Skyfall
Rendező:
Sam MendesOperatőr:
Roger DeakinsZeneszerző:
Thomas NewmanSzereplők:
Daniel Craig, Judi Dench, Ralph Fiennes, Javier Bardem, Naomie Harris, Bérénice Marlohe, Ben Whishaw, Helen McCrory, Albert Finney, Rory Kinnear (több)Streaming (2)
Tartalmak(1)
A 007-es immár 23. alkalommal vállalkozik a lehetetlenre, hogy megmentse a világot és a brit koronát. Daniel Craig harmadszorra bújik James Bond szmokingjába. Amikor M (Judi Dench) múltjából sötét kísértet bukkan elő, Bond hűségének is ki kell állnia a próbát. A 007-es ügynök nekivág, hogy felkutassa és elpusztítsa a fenyegetést, még akkor is, ha ő maga is súlyos árat fizet érte. Bond legutóbbi munkájába hiba csúszik, és ügynökök tucatjainak kilétére derül fény világszerte; az MI6 központját támadás éri, M-nek pedig el kell költöztetnie az egész ügynökséget. A támadások kereszttüzében álló főnöknek egyetlen szövetségese marad: Bond. A 007-es feltűnés nélkül - csupán egy operatív ügynök, Eve (Naomie Harris) segítségével - a rejtélyes Silva (Javier Bardem) nyomába ered: reméli, hogy fényt deríthet a férfi mélyen titkolt, vészjósló indítékaira. (Fórum Hungary)
(több)Recenziók (20)
Az első rész, amelynek egyetlen csúcspontja egy sanghaji felhőkarcoló, jól kidolgozott, de hosszadalmas. A kötelező Bond-hagyományoknak engedelmeskedve a történet szempontjából felesleges karaktereken (Bondgirl) időzik, és kevés meglepetést tartogat (technológiai játékokkal felszerelkezve). De a sziget felé tartó vitorlás jelenetétől - és így a rosszfiú megérkezésétől a helyszínre - a legjobb, amit Bond valaha is nyújtott. Ironikusan, nem túl Bond-szerű... Kár, hogy a következő rendezők nem tudják majd folytatni azt, amit Mendes megkezdte. A vágási művészet a bíróság megtámadásra készülő jelenetekben és vizuális esztétika Skóciában finom filmes drámává emeli a Bond-márkát. Az első Bond-film, ahol élveztem a karakterek folytonosságával való foglalkozást. A Joker/Hannibál-szerű Bardem számára kérem a legjobb mellékszereplőnek járó Oscar- díj jelölést!
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This review is licensed to SPOIL. “Were you expecting an exploding pen?” Whereas Bond learned to use his memory in Quantum of Solace, now he uses his memories to delve much deeper into his own inner self (which the filmmakers subsequently use to delve deeper into MI6). His journey back to himself typically begins with a descent into the depths (the title sequence from the great beyond) and the subsequent retreat into the darkness (the action scenes contain frequently suspicious falling). Most of the film takes place underground and/or at night, like in one of the good old noir flicks that Mendes quotes from a few times (The Lady from Shanghai, The Third Man). The whole opening action sequence recalls earlier times, serving together with the following minutes as a final farewell to the straightforwardly action-oriented approach that was a guarantee of guilty-pleasure entertainment. That is surely no coincidence, because thanks to its atypical length, excellent gradation and the number of vehicle replacements, the prologue could easily serve as the film’s final attraction. The circular dramaturgy, with the beginning functioning as the end and the end functioning as the beginning, comes to fruition in the final act, which is surprising due to its static nature compared to the extremely dynamic start. ___ The defensive character of the final action sequence has its justification in the next task that Bond is confronted with – he must literally defend his old-fashioned methods against geeks, bureaucrats and the white-haired devil, who wickedly attacks one of the guarantees of the agent’s immortality, namely his manhood, which is thematised throughout the film. The astonishingly subversive (to the heterosexual majority) torture scene lasts an unusually long time compared to previous such scenes, and the homosexual innuendos in it are delivered comprehensibly enough to elicit defensive laughter from cinema-goers. As is customary for ambitious blockbusters, Silva has questionable motivations and it is very difficult to capture the evil of his jellyfish-like character (jellyfish-like shapes can be seen not only in the title sequence, but also during the shadow-play action set in Shanghai) and, at the same time, he is a complete antithesis to the positive protagonist (though he dresses in