Directed by:
Christopher McQuarrieScreenplay:
Christopher McQuarrieCinematography:
Robert ElswitComposer:
Joe KraemerCast:
Tom Cruise, Simon Pegg, Rebecca Ferguson, Jeremy Renner, Ving Rhames, Alec Baldwin, Sean Harris, America Olivo, Simon McBurney, Jingchu Zhang, Tom Hollander (more)VOD (4)
Plots(1)
With his elite organization shut down by the CIA, agent Ethan Hunt (Tom Cruise) and his team (Jeremy Renner, Simon Pegg, Ving Rhames) race against time to stop the rise of a new global threat, The Syndicate, a dangerous network of rogue operatives turned traitors. To stop them, Ethan must join forces with an elusive, disavowed agent (Rebecca Ferguson) who may or may not be on his side as he faces his most impossible mission yet. (Paramount Pictures)
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Reviews (13)
Mission: Impossible – a nation of bastards in a glass cube: the best villain in the history of the series, the best car chase since the third Bourne, the most dangerous James Bond on heels of all time, hi-tech and retro, slow and furious, brilliant minimalist finale and Tommy Boy in the best form of his life. In the end, I roared with bliss like tur (andot). It’s different than the architecturally decorated part four, but still bad-ass. This is why you go and stare at an unreasonably large screen. Spectre is going to have a really hard time.
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It's as if I were seeing on the screen my first spies, my first car chase, my first badass fight scene. As if Christopher McQuarrie were in a room I know well, using Ethan Hunt's hand to open a door that has been carefully hidden. And as if beyond it, a game is afoot from the old school, where there is room for London fog, surprising paraphrases of Casablanca, and in the spirit of the series, even truly impossible missions, above all with a water tank where I was almost holding my breath for the main hero at the end. Before viewing, I didn't have much hope for stepping in the same river a fifth time, so getting up from this ever more appealing team is getting tougher and tougher. Welcome to the IMF.
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An elemental blockbuster mixing old style with modern, where every blow hurts a lot and gives out a good meaty slap. The shots of Rebecca Ferguson are an ode to legs and Tom may be getting old, but he’s getting harder with age in action scenes (because it looks better), and he knows how to make fun of himself. McQuarrie’s screenplay is a really classic British school spy chase movie that often goes against the standard procedures for the series. The action is first-rate, the editing is a joy to watch (the opera) and my teeth were chattering from the antics in Morocco. I look forward to watching it again. If you managed to read to the end of it, this review will self destruct in 5 seconds...
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I cannot deny that I really enjoyed Rebecca Ferguson and all that neatly shot, imaginative and various actions scenes without overt-the-top CGI (especially the motorcycle scene is simply perfect), but what is the best thing about it (apart from Rebecca Ferguson, of course) is the final minimalist personal London third, when it definitely turns into a classic British-style spy film, where the well-written characters (not only in terms of action blockbuster) mess with each other using dialogs "I know that you know and you know that I know" at the airport, in the room or on the restaurant terrace, and it completely does without any action. And it works, because it's not silly at all, while respecting the principles of the genre, and McQuarrie makes you forget that twenty years ago, in terms of script, he was able to do with one room and unfortunate narrator. As you can clearly see from this, he was mainly concerned about the characters and the plot and the action and tinsel were sidelined; which is an unprecedented thing for a summer popcorn movie, which in fact it is not.
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The strength of the Mission: Impossible franchise has always been the combination of clear constants and creative deviations between individual instalments. Iconic elements had already been established by the original television series (the disguises, assignment of missions with messages that self-destruct, the burning fuse), and the movies use these original attractions as identifying elements that can be altered or simply set aside. The individual films place greater emphasis on the distinctiveness of style and inventive action sequences, both of which are provided by the fluctuation of the directors. In this respect, the fifth film of the franchise is precisely crafted but, at first glance, it is seemingly the least distinctive of the M:I movies. Judging from his work as screenwriter, Christopher McQuarrie gets along very well with Tom Cruise and has precise command of the filmmaking craft, but he is not a filmmaker with a distinctive formalistic signature or a clear concept of action sequences. With the precise spatial arrangement of the action scenes and the inventive interconnection of those scenes with attractive settings, McQuarrie’s Mission: Impossible picks up where Brad Bird left off. However, the distinctiveness of Rogue Nation and thus the benefit of having the screenwriter in the director’s chair are reflected in the dialogue, as well as in the interaction of the characters and their motivations. More than in the previous instalments, this time the story relies more on teamwork and thus loyalty, friendship and professional ethics, which form the foundation of the key narrative twists and are embodied in the fascinating, ambiguous character of Ilsa Faust. Ilsa draws attention to herself not only due to the charisma of the actress portraying her, Rebecca Ferguson, but also as the prototype of a new action heroine. Not only is she equal to the main protagonist in terms of ability and tenacity, thus forming a perfect professional team with him, but she also doesn’t slip into any traditional clichés and takes on some key privileges of her male colleagues (rescuing the hero, the final fight). In fact, she superbly balances between charm, toughness, exaggeration and fatefulness, flawlessly epitomising the entire film and its personality. ____ P.S. Who would have thought that an ambitious character actor would become the Hollywood equivalent of Jackie Chan (from the golden era of Hong Kong cinema)? And, what’s more, in an era when American cinema does not have any action stars, at least not the kind whose name is synonymous with or guarantees a certain type of attraction. Starting with the fourth Mission: Impossible, interviews with Cruise and making-of videos absolutely evoke Jackie Chan’s ethos. Like Chan, Cruise emphasises that the breakneck sequences and the permanent exposure of himself to real danger are done for the viewers and their sense of amazement. From Ghost Protocol to Rogue Nation, Cruise’s passion, determination and fanatical hard work deserve all the more recognition for forcing the competition to also back away from deceiving audiences with computer-generated sequences and camera flourishes, thus making Mission: Impossible the vanguard of a new era of spectacular action films.
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