With this week’s release of an entry in a blockbuster action franchise the old adage of seven being a lucky number will truly be put to the test. Now it’s not the highest number franchise as we’ve gotten FAST X or the longest running like the big flick from almost two weeks ago, INDIANA JONES AND THE DIAL OF DESTINY (way back in 1981). Of course, we can add on the inspiration for this series, actually a TV series (overseen by Lucy…really) which exploded onto the airwaves way back in the prehistoric era (nah, merely 1966). Oh, but this “tentpole” has catapulted well past its “network” roots. Still, it’s tough not to hear that infectious theme music from Lalo Schifrin when taking in this rather long title (but thanks, Paramount, for being “upfront” about it) MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE. And now I’m seeing that sizzling fuse in my head.
Surprisingly this new installment doesn’t begin with the finale of another caper involving the IMF (Impossible Missions Force). Nope, we’re on board for the last cruise (‘natch) of an “invisible” Russian submarine. Advanced top-secret stealth capabilities really, completely undetectable. But not indestructible as two prized interlocking keys are left floating in its wreckage. This leads to a new mission, which he “chooses to accept”, for IMF ace Ethan Hunt (Tom Cruise), who is sent to the Namib desert for a deadly reunion with old cohort Ilsa Faust (Rebecca Ferguson). Soon he’s back in the States as a “hush-hush” meeting of “the Community” outlines the urgent need for said keys. It’s the only way to stop a now rogue AI program called “the Entity”, which has become sentient and desires to use the world wide web to take over the planet. Hunt’s boss Kitteridge (Henry Czerny) is present, along with his superior, DNI head Denlinger (Cary Elwes). Learning of Hunt’s involvement, he sends out a team led by Briggs (Shea Whigham) and Degas (Greg Tarzan Davies) to stop the IMF. Reuniting with his teammates and pals, Luther (Ving Rhames) and Benji (Simon Pegg), Hunt travels to the Abu Dhabi airport to intercept a key transfer. Said item is snatched away by pro pickpocket/ “drop-pocket” Grace (Hayley Atwell). But Hunt also has to deal with the return of an old enemy, the ruthless and deadly Gabriel (Esai Morales), who’s helping the Entity. This leads to a globetrotting race for the keys, with stops in Rome and Venice, battles with Gabriel’s aide, the deadly Paris (Pom Klementieff), and a tense showdown by another woman from Hunt’s past, Alanna AKA “the White Widow” (Vanessa Kirby). Eventually, everything and everyone converge on a heart-stopping ride aboard the Orient Express (with no Belgian master detective to help). Perhaps this is a mission that’s truly impossible.
This thriller boasts an impressive acting ensemble, but once again this is Mr. Cruise’s show. In the previous sextet, he’s more than proved his skills in selling spectacular action stunts. However, Ethan is not merely a “daredevil. We see some of his warmth and committment to his team, while forging a couple of possible romances. Plus he injects humor into these dire predictaments as he quickly “switches gears” when plans go awry, and even shows a sign of panic as he works up the “nerve” to plunge forward. And then Cruise shows us that the “superspy” is a man of principals when he decides to block the “higher-ups” who lust after the Entity. As mentioned earlier, his sometimes squabbling duo has is back. Rhames as Luther is often the wise and grounded elder mentor, sort of the “cool uncle” , while Pegg as Benji is the often over-excited and exasperated “kid brother” who only gets “in the field” when absolutely needed. Ferguson is quite dynamic and decisive as the skilled Faust, while Kirby is slinky and sexy as the unpredictable “wild card” Alanna. Probably the best of the “newbies” is Atwell, upending her MCU Peggy Carter persona, as the “in it for the bucks” Grace who slowly starts to regain her ethics due to the influence of the IMF and especially Hunt (and yes, there’s a playful chemistry between them). As for the “opponants”, Wigham and Davis are very good as the “by the books” partners who seem to always be a step or two behind Hunt, earning a begrudging respect from the elder agent. But the biggest “baddie” is Gabriel played with a chilling dead-eyed glare by Morales. He’s a near-unstoppable force of villainy, who doesn’t hesitate in inflicting violence against anyone, especially Hunt’s friends (it appears to be his only source of pleasure). A good counterpoint to this “weapon” is Klementieff’s Paris who does derive lots of joy from the chaos she creates. Czerny is quite effective as the morally ambiguous IMF chief, who seems to have his own sinister agenda, while Elwes is “carving a niche” for himself as a smarmy bureaucrat who’s in need of a comeuppance.
Taking the directing chair for the third time is Christopher McQuarrie who keeps the story moving with nearly as much energy as one of Cruise’s manic sprints (yup, he’s burning up the “shoe leather” once again) making it feel like half of its163-minute runtime. Yes, the bulk of the flick consists of several big action sequences, but McQuarrie doesn’t let them veer too much into the “silly” or needlessly repetitive. The Rome chase is full of twists and even allows for some nice “interplay” between Hunt and Grace (hear that, FAST X). And the “tiny car” comedy outdoes Indy’s trek in Tangiers. Speaking of Dr. Jones, the Orient Express train sequence easily bests the DIAL WWII prologue (which is perhaps its best moment). And the Venice “techno dance arena” here has more gravitas than the similar setting in the recent John Wick opus. But unlike many of those other recent blockbusters, there’s lots of fun to be had in between the fighting and driving as we get a greater understanding of the bond between the IMF, who now seems to be a mix of the A-Team, the Lone Ranger, the Magnificent Seven, and a touch of the Avengers (movies and TV show). Sure the locations are stunning, but the main selling point continues to be Cruise’s insistence in doing as much of the stunt work as possible. He wants us to know that he’s not “chilling” in his trailer. It’s almost as though he’s the modern-day version of the silent movie “thrill” comic actors. Of course, Jackie Chan touched on that with his Chaplin-like agility in his early career, but Cruise takes it a bit further. In GHOST PROTOCOL, he’s riffing on Harold Llyod in SAFETY LAST as he climbs that towering skyscraper. With the big railway finale here, I was reminded of Buster Keaton’s THE GENERAL. And like those classics, many of the scenes will have you gripping those armrests. In short, this is a most worthy addition to the series, mixing a “ripped from the headlines” menace/McGuffin (Y’know, AI “creating art”) with new locales and deadlier dangers. Oh, and again, extra kudos for stating that the story is continued, right up front in the titles and promotions. FAST X, ends on a cliffhanger leading to a couple more flicks (sheesh), and I love the new SPIDER-VERSE dearly, but they shouldn’t have lost the “sprayed-on graffiti-style” Part One after the first couple of teasers and a few toys. So, be like this flick and “put it out there”, studios! If only all the Summer blockbusters were as forthright, exciting, and fun as MISSION IMPOSSIBLE: DEAD RECKONING PART ONE. Now, when does two arrive?
3.5 Out of 4
MISSION IMPOSSIBLE: DEAD RECKONING PART ONE is now playing in theatres everywhere
