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I really wonder why the supporters of Skyfall always feel the need to denigrate the other Bond films just to prove their case. Nobody ever said that Bond movies where in general completely plot hole free ( keep in mind though, that even an all out fantasy greatest hits bond like DAD only has two real plot holes, which is how he manages to slow down his heart rate when he escapes and how Gustav Graves managed to become accepted by British society and the royals, that he was even to be made a knight.)What I and some others claim is that Skyfall is one plot hole after another which makes it a screenplay disaster par excellence.
I'll take what @Creasy47 has said about the film being made to win Oscars and apply it here: the criticism if SF has nothing to do with the film and everything to do with the biases of the audience member who into the film with a problem to begin with: whther it be Mendes at the helm, or an oscar winner as the villain, or the beloved David Arnold being replaced by the far more talented Thomas Newman.
The "SF has plot holes" argument seems based on a need to degrade the film because it was created by people you already disliked. The film does NOT contain plot hole after plot hole; point is, even if it did, it would fit right in with the other Bond films. This entire series is mostly based on crap storylines. So why the over-the-top issues with SF?
Again, @Creasy47 kind of let it slip out: the problem isn't with the film, it's with what appears to be the intent to make a Bond film more artsy. As if this is a bad thing?
https://eyeonbond.com/2017/11/09/five-years-later-why-skyfall-might-be-the-best-bond-film/
Have to agree with you here, even though I'm no fan of Mendes' pretensions and Silva's clairvoyance during his escape annoys me.
FRWL is rightly regarded as one of the best if not the best yet contains the fundamental flaw that the moment the Lektor has been nicked the Russians would be forced to take all Lektor machines out of service. It would be a minor coup in the intelligence community because they would have to scrap the, to coin a phrase, Lektor Program but the British certainly wouldn't be able to decode their top secret messages because by the time Bond has carted it back through the Balkans for a week on the train any Soviet embassy or agent with a Lektor would've been instructed to scrap it as it was compromised.
Does this stop FRWL from being a classic? Not in the slightest but there is a tendency, and I'm guilty of it myself, to hold the modern films to a razor sharp critical scalpel that the older films simply don't get dissected with.
Definitely. Anything from 95 onwards is fair game but the films from Cubby's day get the rose tinted glasses treatment. I understand why, there is a certain magic about the old films thanks to the old crew (in front of and behind the camera), but a lot of the criticisms against the newer ones are unfair imo.
Yes, Angela Lansbury would be the perfect rebooted Mrs. Bell.
...Think I'll have what he's having.
The problem with SF is that the villain's plan is overly convoluted and makes no sense (relying as it does on capture, M having to testify in front of Parliament, etc.). Compare that to GF or even CR--the simpler plans work better than the convoluted ones of SF or TLD.
To me a Bond film is a Bond film--CASINO ROYALE, QUANTUM OF SOLACE, SKYFALL, SPECTRE included. They absorb the fantastic without skipping a beat.
Showoff.
Convolution isn't a bad thing if it provides enough twists and turns and surprises and upsets to keep the audience thrilled and excited--look at the Dark Knight, which set Skyfall's template, or the average plot of a Raymond Chandler novel.
Having a simpler plot has its own risks, since the plot's inevitable implausibility has nothing to hide behind: Goldfinger's scheme depends on a host of implausibilities, and as someone else pointed out, the card game in CR has no logical claim to existence. None of this matters, because all of those films have the right amount of pacing, momentum, thrills, emotion, and suspense to sweep audiences past the inevitable implausibilities. Dream-logic and drama are always more powerful in a movie than pure logic. For many people, Spectre simply didn't work well enough--in its themes or characterization, direction, acting emotional attraction, or what-have-you--to spirit the audience past the sort of implausibilities they'd normally accept in a Bond film.
November 2017
->It is reported that Disney is in talks to buy out the entertainment division of 21st Century Fox, who handle Bond home media releases and are one of the five candidates interested in securing distribution rights. Some speculate on whether this will have any effect on the 007 franchise going forward
->Yann Demange's next project will be a revival of the UK drama series Top Boy in 2019, which may hamper his chances of directing B25 due to scheduling (though he will only executive-produce the show)
->Monica Bellucci tells reporters she "can't say anything" when asked about the rumours of Craig wanting her back for a second outing, leading many to believe that she has been asked to return as Lucia Sciarra
->Deadline confirms that MGM and Annapurna will partner to release the next Bond film domestically, and will officially announce it in the coming days. International distribution has yet to be finalized but may go to another studio
->Warner Bros pushes forward Wonder Woman 2 to November 1, which may rule them out from international distribution due to competing films. It may also prevent B25 from being shown in IMAX theatres as the former is likely to bring in higher box office numbers
->Sam Mendes drops out of a live-action Pinocchio remake; many presume this move is to allow time for B25
->Broccoli says she hopes to have hired a director by early 2018. "We've got our Daniel; we've got to find the director. We're working on the script and we'll see. Hopefully by the beginning of the year we'll have more news on all those fronts."
->Broccoli's next non-Bond film The Rhythm Section commences production in Ireland, which Broccoli shows interest in returning to on a future Bond film
Not at the time. The Beverly Hillbillies made fun of Goldfinger. Jethro recites the plot to Jed Clampett. "Why didn't they just shoot him?" Jed asks. (In real life, Maibaum and Dehn sweated bullets trying to come up with a better reason than the one in the novel.)
Anyway, that's the kind of stuff Mike Meyers did in Austin Powers. He was just following a trail others had blazed. ("Shoot him! Just shoot him!")
Good post. I agree.
Good question @thelivingroyale
There are several points here. If Silva simply wanted to kill M, he could have done so at many points. But Silva was more interested in humiliating her and MI6...to a fault. This is why he is such a great villain. He's brilliant but seriously flawed. His motives are forcing him to operate in a space he does not like to navigate: in the field.
With that said, I love SF and find it incredibly re-watchable
Completely agree, I'd be happy if Bond 25 was as good as QoS, CR is an incredibly high bar that isn't realistically attainable every time. Although knowing its Craig's last adventure should give the writers plenty of ideas to work with to make a great send off.
Did the Germans stop to use the enigma machine ( the real Lektor) when the Brits got hold on one model? No they didn't because the way it worked it was still considered unbeatable.
What makes much less sense if that bond never gives the question pause for thought, who it is that is doing all the dirty work ( saving his life in the gypsy camp, killing the Bulgarian in the Hagia Sophia) for him?
Tell you what. Why don't you answer Clark Devlins and Jamesbondkenyas list first? After all they already did that work, so it would only be polite of you to answer them.
You are absolutely right. Mendes urgently needs some medical treatment.
So ... Bond 25 is a remake of From Russia with Love? I've come on the Bond 25 thread and you're talking about FRWL, so it must be - fantastic news!
Yeah I can repost it if you guys need me to.
There are plot holes in every bond film, my problem with skyfall is that it asks me to trust in this gritty and realistic look at bond, and then it doesn’t give me an espionage story but a series of contrivances written by a four year old who couldn’t be bothered to reread his work even once to see that it literally makes no sense.