white, while Bond wears a black suit). He shares a notional mother with the orphaned Bond, and whereas Silva is in the role of the rejected son, James is the prodigal son. Though the name (M) remains the same, the mother is replaced by the father, from whom the fatherland is derived, which explains the greater emphasis on the “Englishness” of the film (the row of coffins draped with British flags, Turner’s painting, the Tennyson quote, the proud shots of London) and in which Bond finds the meaning of his other activities – in service to his country. The archetypal conflict between Cain and Abel is thus added to the motif of the Odyssean journey. The more daring among us could interpret the film as a family melodrama – it is probably the first Bond movie in which we see 007 not only with a bottle of beer, but also with a tear in his eye. As in the previous films, the women are melodramatically presented as victims, though they are no longer entirely passive. ___ Skyfall is rich in meaning not only in psychoanalytical terms (MI6 as the superego, Silva as the dark subconscious and Bond serving as the ego between them), as specialists in cultural studies can surely also find something for themselves in it (this time, the exotic landscapes are replaced by a symbol of modern China and the former colony). Mainly, however, Skyfall is an intelligent psychological-spy thriller. With captivating establishing shots to set the mood, clearly executed action scenes (a pleasant change after Marc Forster’s orgies of editing), non-black-and-white characters and a powerful soundtrack (though it’s a shame about the uneconomical use of John Barry’s musical motif), delightfully unobtrusive allusions to previous Bond films and some other celebrated works of cinema (Bond’s arrival in futuristic Hong Kong is reminiscent of the long car ride in Tarkovsky’s Solaris; the drive to Skyfall is filmed like the prologue to The Shining). The shots between action and reaction, when Bond is only just discovering new locations, best represent the filmmakers’ attempt to bring the agent closer to the real world. The opening shot is repeated multiple times; when we enter uncharted territory with Bond with the camera behind his back, a new world literally opens up before us (and Bond). It can be assumed that 007 will even more openly address the problems of today’s world in subsequent films, after he has dealt with his own private traumas. 90%
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I’m very lukewarm towards Bond films (“it’s just Bond”), but the hero of Skyfall is not James Bond, it’s Sam Mendes. Skyfall is perfect craftsmanship, no more than that. Skyfall is such perfect craftsmanship that I can’t avoid being enthusiastic about it. I truly enjoyed the climax in the foggy Scottish Highlands. A brilliant Barden.
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As an uncritical admirer of QoS, I am quite amazed at how many people there are who are able to bitch about Bond ceasing to be Bond and fading out of the franchise. Yet Sam Mendes has made the most classic entry in the saga, one that fits perfectly into the Sean Connery era in particular, while still being able to work within the confines of the new century. In the opening action, the excavator seems to symbolically break the trend of the previous two films, so that the protagonist then sets out on a new adventure through the path of presumed death. It serves up all the old-school proprieties, starting with a creepy villain that Bardem relishes to no end (the dental exposition will keep me waking from sleep for a long time) while still managing to make fun of them (the conversation with Q) and still managing to get deeper into Bond's head than last time. Everything then culminates in a purely personal final battle, which styles itself as a personal apocalypse (not only because of the helicopter raid). If anything deserves extreme praise, it's Deakins' cinematography and the lighting work (the Shanghai episode rules!), which is crowned by Newman's music, taking a novel route in the style of John Powell. Craig, as usual, is on point. If I have anything to criticize the film for, it is perhaps the persistent effort to remind us that it is "old-school." However, a second screening will certainly fix that. [And it did. A film perfect in every detail. Watching it is pure ecstasy.]
