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In 2006, Casino Royale introduced Daniel Craig as the new James Bond in a story that accurately reflected the novel of the same name. The film tells how James Bond got his two zeros and expresses the movement from an independent James Bond to an operative who serves MI6. By Skyfall, Bond is already aging. He enters the world of cyberterrorism, and his role has been reduced from an intelligent operative to a killer-on-call.  He has become the blunt instrument thrown into difficult situations, as described in Ian Flemings' stories. While he fights on a moving train, his ear piece serves as a reminder that he is subject to orders from his superiors.
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This movie tempers basic human relations and care with loyalty to an agency and mission. As opposed to recent Bond films, M (Judi Dench), has to face her struggle between her maternal love for Bond and her duty to complete the job as cleanly as possible. For once, M appears like a person who harbors personal concerns, in addition to being the one who commands Bond. This in turn allows Daniel Craig to reflect Bond's respect and trust in her judgment. Craig was able to balance the ruthless and direct nature of Bond with a sense of allegiance, not only to MI6, but to M herself. 
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Sam Mendes, the director, tells a sharp story while paying homage to the rich history of 007. He understands that there have been 22 films, countless novels and even an attempt at a television series. Mendes makes sure to cover all the bases of a Bond film from the Aston Martin to the women. The filmmakers traveled to exotic locations, from Istanbul to Shanghai and Macau, to stage the chase scenes and fighting sequences. Roger Deakins, the cinematographer, remembered for The Shawshank Redemption and No Country for Old Men, filmed these cities to exhibit their range of colors. Deakins appeals to the natural color of each city. He captures the glow of neon lights in Shanghai while seeking the earthy browns in a misty English countryside. This provides the viewer with enhanced spectacle and immersion in these distinct environments. 
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Javier Bardem plays the villain, Silva, who uses a disturbing form of humor to hide his haunted past. His nature may remind the viewer of the Joker from The Dark Knight because his humor involves playing games with real weapons.  His hatred for authority and loyalty, in addition to his playfulness, makes him the prefect antagonist for Bond. Yet, the villain is not the most innovative part of this film. 
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What sets Skyfall apart from previous Bond films is the return to the UK.  At least half the film takes place in England, and the story is anchored there. The public court examines MI6 under a lens to question the existence of the organization. M, the director of MI6, faces a possible trial to account for the dangers caused by the leak of vital information.  M is targeted in a terrorist attack, bringing Bond back home, because the conflict appears to rest in MI6. The climax is felt in a greater magnitude in Skyfall because rather than being in Jamaica or the Swiss Alps, the action happens on the streets of London and the Scottish Highlands. 
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Skyfall captures those who wait in the shadows. The pockets of dark space not only hide the desires of the villains but also hide the very villains themselves. Bond knows  how to walk and hide in this type of space with experience and confidence. It is where the earpiece is out of range and the computers lack hands and eyes to grasp. "Sometimes the old-fashioned way is the best," a character remarks, suggesting that one has to keep the knife ready in case the gun fails. Nothing can replace a proper confrontation between opposing forces, and Skyfall pays tribute to the timeless pleasure of being there for the action.