‘Mission: Impossible – Ghost Protocol’ Leaves You Hanging From Dizzying Heights

Mission Impossible Ghost Protocol poster

Writer’s note: This review was written back in 2011.

The “Mission: Impossible” movie franchise keeps getting better and better which each successive sequel, something few other franchises can ever lay claim to. The first one directed by Brian De Palma had a confusing storyline but spectacular action set pieces. The second one had a plot which was easier to follow and the signature ballet action sequences we’ve come to love and expect from John Woo. Part three gave us the directorial debut of J.J. Abrams, had a stronger plot, a very effective villain in Phillip Seymour Hoffman and ended up remembering what made the original television series work so well. Each movie in this series has its own unique identity which allowed this franchise to have a longevity we didn’t expect it to have. Of course, with Tom Cruise’s antics upstaging “Mission: Impossible III,” it started to seem his time as Ethan Hunt had run its course.

But Cruise is back for more, and “Mission: Impossible – Ghost Protocol” turns out to be the best of one yet as it features some of the most ingenious action scenes I’ve seen in a movie for quite some time. It also has the added benefit of having been filmed in part with IMAX cameras which gives certain scenes a highly realistic look and feel to where you are right in the center of the action. Just when I thought this franchise had ran out of steam, Cruise and director Brad Bird (making his live action debut) thrill us in a highly unexpected way.

It appears Hunt’s retirement from the IMF after “Mission: Impossible III” didn’t last long, and we find him at this movie’s beginning in a Moscow prison throwing a rock at the wall like he’s Steve McQueen in “The Great Escape.” But he is soon sprung from his cell with the help of Benji Dunn (Simon Pegg) and agent Jane Carter (Paula Patton), and we find out he was imprisoned for a mission gone wrong, and he has since become estranged from his wife Julia (Michelle Monaghan) for mysterious reasons. Just like Jack Bauer in “24,” Hunt can’t stay away from what he does best when danger rears its ugly head.

After their great escape, Hunt and Dunn infiltrate the Kremlin in an effort to locate files of a nemesis with the code name of Cobalt. This mission, however, goes horribly wrong when the Kremlin is blown to smithereens, and the entire IMF is disavowed as a result. Hunt and his team are forced to take blame for the attack, but they are allowed to escape in order to locate Cobalt and stop a nuclear war. This time, Hunt and company have no support to rely on as they forced to work on their own.

As with the previous entry, Cruise lets the other actors shine as he has realized Hunt doesn’t need to do everything himself. Seeing Benji get upgraded from techno nerd to field agent is great fun, and Pegg is a real treat to watch here as he becomes much more than just comic relief. Paula Patton embodies her agent character of Jane Carter convincingly and gets to kick some serious ass in various scenes, one of which has her taking on a female assassin in something more than just your average catfight.

The best addition, however, to this “Mission: Impossible” movie is Jeremy Renner who plays William Brandt, a chief analyst for the IMF. Renner, whose career has been on a major upswing thanks to his performances in “The Hurt Locker” and “The Town,” is a great addition to this franchise, and he even gets a big action set piece as William proves to know far more than he lets on. His secrets threaten to be devastating if revealed, and Renner does excellent work in showing the turmoil Brandt endures as he is faced with a whole other kind of impossible mission.

The main antagonist this time out is Kurt Hendricks (Michael Nyqvist from the original “Girl with the Dragon Tattoo”) who is bent on starting a nuclear war so he can bring about the next evolution of the human race. Nyqvist brings a strong villainy to this role which makes you sneer at his presence whenever he’s onscreen. However, he’s upstaged by Léa Seydoux who portrays French assassin Sabine Moreau. Her cold glare penetrates your inner defenses with little difficulty, and you have to put on your best poker face in her presence to stay alive (and that may not even be enough).

But the real star of “Mission: Impossible – Ghost Protocol” is director Brad Bird himself. You’d think stepping outside the world of animation where he made “The Incredibles,” “Ratatouille” and “The Iron Giant” would leave him at a spectacular disadvantage as what you can get away with in that realm of filmmaking does not necessarily translate as well to live action. But it’s clear Bird allows nothing to stand in his way in terms of what can be accomplished, and he comes up with one amazing action sequence after another.

The one sequence which needs to be acknowledged above others is when Cruise scales the outside of the Burj Khalifa tower, the tallest building in the world. The IMAX cameras give this moment a reality like no other, and that feeling of intense vertigo is hard to ignore. Seriously, I felt like I was outside of that building with Cruise as he climbed up it with nothing but suction gloves. If there is a more intense action sequence with a character hanging on for dear life from one of the world’s tallest buildings, it certainly didn’t come to mind while I watched this movie. I had trouble getting to sleep afterwards because that crazy stunt was still on my mind and would not let me be.