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I’ve always thought that Bond was a great guy who simply kills everybody and escapes even an earthquake epicenter in the blink of an eye, all while living in an absolutely unrealistic environment governed by the British MI5. That’s how it always used to be before Daniel Craig came along and added realness to the Bond toughness; realness that I’ve always missed. For example, Casino Royale is already perfect, I consider it to be the best Bond movie. The subsequent Quantum of Solace was a yawnfest and it was necessary for the authors to step up and film something… something simply unforgettable that would bring a bit of elegance into the saga. Skyfall is a not-so-realistic realistic not-so-Bond Bond movie. Bond isn’t such a champ as we know him anymore and at times, we even get worried about him. But there are still scenes that haven’t even as much as brushed up against the reality of the modern day. But even so, it’s still great fun. There’s loads of action. And even if it’s just decent, it’s still entertaining. Sam Mendes is an amazing director and you simply can’t take that away from him. The story isn’t that bad either and at last, a contemporary Bond returns to the past. But without a doubt, the best thing about the entire movie was Javier Bardem. I’ve only seen a villain this great in Batman, back when Joker appeared in the new series. And back then, I thought that such a villain could never be topped. But partly, the rating is actually this high because of him. It’d be boring without him. And don’t even get me started on the ending. The third Daniel Craig movie is just very well done. It’s not such a shocker anymore like Casino Royale was, but it’s still a really pleasant entertainment that attempts to be realistic, but it’s still just for fun. But Bond will never be any other way, so who cares?
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A film about the importance of large sailboats in times of fast ships and a romantic dream of a return, thanks to which Bond survived half a century. A narcissistic reflection of what I have for years adored Bond films for. Sail on, heroic heart, made weak by time and fate, but strong in will to strive, to seek, to find and not to yield.
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Mendes. Sam Mendes. He tries to combine a classic Bond movie and everything that goes with it in the first half, with a total denial of everything Bondian in the second. He tried and succeeded with both. It's a pity, of course, that the two halves don't exactly work together as one coherent whole. They are gorgeous in themselves. Both first and second. The non-Bondian one doubly so. But if you've ever wondered what Bond would look like as directed by Nolan, Mendes will give you a pretty clear answer to that, because this movie is “Nolanesque", completely; as far as plot, characters (there’s even a role for Caine; see Kincade), action, length, the old-fashioned technical side... A special thanks goes to the "invisible" duo Deakins and Newman, because what they bring to this movie is not seen every day in the world of blockbusters.
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Six years ago, 007 was rebooted in a darker, Batmanesque tone. And while its batty neighbors brought their story to a closed trilogy, the team behind the brooding James Bond also joined the continuity of three installments. It's personal here too, and thanks to Javier Bardem's Silva, surprisingly powerful. It's precisely from his appearance onscreen that Skyfall finally picks up speed, while in the first act, it almost goes backwards. The island, the metro, and especially Scotland, however, leave no breathing room and make Daniel Craig's intense physical acting a fitting path to success. In the end, the birthday Bond is rather successful. Better and more tightly knit than the sometimes breathless Quantum of Solace, worse than the deliciously aging Casino Royale, but given my general adoration of the artistic side, I have to shake my head a little due to several plotholes and yet another strangely sluggish opening act. However, this format still works for me, especially since I know it can still go one step further.
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We all get older and nostalgically look back at the days when things were clearer and more straightforward. In Skyfall, the “humanisation” of Bond has veered in the direction of John McClane-style (along the lines of Live Free or Die Hard, to be precise) ridicule of today’s overly sophisticated and extravagant glorification of the good old straightforward ways. However, Bond is not the only one who is aging; we viewers are too, so we can join the hero in turning up our noses at the constant references to the Bond canon. Let’s acknowledge that the spectacular proof that the filmmakers spent hours reading the relevant wiki before writing the script is no longer a sign of superior dedication or self-reflection, but one of the main formulas for creating new contributions to old franchises. Besides that and the simplified oedipal storyline (if his adoptive mother had come out with the villain to raze his birthplace filled with the traumas of adolescence, there could have been peace), Skyfall also restores to the postmodern Bond movies the campiness of the earlier classics, which is manifested in the charismatic derangement of the villain, the ridiculousness of his nonsensically overwrought plans, the money-shot surrealism of the action sequences and, mainly, the climax, which evokes Scarecrow, Home Alone and Sightseers in equal measure. Thanks to that, we can grumble together with Bond about the over-cleverness of contemporary blockbusters, but regardless of that (or perhaps even because of it) we can simply enjoy the film as viewers.
