'Mission: Impossible - Dead Reckoning Part One' Review

Synopsis: Ethan Hunt and the IMF team must track down a terrifying new weapon that threatens all of humanity if it falls into the wrong hands. With control of the future and the fate of the world at stake, a deadly race around the globe begins. Confronted by a mysterious, all-powerful enemy, Ethan is forced to consider that nothing can matter more than the mission - not even the lives of those he cares about most.

Runtime: 163 minutes

MPAA Rating: PG-13 (for intense sequences of violence and action, some language, and suggestive material.)

Who should see it? Fans of Tom Cruise and the Mission: Impossible franchise.

Directed by Christopher McQuarrie with a screenplay from McQuarrie and Erik Jendresen, Mission: Impossible - Dead Reckoning Part One is the seventh entry in the long-running spy series. Mission: Impossible - Fallout broke a Mission: Impossible tradition as McQuarrie became the first filmmaker to return. Flashforward to today, and he is currently in production on his fourth Mission film (Dead Reckoning Part Two). While I somewhat miss the change-off, I think McQuarrie and Cruise work very well together. McQuarrie understands the ethos of Mission: Impossible.

The beating heart of McQuarrie's Mission: Impossible set pieces is that action informs character and vice-versa. Based on Ethan Hunt's response to the most harrowing circumstances, the audience understands his idealogy. Then, compelling conflict is drawn from testing these values and pushing Hunt to his limits. From the very beginning, Mission: Impossible has been about the power of choice. After all, each mission starts with the tagline, "Your mission, should you choose to accept it..." Dead Reckoning faces that dilemma head-on as Hunt and his team are up against their greatest adversary yet. Though I'm sure that sounds like a cliché buzzword, there's an elaborate shroud of mystery around this new threat who has greater ambitions than inciting a nuclear war. And I found that incredibly refreshing.

Over twenty-seven years, Mission: Impossible has steadily progressed from a series of espionage thrillers to stunt-oriented action blockbusters. Since Ghost Protocol, the marketing for each new chapter has focused on how Tom Cruise would be putting his life on the line in more insane and entertaining ways. While that trend continues in Dead Reckoning, McQuarrie also brings the franchise back to its roots. Dead Reckoning contains the relentless thrills of recent entries and the Hitchcockian intrigue of the original. McQuarrie and Cruise take everything you love about Mission: Impossible and dial it up to eleven. In many ways, it's a culmination of everything that came before it. Before proceeding, I'd be remiss not to acknowledge Lorne Balfe's propulsive and percussive score. I've obsessively listened to Balfe's Mission: Impossible - Fallout soundtrack since 2018 and was blown away by his work here. 

Concerning action, Dead Reckoning delivers the goods. The centerpiece stunt this time around involves Tom Cruise driving a motorcycle off a cliff and parachuting in to reach his objective. It's just as crazy as it sounds and will leave you holding your breath when Cruise enters freefall. Cruise also drives one-handed while handcuffed for an extended chase through the streets of Rome, engages in close-quarters combat in a narrow Venice alleyway, speed-flies through a ravine (an advanced and unpredictable form of paragliding), and fights atop a moving train in Norway (perhaps a cheeky nod to the original). Tom Cruise's commitment to practical action has always set Mission: Impossible apart in a crowded blockbuster landscape. What some consider a gimmick is actually the franchise's greatest asset.

In a world where studios have become over-reliant on green screen and digital effects as a cost-cutting measure, Tom Cruise is one of the last movie stars championing good old-fashioned authenticity. Not to say visual effects aren't used in the Mission: Impossible series and don't have their place. There's a common misconception that movies marketed around their practicality don't employ CGI (ie. Top Gun: Maverick, prior Mission entries, or any of Christopher Nolan's films). Mission: Impossible - Fallout had 1,800 vfx shots, and I wouldn't be surprised to learn Dead Reckoning had even more. But these effects aren't noticeable because they're so scarcely used and reinforce the action captured in-camera rather than replace it. A genuine sense of danger is present in the Mission movies because Cruise faced those predicaments. Cruise always finds a way to realize the impossible, and I respect him so much for going the extra mile.

