Owing to a web of legal rights so complex it could have been knotted by one of Bond's diabolical nemeses, the official 007 series hasn't been able to use the character of iconic cat-stroking supervillain Ernst Stavro Blofeld since 1971's Diamonds are Forever.
Cabaret is fascinatingly structured, mirroring the societal infiltration of Nazism in the 1930s. It is insidious in its nature. As an audience, we are swept up in the decadence, debauchery, passion and lust that is presented.
Yes, yes, I know -- spidermanspidermanspidermanspiderman. I'll get to it. But my favorite movies of the week, as usual, are the small ones. Let's start with Amma Asante's Belle, a Jane Austen-ish film based on a true story.
Necessity is the mother of invention and smaller budgets almost always beget more interesting films. For MGM and its fortunes going forward, Skyfall is the comeback it needed, the ultimate symbol of its recovery. Resurrection
This is Daniel Craig's third Bond film. He hit a high with Casino Royale but was a letdown in Quantum of Solace. It seems the makers of these movies are still trying to decide exactly who Craig's James Bond is.
Skyfall easily crushed the opening weekend record of the 007 series, earning a massive $90 million in its debut. It looks like the James Bond series may be returning to the top-tiers of franchise filmmaking, a roast it once unquestionably ruled.
Mendes, who previously worked with Craig when the star had a key supporting role in 2002's Road to Perdition, brings a methodical, refined eye to the proceedings, helped along by the luxurious cinematography by Roger Deakins.