Presenting the most complex and multilayered Bond across the whole fifty year series, Skyfall is quite comfortably one of the best additions to the franchise. By confronting Bond with his increasing obsolescence in the modern digital world, as well as the implicit knowledge that the spirit of British imperialism that coloured earlier Bonds is also becoming increasingly irrelevant, it’s certainly the bravest. Chuck in mummy issues and unresolved childhood traumas, and the result is a Bond film with genuine depth and gravitas, helmed with class by director Sam Mendes and master cinematographer Roger Deakins. And yet, I can’t help but feel ever so slightly cheated by the film; for all its dissection of Bond as a troubling and obsolete figure, Skyfall ultimately reaffirms his status as Bond the suave man of action. He beats evil computer genius Javier Bardem precisely by moving away from modern technology, and the film ends with him back at work as normal, as if he has entirely forgotten all the mummy issues and unresolved traumas that he was just beginning to work through. It feels like a bit of a cheat; Skyfall knocks Bond down only to rebuild him in exactly the same way again.