Mission: Impossible - Dead Reckoning Part One

Fortunately, I can still say I don't hate any of the Mission: Impossible movies, and say that there's a certain amount of merit to all of them. Unfortunately, Dead Reckoning's merit isn't as prominent as the series has achieved; and more unfortunately, it doesn't have the fallback that Mission: Impossible 2 takes advantage of, where you can call the melodramatic silliness "fun" (if so inclined) and "different" (to point out that the movie certainly does try its own thing.)

It's nice when a movie can slip and still be enjoyable. But right now, a movie that doesn't slip at all is worth its weight in gold.

Dead Reckoning. Part one. One complement I can get out of the way is, even though it's a "Part One," it doesn't leave us hanging as far as feeling like we've seen a complete movie. We know there's more to see, but the movie does fulfill everything it sets out to accomplish. Director Christopher McQuarrie and Tom Cruise have now done three of these movies together, and it's unlikely they'd take an obvious misstep. No; instead, what they should have been worried about was that the groove they established in the series with Rogue Nation would too quickly become a rut. Fallout didn't pack the thematic/character punch that Rogue Nation did, but the stunts and visual entertainment was so stunning that I was willing to brush it off as a natural ebb and flow of quality. The next movie would right it.

But it didn't. And, I'm sorry to say, the action element has dropped off now, too. First, thematically, the movie is about the kind of honorable duty involved in taking a job in a secret agency that will disavow you the second you get into trouble—while sending you off to get in trouble as your job. Ethan and Co. meet up with and befriend Hayley Atwell as Grace, a highly skilled thief, and through friendship and loyalty, tempt her over to the good side. The idea is nice. "If you're going to risk your life for something, risk it for your friends and the good of the world." But while that's a simplistic enough idea, it still doesn't come through the plot so much as it is told to us (and Grace) outright through dialogue. And in so doing, it's implied that every MIF agent used to do high-skill illegal activities, got caught for it, and joined the MIF after a subsequent offer. 

Little comedy is attempted in favor of drama—which fails to land, and yet is so benign that it neither moved nor irritated me.

This series has undone the choices of past movies before, but this, I'd call ret-conning. And unnecessary. It's a small thing, maybe, and ignorable. But I like the characters here, and find the implications annoyingly simplistic, verging on outright stupidity. Anyone who's seen M:I3 knows newbie Benji lacked the constitution for illegal activity! And from the start Ethan has always been the boy scout type. It's just doesn't ring true, and you don't need them all to be ex-criminals to make joining the IMF "the right choice." In fact, it lessens Grace's character, who was unique for being a lone wolf and amoral. If all of them made the switch, why should we wonder whether she will or not? So, if the plot had been constructed to better show Grace's conversion, they could've stayed away from that regrettable "backstory." 

But the plot has its own issues to deal with in a less than ideal manner. It's crafted more to implement action set pieces and struggles to find a dynamic way toward the goal. It's a McGuffin plot, which, I admit, I don't mind at all. The action was my favorite parts, but there's no denying it's a step down from the feats this series has pulled off in the past. Tom Cruise does his thing and hurls himself off a cliff on a motorcycle, but what isn't in-camera looks faker than I've ever seen M:I look. The "ramp" he takes the motorcycle off for one; and the set piece of the falling train also has some digital elements that dampen the relentless thrill that scene is meant to impart. A few liberties with physics are taken (which must be bad if I notice it!) and a handful of other head-scratching choices. 

It's like joining the M:I movies is the movie star version of going to summer camp or something. Try something new; get out of your comfort zone for a while. (I dunno, I never went to a summer camp.)

At home, when senseless things happen in silly movies and people ask why, I like to jokingly point out that the movie needed them to so the next thing could happen. Unfortunately, that thought occurred to me a few too many times here, too. It's just not inspired; the creative juices didn't flow, and so now the story doesn't either. As a whole, it's a mess, but in small bites of compartmentalized sequences, it can be fun. Ethan and Grace's car chase sticks out as a highlight because it does what I've come to like uniquely about McQuarrie's installments: playing action and character interaction off each other. Atwell pairs well with Cruise and seems game with the stunts. And while the car chase they tag team in gets a little Buster Keaton, that's part of the charm for me. 