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I don't know exactly how many Bond movies I've watched so far, but Skyfall is most likely the last one. Sam Mendes and Daniel Craig can't really be blamed for my weak review - I simply got tired of the Bond carousel, and if it hadn't been for its modernization with the arrival of Daniel Craig toward more modern and realistic action films, I might have ended my Bond fandom (which has always represented a marginal part of cinema for me) earlier. Older Bond titles with Sean Connery are, as I have realized during recent reruns, almost unwatchable, and Daniel Craig was the first Bond actor whom I believed in his affiliation with the espionage agency. But no matter how much it is modernized, the foundation remains just as foolish. In the end, all the efforts made to convey fate, tragedy, and greater depth are actually rather bothersome. The film works best in moments when it doesn't take itself seriously and deliberately embraces its trashiness, like in the scene of the cannibalistic iguanas attacking the villains. The behavior of the characters and the main villain's devilish plans are actually similar to a joke, where an inventor explains the mechanism of a brand-new flytrap at the patent office. "It's actually a maze, where the fly wanders through a labyrinth of corridors left, right, left, right..." - "Ah, and at the end...?" the official asks, "another turn?" - "No, at the end, there's a cliff, the fly falls down and breaks its wing."... I appreciate Mendes' sense of visuality, and the beautiful scene with jellyfish in the Chinese metropolis deserves a star all by itself. I also appreciate Craig's ability to play tough guys even at an age when others focus on conversation films, and I appreciate Bardem's ability to play a devilish villain so convincingly that you nod your head in approval, but the rest... there's no use talking about it. Overall impression: 45%.
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My first movie with new eyes. And straight away such a feast for them, the camera is a chapter in itself. Skyfall is a first-rate Bond, character development is textbook quality, wonderful locations, the action is easy to follow and far-reaching, the villain flawless. Bardem follows in the footsteps of iconic bad guys, but the personal bond with the main characters makes him into something more. The part in China brings in the exotic aspect that always made Bond movies so popular. Conversely, the return to Britain and the final shootout is very down to earth, going to the roots of the myth that the last scene again resurrects. I might dare to say that this is perhaps the best Bond yet. What a waste of good scotch.
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This is a nice, typical Bond film. Those who have grown accustomed to Craig might appreciate the reverse evolution. Javier Bardem reigns supreme as the sexy renegade, but Ralph Fiennes is just there for the sake of it, and there’s too much of Judi Dench. Fortunately, this unevenness is offset by an entertaining finale in Scotland and the prospect of another film in the near future. Hopefully, the new sidekicks will open it up more next time. After all, we're at a turning point - it's been 50 years since we went to the movie theater to see a Bond series. I especially hope that next time there will be room for a proper pair of Bond girls (without one of them being Miss Moneypenny).
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Very artsy, visually captivating, charming, and aesthetically precise, but it is not a timeless film, and James Bond as a character and main hero is timeless. Most of his films do not age, Skyfall, however, will likely age, as it is a more precise reflection of our time than the other movies, with the heroes, the characters, the dialogues, and the polished visuals want now. In 10 years, the trend will possibly be completely different. Quantum of Solace and Casino Royale were about revenge, or rather about love, motifs that will still move the film world in 100 years, and They are missing in Skyfall. Now it is trendy, we will see what it will be like in a few years.
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Definitely Craig's best Bond film. After Casino Royale and its feature-length epilogue, Quantum of Solace, we have Skyfall, a film with a license to thrill and entertain from start to finish. Sam Mendes provided spectacular action, which he only teased at times in Road to Perdition, Roger Deakins does unprecedented magic with the camera (the duel of silhouettes in Shanghai, the arrival in Macau, the fiery ending), the characters were given excellent dialogues (not to mention the dry jokes), Bond was given a great antagonist (the fact that their first meeting was one of the film's funniest moments only confirms what an atypical Bond film Skyfall is), and great teammates. There wasn't "a lot of talking" at all - on the contrary, there could have been even more plot and minutes in my opinion. All the allusions to past Bond films were more than endearing - but the best moments still came during Bond and M's ride together in "Connery's" Aston Martin. And those beautiful subtitles! "It's not very comfortable." - "Are you going to complain all the way?"