At the risk of regurgitating praise for Tom Cruise, Ethan Hunt is deservedly one of his defining roles. Cruise's desire to push himself further with each new mission is readily apparent. Stuntwork aside, Cruise unleashes his dramatic chops and unrelenting intensity to great effect once more. Dead Reckoning enlists a few fresh faces, but chief among those is Hayley Atwell as Grace. Atwell quickly proves herself to be a noteworthy addition to the ensemble as a central figure with compelling characterization and great rapport opposite Cruise. She rightfully garners much of the spotlight and earns second-billing right under Cruise. I won't say any more about her character for the sake of avoiding spoilers.

Returning to aid Hunt in another rogue crusade, the dependable trio of Rebecca Ferguson, Simon Pegg, and Ving Rhames each have their moments to shine. Par for the course, Ferguson's Ilsa Faust finds herself in the thick of the action as Pegg and Rhames lend technical assistance. Other returning characters include Vanessa Kirby's enigmatic White Widow and Henry Czerny's dubious Eugene Kittridge. Kittridge hasn't been seen since the original Mission: Impossible, so his involvement brings everything full circle in many respects. At Kittridge's disposal, Shea Whigham and Greg Tarzan Davis are other great additions to this franchise who I hope to see more of in Part Two. 

On the antagonistic front, Ethan Hunt faces a formidable and mysterious opposing force in Esai Morales' Gabriel. Gabriel is a unique villain for the series with unconventional motives and ruthless efficiency. In Gabriel's right hand, Pom Klementieff's Paris is an especially memorable henchwoman. McQuarrie cleverly ensures the conflict between Ethan and Gabriel is personal while the stakes are monumental. Audiences are clued in just enough to grasp Gabriel's objective and idealogy but McQuarrie holds back any substantial backstory to preserve the shroud of intrigue.

By now, you should know the drill. Your mission, should you choose to accept it, is to see Dead Reckoning on the largest screen possible. Mission: Impossible - Dead Reckoning Part One defies all odds and continues the series' upward trajectory, excelling at everything this franchise is known for. It's action filmmaking at its finest. Christopher McQuarrie and Tom Cruise fire on all cylinders and I cannot wait to see what they have in store for Part Two!

Film Assessment: A+

'Doctor Sleep' Review

Apologies for the long hiatus. In October, my free time was consumed by either a trip to the cinema or anxious viewings of postseason Astros games. In fact, I've found myself often facing a similar dilemma throughout the year. There are a total of 29 2019 releases I've seen and neglected to review. Therefore, it was daunting for me to approach returning to write about them all. However, I developed an idea that will enable me to catch up efficiently.

I've decided to start summarizing what I watch every month in a new post format. I will continue writing reviews for major releases which I feel warrant thorough analysis. I'll relay my thoughts on the remainder in approximately a paragraph via a Reel Recap. The first few Reel Recaps will be divided into April-August, September, October, and November. Beginning with November, they'll be posted once-a-month at the end of each month or the beginning of the following month. As I start my career, I view this as the best way for me to maintain the blog going forward. To my readers, I appreciate your patience and hope you continue to follow along. Let's move on to the review now, shall we?

'Doctor Sleep' Review

Synopsis: Struggling with alcoholism, Dan Torrance remains traumatized by the sinister events that occurred at the Overlook Hotel when he was a child. His hope for a peaceful existence soon becomes shattered when he meets Abra, a teen who shares his extrasensory gift of the "shine." Together, they form an unlikely alliance to battle the True Knot, a cult whose members try to feed off the shine of innocents to extend their lifespan and become immortal.