I could happily see a movie every three years that is exactly that—fun, sometimes silly action performed in-camera by characters who are saving the world because their friends live in it. But that's not to say there isn't better and worse ways to do it. Dead Reckoning isn't the worst ever, but there's nothing better about it, either.

Mission: Impossible - Fallout

Spoiler-free!!

This is what happens when the people who work on a franchise respect the franchise. Each film stands alone, yet each new release still inspires fans to rewatch previous installments. The past is respected, but the agenda is always to move forward. And the films themselves... they never count on selling tickets by brand-name, but are hard and winning pieces of filmmaking; carefully crafted and assembled by talented people who push the envelope beyond the realm of the possible. In a world overflowing with franchises, Mission: Impossible stands alone.

How does it do it? Well, you could say it's in the job description.

I could spend all day talking about this franchise as a whole. How it's a trendsetter, how casting choices always give dramatic boosts to the actors' future careers as they cycle through, or how the films are contradictory; of an extremely high quality, but also mainstream action films made to entertain. Entertainment can get lost in the fray of making films into high art or a message to change the world, but entertainment has always been the goal of Tom Cruise, and he always seems to trust the continued creation of this, his baby, to artists who share his vision.

Christopher McQuarrie is the first M:I writer/director to stay on for two films, and as he's taken the series to a whole new level, the second one feels like an extra-deserved bonus round. From my perspective, Fallout is similar in construction pattern to Rogue Nation, but makes everything new again in the way a fresh director usually does. Under his direction, the creative action beats are even more relentless, thrilling, and involving. I'm not usually vocal during movies at the theater, but I was exclaiming things like, "Oh no!" or "Look out!" all over the place. Once I even pointed at the screen and told Ethan, "He's over there!"

It's either a death-wish or a contagious and daring desire to entertain.

McQuarrie crafted this movie intentionally that way, because what's the point of all those practical effects and stunts if it doesn't all engage with the viewers and keep them thrilled, amazed and eager for more? This isn't a character film, but the story is personal enough for the characters to let us care about the result, down to each small goal. This whole film feels like a series of impossible tasks that, when each is amazingly accomplished is a mere stepping stone to the next. Even the extended sequences are constructed that way, keeping boredom far, far away.

Tom Cruise is amazing. He does his own stunts, his own driving, motorcycle riding, helicopter-flying, and fist-fighting. He executes difficult skydiving maneuvers, and even breaks his foot and keeps going until the take is over. Still my favorite is always the running. There are few things that can be captured on film as thrilling as a tracking shot of Tom Cruise in a full sprint. At some point he even has some genuine acting to do, and at that point he's just showing off. And I hope Simon Pegg stays as long as Cruise does, because Benji is basically the heart and soul of these movies. He handles the comedy, and always gets something awesome to do too.

Tom always comes out at the center, but he's not afraid of sharing screen time or being overshadowed.

Rebecca Ferguson is back, still brimming with grace and power, and feels so settled into the team it would be sad if she left now. Ving Rhames is always a great addition, and this film uses him better than ever. Sean Harris was the one return I was hesitant about, but seeing how he was utilized, it all make sense now. Then we have newbie lady Vanessa Kirby. She's this movie's personification of one of the main reasons I adore this franchise as more than films, but as boosts for actors. She's a good actress in need of a step up and is given a spotlight to take advantage of. She does. She stuns with a joyfully sultry character.

And, Henry Cavill. He's more well-known already by mainstream audiences, because mainstream audiences always know who's playing Superman. But his M:I role still gives him the same kind of opportunity as it does Kirby -- even more so since his character is more prominent -- a chance to impress, and to show himself to be capable of more than he's known for. He knocks it out of the park, and I've never enjoyed him more. He was so perfectly irritating and pompous. I hope this can rocket him out to find new roles that are more fun and/or meaty than the dull, handsome hunk of meat.

I sense good things in this guy's future.

