Skyfall: IMAX

6.9

Bond is back! Kind of...well, not really. It wouldn't be fair to say the film is flawed from the start. The opening action and credits are the best the film ever gets. The train sequence is nothing short of exquisite and is followed by the best title sequence this side of Goldfinger. The extensive animation tricks even boost the mediocre Adele song into listenable territory. From then on, the film tries its damnedest to counteract its label as a Bond film. But technically, the film nears perfection. Roger Deakins' digital photography is beautiful to look at, especially in IMAX.

Many compare it to Batman Begins in that it shifts the franchise to a new direction that favors realism. This approach succeeds to a point but damages the film when substituting grandiose action sequences with overly-dramatic exposition. The main difference between Batman and James Bond is Batman can be stripped of his comic attributes and still function as an enjoyable and interesting character. Bond, on the other hand is hardly anything without his trademarks.

Skyfall favors the portrayal of "James Bond, the man"  rather than the "character," continuing Casino Royale's expert reinvention. Trouble is, it renders much of the film's first act useless, rehashing previously-established character flaws. Its refreshing and new to see 007 rock a half-beard, get wasted and fail to hit a target but still unnecessary. Once James Bond has a wash and a shave, the film finally feels like its kicking into gear, an hour too late.

The entire premise revolves around M. The female version of the character, played by a stuffy, Brittish Judi Dench has appeared in less than a third of the series. Her character exists solely to dish out Bond's latest mission and scold him when he's done too much damage. She's exposition incarnate. So it's only fitting that an entire film be devoted to a character who chocks up less than an hour of screen time throughout 7 films. The audience is expected to care about this character when in fact, she is one of the weakest parts of the franchise.

By the time Bond encounters the film's dastardly villain (in a round-about, nonsensical way) the film is half over. But there is a glimmer of hope in Javier Bardem's scene-chewing performance. He is eccentric, fun and best of all, has worthwhile, grounded motivation for enacting evil. The perfect microcosm for the film's attempt to blend realism with franchise eccentricities. Unfortunately, he adheres to the fatal flaw of the film.

From start to finish, Skyfall only goes halfway Bond. Moneypenny, Q, and other Bond figureheads are brought into the current "realistic" period alongside the essential gadgets, cars, and music. Q and his gadgets are not alluring or engaging. The film's Bond girl is on screen for less than 10 minutes and falls completely flat. The action (aside from the opening) is delivered in small bursts that would fit in any of the Bourne series if they weren't so ordinary. Its maddening to think that an essential series in the action genre is taking cues from its own copycats.

Bardem's villain fails to do anything worthwhile after a solid introductory speech. The whole ordeal reaches its boiling point as the second act concludes. 007 triumphantly revs up his Aston Martin as the Bond music kicks into full swing. The promising snippet is upended moments later when gunfire destroys the parked car. Instead of a car chase, we are treated to the car pulling out of a garage, parking, and getting destroyed. How rewarding.

Comedian Patton Oswalt once said, "I don't give a shit where the stuff I love comes from. I just love the stuff I love." The third act of Skyfall concludes in a house in the middle of the English countryside, the site of James Bond's childhood. I can't think of a more anticlimactic setting for an action film. Even as a helicopter attacks our heroes with gunfire, the film drags. Conflicts resolve exactly as you'd expect. Skyfall isn't a bad film but it is a bad Bond film. The final moments of the film rehash more Bond treasures from the past. Hopefully, in the next film they will actually come to fruition.