Runtime: 151 minutes

MPAA Rating: R (for disturbing and violent content, some bloody images, language, nudity and drug use)

Who should see it? Adult fans of Stephen King and The Shining.

Written and directed by Mike Flanagan, Doctor Sleep joins the recent resurgence of feature-length Stephen King adaptations and legacy sequels by furthering the story of The Shining. Though The Shining is widely considered the most celebrated horror ever made, King infamously hated Stanley Kubrick's iteration, leaving Flanagan in a precarious position. How could he possibly follow up such an influential classic in a way that would satisfy fans of Kubrick's film and King's respective novels? It's a tall order, but Doctor Sleep bridges the gap between King and Kubrick.

Tonally and thematically, Doctor Sleep aligns with the world established by Kubrick. However, Flanagan differentiates from his predecessor by emphasizing the story's supernatural elements. The "shine" is explored in greater detail, but Flanagan also keeps a veil of mystery over these abilities while expanding the universe. He carefully treads along a fine line but leaves enough ambiguity to satisfy the audience's imagination. Thankfully, this approach is applied to The Shining's other cryptic details as well, so you needn't worry about unnecessary answers to 39-year-old questions. 

Some questions are best left unanswered, and I'm appreciative Flanagan recognized that. Of the lingering storylines, the predominant thread Flanagan tugs on is the manifestation of Dan Torrence's trauma. In his adult years, substance abuse helped Dan cope with that distressing experience. Now a recovering alcoholic, Dan must struggle to resist his father's trajectory as demons from his past resurface. Dan's journey is undoubtedly the film's most compelling narrative. Despite tempered expectations, I felt mixed about certain aspects. Much like It Chapter Two, the two-and-a-half-hour runtime is too long for the story being told. In that time, Doctor Sleep juggles plenty of plot and occasionally drags.

Though my primary qualm is that I wish Doctor Sleep were more standalone. In a drawn-out third act, Flanagan is over-reliant on homages to The Shining. They contribute to a cathartic resolution of Dan Torrence's arc but felt ham-fisted in select moments. A dialogue must exist between the two, but the conversation was too one-sided in the original's favor. It seems as though Flanagan was so indebted to The Shining's legacy, that he was reluctant to step out of its shadow. The iconic scene recreations are executed very well, and the production designers did a phenomenal job recreating pristine and rundown versions of the Overlook Hotel. Otherwise, the visual effects looked cheap and unrefined at times while The Newton Brothers' score encapsulated an eery atmospheric sound befitting of this sequel.

That said, Ewan McGregor turns in his best work in years exploring the tortured soul of Dan Torrence. McGregor's in the midst of a renewed career path, and I'm keen to see what he brings to an older Obi-Wan Kenobi in the upcoming untitled Obi-Wan Kenobi series on Disney+. On the flip side, Kyliegh Curran joins the ranks of young talent to keep an eye on. Curran portrays Abra with an assuredness well beyond her years, but also quickly reverts to the fear-stricken teen when the character's outmatched. The role's quite demanding, and she wholeheartedly steps up to the task.

As Rose The Hat (yes, her actual name), Rebecca Ferguson commands attention from the moment she arrives onscreen. The supernatural cult-leader makes for an alluring antagonist about as evil as the Overlook. It's a hypnotic performance, and her band of devotees is as creepy as they come. Concerning other cast, I'd rather not spoil anything. However, a renowned child actor's cameo caught me off guard and registered strongly with minimal screen time.

Fear not Shining fans, the original's legacy has not been "[de-]redrum." Between the gripping performances and quality filmmaking on display, Doctor Sleep proves itself more than worthy of carrying on that legacy. This sequel shines alright, but it could shine even brighter if it were whittled down in the editing room and less reliant on Shining imagery.

Film Assessment: B

'Men in Black: International' Review

Synopsis: The Men in Black have always protected the Earth from the scum of the universe. In this new adventure, they tackle their biggest threat to date: a mole in the Men in Black organization.

