate the most intriguing aspects of this thoroughly enjoyable addition to the James Bond collection.
At this point, the almost tired description of Skyfall as an unconventional exploration of the character is certainly still worth noting. Take the usual narrative formula of an international threat, which requires prevention from MI6. Does this film consist of this remedy? To a certain degree, one could argue yes, but for the Most part, Skyfall perpetuates unknown personality to both 007 and M, Meaning we discover the history of these characters, resulting in our narrative as having a relatable persona, as opposed to the conservative Manner of previous films in the franchise. We see an alternative representation of the heroes, as broken in their strive for righteousness, and this film does not deal with opposing principles of good vs. evil in the generic sense. Neither our protagonist nor villain, convey the standard characteristics of their roles. The antagonist most notably, sensationally portrayed by Javier Barden, is not one of complete Malevolence in that we as the audience express a particular empathy towards his character, due to the corruption at the hands of the supposed good in the British Secret Service. This makes for a compelling yet simple plot for revenge.
It could possibly prove more complementary to derive comparisons between Skyfall and Christopher Nolan's Dark Knight Trilogy. This is due to the overwhelming similarities between Bond 23 and Nolan's take on the comic- book hero. Both suffer severe Mental and physical trauma and are in both respects broken to the extent of becoming incapable of reaching the valiant level they once attained. We also see a darker tone in usually upbeat franchises, making the audience revise exactly what these characters stand for. There are many other resemblances between the two, such as Musical score, narrative structure and villainous authority; though to entrench those into this review may dilute my appreciation for Skyfall as an individual film.
While previous contemporary Bond instalments May have been lacking in the vintage substance from the perspective of older audiences, Skyfall imbeds Many new and classical conventions of a Bond picture to accommodate to almost any audience. For instance, we see the introduction of various, previously absent characters that play a fundamental role to the achievements of James Bond's objective, with a Modern twist that accomplishes both a humorous and relevant contribution to the film's success. Furthermore, the notorious accompaniment of a 'Bond Girl' has received its criticism in light of more accepting feminist ideologies throughout the fifty-year history of 007. Considering this, Skyfall and arguably all three of Daniel Craig's Bond films, have assimilated for of a significant female association with the projects, without of course forgetting the unnecessary sexual scenes with highly attractive exotic women.
Having not been fortunate to view all 23 films based on the internationally recognised character, I May only regard this as a great Bond picture, relative to the few others I have seen. It does not quite elevate above Casino Royale (2006) in terms of overall enjoyment, but Makes a sensational attempt at becoming a refreshing embodiment for a new style of narrative and tone that will likely not only be remembered for being one of 2012s Most Memorable cinematic triumph, but perhaps even the decade. This latest feature of the franchise embarks on a great deal of wondrous engagement and consistency, as it never leaks a dull taste even throughout the fairly long 143 Minute time period.
Favourite sequence: The most outstanding segment is oddly the opening title sequence, whereby we acquire brief narrative explanation, excellent fluidity in CG (computer graphics) as well as the accompaniment of the title song by Adele, which if you are not classically conditioned to after taking in the establishing credits, then perhaps I am not 'Someone Like You'.