Some of the set pieces blew my mind, and I spent a lot of time full-on giggling at how awesome everything gets. With a very basic understanding of how the production works, the stunts and camerawork are awe-inspiring. Sometimes you might realize how hard that would've been to pull off, like the skydiving shot, and sometimes I was simply left agape, wondering how the heck they did that, like the first hurdle of the helicopter sequence. It feels real because, well, it kind of is. But the movie does have moments for you to catch your breath with small and intimate character scenes, too.

I barely noticed with how completely mind-boggled I was over the relentless action, but there were a few one-on-one talking scenes that were full of subtext and motivations and themes to explore -- just like any other movie that doesn't feel like non-stop running, fighting, and crazy death-defying stunts. And those scenes are every bit as alive and electric as the action, not functional plot-ties only, but engaging on a different level. There's not much emphasis on character, and the plot isn't overly-complex; but even in the backseat, the same wonderful, commendable devotion is applied all around.

What the heck.

There's no shortage of films that are carefully crafted to have artistic merit, and, there are no shortage of films that are meant to be entertaining. Mission: Impossible is the place where those two sides unexpectedly intersect. Fallout is an immaculate and artistic creation; three years in the making; worth nearly two-hundred million dollars; of massive scale and aggressive ambition; and it was built to do one thing, and one thing only -- knock your freaking socks off.

Mission: Impossible Rogue Nation

This review is Spoiler-free.

When all seems impossible... enter Ethan Hunt.

Or rather, enter Tom Cruise, who makes him possible; both by producing the movies Agent Hunt appears in, and by playing this epic character with determined fearlessness that pushes the boundaries of what is possible in film making. In the 5th installment of the iconic franchise that was adopted by Cruise in 1996, Ethan goes up against the Syndicate -- a villainous organization of rogues bent on destroying the IMF (Impossible Missions Force). This installment is written and directed by Christopher McQuarrie, and he handles this behemoth blockbuster expertly to great effect.

Epic action movie is impossibly epic.

Plot-wise not much explanation is needed. This Mission: Impossible, just like the last four, plays by the guidebook for M:I movies -- a handbook that had yet to get old in the past twenty years, so it's safe to say that it never will. "Plot" is just what happens between the guide's plays to link them all together. The guidebook requires there to be a small team working against impossible odds, antagonizing for this team from both good and bad sides, something that requires stealing, at least two chase scenes, three fight scenes, one sequence where characters wear evening attire, one or two moments where there's no escape in sight, one surprise on the audience, cool gadgetry, sharp comic relief and an epic finish -- but most importantly, stunts. Stunts that make you go "wow." And if there's one guy for that job, it's Tom Cruise.

No doubt you've seen that one big stunt in the trailer where Ethan is holding on to the outside of an airplane. And perhaps you know that stunt was real. Well, while it was the most obviously scary stunt in the movie, the whole film is full of moments just as real and just as -- or even more -- impressive. Notice, if you will, how long the underwater takes are; or that it's really Cruise riding that motorcycle; and driving that car -- and fighting and jumping and climbing as the requirement comes. But beyond being one of the craziest actors who does his own stunts in the business, with Ethan Hunt, Tom has created a fantastic, personable character, and every time we come back to see him, we love him just as much -- or even better -- than we did before. Ethan is a great, determined, caring a brave guy. The exact kind of guy you would imagine out of a man who's saved the world as many times as he has.

If the world's in trouble, Ethan Hunt is the man you want on the job!

As for his supporting team, it's never exactly the same twice, but this one is the most familiar out of all the films.

The right-hand man is Benji Dunn, played by the brilliantly funny Simon Pegg. Benji has been in the M:I films since he had a small supporting role in M:I3. He was the quirky tech support. Then in Ghost Protocol he had just passed his field exam (crazy, right?); here, he's not a newbie anymore and is featured heavily, and I honestly think it made the movie. He is now perfectly capable of throwing punches, thinking on his feet, and using initiative to help the cause and his teammates -- but always his major is in computers. I just love that this film finally gave him (this is true for both Benji and Pegg) a chance to really come into his own and show what he's made of. He may still have all the most hilarious lines and reactions, but that's not what he is anymore. I've never considered this about anyone besides Ethan, but I now firmly believe that Benji Dunn is a necessary character for the Mission: Impossible franchise. 