Runtime: 114 minutes

MPAA Rating: PG-13 (for sci-fi action, some language and suggestive material)

Who should see it? Passionate fans of the Men in Black franchise.

Directed by F. Gary Gray with a screenplay by Art Marcum and Matt Holloway, Men in Black: International seeks to rejuvenate the series as a globe-trotting spy adventure on the heels of the three Will Smith/Tommy Lee Jones-led Men in Black features. Sony Pictures is a notoriously money-hungry studio, and it's been seven years since MIB 3, so it makes sense that the studio would be keen to prolong the series via a soft-reboot. On paper, you'd even expect that the talent involved would be able to produce something satisfactory. Gray's a successful filmmaker while Thor: Ragnarok co-stars Chris Hemsworth and Tessa Thompson are a promising pair with a pre-existing rapport.

Unfortunately, MIB: International never amounts to being anything more than a cookie-cutter summer blockbuster which was clearly made to cash in on an established franchise. Most sequels and spin-offs are developed with the intent of securing a healthy financial return, and there's nothing wrong with that in-of-itself. However, MIB: International is devoid of style, spirit, and personality. I take no issue with watching something formulaic, so long as it successfully implements said "formula," but MIB: International can't even do that. While MIB: International is inoffensive and competently made, I doubt I'll ever have an urge to rewatch due to its lacking entertainment value. 

The worst thing I can really say about MIB: International is that I deemed it bland and boring, which is blasphemy for a MIB entry. Men in Black isn't a sacred franchise by any means, but something is endearing about how weird and over-the-top those first three films were. Even the worst ones captured the ludicrous nature and nonsensical tone of it all. A universe in which aliens secretly inhabit Earth and are policed by a government agency is one that's ripe for expansion. MIB: International strives to do just that by introducing the London branch and visiting other international locales. These backdrops prove to be very inconsequential though, lending little of interest to the onscreen affairs.

Redeeming qualities are few and far between for MIB: International, but I did appreciate Marcum and Holloway's efforts to differentiate from the previous installments. Most notably, the dynamic between Agents M and H heavily contrasts J and K. M is a headstrong, knowledgable rookie while H is a top agent who lost his mojo. I considered that change-up refreshing, as MIB: International could have easily been a retread of its predecessors. In keeping with their onscreen personas, Thompson and Hemsworth offer their characters a degree of charm and likability. Kumail Nanjiani's Pawny was a pleasant addition while Liam Neeson, Emma Thompson, and Rebecca Ferguson hardly register due to lacking screen-time. Ultimately, the entire ensemble is restricted by a subpar script as characters dilly-dally for two hours.

If interested in seeing Men in Black: International, I'd recommend you break out your neuralyzer and forget that idea. Though well-intentioned and competently made, MIB: International joins this summer's expanding blockbuster roster of studio-mandated mediocrity. Your time and money would be better spent seeing Late Night, the other movie starring Emma Thompson which expands into theaters nationwide this weekend, and I'll soon share a review for it.

Film Assessment: C

'The Kid Who Would Be King' Review

Sorry for the delay on this review as I've been busy with schoolwork and rebranding the site. In fact, I've just recently finished updating the blog for the time being if you'd like to scroll and click around. If you now go to the "Movie Reviews" tab on the right side, you'll see newly designed banners with the brand new Film Assessment logo and the corresponding grade for ALL the films I've reviewed (my earliest reviews don't have grades though). Click on any of those banner images or the blue text above them, and you'll be whisked away to that review. 

In other news, this will be the first review in which I incorporate something new that I'll be including from now one. It's been recommended to me by some parents that I should mention somewhere how appropriate the respective film is for children, etc. The way I've chosen to address that is by adding supplemental information at the beginning of my reviews. I'll include a synopsis, the runtime, the MPAA rating (and why it's rated as such), and a sentence or two about who I feel should/could watch the film. I hope everyone appreciates these changes, but if you don't, you can always skip over that information and dive straight into the review! Also, let me know if you have any recommendations for other things you'd like me to incorporate into my reviews. I'll happily take your idea into consideration.