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James Bond has definitely come of age. With Daniel Craig, he’s no longer the smarmy, foxy-eyed playboy who smiles in every circumstance, and under the baton of a great director like Mendes, he has finally become human, vulnerable, emotional and with a biting past of his own. Skyfall differs from the classic Bond even more markedly than the sober Casino Royale, and while it has all the necessary ingredients that we can't imagine without after half a century in Her Majesty's service, it draws the audience into a completely new one, darker and more atmospheric dimension of the Bond universe, where the hilarious antics of tanks or mad plans to destroy the world are superseded by the subtlety of its bad guys, the intimacy of 007's relationship with his associates, and the overwhelming aura of fatality and even fear for the characters. Skyfall is a beautifully shot and extremely smart spy drama that reinterprets in a unique way the established values of its famous brand in favour of cinematic innovation and unprecedented quality. Stylish adrenaline-fuelled action, the ultimate thrilling sequence on the London Underground, the excellent Daniel Craig and the delightfully nasty Javier Bardem. Mendes and Bond on the top of their form. 90%
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Bond for your mom, art for your little sister. The defining characteristic of the Bond franchise is not a vodka martini, a shapely girl under a blanket, a fitted suit, or an Aston Martin on a Tuscan serpentine. It's his willingness to adapt to current trends. It's what has more or less successfully kept him at the helm for 50 years. When the blaxploitation wave rose, Bond was there (Live and Let Die), when Star Wars rocked the cinematic universe, Bond was there (Moonraker), when the Euro-crime era arrived, Bond was there too (For Your Eyes Only). That ability to lick the current cream of the crop has been brilliantly transferred by original Bond producer Albert Broccoli to his daughter and heiress Barbara, who has been behind the franchise successfully since GoldenEye. Skyfall is thus no self-reflexive take on the franchise (Bond films have been self-reflexive since the Connery era), but instead follows the trend of photographic reminiscence in action films, in which old stars of 80s and 90s flicks returned to the silver screen to recollect their heights through direct quotes or self-reflexive commentary. Along with this in Skyfall comes a move away from the one-man-bullet concept of Bond, from the previous two instalments, but following the trend (2012) of the times (The A-Team, The Expendables, M:I, etc), teamwork now plays a much bigger role. Craig's Bond himself has undergone a truly radical transformation here: from Quantum of Solace, in which he initiated virtually no dialogue and spoke in bare sentences, to an ironic, chatty Bond of almost Moore-esque style, a position from which by all accounts he seems unable to handle. Nor was Mendes able to handle the opening action sequence, which is poorly paced to the music and it's clear that almost every shot was made without composition to the whole scene so we have an unnecessary amount of randomly cut perspectives. The other problem I have is the insanely theatrical and poorly baked plot, which kicks the whole thing off with a terrorist mercenary stealing a disk containing lists of all the deployed NATO agents from a run-down hotel somewhere in Turkey (and what was that disk doing there?), only to then play with the acronym M in relation to her recruitment of orphaned children. Which is articulated by a villain who, perhaps unwittingly, evokes Tim Curry's prime years. Skyfall, then, is not a very good film, but in terms of what the Bond franchise has been known for, it once again delivers. And yet check out the reviews. Those who are happy with it have no right to moan once their favorite hero becomes black, gay, female, or a member of the Avengers in the future. PS: however, the scene from Shanghai should be framed and put in the gallery, it works on its own anyway.
