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Skyfall is the glorious return of James Bond (Daniel Craig) to its roots:  babes, fast action, a creepy villain and dry wit. An updated and visually compelling take on the series, it both moves the it well into the modern era while paying homage to the films that have come before. Delving deeper into the character than has been previously done, we find less a superspy incapable of failing and more of a man driven by demons and his own ambitions.

The film begins with a pre-credit action sequence that is both quite complicated and as thrilling as any done before. Bond chases an unnamed man who has a hard drive he needs to get back. It leads to Bond on a train, being shot by a fellow agent played by Naomie Harris resulting in the presumed death of 007. Meanwhile, MI6 is under attack, targeting agency head M (Judi Dench). Bond, whose has returned from the dead, is sent to find not only the person behind the attack, but its purpose. The stolen hard drive and the man connected to it are Bond’s first targets. Sending him from Shanghai to Macao, finding adventure with Sévérine (Bérénice Marlohe) along the way, Bond is ultimately led to an island where villain Silva (Javier Bardem) is held up. A former protégé of M, Silva was double crossed and now seeks revenge. After capture, and subsequent escape, Silva attempts to kill M. Bond and M take off to Bond’s Scotland home, where they meet up with caretaker Kincade (Albert Finney). The trio set up the final showdown between M and Silva, with quite the rambunctious and clever sequence of events.

The acting is top notch all around, with this particular installment of Bond having Craig finally become comfortable with the character. Casino Royale was Craig’s first Bond film, an interesting and refreshing look at the first mission of Bond, followed by Quantum of Solace that further evolved the character. In this latest installment, the blooming from unsure to seasoned agent is completed, with the familiar trappings making appearances throughout the film. Craig is able to deftly handle the suave killer persona that is needed, all with a subtle and wry smile. Javier Bardem also deserves notable mention as one of the creepiest and most interesting Bond villains to come along in some time. Wanting revenge for M abandoning him, he also refers to her as mommy, in a very obsessive and feral manner that only an abandoned child can feel. The first conversation between Craig and Bardem is quite compelling and allows both actors to show their range and capability, but in particular displays a conversation that is both funny and frightening in its subtle complexity.

The direction by Sam Mendes of the script penned by Neal Purvis, Robert Wade and John Logan, is well balanced between telling a new story and paying homage to the Bond series in its 50′th anniversary year. Moving the film into modern territory, it has a meaning beyond just merely the pure male fantasy entertainment it has been. Underlying this adult action movie with themes of trust, betrayal and how power is abused, the film elevates itself from just merely letting the Bond legacy overwhelm the film. Where earlier films were full of sleek action and fairly straightforward actions films (but no less entertaining), Mendes attempts to go further than just paying homage and resurrecting echoes of past films. He has moved the film series into new territory, delving into the psyche of not only the villain, but the protagonist as well. This is something new, and quite welcome, for the Bond series. Despite some of the updates, by the end of the film we have the setup for sequels that have within it the very aspects that made some of the earlier films so formulaic.

It’s Bond’s fragile existence as a battered and damaged spy that come into play early in the film and are never let go. During the opening sequence, he wants to help another spy who has been shot over chasing the bad guy, with an obvious conflict over which course he should take. M’s insistence he abandon the other spy only foreshadows the theme as it is explored throughout the rest of the film. References to not only Bond’s age, but mental and physical condition give not only a more human view of the character, but alter the very nature of what Bond has been perceived to be up to this film. Gone is the untouchable superspy saving the world catastrophe at the end. Bond was at the end of each film as he was at the beginning. Instead, we are given something that is quite different, internal agency politics, with a very personal battle ending the film.

Those that have never seen Bond films, (yes, they do exist) will find this an interesting and entertaining film. Those that are fans of the series will find an enormous amount of references, including one car in particular, that will delight them with their creativity as well as a very well done modernization of the series.

Overall a wonderful film recommended for those wanting an interesting character study wrapped in an adult action story.