'The Kid Who Would Be King' Review

Synopsis: Old school magic meets the modern world when young Alex stumbles upon the mythical sword Excalibur. He soon unites his friend and enemies, and they become knights who join forces with the legendary wizard Merlin. Together, they must save mankind from the wicked enchantress Morgana and her army of supernatural warriors.

Runtime: 120 minutes

MPAA Rating: PG (for fantasy action violence, scary images, thematic elements including bullying, and language)

Who should see it? Appropriate for all ages, but young children may be scared by the undead army and Morgana.

Written and directed by Joe Cornish, The Kid Who Would Be King serves as the follow-up to Cornish's feature debut and cult classic Attack the Block. In his second feature, Cornish seeks to put his own spin on a familiar fantasy epic and modernize Arthurian legend for the Brexit generation. While audiences may have seen other modern interpretations of medieval mythology, The Kid Who Would Be King sets itself apart with a wholesome, imaginative approach. All the crucial components of the King Arthur story are present while Cornish also seizes his chance to playfully blend the contemporary setting with magic, medieval weaponry, and so much more! Much of the film's charm stems from Cornish's eccentric approach to visualizing magic. For example, in order for Merlin to conjure a spell, he must perform a series of elaborate hand gestures, claps, and snaps. It's quite silly but utterly hysterical to watch.

Underneath the wacky shenanigans, Cornish's script incorporates plenty of heart and worthwhile lessons for younger audience members though. At its core, The Kid Who Would Be King offers a mature message about facing the harsh truths of reality. The story's admittedly simplistic and often abides by the beat-for-beat hero's journey, but the dialogue demonstrates a self-awareness by referring to Lord of the Rings, Harry Potter, and Star Wars as prime examples and inspirations. Fortunately, none of the by-the-books storytelling detracts from the film's spirited sense of adventure.

The visual effects can be a bit rough at times, but considering the feature's modest-budgeting, there's at least a consistency to the CGI which compensates for any short-comings. On the bright side, the action scenes are exciting and well-executed. Before I continue, other acknowledgments I'd like to make include praising Bill Pope's polished cinematography, the quaint costuming, personable production design, and a heroic score by Electric Wave Bureau. 

Front and center, the young ensemble amassed by Cornish and his casting department quickly demonstrate their potential as promising up-and-comers. Louis Ashbourne Serkis, son of the motion-capture king Andy Serkis, depicts Alex as equally brave and insecure. Serkis walks the fine line of being a confident hero and an unsure leader when he rallies his knights, exhibiting impressive emotional vulnerability for his age. As Alex's mother, Denise Gough also does a fine job of lending him wisdom and emotional support. Meanwhile, the role of Merlin is shared between the relatively unknown Angus Imrie and veteran actor Patrick Stewart. Stewart only shows up for a few scenes, so Imrie takes ownership of the character's quirky sensibilities which helps sell the inherent silliness of everything. Rounding out the cast as Alex's charming compatriots are Dean Chaumoo, Rhianna Dorris, and Tom Taylor. 

Lastly, Rebecca Ferguson is stuck in the one-dimensional role of the villainess Morgana. Due to minimal screen time and the enchantress' superficial motivations of world domination, Ferguson's Morgana isn't all that impressionable. She's creepy looking on account of the makeup and flurry of dead tree limbs surrounding her, but in actuality, Morgana's not all that menacing since she merely sends minions to do her bidding for the first two-thirds. Fleshing her role out with more compelling motivations and a personality would have greatly enhanced the overall narrative. 

All in all, The Kid Who Would Be King reigns as a fitting family-friendly option which ought to be ruling the box office right now. Unfortunately, the film's fallen on its sword with a rough journey at the multiplex thus far. I'd advise giving the young ruler a hand by pledging fealty with a trip to the theater when you next get the chance.

