Skyfall (2012) - Rotten Tomatoes


Skyfall (2012)



Critic Consensus: Sam Mendes brings Bond surging back with a smart, sexy, riveting action thriller that qualifies as one of the best 007 films to date.

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In Skyfall, Bond's loyalty to M is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost. -- (C) Official Site

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Daniel Craig
as James Bond
Ralph Fiennes
as Gareth Mallory
Helen McCrory
as Clair Dowar
Ola Rapace
as Patrice
Nicholas Woodeson
as Doctor Hall
Elize DuToit
as Vanessa (M's Assistant)
Ian Bonar
as MI6 Tecnincian
Gordon Milne
as M's Driver
Peter Basham
as Vauxhall Bridge Police Guard
Tonia Sotiropoulou
as Bond's Lover
Ben Loyd-Holmes
as Holmes-Vauxhall Bridge Police Guards
Wolf Blitzer
as CNN News Anchor
David Gillies
as MI6 Assessor
James Li
as MI6 Assessor
Ken Hazeldine
as MI6 Assessor
Orion Lee
as Shanghai Barman
Dave Wong
as Shanghai Art Collector
Tank Dong
as Severine's Bodyguard
Roger Yuan
as Severine's Bodyguard
Yang Feng Liang
as Severine's Bodyguard
Yennis Cheung
as Floating Dragon Cashier
Chooye Bay
as Floating Dragon Floor Manager
Sid Man
as Floating Dragon Assistant Floor Manager
Angela Tran
as Floating Dragon Barmaid
Milorad Kapor
as Boat Captain
Huw Edwards
as BBC News Anchor
Adebayo Bolaji
as Boat Crewman
Elia Lo Tauro
as Boat Crewman
Amir Boutros
as Boat Crewman
Kan Bonfils
as Boat Crewman
Nicholas Goh
as Boat Crewman
John Hodgkinson
as Silva's Isoation Guard
Kurt Egyiawan
as Q's Assistant
Amir Boutrous
as Boat Crewman
Oliver Johnstone
as Q's Assistant
Harry Kershaw
as Q's Assistant
Burt Caesar
as Inquiry Member
Paul Venables
as Inquiry Member
Crispin Letts
as Inquiry Member
Kammy Darweish
as Inquiry Member
Beatrice Curnew
as Inquiry Member
Dominique Jones
as M's Inquiry Assistant
Ross Waiton
as Whitehall Police Guard
Jim Conway
as Whitehall Police Guard
Jens Hultén
as Silva's Henchman
Michael Pink
as Silva's Henchman
Jo Cameron Brown
as Wife at Tube Station
Anthony O'Donnell
as Husband at Tube Station
Hannah Stokely
as Tube Driver
Wayne Gordon
as Silva's Mercenary
Enoch Frost
as Silva's Mercenary
Tom Wu
as Silva's Mercenary
Jake Fairbrother
as Silva's Mercenary
Christopher Sciueref
as Silva's Mercenary
Daniel Adegboyega
as Silva's Mercenary
Selva Rasalingham
as Silva's Mercenary
Joss Skottowe
as Helicopter Gunner
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News & Interviews for Skyfall

Critic Reviews for Skyfall

All Critics (384) | Top Critics (85)

Britain is quite diverse right now, feel free to reflect that anytime, Mr. Bond.

May 10, 2016 | Full Review…

It achieves an effective balance between the ever-escalating action sequences that each successive Bond picture apparently demands, fresh use of charismatic talent, and nods to the legacy

October 5, 2015 | Full Review…

Mendes's breezily, imaginatively directed film shows faith in the thrill of the real -- not the weightless dazzle of CGI but the feeling of actual objects (bikes, cars, Tube trains) crashing and colliding in a solid world.

October 5, 2015

A Bond film should feature a menacing villain who's also just a touch daffy; Javier Bardem has more fun than anybody else onscreen as a rogue agent with a mommy complex and a come-hither leer.

