‘Mission: Impossible – Fallout’ is a Thrilling Spectacle From Start to Finish

Mission Impossible Fallout poster

This is never supposed to be the case. Movie franchises are not supposed to improve with each sequel. We all expect them to get worse and worse to where you wonder why the filmmakers even bother making them anymore. But with the “Mission: Impossible” movie franchise, actor and producer Tom Cruise continues to work closely with gifted filmmakers to create motion pictures which defy expectations as he is intent on topping what came before. “Mission: Impossible – Fallout” is the sixth film in a series which began back in 1996, and it proves to be the most thrilling installment yet. I cannot wait to see it again, and I am determined to see it in a IMAX theater as this sequel demands to be seen on the biggest screen in town.

The plot of “Mission: Impossible – Fallout” is a bit convoluted, but I will give you the gist of it. The terrorist group from “Rogue Nation” known as The Syndicate has since reformed into The Apostles, and Ethan Hunt (Cruise) is tasked with intercepting the sale of three plutonium cores to them. But despite the presence of team members Luther Stickell (Ving Rhames) and Benjamin “Benji” Dunn (Simon Pegg), the mission is thwarted and the plutonium is stolen right out from under them. From there, they are determined to get the cores back, and their latest impossible mission has them meeting up with characters old and new to where alliances and methods are questioned endlessly. It all reminded me of what Mary Elizabeth Mastrantonio told Willem Dafoe in “White Sands:”

“You’re honest, even when you’re lying.”

Does everything we see here make perfect sense? No, but I really didn’t care. Even at 147 minutes, “Mission: Impossible – Fallout” never drags, and it is a movie I am happy to describe as exhaustively thrilling as it kept me on the edge of my seat throughout. Just when you think it’s over, we are pulled back into another astonishing action set piece which leaves us out of breath.

Let’s talk about the stunts, shall we? Among the first is the HALO (high altitude, low opening) jump which is a skydive from a seriously insane height. We all know how Cruise is a stickler for doing his own stunts, and while the average skydive is done from 7,000 to 9,000 feet, a HALO jump is often done from 15,000 feet and with the aid of oxygen. Taking this all into account makes this particular sequence all the more thrilling as it is done in what seems like an unbroken shot which would make even Alejandro Inarritu stare at the screen in awe.

There’s also a motorcycle chase through the streets of Paris, and I kept waiting for the characters to get seriously injured or killed as no one can navigate traffic like that in real life. And yes, it is indeed Cruise jumping from one building to another. Everything culminates in a thrilling helicopter chase which outdoes the ones I loved watching in “Blue Thunder,” and it is in this sequence where Cruise and company attempt to complete the most impossible mission of all as what they are tasked with doing has a higher probability of failure than success.

Cruise is now 56 years old, and he shows no signs of slowing down. While many be telling him to act his age, a term which has now lost all its meaning to me, he continues to defy the odds and show just how far he is willing to go to make an action movie which is anything but average. The scenes of him “grinning like an idiot every 15 minutes” are few and far between this time around as we instead see him playing mind games with actors who are playing characters not entirely trustworhty. And yes, there is the obligatory scene of him sprinting at warp speed, and I hope I am able to run like he does when I reach his age.

“Fallout” almost marks the return of writer and director Christopher McQuarrie, making him the first filmmaker to direct more than one “Mission: Impossible” movie. “Rogue Nation” was terrific entertainment, but he really outdoes himself this time out. His screenplay is full of endless plot twists and enigmatic characters to where I was quickly reminded of he was the same man who wrote the screenplay for “The Usual Suspects.” Seeing him balance various plot threads makes me admire him as a director even more as he brings everything together for a furious climax which is just staggering.

Simon Pegg has been great fun in the “Mission: Impossible” movies, but in “Fallout” we see his character of Benji Dunn evolve a bit. Granted, Benji has always served as the comic relief, but we see him become a better field agent to where, even when he whines about the things he doesn’t want to do, he can hold his own with Ethan to where he doesn’t have to perform a HALO jump to make this clear. Pegg has always been a great comedic talent, but he’s also a better actor than people give him credit for.

