Mission: Impossible – Fallout review: dizzying high of a franchise
Aaron YapReviews | 31 July 18
That bit in Mission: Impossible – Fallout where Henry Cavill reloads his arms in the middle of a frenzied punch-up? That’s also Christopher McQuarrie, on the first day of production, preparing to lay waste to whatever memory you have of Hollywood action filmmaking in the last couple of years.
Fallout is a resounding anomaly: the dizzying high of a 20-year-old blockbuster franchise coming into its own at film #6 — and it’s a glorious thing. McQuarrie is the only director in the franchise who’s returned for a second go, and at this point, I wouldn’t have it any other way. Rogue Nation, then a series’ best, now looks like a warm-up to this wild 2.5 hour whirling dervish of stunt-craft delirium that frequently dangles Tom Cruise over the precipice of death with seemingly reckless glee.
If the terrorist/nuclear bomb plot is somewhat recycled, Fallout contains a fair share of subtle surprises to neutralise its more familiar trappings. Like, who would have thought Ving Rhames, generally relegated to computer-whiz sidekick, would deliver the most sincere and emotional moment the series has ever had? There’s a compelling, sharply defined arc for Rebecca Ferguson, whose slippery operative Ilsa Faust continues to be a fierce match for Cruise. Cavill’s pain-in-the-ass CIA babysitter is a terrific addition, and Simon Pegg gets to do shit!
Cruise, the dauntless pro that he is, looks hilariously at home with each death-defying spectacle, of which the finale, a breakneck helicopter chase optimised for vertiginous IMAX perfection, is surely one for the ages. And with Fallout, the rubber mask has finally come off Ethan Hunt: he no longer feels like an action-hero cypher with a charismatic smile, but a genuine beacon of goodness whom we can always count on.
Stephen Merchant has a great ear for dialogue.
Rose McIver and George Mason are admirable, but it’s a frustrating film.
Netflix new release is consistently interesting and anchored by solid performances from its superlative cast.
Does more for Kidman than it does for the genre.
Includes responses from critics, historians, auctioneers, and artists.
The end of the film will make you want to cheer.
We need more dumb psychological thrillers like this.
Every bit as quietly rapturous as his breakthrough 2016 Oscar champ Moonlight.