- Election LIVE: BJP's third candidate list out, Ram Kripal to contest from Patliputra against Lalu's daughter
- Show us the money, Supreme Court says, refuses bail to Subrata Roy
- December 16 gangrape: Delhi High Court upholds death to four convicts
- India joins global search to locate missing Malaysia Airlines plane
- Shiv Sena hits out at BJP, asks it to follow "alliance dharma"
Cast: Daniel Craig, Javier Bardem, Judi Dench, Ralph Fiennes, Naomi Harris, Berenice Marlohe, Albert Finney
Director: Sam Mendes
Indian Express Rating:****1/2
Any which way you look at Skyfall, James Bond -- the film and the character -- have matured. And there could have been no better hand to lead them towards it than Sam Mendes, a director who does rather well with middle-age at crossroads.
His Bond is brave and brash but also beaten, bruised and doubtful. His world is grey, its boundaries fuzzy, its shadows long, its blood deeper, its characters older. At the same time, with life and death hanging by a thread, it remains a visually stunning world -- be it the glittering Shanghai skyline, a damp and foggy Scotland, or a castle in flames in the midst of cold marshland.
And it all happens against action that remains endless and innovative. Bond rides a bike over Istanbul's grand bazaar before fighting atop a train, plunging into a waterfall, dangling from an elevator on its way up a skyscraper, jumping onto a moving train, and eventually having one fall down upon him. Bond is also James the orphan whose parents died when he was a child -- a detail that has taken 23 films and 50 years registering. And kudos to how Neal Purvis, Robert Wade, John Logan, the screenwriters, bring in that.
If Mendes mixes it all up nicely, he is amply helped in this direction by Craig, who excels once again in his role as the 007, and a superlative Bardem. A former agent turned rogue, Silva (Bardem) is not after 007 but M (Dench) for betraying him. However, his feelings towards her are confused, to say the least. His anger is as evil in its ferocity as almost childlike in its simplicity. His anger even may be justified as is clear from how Bond looks at her, and how M looks away.