Ving Rhames continues to make Luther Stickell the uber cool IMF agent, and Luther has evolved to where he is not as concerned about his expensive taste in clothes anymore. Rebecca Ferguson, who all but stole “Rogue Nation” as Ilsa Faust, once again makes her character wonderfully enigmatic to where I was desperate to get at the secrets inside Ilsa’s brain. Alec Baldwin has more fun this time around as Alan Hunley, Sean Harris makes “Rogue Nation” baddie Solomon Lake even more sadistic than ever before, and Michelle Monaghan once again provides this franchise with a warm human presence as Ethan’s ex-wife, Julia.

We also get introduced to some new characters including Erica Sloane, the new CIA director played by Angela Bassett. Although we don’t get to see much of Bassett here, she reminds us of how badass she remains after all these years. It has been 25 years since she broke through as Tina Turner in “What’s Love Got to Do with It,” and she hasn’t let us down since.

Acclaimed stage actress Vanessa Kirby makes her American film debut as White Widow, a black-market arms dealer. Kirby makes this character such an alluring presence as she keeps her cool even as her life is constantly being threatened and as she dangles a plutonium core right in front of Ethan’s eyes, knowing full well just how much he wants it.

And, of course, we have Henry Cavill who gets to take some time off from his day job playing Superman to portray CIA assassin August Walker. Cavill is a bit stiff in some early scenes to where he threatens to get upstaged by his mustache, the same one he was unable to shave off for “Justice League” reshoots. For a time, I kept waiting for him to say, “It’s just you, me, and my mustache” as such a big deal was made about it having to be digitally removed. But as “Fallout” goes on, Cavill makes August into an especially dangerous character who is never to be trifled with. And while he may not be playing the Man of Steel here, he throws punches which had me thinking his arms were made of steel.

Seriously, “Mission: Impossible – Fallout” is the best movie yet in this franchise, and it may very well be the best action movie of summer 2018. Just when I thought nothing could top the sight of Cruise climbing the Burj Khalifa tower in “Ghost Protocol,” we are given some of the most amazing stunts, and they are coupled with characters busy playing mental chess games with one another as what the eyes reveal can be even more threatening than a bullet to the head. “Fallout” is a thrilling spectacle, and it makes me wonder if Cruise and company can possibly top what they have accomplished here.

Cruise had a tough time in 2017 as “The Mummy” reboot proved to be a critical and commercial bomb, and the biographical crime film “American Made” underperformed at the box office. It’s a good thing he still has “Mission: Impossible” to fall back on as he always pushes himself to outdo what he did previously as an actor and producer. Just when I thought his career would self-destruct in 5 seconds, he manages to come back with a vengeance.

* * * * out of * * * *

Soundtrack Review: ‘Patriot Games’ Extended Edition

Patriot Games soundtrack

Patriot Games” was the second Tom Clancy novel adapted to the big screen after the huge critical and commercial success of “The Hunt for Red October.” But in the process of bringing Clancy’s heroic character Jack Ryan back for another adventure, many changes ended up taking place. John McTiernan stepped away from the director’s chair and Phillip Noyce came on board, Alec Baldwin was replaced by Harrison Ford, and Basil Poledouris stepped aside for James Horner who at the time was an A-list composer very much in demand.

La La Land Records has released a remastered and expanded soundtrack to “Patriot Games” which contains a lot of music never before released, source cues and the Clannad song “Harry’s Game.” The film has Jack Ryan stopping an IRA assassination attempt on the Royal Family, but this makes him the target of a renegade faction of terrorists, especially Sean Miller (Sean Bean) whose brother Ryan ended up killing. In scoring this action and suspense film, Horner creates a surprisingly understated score which features lovely Irish and Gaelic flavors, and he combines both electronic and orchestral music to highlight the movie’s action set pieces.

Now most action scores start off with a thunderous main title to get the audience all hyped up, but the main title for “Patriot Games” is surprisingly subtle and not the least bit bombastic. This turned out to be an excellent move on Horner’s part as this film proves to be a more personal one for Jack Ryan than “The Hunt for Red October.” Among my favorite tracks are “Attempt on the Royals” which underscores Ryan’s heroic save and the loss of Sean Miller’s brother, “The Hit” in which Jack rushes after his family to save them from the vengeful Sean, and “Assault on Ryan’s House” where IRA terrorists make their last effort to eliminate the brilliant CIA analyst. I’ve always been a sucker for adrenaline pumping film music, and Horner was one of the masters at composing it.

