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Skyfall is utter dross from start to finish. The only redeeming features are the return of the leather door, and the title song. Every other aspect of its conception and production are abysmal in the extreme.
Plotless gibberish, dreadful cloth-eared script, terrible hammy performances all round, the cinematography is undeniably pretty, but then what exactly is it meant to be showing off? It's just misery porn. Even Scotland - magnificent, brooding Scotland - is shown at its dour, damp worst. It's a smug mash up of Home Alone and any generic B-movie action flick.
Awful, stinking film.
Besides the movie is incredibly boring (except the little fight of the DB5). Will never watch a Craig-Bond again.
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Skyfall is utter dross from start to finish. The only redeeming features are the return of the leather door, and the title song. Every other aspect of its conception and production are abysmal in the extreme.
In addition to Adele's song, there's one scene I enjoy watching. It's the conversation scene between Bond and Severine at the casino. It captured Bond magic briefly for me.
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Posted: |
Dec 25, 2024 - 9:06 AM
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By: |
panavision
(Member)
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Skyfall is utter dross from start to finish. The only redeeming features are the return of the leather door, and the title song. Every other aspect of its conception and production are abysmal in the extreme.
Plotless gibberish, dreadful cloth-eared script, terrible hammy performances all round, the cinematography is undeniably pretty, but then what exactly is it meant to be showing off? It's just misery porn. Even Scotland - magnificent, brooding Scotland - is shown at its dour, damp worst. It's a smug mash up of Home Alone and any generic B-movie action flick.
Awful, stinking film.
Interesting take.
I do agree that the story doesn't always work, and it was cribbing from Dark Knight, and it doesn't have enough of the Bond elements.
I love the song. Adele was perfect for it.
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Conti provides FYEO with a lot of rock/disco spice that balances the spice with the sensual and elevates what's otherwise a paint-by-numbers spy triller that just goes from Point A to Point B to Point C (and so on).
I personally never liked Bill Conti's score -- dramatically-speaking. I am a big fan of his, and it is terrific music -- it's just in the wrong film. The action cues are along the lines of a television score from the 1970s (as is that kooky synth playing the Bond theme as they search for the wreckage).
I understand that Hamlisch likewise indulged 70s instrumental pop -- but that was in the 1970s, not 1981 (by which point styles had evolved passed that). Moreover, TSWLM is a much-more comical Bond movie, and such an approach was arguably more in line with the tone of that film. FYEO was an uncharacteristically serious Moore adventure -- hence the need for a more serious score (which it didn't get).
The moment Bond walks into Gogol in M's office in the temple and we find out Russia and Britain are teaming up, we're left to wonder why any of the first half of the movie with 007 and XXX engaged in petty squabble mattered.
It's always seemed to me that only after Bond and Anya were dispatched on their missions, did MI6 and KGB realize it was in their best interests to collaborate. The agents -- stuck on a dahabiya sailing down the Nile -- would not have gotten the message until showing up at the field HQ.
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Conti's FYEO score is easily the most entertaining Bond soundtrack out of non-Barry soundtracks. Always loved it, with or without the movie.
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Conti provides FYEO with a lot of rock/disco spice that balances the spice with the sensual and elevates what's otherwise a paint-by-numbers spy triller that just goes from Point A to Point B to Point C (and so on).
I personally never liked Bill Conti's score -- dramatically-speaking. I am a big fan of his, and it is terrific music -- it's just in the wrong film. The action cues are along the lines of a television score from the 1970s (as is that kooky synth playing the Bond theme as they search for the wreckage).
I understand that Hamlisch likewise indulged 70s instrumental pop -- but that was in the 1970s, not 1981 (by which point styles had evolved passed that). Moreover, TSWLM is a much-more comical Bond movie, and such an approach was arguably more in line with the tone of that film. FYEO was an uncharacteristically serious Moore adventure -- hence the need for a more serious score (which it didn't get).
The moment Bond walks into Gogol in M's office in the temple and we find out Russia and Britain are teaming up, we're left to wonder why any of the first half of the movie with 007 and XXX engaged in petty squabble mattered.
It's always seemed to me that only after Bond and Anya were dispatched on their missions, did MI6 and KGB realize it was in their best interests to collaborate. The agents -- stuck on a dahabiya sailing down the Nile -- would not have gotten the message until showing up at the field HQ.
Exactly. And easy to comprehend, really.
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Conti's FYEO score is easily the most entertaining Bond soundtrack out of non-Barry soundtracks. Always loved it, with or without the movie.
Love it, too, although as a non-Barry score Live and let die is my preference.
But FYEO fits perfectly with the film because it is serious and fun when it needs to be. And it has one of the greatest Bond songs, with the melody working beautifully as a theme for the score.
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Skyfall bad.
The Spy Who Loved Me good.
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Really hoping there isn’t too much longer to wait for a full release of this score.
Judging from LLL's last last six Bond score revisits, all tied to quinquennial anniversaries, we likely have about two more years to wait (77 is in the title of this thread, after all), for the 50th anniversary. Whether you consider that "too much longer" or not is relative, I guess.
Yavar
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Judging from LLL's last last six Bond score revisits, all tied to quinquennial anniversaries, we likely have about two more years to wait (77 is in the title of this thread, after all), for the 50th anniversary. Whether you consider that "too much longer" or not is relative, I guess.
Yavar
I question the wisdom of waiting 50 years just to put a nice round number on it. Surely there are fans who wanted this but have already died of natural causes. We aren't getting any younger.
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Who said anything about “wisdom”? It’s pure marketing, and I’m still grateful for it because it brought us the last six new anniversary Bond editions from La-La Land. You know that it was the rights holders who approached LLL to see if they were interested to expand Octopussy and LaLD specifically in celebration of their anniversaries, right? It’s not as if it’s LLL’s preference to wait to do these; they know that Bond expansions sell like hotcakes.
Yavar
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I've said it before and I'll say it again:
We don't know for a fact that the anniversary year thing is an immutable rule. For all we know, it may just have been a way of creating pitch sizzle to motivate more releases after Eon themselves decided to do Octopussy, Live and Let Die, and Goldfinger; or a way of sorting out which ones to do first.
Be mindful of what we know versus what we're assuming.
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I remember watching that back in the day. It would have made a nice extra on a home video release.
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