The progression of his character over the last three films has been a real treat to witness.

Jeremy Renner is listed second is the credits, but his character of William Brandt, who first appeared in Ghost Protocol, spends a considerable amount of time is the background, wearing ties and talking politics while Hunt and Dunn are in the field. I expected this, and expected it would disappoint me too, but it actually didn't. The character of Brandt is just geared more that way, and this film knew very well how to properly utilize its characters. Brandt is the guy who wants to play everything by the rules, and this gives him and Ethan plenty of chances to clash their opinions together. The only thing I missed from the character was that his chances to show off his action-star tail-kicking skills were limited here, while he got plenty in the last film.

Luther Strickell, played by Ving Rhames, is the only other character besides Hunt to have been in the first Mission. In fact, he was technically in all of the M:I movies, only his appearance in Ghost Protocol was just a short cameo at the end -- after the world had already been saved -- so that really doesn't count. And even here his role is limited, though at least helpful this time. Luther is a very charming and sharp gentleman, and his presence is always a useful and welcome addition. He plays a big part in making this cast feel like an old friend.

Cool cool cool.

The good guy antagonist is Alec Baldwin -- no complains whatsoever. The main villain is played by Sean Harris. Now, one of the few things M:I movies don't have a step-by-step guaranteed-successful checklist to follow for is the villain. They have ranged from the incredible terrifying coldness of Phillip Seymour Hoffman in M:I3, to... totally forgettable. Sean Harris' Solomon Lane lands solidly on the upper side of that scale. He's effectively malicious, has an unnerving confident and disconnected air to him, and plays a memorable and active part in the plot.

Rebecca Ferguson's Ilsa Faust was an addition I wasn't sure of going in, never having seen her act before, but I couldn't help growing to care for her character very fast. She had a great screen presence. Being so gorgeous didn't hurt, but it really was something about her essence that was both elegant and commanding that catches your attention -- and the camera's. She wound up being a very memorable and involving addition.

Photos do her surprisingly little justice compared to film. That dress though. So epic.

M:I movies require both heist/con events and purebred action events, but this one leans heavily towards the pure action side. There are two heists, one secret mission, and a con, but for the most part the film concentrates its focus to the action side of these. The secret mission had the classic small-time heist feel. The main heist was great -- well-planned and well-executed with that classic "just in time" tension, and minimal improv. The con was action-heavy, and epically satisfying. And in between each of those, there was a chase scene.

The format of these movies is tightly-packed awesomeness, and Rogue Nation has the most awesomeness per square minute out of them all so far. It really blows the mind how many various action-flick must-haves are included. I don't think one action cliche was overlooked to be added to the plot, and then turned on its head to feel fresh and original. You should have seen me grinning like an idiot during the big car chase. The opening was tight and stylish perfection, setting the perfect tone, and the climax was downright magnificent and it knew it.

The only impossible thing about this movie  is the likelihood of you not getting totally involved in the over-the-top awesome fun, everywhere it takes us.

The comic relief was so common throughout, with hit cracks one after the other that they gave this movie the feel of actually being a comedy. Of course Simon Pegg effortlessly steals the spotlight in this section, with the four or five topmost hilarious lines, but everyone does the comedy, and does it well. Tom Hollander shows up at one point and seems to have been cast solely for his epic comedic abilities. The comedy does fade down considerably though as the third act begins and the building drama breaks through the surface. It doesn't feel like an unnatural tone change though, because this is the way of M:I movies. When the seriousness comes, it is welcome, giving the film one last boost of energy that it rides to the end, and giving the film that deeper quality that rounds it out, and makes it the ideal, impossibly grand action adventure.

This epic, epic, smart, hilarious and totally involving fifth installment is, without a doubt -- for Tom and co. and for Ethan and co. -- another mission: accomplished.