Film Assessment: B

'Mission: Impossible - Fallout' Review

Mission: Impossible - Fallout accompanies Ethan Hunt and the IMF team as they join forces with CIA assassin August Walker to prevent a disaster of epic proportions. With the fate of the world at stake, the group find themselves in the ultimate race against time as their virtue is tested like never before after a mission gone wrong.

Mission: Impossible - Fallout is the sixth installment in the long-running spy series and also the first film in the franchise to carry the same director. Previously, each addition to the franchise was spearheaded by a different director and they were loosely connected to one another. However, Christopher McQuarrie broke the mold by returning to write and direct Fallout as the first direct sequel in the series after his excellent work on Rogue Nation. Since Tom Cruise is a prominent producer in addition to being the series' lead actor, I believe his close affiliation with Cruise may have helped him stick around, but it's equally likely he was the first director to have been offered and accepted a consecutive gig.

By tightly securing Fallout to the five prior films, McQuarrie is able to explore an interesting idea that Hunt's noblest intentions could be coupled with unforeseen consequences. The choices from Ethan's past resurface to haunt him, so the question is posed whether Hunt should compromise his morality for the sake of completing a mission more efficiently. It's a fascinating way to deconstruct the tortured psychology of one of America's greatest action heroes because Hunt is pushed to his limits here. Compounding with whatever his current dilemma may be, a new problem arises and the situation suddenly intensifies. This builds and builds over two and a half hours, amounting to one of the most intense, unrelenting experiences I've ever had in a cinema. The stakes escalate and escalate as the situation becomes more and more dire. Believe it or not, but this is the first time that the mission's actually felt impossible.

I sat through the entire credits, am currently walking out to my car, and STILL have goosebumps and am trying to catch my breath...

— David Weiser (@weiser_david) July 27, 2018

As a brief aside, here's a tweet of mine from Thursday night where I described my immediate reaction to the film as best I could. Given my initial impression and the immense hype surrounding this spy sequel, I knew I needed to see the film a second time to confirm my suspicions before I said anything that could be perceived as being too reactionary.

With that being said, there's absolutely no doubt in my mind that Mission: Impossible - Fallout is one of the greatest action films I've ever seen in the cinema. Believe the hype folks because this is an exhilarating, non-stop adrenaline rush that truly warrants comparisons to The Dark Knight and Mad Max: Fury Road. It's that good...

McQuarrie and his crew quite literally take the franchise to astonishing new heights as Cruise became the first actor to perform a HALO Jump from 25,000 feet in the air. The gear he's wearing apparently didn't even exist prior to filming because this feat is so unprecedented and requires extensive training... But Cruise is an absolute mad man, and I respect the hell out of his commitment to performing these insane stunts for our amusement. 

Aside from pulling off that baffling stunt, you're probably curious if the action in one of the most consistently entertaining action franchises measured up to everything that had come before. Well, the action, plot, and character all work in tandem to deliver the edge of your seat suspense audiences have come to expect from the series. The technical precision across the board is phenomenal to such a degree that I believe it is well within reason that Fallout could rightfully become the first Mission: Impossible film to be recognized by the Academy in some capacity, whether it simply be an honorary stunt award or a slew of technical nominations. The editing is seamless, Rob Hardy's cinematography is stunning, full of grandiose, sweeping shots that are a wonder to behold, and surely will be talked about for years to come, and Lorne Balfe's swelling score is an unrelenting accompaniment that intensifies the proceedings tenfold.

The action itself includes a bare-knuckled hand-to-hand confrontation in a bathroom, numerous chases through Paris by foot, motorcycle, and car, and an invigorating helicopter sequence. Every sequence packs a visceral punch as not only some of the best work in the franchise, but some of the best-executed action I've ever witnessed. Oh, and by the way, that image above showcases Cruise jumping between buildings and he broke his ankle mere moments later. But it doesn't stop there... Cruise broke his ankle, got up, and kept going. That's the take they used in the finished film.