At the same time, I really liked the low-key music he comes up with like “Closing Credits” which is a piece of music great to fall asleep to. I kept thinking it was one of the singers from Clannad who did the backing vocals on this track, but it was actually Maggie Boyle whose voice is nothing short of heavenly. Horner is great at finding the humanity in the characters inhabiting an action movie, and his music can be both thrilling and highly emotional at the same time. Not many film composers can pull off such a feat.

Among the previously unreleased tracks, it was nice to see “Sean Obsessing in Jail” on this release as Horner gets at what is eating away at Sean whose obsession for avenging his brother’s death continues to grow and grow, and I also got a kick out of “Cooley Escapes” which follows a minor character in the film who suddenly discovers he is under police surveillance. As for the source cues, they include the “Washington Post March,” some traditional Irish music and some pieces composed by Mozart, I’m not sure how necessary they were to this edition of the “Patriot Games” soundtrack. At the same time, those additions prove just how serious La La Land Records is about giving fans the most complete soundtrack to a movie they could ever hope to have.

One interesting thing about this particular La La Land Records release is it doesn’t contain the original commercial release of the soundtrack. Other releases of theirs have had them on a second disc as a bonus for those who liked the original version. But in the end, I guess they decided not to include it because everything from the original release is on these two discs anyway. I do need to point out, however, there are two different versions of “Closing Credits” on this expanded version. One is listed as the film version, and the other is listed as the album version. The difference between the two is the film version is in English and the other one is not. Regardless of which version you find yourself liking more, it is great to have both of them here.

And like many La La Land Records releases, it does come with a booklet detailing the making of the soundtrack and the movie itself. The booklet is entitled “The Pluck of the Irish,” and was written by Jim Lochner who is the managing editor of FSM Online and the owner of the website FilmScoreClickTrack.com. Now I have reviewed several La La Land Records releases, but the booklet for “Patriot Games” is one of the best they have ever put together as Lochner covers just about every single detail about the movie more than ever before.

Among the memorable passages are why Neufeld didn’t bring McTiernan back for “Patriot Games,” how Baldwin reacted to not getting cast in the film, and how Clancy was constantly upset about the changes made in bringing his book to the big screen. In describing Horner’s score, Lochner writes it is a “subtle, understated score that percolates underneath the surface, conveying the tension of a family under siege and the terrorists’ patriotic Irish roots.” I think this is the perfect description for the music of “Patriot Games,” and Lochner, in writing about the other tracks, makes the case for why Horner should have received more attention for it when the movie came out in 1992.

Once again, La La Land Records has given film music fans another remastered and expanded soundtrack which is a must buy. In a career that has seen him create unforgettable film scores for “Titanic,” “Star Trek II: The Wrath of Khan” and “Glory,” Horner’s score for “Patriot Games” stands out as one of his most unique. It is at times an understated and at other times a pulse pounding listen, and the Irish elements he puts in reminds us of what a masterful composer he was. Now it has the soundtrack edition it has long deserved.

Click here to purchase the soundtrack.

 

The Hunt For Red October

the-hunt-for-red-october-movie-poster

My dad just watched John McTiernan’s “The Hunt for Red October” for what seems like the 600th time. After all these years since it remains one of the few movies he never gets sick of watching. While I was at first annoyed with him wanting to watch it instead of something he hadn’t seen before, it didn’t take long for me to be reminded why this movie is so compulsively watchable. The cast is excellent, the direction is taut, and it is far more thrilling than the average PG-rated movie. I remember my friends not taking this movie very seriously when it came out as they were more interested in sneaking into the latest R-rated movie, but they didn’t know what they were missing.

This was the first cinematic adaptation of a Tom Clancy novel and, as a result, the first instance of him getting pissed at Hollywood for not faithfully adapting his work. I still have not read the book, so I have no idea how it differs from the movie. At this point, I’m not really sure if I care because book to film adaptations are not going to work if you’re going to be 100% faithful to the source material. Not everything transfers over to the big screen for a number of reasons, and if Clancy were still alive I’d tell him he should be happy this movie helped sell more copies of his books.

