Directed by:
Brad BirdCinematography:
Robert ElswitComposer:
Michael GiacchinoCast:
Tom Cruise, Paula Patton, Simon Pegg, Jeremy Renner, Michael Nyqvist, Vladimir Mashkov, Samuli Edelmann, Ivan Shvedoff, Anil Kapoor, Léa Seydoux, Josh Holloway (more)VOD (4)
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The IMF is shut down when it’s implicated in a global terrorist bombing plot. Ghost Protocol is initiated and Ethan Hunt (Tom Cruise) and his rogue new team must go undercover to clear their organization’s name. No help, no contact, off the grid. You have never seen a mission grittier and more intense than this. (official distributor synopsis)
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Reviews (13)
The concern that Bird, who undoubtedly has a liking for technology, would bury the franchise that Abrams jump-started under a pile of modern gadgets was unfounded. High-tech gadgets are the last thing that the participants in this experiential journey to the roots of the franchise can rely on, though they encourage the film’s most inspiring contemplation on the relationship between the copy and the original, between virtual action and its real consequences (the manifold duplication of reality – one sequence even involves the creation of a situation that is just coming together – smacks of a Baudrillard-esque simulacrum; the scene of controlling Brandt with a hovercraft works with an extreme form of computer simulation, when the life of a person depends on technology). ___ Inoperable technology and lack of time force the agents to come up with alternative solutions on the fly, which slightly undermines the otherwise unshakable certainty that everything will turn out well and no one important will come to harm. During Hunt’s perilous feat of skyscraper-climbing – a more adrenaline-fueled version of Harold Lloyd’s brilliant Safety Last! – my hair seriously stood on end a few times despite the cartoonish exaggeration when the protagonists laugh at the fact that if something goes wrong, in the worst case they will die. Animated films and classic slapstick can be “sensed” in most of the action scenes with animate objects (the gloves), brilliant gradations (jumping on the train) and geometric use of space (the climax with parallel use of multiple directions of movement). Even without the stereoscopic effect, the steep ascent followed by a descent induces nausea similar to that experienced on a roller-coaster ride. ___ Before Pixar started making action movies, the perfect balance of suspense and humour was the domain of Bond films, but after the reboot with Daniel Craig, the Bond franchise became more serious and cleared the field of expensive, bombastic entertainment for others. Mission: Impossible doesn’t have a comparably charismatic protagonist in Cruise, but the screenwriters do an excellent job with exaggeration within the bounds of tolerability and artful creation of BIG action-packed situations. Bird helps to patch the bigger holes in the logic (could they really not have waited for the Dubai deal to take place and then follow the people involved?) by directing the action scenes and the screenplay with self-referential moments (“light the fuse”, the recording doesn’t self-destruct, “Mission accomplished”). ___ Because of their status as undesirables, the protagonists lack a firm background. As a band of outcasts (as opposed to the individual renegades that are currently in fashion), they have to be constantly on the move and deal with their private matters while they’re on the run. It would benefit the film if they didn’t address those matters and thus disrupt the professional prioritisation of global interests over the characters’ own personal interests. Also, because of the flashbacks, which slow the film’s pace, the narrative is not the most cohesive. It doesn't keep us in constant suspense as to what’s coming in the next minute and it comes close to being another manifestation of the syndrome that afflicts so many contemporary animated films, in which the piling up of attractions replaces a more well-thought-out narrative structure. It also lacks a more loathsome villain (Nyqvist isn’t bad, but he isn’t given appropriate space) and a more impactful climax (just an airbag commercial followed by a theatrical “fizzling out”), but it’s still the fastest-paced action film made in Hollywood this year. 80%
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Everything I could ask for from an action movie. Well-written dialogues, detailed scenes that wait calmly for half an hour before engaging some of the indicated elements, a polished visual, and a soundtrack that reflects the subtle irony and exaggeration of the whole spectacle. Two hours of dynamism, invention and infiltration, each with more ideas than any previous MI as a whole. Finally, it doesn't take itself too seriously and it bets on only one big currency - spy entertainment. The best MI and overall one of the best and most unique blockbusters of recent years. Thumbs up for Brad Bird - he sees action differently. Where others would bet on monumetality and quantity, the director plays with the perfect execution of de facto relatively tight scenes, the spectacularity of which does not lie in the number of explosions, but rather in the intelligent use of scale and utilization of the environment. Bird just sees better.
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The most compelling evidence for why we should adore Abrams. This Scientology production tinsel may have inherited most of its predecessor's hallmarks, such as adrenaline-pumping action and plenty of teasing of past films, but it neglected to add at least a drop of itself to it. Neither the BMW prototype nor the protagonist's breasts stay in your head longer than the legendary opening countdown lasts; there’s zero work with the villain, the plot isn’t very catchy, and the premature climax of everything that was already done in Dubai is Bird's sole responsibility.
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It is true that the MI franchise is one of the few where each episode has a completely different directorial style. The first was the most spy-driven ride, the second had an action-packed poetic feel (which many did not appreciate), the third focused on physicality and kinetic action, it is interesting to see which direction the next episode will take. Or in other words, it was a great challenge for Brad Bird to figure out how he actually wants to play this game. The fourth episode bears the closest resemblance to the third, but I’m not convinced that it reaches its quality. Cruise is insane, his stunts are over the top. The action is perfectly shot, especially the adrenaline-filled finale in Dubai and the car chase scene (both briefly shown in the trailer). There’s plenty of physicality as well, but unlike the third film, it’s more focused on details and moments. I didn’t feel immersed in the whole film, and that is a bit disappointing, but, Abrams is Abrams. The emphasis here is on the team (excellent cast and chemistry) and that is good. Facing the world alone for the fourth time would not be the same. The cameos are okay (Sawyer from Lost and Ving Rhames at the end really hit the mark). It's a ride, probably the fastest action film of the year, with Tom at his finest. Perhaps a bit too mainstream (BMW, iPhone), but that's something you have to take into account in today's marketing era. I would go to the cinema again. It's not as “real” as the previous episode, but it stands up well. Ethan Hunt on this wave – that's totally fine. PS: The sequence in Dubai is possibly the most captivating stunt scene ever.
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How peculiar that a director who had previously worked in the field of animation brought a necessary breath of fresh air to the action genre, which had become dependent on the post-Bourne chaos cinema style. Bird’s Pixar movies abound with astonishing action sequences built on the clarity of the scene, long shots and the interconnection of the action with the setting and its elements. Bird brings the same qualities to Ghost Protocol. Replacing animation with live action enhances the strengths of the medium, thus bringing back the attraction of physical action. At a time when blockbusters are rather cartoonish CGI mess with the deepfaked faces of live actors, Bird had Tom Cruise climb the façade of the world’s tallest building. Similarly, the brilliantly designed and always spatially uncluttered chase through a sandstorm is an expressive counterpoint to the cluttered mess of scenes composed of tremendously brief shaky-cam shots that have inundated big-budget action productions in recent years. In comparison with the dark, tense and sophisticated nature of the competition, particularly movies based on comic books, Ghost Protocol also offers a big, longed-for dose of exaggeration and light-heartedness. In addition to that, Bird manages to combine all of the aforementioned elements into brilliant sequences abounding with inventiveness, charming humour, physical action, playful interactions between the actors and a surreal upgrade of the technological gadgets. If what remained of the third Mission: Impossible in the audience’s memory was the playing with expectations and building of suspense with no action sequences, the fourth instalment does not rely on its twists and turns, as its action passages (not only the Burj Dubai and the robotic parking lot, but also the sequences in the prison and the corridor in the Kremlin) rank among the absolute best of the genre.
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