Making The Impossible…Possible?

What specific aspects of a contemporary action film determine box-office and critical success? Naturally, the said genre inherently receives the most attention due to the films of this craved-crux occupying a stupendous production budget for the outlandish and conventional sequences of explosions/stunts, and the star-studded names that guarantees a return from the theatre’s gleefully exhibiting them. From a critical standpoint however, the best action films to perceive are those which utilise high-end choreographed sequences in a practical manner; forever creating a layer of authenticity that simply looks real and better than a mass-produced computer creation. One of the better examples of this shown is through the gun-fu charm of John Wick which amalgamates its action-sequences of yesteryear with a world that is rooted in originality and mystery. While Tom Cruise’s persistent efforts in being involved with the entirety of the Mission Impossible franchise doesn’t exclaim any mysticism or contextual daring, it’s a film series non-the-less which daringly exceeds after its predecessors in delivering wild moments of awe that immerse your very cinematic experience. Since the high-brow bravado of Ghost Protocol, Mission Impossible’s aspirations in bettering their inventive stunt-work from its preceding ventures gives the said franchise an anticipation that you can truly lose yourself in and after viewing the latest instalment, in the form of Mission Impossible – Fallout, it truly feels like Cruise makes what seems impossible…Possible…

Following the events that took place at the end of Mission Impossible: Rogue Nation, Ethan Hunt (Tom Cruise) and the IMF team join forces with CIA assassin, August Walker (Henry Cavill), to search for three plutonium cores; calamitous instruments stolen by a terrorist group known as The Apostles to heap nuclear disaster of global proportions. However, when the weapons go missing, Ethan and his trusted rag-tag-team, of Luther (Ving Rhames)and Benji (Simon Pegg), find themselves not only in a race against time to prevent the plutonium cores in the wrong hands, but get ensnared by the alias of John Lark; a name filled with intrigue and anonymity…

Since its twenty-two year inception, what’s interesting looking into the Mission Impossible franchise, in its entirety, is how not only has it smoothly adjusted its own perception in integrating mysterious espionage contexts to end-of-the-world scenarios that warrant the jaw-dropping effective action, but how it’s maintained a central character – in the form of Ethan Hunt – as someone who’s likeably unchanged. Throughout the eccentrics of John Woo’s ambitious 2nd outing to the threaded romanticism placed in J.J. Abrams’ third instalment, Hunt has always remained the same in being the handsome and virtuous action-hero and has defined the said role in performing slick and outlandish stunts that only lesser films of the same genre can competently emulate. However, despite his persona remaining the same in all these films, what amiably sets him apart from his other contemporary counterparts is his benevolence. Whether he’s unselfishly performing a task of great means to resolve something in a timely manner or sacrificing an instrument of global destruction for a member of his team, it’s Hunt’s morality that defines who he is and why he contrasts well with the Bond’s and Bourne’s of cinemas past and present. It remains to be a weakness of the character that remains to be so interesting to perceive and is consistently challenged in different ways. Fallout similarly remains to be no exception, pitting this altruistic protagonist against a predicament which see’s his own identity being questioned by others. It finally asks the question, what sort of man keeps accepting these life-threatening and world-changing missions?

While it’s a foregone conclusion once character motivations have been established and the film enters its third and final act, that the mission is not in fact “impossible’ after all, what keeps Fallout from falling down the piping order is its subtly-ornate ability to flip the franchises over-arching themes of ‘identity’ and ‘sacrifice’ in a way that dramatically packs a punch with Christopher McQuarrie’s artistic sense of mastered pacing. Yes, the films total running-time would indeed put any cinema-goer off since it’s an ordeal that could perhaps weight on your experience long after watching. Yet, if the first-act of Fallout seems slow to those wanting the action straight-away like in the preceding film of Rogue Nation, it’s only in comparison to a sequence of action sequences and events that begets a spectacular vérité that many films of similar ilk can’t rival against. After all, one does not simply watch a Mission Impossible film of this cinematic age for the convoluted espionage plot-lines, or the snappy yet phoned-in banter between characters. It’s the cleanly choreographed and practically-executed set-pieces that all audiences pay their money for and through the many stunts that see the now 56 year-old Cruise bungee-jumping into the eye of a lightning-storm, pummelling through a Parisian club, swinging and running through the city of London, it’s worth-it all. As impressive as it is that Cruise and McQuarrie deliberately opt-away from the excessive use of CGI, morally relying on practicality alone and little computer-generation to visually create an immersive and ‘real’ display, what’s even more awe-inspiring is the manner in which these action-sequences are structured in accordance with Fallout’s synopsis. Never does any of the highly-choreographed sequences feel out of place or too long for its own good and, in return, creates a gleeful daisy chain of wow. If there’s one negligence to take from McQuarrie’s second Mission Impossible outing, it’s the over-zealous usage of the hammy quips that don’t necessarily work unlike its former counter-parts. There are times when either Benji or another member of Hunt’s team makes a snappy joke and it doesn’t always mesh with the tense scenario taking place.

