Are you contemplating whether to embrace the latest installment of “Mission: Impossible”? Perhaps you’re growing weary of the excessive spectacle dominating the silver screen these days. However, let’s view it from a different perspective: Do you genuinely wish to let down Tom Cruise?
On the inaugural day of filming for “Mission: Impossible – Dead Reckoning, Part One,” Cruise fearlessly propelled himself off a genuine Norwegian cliff measuring 4,000 feet, while straddling a motorcycle, and gracefully descended with a parachute. He undertook this daring feat for your sake. The least you can do to express your gratitude is to indulge in his movie, wouldn’t you agree?
If you do succumb to temptation, prepare to be enthralled—an adrenaline-pumping experience that never loses its momentum. This cinematic triumph will transport you from the icy expanses of the Bering Sea to the heights of Abu Dhabi International Airport’s rooftop, and the labyrinthine alleys of Venice.
Prepare yourself for a captivating array of action-packed moments, as “Mission: Impossible – Dead Reckoning, Part One” delivers a plethora of face masks being dramatically torn off, a thrilling car chase through the streets of Rome, an adrenaline-fueled shootout in the vast desert, a gripping sword fight taking place on a bridge, and an intense, heart-pounding runaway train sequence that may surpass anything witnessed in the franchise thus far.
Early on, a character utters the words, “This is getting exciting,” and you’ll wholeheartedly concur.
Christopher McQuarrie, who not only directed this spy series for the third time but also contributed to the screenplay of Cruise’s “Top Gun: Maverick,” returns to helm the film. He has also brought back familiar faces such as Rebecca Ferguson, who reprises her role as the love interest and fellow spy, along with the comic relief duo of Simon Pegg and Ving Rhames. Vanessa Kirby portrays The White Widow, while Henry Czerny embodies the slimy character Eugene Kittridge.
Among the newcomers, Esai Morales assumes the role of a formidable villain, exuding pure malevolence, and Pom Klementieff shines as his psychotic aide. Hayley Atwell makes a remarkable debut, portraying a skilled thief who also happens to be a potential romantic interest for Ethan Hunt, portrayed by Cruise himself. (If you find the abundance of love interests overwhelming, your observation is astute.)
This time, the antagonist isn’t a person but rather a rogue manifestation of conscious artificial intelligence, wreaking havoc by infiltrating the computer systems of every nation. It represents a vivid Hollywood vision of this emerging technology, possibly serving as a critique of CGI as well. This AI possesses the ability to disrupt every digital device, holding “the power to bring the world to its knees,” or at the very least, regress it to a pre-internet, analog state. It is an enigmatic and omnipresent enemy, referred to by the filmmakers with the seemingly harmless nickname, The Entity, leaving its nature open to interpretation and lending an existential threat to the narrative.
With “Dead Reckoning” being labeled as “Part One” in its full title, it follows the trend of action franchises embracing multi-part story arcs, akin to “Spider-Verse” and “Fast & Furious” earlier this year. The film introduces a two-part special key as a crucial plot device that becomes the object of desire for Cruise, the thief/love interest, a U.S. Special Operations team, the villainous Gabriel portrayed by Morales, and the arms dealer known as The White Widow. The key swiftly changes hands, stolen, pickpocketed, and seized, akin to an unwanted Secret Santa office gift.
But what makes this key so significant? It holds a vital role in the plans of the AI, and its estimated value is a seemingly modest $100 million, although its true worth goes beyond monetary value. “The fate of the world rests on finding whatever the key unlocks,” as we’re informed. Luther, played by Rhames, cautions his friend, Ethan, with the remark, “Ethan, you’re playing fourth-dimensional chess with an algorithm.”
While previous “Mission: Impossible” installments occasionally portrayed Hunt as somewhat robotic, this time the filmmakers allow his humanity to shine through. Cruise delivers moments of delightful annoyance as he finds himself relegated to the passenger seat while his car recklessly careens backward through the streets of Rome, resembling an exasperated driving instructor at the end of a long day. He also exhibits a tender side in Venice, where he shares intimate moments with Ferguson as they embrace in the twilight and hold hands on a gondola.
Speaking of the thrilling car chase in Rome, which marks the second time this year that the iconic Spanish Steps have been shattered by a bold and imposing U.S. franchise, we’re treated to the delightful sight of Cruise and Atwell handcuffed together, zipping along in a tiny vintage yellow Fiat 500.
Amidst the exhilarating pursuit, Atwell humorously asks, “Is anyone NOT chasing us?”
All the parties involved converge at one of those grand, opulent Eurotrash dance parties, featuring dim lighting, pulsating rave music, and dancers writhing on platforms—a spectacle that only Hollywood seems to adore. This particular sequence, although recently outdone by “John Wick: Chapter 4” in Berlin, adds another layer of intrigue to the film.
Having commenced filming prior to the pandemic and boasting a runtime of two and a half hours, the movie reaches its climax with Cruise’s daring motorcycle leap, followed by a breathtaking fight sequence atop a steam train. The tension escalates further as a derailment forces the protagonists to navigate their way vertically through railcars, evading obstacles such as debris, adversaries, and even, in a clever move, a falling piano.
Could you possibly decline this mission? After all, Tom Cruise essentially flew for your entertainment. It would be impolite to leave him hanging.
“Mission: Impossible – Dead Reckoning, Part One,” a Paramount Pictures release exclusive to theaters starting Friday, is rated PG-13 for its “intense sequences of violence and action, some language, and suggestive material.” With a running time of 156 minutes, it garners three and a half stars out of four.