There’s about a half hour or so of footage shot in IMAX, and Bird makes use of this format to great effect. Aside from Cruise scaling the world’s tallest building, there’s a scene of the Kremlin exploding which literally takes your breath away. While many still complain of IMAX feeling like a rip off with its high ticket prices, it’s worth the extra money in a way 3D could only dream of being at this point.

“Mission: Impossible – Ghost Protocol” is a big surprise as this franchise looked like it had already hit its peak to where another sequel seemed needless. But Cruise and company successfully revive it by giving us characters to care about and root for, and they outdo themselves with stunts even more amazing than what we saw previously. Regardless of what you may think of Cruise as a person these days (many of my friends can’t stand him), he still puts on a good show even as he grows visibly older. Just when you thought he was out, he pulls himself back in!

* * * ½ out of * * * *

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‘Cloverfield’ Lives Up to the Hype

Cloverfield

The fact that “Cloverfield” is any good is something of a miracle. This movie was released in January, a month where Hollywood tends to dump all their crappy movies because they have no idea of where else to put them. Plus, this is a movie which could have easily collapsed under the height of anticipation and expectation which preceded it with its brilliant marketing strategy. We all saw the brilliant teaser trailer showing the severed head of the Statue of Liberty being thrown down into the middle of Manhattan. We didn’t see the title for the film until months later, and we couldn’t stop thinking about it. This trailer was analyzed like it was the equivalent of the Zapruder film which captured the Kennedy assassination, but now the movie is finally here and has gotten 2008 off to a strong start.

“Cloverfield” takes place in the city of New York which has seen its fair share of destruction on and off the big screen. It starts off with some color bars on the screen and there is a message stating the footage we are about to see is from the area “formerly known as Central Park.” Those are ominous words indeed, and it leaves us in a state of suspended tension as we already know something very bad is going to happen. We first meet Rob Hawkins (Michael Stahl-David) as he is filming the apartment of the woman he just slept with, Beth McIntyre (Odette Yustman). We see them hanging out in Coney Island throughout, but the movie then jumps ahead to a month or so later when Rob is about to leave New York for a new job in Japan. It turns out Beth and Rob never really hung out with each other again after the great day they had, and the time they had together is always on their minds. But just as they try to sort out their personal issues, the earth shakes beneath them and, of course, all hell breaks loose.

The movie does take its time getting started which is not a bad thing as it takes time to establish the main players and their backgrounds. The script doesn’t flesh them out completely, but they are fleshed out enough to where you do care about them. The big surprise party thrown for Rob is filled with people who look like, at the very least, got a callback for one or more of the shows on the CW network. It would have been nice to see the filmmakers add more ordinary people into this party who did not have the perfect body or such Noxzema clear faces, but anyway.

What makes this monster film particularly effective is how it is told from the ground view. We are there with the people as they experience this disaster firsthand, and the characters are not just simple clichés who look and feel like they belong in a typical watered-down sitcom. This is what drove me nuts about Roland Emmerich’s “Godzilla.” Like Steven Spielberg’s “War of the Worlds,” it is not caught up with the military as they make decisions on how to destroy this enormous beast. It is more concerned with people like you and me and how we might struggle to survive in this situation. The adrenaline keeps running high as Rob and a few others make their way through the decimated city to get to Beth who is trapped in her high-rise apartment.

Another key factor is that “Cloverfield” doesn’t show us the monster right away, and this as a result makes the thought of the monster becomes more terrifying than anything else. We do get to see the monster eventually, but not in its entirety until the latter half. I would love to describe the monster to you, but I’d rather you discover it for yourself as I really don’t want to spoil the surprise. Nothing will compare to the first time you watch this movie.

The movie is also dominated by the shaky cam work which threatens to become an overused method of filmmaking these days. For those of you who have serious motion sickness problems, don’t sit too close to the screen. As for myself, I actually dealt with it just fine. I was starting to think I might have reached my limit with shaky camerawork after watching “The Kingdom,” and it fails in comparison to the brilliant camerawork accomplished in “The Bourne Ultimatum.” But here, it’s fine and it keeps you on the edge of your seat.

“Cloverfield” is not exactly brilliant filmmaking, but it does get the job done and with no real music score might I add. We don’t get to hear a score until the end credits where Michael Giaachiano composed a piece of music which serves a tribute of sorts to the monster movies of the past. Credit, however, should go to director Matt Reeves who directs his first movie here since “The Pallbearer” which was made back in 1996. He keeps the action grounded enough to where we have no problem following the characters even if their situation is not entirely probable. Anyway, we go into a movie like this to have a good time, not to think too hard about everything going on.

* * * ½ out of * * * *