I’m not going to bore you with all the plot details. All you need to know is that it involves a new Russian submarine called the Red October which contains a propulsion system which allows it to run silently to where it cannot be detected by sonar. It is commanded by Captain Marko Ramius (Sean Connery) who lives a lonely life now that his wife has passed away, and many soon become convinced he is out to attack the United States before the country can even realize it’s under attack. CIA analyst Jack Ryan (Alec Baldwin), however, becomes convinced Ramius is actually trying to defect and becomes obsessed with proving his theory to where he’s willing to put himself in harm’s way.

On top of this being the first Clancy novel brought to the silver screen, it also served as an introduction to the hero of many of his books, Jack Ryan. Of all the actors who have played this CIA analyst to date, Baldwin remains my favorite as he makes Ryan into an accidental action hero, not a man out to save the day. But Ryan’s brilliantly analytic mind allows himself to see and understand things others cannot due to their mistrust and their Cold War obsessions, and this makes him a necessary part of the action whether he likes it or not. Unlike all the other military generals, Ryan has met Ramius and knows how his mind works.

Sean Connery is as legendary as his character of Marko Ramius is to the Russian military in this movie, and it should go without saying he is perfectly cast here. Seeing those eyes of his on the big screen at the start gives us an idea of how human Ramius is, and Connery renders him a fascinating individual whose life cannot be boiled down to one sentence. The former James Bond actor could have given a ridiculously over the top performance, but he instead underplays his role to where we truly accept him as a submarine commander and that there is more to him than we can see at first.

Seriously, McTiernan got the perfect cast for “The Hunt for Red October.” Back in the 1990’s when this movie came out, it was hard to think of another actor other than James Earl Jones who could play Ryan’s superior Vice Admiral James Greer. Jones gives each scene he’s in an immense gravity, and he makes it look like he doesn’t even have to try. Scott Glenn is coolness personified as Captain of the U.S.S. Dallas, Bart Mancuso, and watching him keep his emotions in check throughout the is fascinating. When Mancuso does lose his cool, you want to make sure you’re not the reason why he is.

Next, you have Sam Neil who plays Vasily Borodin, Ramius’ second in command. Neil has the captain’s back when others begin to doubt him, and I love the scene where he talks to Connery about the possibility of living in Montana. Neil is sublime in this role, and his last scene is a real heartbreaker.

Then you have actors like Tim Curry, Fred Dalton Thompson, Richard Jordan, Joss Ackland, Stellan Skarsgård and Jeffrey Jones inhabiting their roles to where you feel like you’re watching actual Washington officials and military personnel instead of just a bunch of performers. It’s impossible to imagine “The Hunt for Red October” without any of these actors in it. Furthermore, they are each blessed with a number of classic one-liners provided to them by screenwriters Larry Ferguson and Donald B. Stewart.

One actor I want to point out in particular is Courtney Vance who plays Sonar Technician Ronald “Jonesy” Jones. His performance ended up being this movie’s most underrated as we watch him listen to the noises he heard to where you cannot doubt the conclusion he comes to. While the computer tells Jonesy he’s listening to a “magma displacement,” he knows he really heard something which has got to be man-made. Watching Vance as Jonesy is a joy because he makes this character much more than the average petty officer aboard a ship.

McTiernan’s genius in directing “The Hunt for Red October” is in keeping things down to earth and not bombastic like you would expect to see in a Michael Bay movie. Right from the start, he’s intent on bringing us into these characters’ lives to where we don’t feel like we’re watching some ordinary film. Unlike “Die Hard” which he made before this, it is not an action-packed movie until the very end, and he has us getting far more invested in what the characters are up to. As a result, it seems unlikely this movie could be made in the same way today as studio heads would most likely expect something far more formulaic.

If there are any flaws to be found in “The Hunt for Red October,” it is with some of the special effects as the torpedoes look kind of fake. While McTiernan and his crew appear to have all the other details down perfectly, this one doesn’t work the way it should. Still, that’s just a minor thing that doesn’t do much to take away from one’s pleasure in watching this submarine classic. It really is one of those movies which is impossible to get sick of watching, and it holds up more than twenty years after its release. Outside of “Das Boot,” this remains one of the greatest submarine movies ever made.

* * * * out of * * * *