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“Skyfall” arrived four years after “Quantum of Solace“—a considerable gap in Bond terms, as most films during a single actor’s run tend to land every two to three years. Unlike its predecessor, which directly continued the story of “Casino Royale“, this entry shifts back to a more self-contained narrative. The result, in my opinion, is the finest film of Daniel Craig’s tenure as 007.
In Skyfall, James Bond is thrust back into action after a mission in Istanbul goes wrong, resulting in a stolen hard drive containing the identities of undercover NATO agents. As the list’s contents begin to surface online, exposing and endangering operatives, MI6 comes under attack both physically and politically, forcing M to defend her past decisions. Bond follows the trail to a cyberterrorist named Silva, a former MI6 agent turned vengeful adversary with a personal vendetta against M. As Silva’s attacks grow more personal and destructive, Bond must confront his own physical and emotional limits to protect M and bring Silva down.
“Skyfall” has almost everything you could want from a Bond movie: thrilling action sequences packed with stunts, alluring women, a standout theme song, a charismatic villain, stunning cinematography, and a genuine sense of stakes. The opening alone is a highlight—Bond is shot, seemingly fatally, and plunges over a waterfall to his death. The title sequence plays like a journey into the afterlife, only for Bond to survive and use the opportunity to disappear from the world. The only other Bond film to end its pre-credits sequence on such a grim note was “Die Another Day“—but the less said about that one, the better.
Craig’s Bond is a serious man—there’s little time for pleasantries or witty one-liners. And yet, despite essentially being an alcoholic when he reemerges after MI6 is attacked, he does seem more relaxed compared to his earlier outings. He even drops the occasional snarky remark, hinting at a looser, slightly more classic Bond beneath the hardened surface.
The villain this time is Silva, a cyberterrorist played by Javier Bardem—a man who could play charismatic villains in his sleep. Silva is one of the most memorable antagonists in the series, which makes it a shame that, in an era where continuity is central to the Bond films, his appearance is a one-and-done. Despite his strong presence, Silva’s master plan hinges on so many moving parts that it borders on the implausible. Everything just happens to fall perfectly into place for him. And like many Bond villains before him, he falls into the familiar trap of keeping Bond alive for flimsy reasons or getting lost in monologues, giving Bond just enough time to turn the tables.
After Silva is introduced, “Skyfall” takes a surprising narrative turn. The entire first half of the movie is built around recovering a stolen hard drive containing the identities of undercover agents—a high-stakes plot that drives everything forward. But once the story reaches a tense public hearing, that thread is quietly dropped. From there, the film pivots into what’s essentially an R-rated version of “Home Alone” set at the Bond family estate. Only this time, the intruders are trained assassins with automatic weapons and a helicopter gunship. It’s a thrilling finale, no doubt—but strangely, the film never circles back to the stolen hard drive or the fallout from its contents being leaked online.
The final scene of the movie essentially brings Bond full circle, restoring the classic elements that defined the series from the start. Miss Moneypenny, M, and Q branch are all back in their traditional roles. The only thing missing is Craig tossing a hat onto the coat rack. Nostalgia runs deep throughout the film. While “Casino Royale” and “Quantum of Solace” deliberately broke with many of the franchise’s long-standing traditions, Skyfall embraces its 50-year legacy—whether through clever dialogue, iconic imagery, or the return of the legendary Aston Martin DB5.
What stands out most to me—and what truly sets this film apart from the rest of the series—is the cinematography. Every location has a distinct visual style. The scenes in the UK evoke the gritty realism of a Jason Bourne film, while the sequences set in Hong Kong burst with rich, saturated color. This is a Bond film where you could pause at nearly any moment, take a screenshot, and hang it on your wall. It’s just a stunning movie to look at.
Despite its flaws—mainly stemming from an inconsistent plot—Skyfall is a great Bond film. It deserves its place near the top of any ranking of the franchise. Personally, I enjoyed it even more than the critically acclaimed “Casino Royale“, and it more than makes up for the misstep that was “Quantum of Solace“.