Despite its preservation of retaining cast members and characters, what’s evidently different to take notice of within Fallout is its contextual continuation from the events that took place from the preceding film. It’s the first and only of the franchises kind to advance a former and more recent story-line; creating an established and comforting atmosphere for the general cinema audience and making them familiarise easily with scenarios and character relationships. While this continuance of a particular story-line is only a minute story-telling device in comparison to the other productive feats that this film visually and effortlessly accentuates, it’s a film-making detail non-the-less that’s worth taking note of since McQuarrie, who reprises his creative and directorial role from Rogue Nation, establishes a premise that feels ultimately rewarding to see in a franchise such as this. In perfectly balancing the wild action stunts with moments of contextualisation, we’re granted with a story that intriguingly manipulates differing character motivations with established relationships; making us question where each individual player will end up at the start of the third act. While there’s an argument to be made over Mission Impossible’s lacklustre attempt in provoking any remote sense of ‘consequence’ bestowed any Hunt or any of the members of the IMF, the aforesaid franchise makes-up for that with character interactions and explosive outcomes that are thrilling to watch either way and have become synonymous with the genre.

Of course, a Mission Impossible film wouldn’t be successful without it’s attentive usage of its authentic-looking set-pieces and tempestuous explosions. Yet, it wouldn’t be the same either if we didn’t have its star, in the form of Tom Cruise. At the age of 56, he continues to defy what is generally expected of someone of his age and charismatically commands motorcycles, cars, helicopters, ropes and rubber masks with an enjoyable and lively ease. He’s a spectacle in his own right and when it boils down to him actually acting instead of either skydiving or jumping from building-to-building in London, his performance in enacting Ethan Hunt thoroughly enjoyable. It’s clear from the many mannerisms of joy or despair that he’s always enjoyed playing this role which is one of the more imperative aspects in putting a convincing performance. More of the same can be said of Henry Cavill’s inclusion as August Walker; an enigma to the story that matches well with Hunt in many crucial scenes. In preserving his Superman physique, and his rather infamous moustache which ironically made him look like an alien in Justice League, he embodies the archetypal Jaws-esque strongman look that adds to the characters ferocity and intelligence and serves to be one of the better antagonists of the Mission Impossible series. Credit as well must go to Cavill’s professionalism in laughing away the infamously donned moustache look since any other lesser actor could have taken this specific outlook rather differently. It’s just as well, it’s nice to see the said actor play a role that see’s him look like Dudley from the Street Fighter series of video-games, rather than the beloved Superman. As for the rest of the cast, the supporting duo of Luther and Benji, both played by Ving Rhames and Simon Pegg respectively, add the necessary comical element that, at times, works well and both Rebecca Ferguson as Isla Faust and Michelle Monaghan’s Julia play their parts in providing the emotional edge to either the story or Hunt himself. 

In a cinematic world that’s heavily dominated by the excessive use of CGI and how the poor implementation of this said tool renders scenes and sequences in big-budget films to look cheap and disposable, it’s welcoming to watch a film in the form of Christopher McQuarrie’s Mission Impossible: Fallout that delights its cinematic guests in providing genuine-looking stunts and actions sequences that leave a good taste for the eyes long after watching. The spectacle that McQuarrie puts on display is a feast for the eyes and demonstrates why the said director is methodically nuanced in the action genre. However, whereas the director culminates the two hours and twenty-eight minute running time in balancing consecutive action with appealing characterisation, credit also has to go down to Tom Cruise’s resolve and enthusiasm to willingly pursue in starring and making films of this ilk. It’s more than arguable to state that he’s now constituted himself as a superstar of the action genre; along with the likes Jackie Chan, Harrison Ford and Keanu Reeves who’ve all maintained a series of entertaining and memorable action franchises. While naysayers will bemoan such bombastic film-making and cynically down-play the Mission Impossible series’ future in sustaining stunts of unbelievable proportions, it’s exciting to think where this franchise could possibly go next…

On that note, it’s time for me to end this week’s Film Review. As always everyone, thank you for reading my latest Film Review in the form of Christopher McQuarrie’s Mission Impossible – Fallout and I hope you’ve all enjoyed the read! 😉 If anyone has an opinion on either the film or the review itself, you’re more than welcome to comment your thoughts down below. For next week, I’ll either bring you a review of the Incredibles 2 (hopefully) or a special Blog Post where I go through my personal favourite films of all time! Once again, thank you for taking the time in reading my latest Blog Post and I hope you all have a nice weekend! Adieu! 😁👀👊💥😵🏃⏰🚤

★★★★ – Alex Rabbitte