Skyfall is the perfect film to accompany the 50th Anniversary of the first big screen Bond movie Dr. No. The movie is a crossroads for 007; the spy is an old soul with unconventional archaic methods struggling to exist in a high-tech world with enemies who swap laser beams and nukes for Internet viruses and data infiltration. This conflict is the core of Skyfall — perfect for director Sam Mendes (American Beauty Revolutionary Road) — and the human drama gives every moment of the espionage thriller additional weight. Sure there are the grandiose set pieces we've come to expect from the series. But like the older films Mendes keeps most of the action contained the focus always on star Daniel Craig as he evades and confronts danger. He even pushes further allowing the evildoers into MI-6's home and through the magic of performance the audience into the mind of Bond.
After a botched mission sends him off the grid James Bond returns to his homebase in London to discover the MI-6 in disarray. The target of system attacks seemingly designed to screw with M (Judi Dench) MI-6 calls upon a noticeably shaken (not stirred) Bond to get back on his feet and track down the nefarious face behind the online terrorism. While politico Gareth Mallory (Ralph Fiennes) would prefer to use the magic of computers and drones to dig up the bad guy M knows even Bond at 50% is unlike any machine in the world. A few training sessions and a weapon upgrade from Q (Ben Whishaw) later Bond hits the road.
In pure Bond fashion Skyfall traverses some beautiful landscapes. From China's glowing waterside gambling epicenter Macau to the remains of a South Pacific isle to the foggy country side of Scotland. Departing from action movie aesthetics and embracing shadows atmosphere and imperfection Bond's journey feels even more tangible than the "realistic" approach of Casino Royale. The haunting locations reflect his deeply personal mission. It helps too that Bond is faced by one of his best villains yet: Javier Bardem as the charming psychopathic Raul Silva. Silva acts as another mirror for Bond albeit a version completely off the rails. Like a mix of Hannibal Lecter and Heath Ledger's Joker in The Dark Knight Silva is determined to burn his opponents in any fashion possible. Bardem plays it all with a sinister smirk — a twist on the maniacally-laughing Bond villains of yesteryear.
Skyfall's concentration is on the dramatic but continuously delivers in the action department. Mendes finds innovative new ways to stage classic Bond moments; a one-shot fist fight in the windows of skyscraper bubbles over with intensity while another in the Chinese casino tips its hat to the campier side of the franchise. And the movie goes big with an opening sequence on par with any of Bond's past outings and a foot chase through London's Tube that tests Craig's limits as a physical performer. He never misses a beat.
Impressively Skyfall is a movie pulled from this moment in history while encompassing everything that made James Bond a long-lasting character. It's one of the best Bond entries of all time a heart-pounding action flick from start to finish (with a rousing conclusion evoking everything from Terence Young to Sam Peckinpah) and one of the best movies of the year.
On the surface Hugo looks like your run-of-the-mill Harry Potter knock-off full of whimsy spectacle life lessons and faux-imagination. But the young adult fiction adaptation is anything but factory-processed. Filled with more passion emotion and drama than most "Oscar contenders" of 2011 Hugo transcends its fantastical predecessors. Some call Hugo director Martin Scorsese's foray into kids movies but the film speaks to "kids" young and old. Every scene every moment every frame gushes with creativity and artistry and it's one of the best movies of the year.
Hugo doesn't sugarcoat the plights faced by the film's titular hero. When we pick up with Hugo Cabret (Asa Butterfield) the savvy lad is living in the walls of a 1930's Parisian train station taking over the clock winding duties of his missing uncle (a drunk who took him in after his clockmaker father's unfortunate demise). Aside from his day to day duties Hugo faces greater challenges: evading capture from the station's resident orphan wrangler (Sacha Baron Cohen) and swiping parts from a toy store owner (Ben Kingsley) to rebuild his father's automaton a early 20th century robot designed for entertainment. Hugo's thievery is eventually discovered by the weary toyman who takes the child under his wing to make use of his tinkering skills. The professional relationship introduces Hugo to the toyman's goddaughter Isabelle (Chloe Moretz) who helps Hugo unravel the greater mystery behind his father's robot and "Papa Georges " as well as better understand himself.
As Hugo and Isabelle dig deeper into Papa Georges' history they unearth a history that's simultaneously magical and true—they aren't going to a far away land through an otherworldly portal but instead examining an aspect of history cinematic history in fact that feels foreign to them (and the audience). With a their innocent perspective the young duo marvel at stories of the early days of film and glimpses of long lost silents. This is Scorsese's playground. His love for the early days of film is infused into the design and story of Hugo giving the movie a timeless feel that sweeps the viewer up.
But Hugo isn't just a souped-up Film 101 course. The historical revelations are only part of Hugo's emotional journey which is equally enhanced by stunning 3D detailed production design and a supporting cast woven into the film's fabric to further expand the world. Cohen's Station Inspector is like a Buster Keaton character complete with pratfalls and heart. Michael Stuhlbarg (A Serious Man Boardwalk Empire appears as Scorsese's proxy relishing the world of film while caring for Hugo and Isabelle. Even Christopher Lee's (Lord of the Rings) brief turn as a book store owner succeeds in evoking a smile. All the parts come together under the intricate train station set a beautifully realized period piece brought to life by Scorsese's dimensional 3D. Never before has a stereoscopic film worked so hard to bring you into the picture or enhance the storytelling (on sequence shows a cowering crowd experiencing film for the first time a train hurtling towards camera—an effect paralleled in today's 3D effects!). If the story doesn't suck you in the artistry on display in Hugo surely will.
We praised the film in an unfinished form when we caught it at New York Film Festival and the finalized version packs an even greater punch. Hugo is the perfect film to hypnotize young people with the magic of film or to revisit the heart-pounding experience of a person's first time at a movie theater. This isn't nostalgic baiting but rather expert filmmaking.
As a wife and mother Sarah (Shauna MacDonald) has a seemingly idyllic life until a sudden accident rips her family away from her. That sets in motion a kind of healing reunion a year later. Her feisty friend Juno (Natalie Mendoza) and Beth (Alex Reid) convince Sarah to join a few other friends on a caving expedition--including Holly (Nora-Jane Noone) a butch caver who impulsively does whatever she wants and Rebecca (Saskia Mulder) an overly-cautious climber who needs to map out everything they do. Thing is this thrill-seeking challenge turns out to much more than they expected especially when they are trapped and suddenly notice white shadows squirming around them. Not good. The mostly unknown actresses in this scare fest are all decent in their Descent--and although grappling with one-dimensional characters the women still manage to convey the suffocating feeling of being confined in small spaces. In the dark dripping wet environ they deliver realistic reactions to the horror unfolding around them which is about as chilling as anyone can imagine. MacDonald as the long-suffering widow is a particular treat as she changes from a pitiful whiner to a kick-ass survivor who exacts revenge in different ways. Originally released in England British director Neil Marshall has handed us an appropriately creepy film which taps into primal fears--dark claustrophobic spaces things that go bump in the night--situations we usually see men deal with. So it's quite refreshing to watch women handle it especially in the way Marshall unravels the female camaraderie as expertly as the climbers tie their ropes. The Descent displays squirm-inducing violence that's not at all white-washed just because there are ladies involved. It's gory and brutal. The scariest moments are often obscured by the dark and in some scenes the film resorts to a Blair Witch Project point of view by watching the action through a camcorder. Although this Americanized version has a different ending from the British version (apparently one not so morbid) it's still far better than last year's abysmal The Cave. The Descent will definitely get your heart rate up!