“Skyfall” is the new, eagerly anticipated James Bond movie. It’s been four years since the last Bond movie and 50 years since the first Bond movie, “Dr. No.” “Skyfall” is the third movie with Daniel Craig as Bond. In every respect, it is worth the wait.

“Skyfall” begins with a customary edge-of-your-seat sequence. This time it’s a chase on the streets, rooftops, train tracks, bridges and tunnels around Istanbul. It ends with a wounded Bond falling off a train, over a bridge, and into the sea. He is presumed dead. But we know better.

In the meantime, British Intelligence Headquarters has been bombed in London. Bond reappears at the house of M (Judi Dench again, non-smiling, resolute and steely-eyed.) She demands that Bond undergo a rigorous training before returning to the field. His mission is to find the person who knows the identities of NATO agents. The names of agents are being released on the web, thus endangering their lives and the entire intelligence network. Bond is off to Shanghai, and engages in a spectacular fight against an enemy in a high-rise building with the neon-lit night sky in the background. This scene is stunningly captured by nine-time Oscar nominated cinematographer Roger Deakins, who deserves another nomination for his work on “Skyfall.”

“Skyfall” next covers familiar territory as Bond meets a beautiful woman in a casino, has a martini, then escapes from a group of thugs. The woman then leads him to the secret island headquarters of Silva (Javier Bardem.) We discover that Silva is a former British agent who was captured and tortured by the Chinese. Silva blames M for abandoning him to his fate, and is set on revenge against her. There’s one exciting action scene after another, through the streets and subways of London, finally culminating in a great sequence in a remote, abandoned house in Scotland, with ties to the Bond family.

At a surface level, “Skyfall” is great entertainment, sleek and exciting. Yet at another level, there’s more depth to this film. Both Bond and M are aging and face their mortality. The world is much different than the Cold War era of spies. M addresses this in a meeting with the Prime Minister, in which she argues that British Intelligence is more important than ever, in a world in which the enemy can be a terrorist, indistinguishable from anyone else. Although most elements of the Bond films are still there, including the beautiful women, exotic locations, chases, guns and gadgets, espionage is a much more serious business now. While there is some humor, “Skyfall,” like Craig’s first Bond film, “Casino Royale,” is somber and dark, with an air of gravitas missing from many of the earlier films.

We even learn about a little about Bond’s childhood that made him the man he is today. We also discover that even M is fallible and vulnerable, and is warned to atone for her sins. Silva is a great Bond villain, who like the other characters, has been wounded and betrayed. Yet his hatred and desire for revenge turns him into a monster, with shades of both Hannibal Lecter and Norman Bates with his mother issues!

The credits are first-rate all the way. Oscar-winning director Sam Mendes (“American Beauty”) balances the dark drama with spectacular chase sequences and special effects. Mendes gives his own creative stamp to the film, while grounding it solidly in the 50-year Bond tradition. Craig leaves no doubt that he can hold his own as Bond. Oscar winners Dench and Bardem lead an excellent supporting cast, including appearances by such legendary British actors as Ralph Fiennes and Albert Finney.

After 50 years, the end of the Cold War, and many mediocre entries, many believed that James Bond movies had become obsolete. Yet, here he is roaring back, better than ever. At one point, Silva asks Bond if he has any hobbies. “Resurrection,” he replies. Yes, indeed.

Tom Condon, OP

If you, like me, begin to sweat at the least bit of turbulence when flying, then the first 20–30 minutes of “Flight” will be very hard to watch. The realistic scenes of an airliner taking off in a thunderstorm and crash landing in a field outside Atlanta are as harrowing as any I’ve seen in a movie. Needless to say, this movie won’t be an option on your next overseas trip!

As impressive as the flying scenes are, “Flight” is more concerned with the inner turbulence of pilot “Whip” Whitaker (Denzel Washington in an Oscar-worthy performance) whose life is spinning out of control. Before the flight in question, Whip engages in a night of alcohol, cocaine, and sex with Katerina, a flight attendant. (Be forewarned that this scene is rather explicit). When he enters the cockpit with Ken, his young co-pilot, Whip is legally intoxicated. Yet his skill as an experienced pilot allows him to escape the crash with minor injuries. That’s been the story of Whip’s life. By using his strength, he is narrowly able to escape the downward spiral of his life.

So that he may recuperate from his injuries away from the media, Whip temporarily moves out to his grandfather’s farm. He takes Nicole, a young woman who he met in the hospital, with him. In a powerful scene, Whip, Nicole, and a young man meet each other for an illicit smoke in a stairway. They bond with each other for a moment while discussing mortality. The young man is a cancer patient, Nicole is an addict, and Whip narrowly escaped death. All discover the fragility of life. Curiously, there is no mention of the hazards of cigarette smoking in the movie, which features more scenes of cigarette smoking than I’ve seen in a long time.

With the help of AA and her sponsor, Nicole is able to get a job and stay sober. Whip, however continues his downward spiral of substance abuse. Nicole is resolved not to return to her horrible past life as an addict. Even though she cares about Whip, she knows she cannot remain with him while he is still using, so she leaves the farm with her sponsor. When he realizes Nicole has left, Whip continues his self-destructive behavior.

“Flight” is notable for its spiritual content. As they prepare for takeoff on the ill-fated flight, a flight attendant reports to Whip that there are 120 “souls” on board. As it is landing, the plane clips a church steeple, narrowly missing a group of Pentecostals who are baptizing in a small pond. When Whip and his lawyer visit the crash site, Whip learns that the people return to the site every day to pray for those who were killed or injured in the crash. There is some discussion of the crash as an “act of God.” When Whip visits Ken in the hospital and finds his injuries much worse than his, Ken’s wife tells Whip that they are “blessed.” Ken tells the truth about Whip’s state the morning of the flight, and asks him to pray with them. Whip does so, with obvious discomfort.

Also, Whip goes to a church to attend Katerina’s funeral service. As much as he cared for her, Whip cannot go in, but stays on the outside, unable to participate.

There are several references to the crash as an “act of God.” Was it? Certainly it’s a turning point for Whip, forcing him to confront his alcoholism. It serves as a wakeup call for Whip. Will he admit help, or continue his destructive behavior? When a pilot’s union rep advises Whip to lie about his drinking on the day of the crash, Whip replies that no one has to tell him how to lie about his drinking. He’s been doing it for years. In the climax of the film, Whip is given the opportunity to finally tell the truth about his life, or continue to lie. He can shift the blame to another person, or finally take responsibility for the mess of his life. It’s often said that an addict has to hit rock bottom before admitting his or her need for help. Whip and Nicole are examples of this.

“Flight” is a strong, powerful film with excellent performances, directed by Oscar-winning director Robert Zemeckis, who gave us another harrowing plane crash in “Cast Away.” The lives of Whip, Nicole, and Katerina include sex and substance abuse. Zemeckis and screenwriter John Gatins do not shy away from this material in explicit scenes. Yet, as hard as they are to watch, I think they are essential to the plot. Be advised that there is a lot of turbulence in this movie.

A few months ago, I watched the classic 1962 movie “The Days of Wine and Roses,” with great performances by Jack Lemmon and Lee Remick as an alcoholic couple. I found it remarkable for its courage and realism, not relying on a happy ending. While different in many ways, “Flight” serves as a worthy successor today, with Whip and Nicole as the couple who deal with addiction. “Flight” caused me to reflect on those I have known who have struggled with addiction in their lives.

I appreciated this strong, unflinching and thoughtful film, and think you will too.

Tom Condon, OP