Like the last three installments, Fallout is an ensemble effort and everyone brings their A-game once more. Pushing the age of 56, Cruise never ceases to amaze, and I believe he's cemented his status as an all-time great movie star unlike any other. Reprising their respective roles from Rogue Nation are Rebecca Ferguson, Simon Pegg, Ving Rhames, Alec Baldwin, and Sean Harris who each do excellent work. Ferguson is particularly kick-ass in her moments of action, Pegg is much more involved in the actual mission this time around, Rhames fulfills his duties as a loyal friend and crucial part of the team, Baldwin earns his appointment as the newly minted IMF director, and Harris relishes in Solomon Lane's soft-spoken villainy. Lastly, Michelle Monaghan makes her return as Julia and that brings an unexpectedly strong emotional component to the proceedings. Jeremy Renner was noticeably absent, but that was on account of prior obligations to filming Avengers: Endgame. However, that did enable some satisfying substitutions...

Additions to the cast include Henry Cavill, Angela Bassett, and Vanessa Kirby who are all quite impressionable. Bassett is a fitting head of CIA and Kirby makes for an intriguing femme fatale as the enigmatic White Widow. It is Cavill's August Walker who stole the show in my book though. It should come as no surprise that the Man of Steel would project a formidable physical presence, but Cavill exhibits the acting chops to back it up. It was also very fascinating to observe the layers in Cavill's performance on a second viewing. I'd love to see him bring that intensity to Superman. 

One does not simply discuss Cavill's role without touching on the infamous Mustachegate though... For those who aren't aware, Cruise's on-set injury delayed Fallout's production while Justice League underwent reshoots. Warner Bros. either could shave the stache and foot the bill to digitally add it in Fallout or digitally remove it themselves... Paramount refused to allow Cavill to shave the stache, so Warner Bros. was forced into the latter option. That then resulted in the most unnatural human mouth ever seen which has become a huge talking point among fans. I'm not entirely sure that the mustache was necessary to the extent of derailing Justice League, but it looked really cool so who could possibly complain? Aside from that, enjoy this gif of Henry Cavill reloading his fists because it's awesome!

In actuality, Mission: Impossible - Fallout is a fitting title because I believe it’s impossible for me to have a falling out with this franchise considering each successive entry has been progressively better than the last. Mission: Impossible - Fallout is not only the best film in the franchise or the best I've seen this summer... I legitimately believe it to be the best action film I've ever seen and I have no idea how M:I 7 could conceivably top this, but I'd love to see them try at the very least. Your mission, should you choose to accept it, is to stop whatever you're currently doing and see Mission: Impossible - Fallout on the biggest screen near you as soon as you possibly can!

Film Assessment: A+

Recollection Reflection Review: 'Mission: Impossible - Rogue Nation'

I'm cutting it a little close, but I just finished my Mission: Impossible series rewatch the Thursday morning of my Mission: Impossible - Fallout screening. Keep in mind that means it's likely this review and my Fallout review may not be published for a day or two, but I'll try and get them out as soon as I possibly can. I've also promised a review of Teen Titans Go! To The Movies, and that will come in due time, but I'm prioritizing Mission: Impossible content for the time being. Additionally, I will be sharing my thoughts on You Were Never Really Here and Love, Simon sometime before my post disclosing my best and worst films of the year so far. I've also decided to push that post back to give my other reviews some breathing room. I currently am unsure of my review plans for August, but I'll disclose that shortly.

'Mission: Impossible - Rogue Nation' Review

Recollection- Mission: Impossible Rogue Nation Review

Reflection- When I first saw Mission: Impossible - Rogue Nation in the summer of 2015, it narrowly beat out Ghost Protocol as my new favorite in the franchise. Surprisingly, I haven't really revisited it since then... I don't really have much reason as to why not, but I suppose it's because I simply never got around to it. Anyways, I thought it would be fun to re-evaluate this installment and see if my preference over Ghost Protocol held true.

