For the third spy installment, Cruise and Paramount recruited J.J. Abrams to direct with hopes that he could reinvigorate interest in the franchise after a lackluster response from critics and audiences to
Mission: Impossible II. Unbeknownst to most audience members,
Mission: Impossible III was actually Abrams' feature film directorial debut, so Paramount was taking a huge risk by giving Abrams a shot at helming a blockbuster. Prior to
M:I III, Abrams was most well-known for writing, directing, and producing in the realm of television (
Felicity,
Lost, and
Alias were particularly prominent pop-culture hits of his). In the twelve years since 2006, Abrams has been responsible for successfully revitalizing interest in both
Star Trek and
Star Wars through
Star Trek (2009) and
Star Wars: The Force Awakens, and I'd like to think that its because of his work on
M:I III that he got those gigs in the first place...
In
M:I III, Abrams demonstrated that he could bring his own style and sensibilities into a pre-existing franchise without deviating from the series' identity. Abrams understood the basic cornerstones of what made a
Mission: Impossible movie, but also acknowledged areas in which the formula was lacking. Therefore, he decided to up the ante by allowing
M:I III to actually concern itself with Ethan Hunt's personal life. By extension, the stakes are raised, character motivations are strengthened, and the spectacle actually matters this time around. It's a more personal mission now, and what better way to improve the action than by further fleshing out the characters? Without a foundation in story and an audience investment in the characters, action sequences are a meaningless distraction.
Nine times out of ten, character-driven action sequences will be more likely to have you on the edge of your seat because you actually care about the characters, and the outcome by proxy. While the execution of it all is certainly important, the basis for it lies firmly rooted in the script. In addition to directing, Abrams also contributed to the screenplay alongside Alex Kurtzman and Robert Orci (who both wound up later collaborating with Abrams on his
Star Trek films). Together, the three crafted a story that was riveting, subversive, and tested Ethan Hunt like neither of the prior
Mission: Impossible films had. Beyond raising the p
ersonal stakes, Ethan’s at his most vulnerable here. Due to the time crunch, the lack of support from the IMF, and the intense emotions fueling his actions
, Hunt genuinely feels helpless for the first time in the series and is pushed to point of absolute desperation
.
Meanwhile, the technical precision across the board is absolutely spectacular. Everything from the cinematography to the editing to Michael Giachinno's score is coursing with energy from start-to-finish. Watching
M:I III is equivalent to injecting yourself with an adrenaline boost which lasts a little longer than two hours. The only way to subdue that feeling is to make it to the end because you're not going to want to take your eyes off the screen once the film takes off.
For
those who have been following my Mission: Impossible reviews, you may be wondering what some of the practical stunt centerpieces were for this film. Well, the gif above showcases one of Tom Cruise's tougher stunts. The missile itself was not real of course, but Cruise being propelled straight into that car by an explosion totally is, and the actor wound up cracking a couple ribs in the process. Additionally, Cruise fell off the Vatican wall suspended by a thin cable, performed a stunt in which he fell 30-40 feet in studio against a green screen, and laid underneath a careening truck while it skidded over him. I'm continually amazed at the lengths Cruise goes to for our amusement.
Aside from his extraordinary physical commitment to the role, Cruise turns in another outstanding performance. Bolstered by a stronger script this time around, Cruise delves deeper into Hunt's psyche and lets loose some unhinged emotional outbursts. Opposite Cruise, Michelle Monaghan makes for an ideal love interest. The sparks flying between the two are discernible, and she exudes enough charm for the viewer to understand why Hunt would risk it all. While I'm sure many are quick to call Julia a damsel in distress, the character actually proves herself to be quite capable.
Meanwhile, M:I III was one of the first installments to at least attempt to flesh out the team working alongside Hunt. Ving Rhames' Luther Stickell certainly is given more to work with compared to the previous entires, but newcomers Jonathan Rhys Meyers and Maggie Q still have restrained roles with a focus on their skillset rather than personalities. To their credit though, Meyers and Q made the most of everything the script provided them.
Also, I could hardly forget to mention Simon Pegg's Benji. Though the best of his character comes once he figures into the franchise more prominently, Pegg was a wonderful addition to the cast and welcome source of comedic relief nonetheless. Other noteworthy series recruitments include Keri Russell, Billy Crudup, and Laurence Fishburne who all do an excellent job leaving an impression in their allotted screen time as you'd expect.
Last, but certainly not least, the late Phillip Seymour Hoffman is an absolutely unrelenting antagonist. Owen Davian is still one of the series' most memorable villains, and for good reason. Hoffman portrays the character as a calloused individual willing to go to great lengths to obtain what he desires. His screen presence alone is quite intimidating, but he's nearly unstoppable in regards to commanding your attention when coupled with some menacing monologues.
After all this time, Mission: Impossible III remains one of the finest films in the franchise as well as Abrams' filmography. In true spy fashion, it's another adventurous outing for Ethan Hunt that moves at a breakneck pace with several intense sequences of sensational spectacle and no signs of slowing down. Ultimately though, the tactic of grounding Mission: Impossible III in Hunt's humanity is what most elevates it above its predecessors.
