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.
In the sci-fi thriller 28 Days Later a psychological rage-inducing virus is unleashed the type of vile horror-movie germ that infects its victims within 20 seconds and causes them to violently spew out contagious pathogens. The bug is set free when a group of animal activists free some infected chimps from a primate research facility in London. Twenty-eight days later Jim (Cillian Murphy) a bike courier wakes up from a coma and finds himself in the deserted intensive care unit of a hospital. He eventually stumbles on to the street and from old newspaper clippings littering the streets of London realizes the foggy metropolis has been evacuated. Jim eventually hooks up with another "survivor " Selina (Naomi Harris) who brings him up to speed on what has happened: All of Britain has been contaminated and they have no way of knowing if the disease has spread worldwide. Their only salvation comes in the form of a taped broadcast message by a group of Manchester soldiers saying they have the answer to infection and invite any survivors to join them at their blockade. After a harrowing hike to the barricade and dodging attacks form rage-infected lunatics the duo thinks they have found salvation. But this armed force is not there to offer deliverance--they are a militia of out-of-control megalomaniacs ready to jump-start human civilization.
Murphy and Harris the two lead actors in the film are relatively unknown yet are capable of carrying the pic and both give strong performances that complement each other. Murphy's character Jim for example first awakens in the hospital lost and confused--but by the end of the film he emerges as a leader a champion. This change however isn't triggered by any one incident and we never feel blindsided by his heroic transformation. Harris's character Selina on the other hand starts off hardened and pessimistic but gradually lets her guard down. Alone her only goal was survival. But when she hooks up with Jim her aspirations change not only because of the friendship they develop but because he is able to make her see that surviving simply isn't enough that as humans beings they also need freedom and happiness. And although Selina develops a somewhat softer side in the film she is never a helpless victim waiting to be rescued by the film's male protagonist. Another important character in the film is Hannah played by Megan Burns. Hannah is a young girl that Jim and Selina scoop up in their northbound trek to the military blockade. Burns who made her feature debut in the 2001 period drama Liam is an excellent addition to the cast and her character adds a touching and personal element to the gruesome storyline.
Director Danny Boyle (Trainspotting) delivers a post-apocalyptic horror film an homage of sorts to George Romero's Night of the Living Dead in which an army of dead bodies comes to life and terrorizes a group of friends trapped inside a farmhouse. Although 28 Days Later--from The Beach author Alex Garland's debut screenplay--tells a different tale the grainy shaky camera work is very derivative of the 1968 cult pic. Shot entirely on digital video the film has a gritty appearance that makes it look and feel like a shocking documentary rather than a sci-fi feature. Boyle also uses low light levels and strobe effects to conceal the movie's cheesy low-tech special effects--specifically the flock of red contact lens wearing zombies. But despite its cost-cutting optical effects this contemporary horror has the power to shock and frighten because the protagonist's most dangerous adversaries not only come in the form of frightening flesh-eaters but militiamen in fatigues. 28 Days Later's most striking sequences however are the warily calm opening scenes in which Jim wanders through the streets of London--crossing Westminster Bridge and reading the bulletin board at Piccadilly Circus--without a body in sight. Blocking off the busy streets of such a compact bustling city had to be Boyle's most ambitious undertaking in the film's production.