Review- With the IMF disbanded, the team now faces off against a network of highly skilled special agents known as the Syndicate. These highly trained operatives are hellbent on creative a new world order through an escalating series of terrorist attacks. Mission: Impossible - Rogue Nation escorts Ethan Hunt as he gathers his team and joins forces with the shifty, disavowed British intelligence agent Ilsa Faust as the group faces their most impossible mission yet.

Taking the Mission: Impossible baton from Brad Bird, Christopher McQuarrie stepped in to steer the franchise in a new direction. McQuarrie's become a frequent collaborator with Tom Cruise in recent years, so it's really not that surprising that he was enlisted to helm Rogue Nation and then stuck around to write and direct Fallout as well. In doing so, he may have broken a series tradition in which each successive film was lead by a different director. You'll have to wait till I'm finished writing that review to find out if I felt it was worth it, but till then, we can discuss McQuarrie's work here.

With Rogue Nation, McQuarrie blends the mystery and intrigue of old school espionage with the thrilling stunts and character deconstruction found in contemporary spy outings. In doing so, this is the first entry in the franchise that's dared to question Ethan's sanity, although longtime viewers may have already done so as they've witnessed Tom Cruise actually attempt some INSANE stunts. Rogue Nation essentially offers the best elements of each prior installment, and McQuarrie seems to have been inspired to tribute hallmarks of cinema as well. The high speed chase through Casablanca and a Hitchcockian game of cat-and-mouse in the third act indicate this might be the case. 

As for action, the stunning set pieces included in Rogue Nation are incredibly varied from one another and among the very best the series has to offer. There's everything from an elegant throw-down at the Vienna Opera House to a high-octane motorcycle chase through Casablanca. Also prominently featured are a plane sequence that lifts off almost immediately, a cat-and-mouse chase through the streets of London, and a heist that's a bit of a deep dive. 

Cruise's notable stunt this time around was clinging to the side of an A400M plane as it ascended. If you didn't already know, Cruise performs his own stunts so he actually did this (this stunt in particular was HEAVILY publicized). There were safety measures in place of course, but I don't think that makes the feat any less insane or impressive. The sequence itself happens right at the start, kicking off the film with an abundance of jet fuel and gusto. 

Like its predecessor, Rogue Nation is a franchise addition which caters to its ensemble. Once again, Tom Cruise lights up the screen as a hero worth rooting for. Cruise is synonymous with Hunt these days, and he persists as a force to be reckoned with. His charisma and cool attitude prove to be just as potent as Hunt himself. Returning cast members include Simon Pegg, Jeremy Renner, and Ving Rhames who reprise their respective roles as Benji, Brandt, and Luther. All three make the most of every moment onscreen, but Renner and Rhames have notably smaller parts than the rest of the cast. In regards to newcomers, there's two I'll touch on in a second, but Alec Baldwin bodes well in the role of CIA director Alan Hunley, delivering the dialogue "Sir, Hunt is the living manifestation of destiny." like nobody else.

Meanwhile, the big takeaway was (and still is) undoubtedly Rebecca Ferguson's Ilsa Faust. Ferguson depicts the characters as a femme fatale with unclear allegiances, but she dominates every action sequences in which she appears. She's elusive, deadly, and an equal to Hunt who stands apart as her own intriguing individual.

In the antagonistic camp, Sean Harris certainly makes himself known as a villain worth fearing. Harris' Solomon Lane is soft-spoken, but he still manages to be both menacing, twisted, and unpredictable in his approach to the role. There aren't as many villains as subtle as this nowadays, so that makes the performance all the more fascinating.  

At the end of the day, Mission: Impossible - Rogue Nation zooms on by as a top-notch entry in the franchise that's thrilling, layered, and able to slightly surpass every installment that came before it.

Film Assessment: A