October 5, 2015 | Rating: 2/5 | Full Review…

Skyfall easily moves into the top 5 of Bond movies ever, maybe even the top 3 with From Russia With Love and Casino Royale.

October 4, 2015 | Rating: A- | Full Review…

This latest installment, which firmly cements Daniel Craig as one of the best Bonds ever, feels more serious, less gimmicky, more geared towards mature adults.

October 4, 2015 | Rating: 3.5/4 | Full Review…

Audience Reviews for Skyfall

For me, an ordinary spy thriller is what it is.

familiar stranger
familiar stranger

Super Reviewer


Skyfall continues the reinvention of Bond for the modern era that was started with Casino Royale. This is a top notch action thriller with great acting and wonderful homages to the series past. To top it all off, it has one of the best intro's and Bond songs of the entire series. This is also one gorgeous film, easily the best looking Bond film of them all. For me, this cemented Daniel Craig as the best Bond ahead of Connery just slightly. Outside of Casino Royale, this is best Bond has to offer and a fantastic reboot of the classic characters and plot for a new generation.

Josh Lewis
Josh Lewis

Super Reviewer

Like any long-running film franchise or TV series, it is interesting to note the ways in which the Bond series has acknowledged its longevity. While the 10th, 20th and 30th anniversaries passed by relatively quietly, with no films being released to coincide, the 40th anniversary was marked by Die Another Day, a greatest hits compilation with little narrative pull which was in hindsight downright embarrassing. Skyfall is a more confident and impressive offering all round, marking the 50th anniversary with a film which looks far back into the series' past while also making a conscious effort to appear modern and cutting-edge. The result is technically superb, with Sam Mendes bringing weight to the characters and the visuals being some of the best in the whole series. But the film also demonstrates how fundamentally little Bond has changed, something which is cause for both concern and celebration. The Bond series has always been at its best whenever it has had to defend its existence. The previous attempts at reinvention - Casino Royale, and Goldeneye before that - were prompted by perceptions that the series was old-fashioned, caused respectively by the game-changing Bourne series and the end of the Cold War. But while these films are impressive technical exercises, which still feel in isolation like a breath of fresh air, the basic formula has remained more or less the same for 50 years. The series has become so much of a genre in itself that any claim of reinvention or radical departure should be greeted with extreme caution. Bond has always assimilated ideas and stories raised in other films; it's one of the many ways the series has remained relevant, or at least appeared to be that way. Skyfall continues to follow the trail blazed by Bourne by showing the extent of high-tech surveillance, and how advances in communications have changed the way that decisions are taken about people's lives. Both the villain and the revamped Q branch borrow from The Social Network, a film which argued that the world is now run not by governments but by technical wizards, and by extension how 'nerds' have grown from being perceived as harmless and weak into a force to be reckoned with. Skyfall also contains a number of prominent visual references to other films, past and present. The entire sequence in Shanghai owes a massive debt to Blade Runner: the shot of Bond's gun in moving close-up and the fight against the Japanese signage are eerily close to Ridley Scott's masterpiece. There are also touches of Inception present in the lift scene and on the villain's island, whose ruined buildings could have come straight from Christopher Nolan's Limbo. On top of all that, the film contains a great many nods to its own back catalogue. Much of the plot, while appearing original, hints back to conversations in Goldeneye. The allusions to Bond's parents are akin to the scene with 006 among the fallen idols, and the central duality is structured along the same lines: like Alec Trevelyan, Silva was betrayed by his homeland, and represents what Bond could have been had things turned out slightly differently. The journey "back in time" in the iconic Aston Martin DB5 is a direct nod to the Sean Connery era, Silva has a passing resemblance to Jaws from The Spy Who Loved Me, and there are two passing references to The Man with the Golden Gun, in Shanghai and with the shooting of the mirror at Skyfall. The key point here is that everything we see, we have seen before, either in the Bond series or in the many other