No school like the old school.
Much has been written about Tom Cruise’s stunt work in “Mission: Impossible – Rogue Nation.” Hell, if you’ve caught the trailer or poster — or any piece of marketing, really — you’ve seen him hanging off an airplane during takeoff. And that’s how the film opens!
Director and screenwriter Christopher McQuarrie’s packs the fifth entry in the “Mission: Impossible” series with old school touches. Beginning with the plane stunt and continuing to Joe Kraemer’s delicious big band score. It sounds as though he took a page from John Barry’s Bond music from the 60s. And maybe the “Mission: Impossible” TV series. (Though aside from the main theme, I’m not especially familiar with the music for the show.)
The movie’s standout setpiece, in a Vienna Opera House, is a loving nod to Alfred Hitchcock and “The Man Who Knew Too Much.” I love how our understanding of the players, their motivations and allegiances develop throughout the sequence. The power dynamics — who’s on top, who knows what — are constantly in flux. And it only benefits from the ongoing performance, the operatic music underscoring the action while our heroes and villains struggle to remain quiet. It’s a marvel of suspense filmmaking.
Now you might be saying, “Okay, the action’s great, but how’s the plot?”
Well, you’ll notice I haven’t given a plot summary, and that’s because it follows a pretty well-trodden path — Ethan is looking to put a stop to an elusive criminal organization known as the Syndicate. There are enough twists and turns (and yes, convolutions) to keep things interesting.
“And the characters? Are they enough to sustain a full feature?”
They are. Just enough.
Ethan is as doggedly determined as ever, which is not to say the character is without fear. This is a critical element that gets us invested in his success. Just because he can navigate these life threatening situations, doesn’t mean he wants to. Simon Pegg’s Benji, an analyst, has a bit more zeal this time, as he wants to contribute beyond sitting at a desk and punching some buttons.
But the MVP is newcomer Rebecca Ferguson. She plays Ilsa Faust, an agent who might be working with the Syndicate. Or maybe not. Her motivations and whose side she’s on generate a lot of the movie’s non-setpiece pleasures. And she handles the action and fights scenes with aplomb, doing a lot of her own stunts.
Seriously, if this woman isn’t the break out star of the year, I’ll strap myself to the outside of an airplane.
A few have criticized the last act of “Rogue Nation,” calling it out for being not quite up to snuff. When you open as spectacularly as this movie does, where do you go from there? It’s a complaint I’m certainly sensitive to, I just don’t think it applies here. Yes, the spectacle in the third act is dramatically reduced, but the emotional stakes are amplified. The character threads, specifically concerning Benji and Ilsa, come into play in spectacular fashion.
This film has something for all action fans. Setpieces with enormous scale, intimate fights and riveting chases. It’s absolutely a film to be appreciated on the big screen. McQuarrie’s quick cutting communicates maximum velocity without ever sacrificing geography. The stunt work, largely performed by our main cast, injects the film with authenticity and makes us root all the more for our characters.
“Mission Impossible – Rogue Nation” is in theaters now. Have you seen it? What did you think? Comment below.