Take a deep breath! Tom Cruise goes full throttle throughout Part One of the penultimate chapter of this exhilarating action blockbuster and takes you right along with him. Cruise shows again, that doing his own stunts is beyond what anyone could expect from a 61-year-old actor, no matter how good a shape this perfectionist is in.
From pumping his arms running at break-neck speed, to overdrive in multiple vehicles and motorcycling off a mountain with out a scratch, Cruise is all in with Writer/Director Christopher McQuarrie. We looked at our watches 1 hour and 45 minutes into the film. We thought with another hour to go, they can’t possibly keep up this pace. We were so wrong.
The major highlights are Cruise’s motorcycle stunt which he insisted on doing and shooting 6 times to make sure it was perfect, and the survival scene on the magnificent Orient Express train. McQuarrie actually built it with all the accoutrements you see flying as it barrels toward a blown-up bridge with Cruise and Atwell hanging on for dear life.
Credit goes to Director of Photography,Fraser Taggart, Editor Eddie Hamilton and Production Designer Gary Freeman for the look of the film and expert editing for high quality, logical sequences filmed in Norway, Abu Dhabi, Italy, the UK. Shot during COVID, Cruise spent more than $500K for an old cruise ship for the cast and crew to quarantine on to stay safe when several actually came down with the virus during production.
McQuarrie co-wrote the script with Erik Jendresen based on the original television series created by the late Bruce Geller who could never have imagined this kind of daredevil activity for his Ethan Hunt. The pace is unrelenting from the opening set piece which takes a full half hour until seeing the opening credits. AI is at the center of the story which begins in a Russian submarine with a special key that can harness global control.
The supporting cast keeps the energy up, as well, in the subsequent chases for the key. Hunt’s old team is still in place. Simon Pegg as Benji Dunn is the master mask maker for disguise and he is charged with keeping Hunt on track. He also adds comedy with fun lines as they deal with obstacle after obstacle. Ving Rhames, as Luther, is Mr. Tech who keeps Hunt on his radar trying to guide him out of tight spots. But an evil presence from the past also emerges and faces Hunt head on. Its Gabriel, played by Esai Morales, who takes Hunt back to his darkest, most emotional memories. Gabriel has his own agenda. He wants the key for power to control his own reality and truth.
Three strong leading women keep challenging Hunt in unique ways doing many of their own stunts and fights as well. First up, Rebecca Ferguson is back again as Ilsa Faust, former intelligence agent and assassin who switched sides to help Hunt. She is fearless and a dead-shot with her distinct eye patch.
Hayley Atwell has her work cut out for her playing Grace, a small time grifter and talented pickpocket who has to step up her game to keep up with Hunt. The script belabors her double crossing and suspicious nature, no matter how many times Hunt shows he’s on her side. The chases and near-escapes are non-stop. Their car chase through Italy runs a full 20 minutes in a variety of vehicles going back and forth speeding, crashing, and stopping then starting all over again.
The White Widow is played with more than adequate malevolence by Vanessa Kirby. She always wears white with hair to match. Evil as can be, looking for the key. It’s cat and mouse between she and Grace that gets very physical. The Widow’s blonde sidekick, Paris, (Pom Klementieff – Guardians of the Galaxy) has to get involved.
Of course, you’ll hear the iconic percussive Mission Impossible theme from original composer Lalo Schifrin. The iconic sounds are amped up within the powerful score by Lorne Balfe which heightens the excitement of every tense action scene.
There are a few continuity questions. The action scenes never seem to produce torn or bloody clothes, nor bruised or bleeding wounds. None of them, including Cruise after his incredible stunts and fighting, ever show a mark. And Grace’s outfit stays clean and crisp after fights and struggles climbing without one wrinkle. And her outfit doesn’t fit her identity in a very pivotal scene. And the extraordinary chase scene for anyone who had never been to Venice before, as one character admits, chasing through the narrow passageways at night seemed highly unlikely in an easy city to get lost in. But MacQuarrie made it look possible.
With several intertwining story lines, Cruise and McQuarrie have outdone themselves. They clearly define the motivations for each character, not just create meticulous, mind-blowing action scenes. This summer blockbuster only whets our appetite for next year’s second Dead Reckoning.
Paramount 2 Hours 43 Minutes PG-13