films on which it draws. What makes Skyfall successful (and memorable) is the way in which these ideas are presented or repackaged, so that they appear either original or become distinctive to the character. Having an abundance of references was largely to be expected, given the occasion that is being marked, and if nothing else the film scores over Die Another Day by actually having a coherent and interesting story. The central irony about Skyfall is that its story is very much anti-Bond, but it is being told in a by-the-numbers, classic Bond way. The story is a not-too-distant cousin to The Ipcress File or Tinker, Tailor, Soldier, Spy, insofar as it uses a troubled yet distinctly British protagonist to focus on the changing mechanics of the secret service, particularly the ways in which technology is altering or eroding the role of agents. This is reflected in the numerous scenes of M answering to politicians, the increasing dominance of Q branch, and the conversations between M and Mallory. But whereas Tomas Alfredson went against the grain with his film, openly eschewing the conventions of a spy thriller, Mendes tells this story in the manner of the classic Bonds. We go through the same motions as all the Bond films after Diamonds are Forever, with Bond being sent on a difficult mission after a riveting pre-title sequence. He snoops around with an attractive sidekick-cum-love interest, who despite seeming more forthright and independent still takes a back seat, in more ways than one. After several fights with secondary villains, he and the main antagonist meet and talk about the plot. There then ensues a cat-and-mouse chase over several locations, eventually resulting in Bond triumphing, sometimes with a deep personal cost. If we try to see Skyfall as a genuine reinvention of the Bond series, we will quickly come unstuck as these clichés keep coming. No-one has yet had the confidence to fully abandon Bond's gadgets, vodka martinis or inherent sexual magnetism; even when Timothy Dalton made him cruel and dangerous, the character was still placed within conventional surroundings. If, on the other hand, we see this film as a genre exercise, whose mechanics we know inside out, then the film takes flight and becomes remarkable. It's like a well-directed production of The Mousetrap: predictable and often silly, but presented so confidently that it becomes endearing. Taken purely as a Bond film, Skyfall is an incredibly well-made addition to the series. Despite its prominent references to other films, it is visually distinctive and spectacular. The film is shot by the fantastic Roger Deakins, who collaborated with Mendes on Jarhead and Revolutionary Road. He paints the film in a number of metallic greys and silvers, giving the action a polished sheen even in its most kinetic moments. Mendes' camerawork compliments him very well, relying less on Bourne-inflected hand-held work and more on longer, sweeping shots to establish the scale of the locations. Mendes also comes up trumps in making us care about the characters. It's tempting to just view them as archetypes and therefore let the film wash over us, but even with all our cynicism we do invest in Bond and the people around him. Daniel Craig is beginning to rival Dalton for the title of Best Bond, continuing the intensity he cultivated in the last two films and really showing the strain of the character. Javier Bardem may be more pantomime here than he was in No Country for Old Men, but he's still intimidating, and his introductory shot is one of the best in the series. Judi Dench remains compelling as M, and the film takes the time to show how her relationship with Bond has developed over the series. While Bernard Lee's M more or less stayed the same from film to film, her M has gone from calling Bond a "sexist, misogynist dinosaur" to some form of emotional kinship. Elsewhere Ben Whishaw impresses as Q, clearly drawing on Brains from Thunderbirds, and Ralph Fiennes is in his element as Mallory, though at times he tips over into his performance as Victor Quartermaine in Wallace & Gromit: The Curse of the Were-Rabbit. Skyfall is a highly enjoyable and technically impressive way to mark 50 years of James Bond. It's nothing like as ground-breaking as has been claimed, with all the clichés of the series being celebrated in amongst all the subterfuge. But as a genre piece in and of itself, it delivers on almost every level, thanks to the believable central performances and Mendes' assured direction. The only question that remains is whether these high standards can be sustained for Spectre.

Daniel Mumby
Daniel Mumby

Super Reviewer

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