Tag Archives: Christopher McQuarrie

Action Figure

Mission: Impossible – Fallout

by George Wolf

Tom Cruise’s next mission – and he’ll most likely accept it – is to try and outdo the stunts he pulls in this latest Mission: Impossible entry. Good luck with that, because Fallout delivers the GD mail.

It’s an action film that hits on nearly every cylinder, thrilling enough to elevate the value of the other five films in the franchise.

Writer/director Christopher McQuarrie (a frequent Cruise collaborator) returns from 2015’s MI: Rogue Nation, leaning on that solid foundation while he ups every ante, delivering not only his most impressive work as a director, but his most complete screenplay since The Usual Suspects.

Cruise’s Ethan Hunt draws the ire of his IMF boss (Alec Baldwin) and his boss’s boss (Angela Bassett) by choosing the lives of his team (Ving Rhames, Simon Pegg) over a stash of rogue plutonium. To keep that payload from the highest bidder, they have no choice but to accept help from agent August Walker (Henry Cavill and the ‘stache that ate DC), a “kill now-ask questions later” bruiser.

It can’t go unnoticed that Fallout marks the third blockbuster this year to feature a villain whose goals are more societal than financial.

Coincidence? Clearly no, but McQuarrie’s script keeps the social commentary smart, subtle and out of the way.

Familiar allies (Rebecca Ferguson’s Ilsa), old foes (Sean Harris as Solomon Lane) and new femme fatale “White Widow” (Vanessa Kirby) dot the landscape of double and triple crosses, with McQuarrie being careful not to overplay the genre elements.

Sly, self-aware references ground the film when it’s in danger of reveling in any Bond-ish excess, with plenty of well-placed surprises that, even when they’re not that surprising,  help ease the bloat of a 2 and 1/2 hour running time.

But let’s not kid ourselves, that’s all just spy game gravy.

These stunts – from rooftop to mountaintop, crowded streets to midair and beyond – are showstoppers, with Cruise so electric a t-shirt proclaiming “movie star” would not be out of place under Hunt’s endless supply of tight black jackets.

Cruise’s insistence on doing these stunts himself got him a broken ankle, but there is plenty of gain for his pain. You cannot deny the added authenticity his stuntwork brings to these set pieces, with McQuarrie’s nimble camerawork and some luscious landscapes sealing the deal.

Say what you what about the summer movie season so far, Fallout is here to make you remember how breathlessly fun it can be.

Cruising Altitude

Mission: Impossible – Rogue Nation

by Hope Madden

Tom Cruise may have finally found a marriage that will work. His partnership with writer/director Christopher McQuarrie has produced four of the actor’s most recent films.

McQuarrie wrote Valkyrie and Edge of Tomorrow (arguably Cruise’s finest film this century), and he wrote and directed both Jack Reacher and Cruise’s latest action extravaganza, Mission: Impossible – Rogue Nation.

McQuarrie inherited the series at its peak, Brad Bird’s Mission: Impossible – Ghost Protocol having brought the franchise back to relevance with talented new teammates, extravagant set pieces, and much-needed humor.

Rogue Nation picks up that same beat. The band’s back together: Cruise’s super-agent Ethan Hunt, skeptical wise cracker Brandt (Jeremy Renner), systems wizard Luther (Ving Rhames), and delightful hacker Benji (Simon Pegg).

Blessedly, the talentless Paula Patton sits this one out.

In her place as the beautiful woman who will appear in only one episode is Rebecca Ferguson as the mysterious double (or triple?) agent Ilsa Faust.

Now disgraced and disavowed by their own government, what’s left of IMF must expose their underworld counterpart The Syndicate to reclaim their status and save the world.

McQuarrie keeps the pace moving with a gliding camera that not only captures the enormity of each sequence, but develops a graceful, controlled urgency about each event.

Truth be told, though, the movie succeeds or fails depending on Cruise, and Ethan Hunt is a great character for the beleaguered movie star. Cruise can show off his still quite impressive physical presence, the script’s use of humor capitalizes on the actor’s underused strengths, and let’s be honest – Cruise has a bit of the crazy-eye, which makes him more believable in the part.

The action sequences are not quite as breathtaking as they were in Ghost Protocol, but they are impressive nonetheless.

What McQuarrie does better than any previous director in the series is to imbue every scene with a bit of humor – enough to exploit the ridiculousness of the situation without actually mocking it. He finds the fun in the familiar old gimmicks and draws on the strengths of his cast to create a blast of entertainment.

Verdict-3-5-Stars