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The twenty-third installment of the legendary series is here. It has been fifty years since the film "Dr. No" with a short title was released, and several actors have taken on the lead role. George Lazenby replaced Sean Connery for only one film before Sir returned once more, and then relinquished the role to Roger Moore for a long time. Timothy Dalton took on the role in two films, before it was passed on to Pierce Brosnan for the next ten years. From his hands, it went to the current and latest actor, Daniel Craig. Let's count together. Sean Connery starred in 6 films, George Lazenby in 1, Roger Moore in a total of 7 (the current record holder), Timothy Dalton in only 2, and Pierce Brosnan ended with 4. That adds up to 20 films. Then came Daniel Craig, who has so far starred in 3 films. We are now at number 23, which marks the 50 years of existence of this agent on the screen. It must be said that "Skyfall" is a film that was not made as just another installment, but as a true tribute to the entire long (and most profitable) film series that has ever existed. "Skyfall" was made for the fans. Old beloved characters return, there is a plot that is not too complicated, a truly unique villain, and M is in excellent form, but above all, James Bond is the Bond that the world deserves, thanks to Daniel Craig's acting. He is a dry Englishman who doesn't laugh too much, which Craig doesn't really have to play, but most importantly, he maintains an incredible style in action. When he jumps onto the train from which he was almost separated, the heart of the fan rejoices. Although it is true that this scene was already in the trailer. But there are other stunning action scenes here, both grandiose and intimate, simply everything. "Skyfall" has everything, even some information about Bond's past. As a whole, it works very well, but I still think it will have a greater value for those who love the entire series. There are quite a few references to the classic films. However, the film remains modern, although not as much as "Casino Royale". "Skyfall" will not bore you, although it does have a slightly excessive runtime and one might feel that the villain might not be defeated. But in the end, you get what you came for, and maybe even something extra. The expectations for the next installment will be very high. More: http://www.filmovy-denik.cz/2012/10/ong-bak-pad-treti-rise-bolt-zathura-3g.html
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The most jam-packed, action-packed, and actually the most groundbreaking "Craig" Bond in terms of content (perhaps more so in terms of message). Daniel Craig has bonded with Bond, and mows down the bad guys in Skyfall with his typical nonchalance in brilliant action scenes which Mendes conducts heavily. A heap of aesthetically beautifully composed shots, fundamental honoring of Bond traditions, and also a distinctive directorial signature that has once again elevated Sam Mendes to the absolute top of the directorial heap. In my very humble opinion, it's pointless to address the fact that "the magic of the old Bond films is irretrievably gone and 007 is not nearly what he used to be" (I put that in quotation marks deliberately, since I find some of the "reviews" and informed opinions about the irretrievability of the old school Connery days quite irritating). It's a different time (I wanted to write digital), we've moved on a couple of decades, and if this established brand is to maintain any level of commercial success beyond whatever its guaranteed in advance, it needs to comment on current affairs from time to time in the most up-to-date way. And if personal relationships start to enter into it more deeply, it's definitely only to the benefit of the matter. Now just push Nolan to direct, Zimmer to score, Elswit to direct... And here's to the next from "Blond Bond". :)
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A slightly slower start, but a grand finale. You can really feel a big difference between the first and second half of the film. Unlike Quantum of Solace, Mendes doesn't try to cram everything into an hour and a half like Forster, but develops the plot much more slowly and thus more naturally. The editing also calmed down with the pace, something I appreciate, especially because of the last Bond film, where the insane editing speed was more like a trailer than a movie. I would also like to praise the exotic and domestic locations. Thanks to this, much of the film is finally taking place in London and Scotland after many years. Of the new actors, Ralph Fiennes and Naomie Harris were great choices, but the new Q has so far failed to convince me. Otherwise, all credit to Bardem, who ranks among the best villains ever to rival Bond. The ending with the denouement was one of the most accomplished in the whole series and got me excited for the next episodes.
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I can't help but get tired of these adult fairy tales where good, embodied by the intrepid Agent 007, always triumphs over evil. Actually, it's a mystery to me why it keeps going round in circles, especially considering that the script for this Bond flick is nothing exceptional. While I'm quite fond of Daniel Craig, even he didn't convince me enough to sing Skyfall's praises. Paradoxically, I enjoyed much more the performance of the main villain portrayed by Javier Bardem, who unfortunately didn't get much room to shine in the slightly overstretched runtime. Visually, I liked the final action scenes in the Scottish Highlands the most, it was a feast for the eyes. (65%)
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