… Or, as I like to call it, Mad Tom: Impossible Road.
I have seen many comparisons being made between Mission: Impossible – Fallout and 2015’s
action masterpiece Mad Max: Fury Road.
Here’s what I’ll say; Fallout is the
best, no-holds-barred, jaw-on-the floor action blockbuster since Fury Road roared onto the screen three
years ago. Writer-director Christopher McQuarrie (the first director to return
for a second film in the Mission: Impossible
series after 2015’s terrific Rogue Nation),
the stunt team and an insanely talented technical crew orchestrate some of the
most gasp-inducing action sequences to grace the silver screen, a variety of
combat and chase sequences which stagger with their ferocity, velocity and
frequency. Add to that an ensnaring espionage tale throughout which the action
is weaved, a magnetic supporting ensemble and one of star Tom Cruise’s best
performances (both physical and emotional), and Fallout is the rare sixth instalment in the series to become the
crown jewel, the peak achievement which sets a near-impossible bar for all
chapters to follow.
The plot relies too heavily on twists and turns to be fully
surmised in this review, but here are the basics; three containers of plutonium
are loose in the world, and the Apostles (remnants of the villainous Syndicate
from Rogue Nation) are hoping to
cause massive devastation with them. Ethan Hunt (Cruise) and the IMF
(Impossible Mission Force) team naturally want to stop this, and a race against
time ensues between both parties to get the plutonium first. Complicating
matters are the arrival of CIA Agent Walker (Henry Cavill), tasked with keeping
an eye on Ethan and co., and the return of Ilsa Faust (Rebcca Ferguson), who
has her own mission and agenda…
While there is a lot more to appreciate, Fallout’s main bread-and-butter is the
action. And what action it is, with McQuarrie and his team delivering stunning
sequence after stunning sequence. The use of practical stunt-work, wherever
possible, lends a visceral punch to proceedings (an early sequence in a
bathroom is like similar brawls from 1994’s True
Lies and 2006’s Casino Royale
amped up to eleven, with every blow landing like a hammer). There are two of
the most breath-taking vehicular chases ever put to film; you are always aware
of the danger from the incoming traffic and the sheer speed of the cars and
motorcycles as they whip past building after building (the sound design is
masterful throughout, but the sound during those motorcycle chases is
glorious). I won’t dare say anything about the finale, but it is easily one of
the most magnificent conclusions to an action film. Moving from exceptional
spectacle to desperately ferocious one-on-one fights, these final 20 minutes go
above and beyond in delivering thrills I honestly haven’t felt for a long time.
That’s not even exploring half of the world-class action in this film, but it’s
only right that most of it be left for the viewer to discover. Cinematographer
Rob Hardy and composer Lorne Balfe deserve special applause for their stellar
work in crafting the endless excitement. Meetings in the shadows and glamorous
events are typical spy tropes given new-found style and flair by Hardy’s
command of the lens, and his long-take shots of action whether grand or
intimate, occurring over vistas either huge and expansive or claustrophobic,
are visually captivating. Balfe’s score, shifting between brooding dread and
unexpected tenderness, kicks into high gear whenever the feet, fists and/or
bullets start flying. It’s impossible (pun intended) to over-state how well-wed
Balfe’s score is to the onscreen action. The use of snare drums and bongos is
particularly inspired, powering the action with a primal surge of energy.
Before we get to the star of the show, there is a superb
supporting cast which brings vivid life and personality to the array of
characters surrounding Ethan. Simon Pegg and Ving Rhames are as reliable as
ever; Pegg’s Benji provides much of the film’s comic relief whilst truly coming
into his own as a field agent. The film’s use of humour throughout is pitched
perfectly, landing effectively without leeching the danger or threat. Rhames,
on the other hand, is typically likeable and hits his more emotional scenes out
of the park. As the only other character besides Ethan to have appeared in all Mission: Impossible films, Luthor
perhaps has the deepest connection with Ethan, which really makes those moments
land. Whilst not stealing this film in quite the same way she did Rogue Nation, Ferguson is still a
spell-binding presence. Oozing grace and vivacity, the chemistry between
Ferguson and Cruise is palpable without being overstated. Becoming the first
villain to make a return in the series, Sean Harris is just as calmly insidious
as he was in Rogue Nation; Solomon
Lane is the yin to Ethan’s yang, and Harris embodies the cold, psychotic evil
to Ethan’s raging, human hope perfectly. Vanessa Kirby brings a playful,
slinking wit to the White Widow, an arms dealer who has an important part to
play. Alec Baldwin and Angela Bassett both make strong impressions as the heads
of the IMF and the CIA, respectively. And then there’s Henry Cavill. Perhaps
more famous for the ‘moustache drama’ (with his facial hair here leading to his
moustache being digitally erased from 2017’s Justice League to hilarious, rubber-faced results), Cavill’s
performance easily exceeds that “controversy”. Cavill’s muscular intensity
matches Cruise’s commitment beat-for-beat, Walker’s single-minded determination
coming in stark contrast to Ethan’s more optimistic world-view and creating an
intriguing rapport between both characters. Cavill exudes a sense of calm force
just waiting to be unleashed, and that controlled power makes Walker a consistently
towering and intriguing presence.
But the powerhouse here is easily the Cruiser. This is
perhaps one of Cruise’s quintessential performances; he puts his body on the
line through some of the most jaw-dropping stunts a Hollywood actor has ever
performed (even breaking his ankle and somehow keeping his composure long
enough to finish the shot), he lends a world-weariness to the action which humanizes
Ethan more than any other entry and he (with a wonderful assist from McQuarrie)
delves deep into the legacy Ethan has forged and the pain he has endured in his
on-going mission to keep the world safe. This is brought home beautifully by the
consistent ties to Ethan’s past throughout the narrative, some of which are expected
and one which comes right out of left-field but which will likely bring a big
smile to the faces of any long-time fans of the series. Cruise is easily one of
the most passionate movie stars on the planet, putting everything he has into
delivering a truly extraordinary experience for audiences. The most credit I
can offer Cruise here is that Ethan Hunt has never seemed more superhuman or
more human before, and I mean that with the greatest respect.
If you want to look for issues here, you’ll probably find
them. My biggest issue was how one particular plot point seemed too
telegraphed, but the more I look at it, that might have been the point. The
writing, direction and acting seems too controlled and aware to have given that
detail away without a good reason, and in a knowing way, I think it might actually
help the narrative. And, even though I saw that moment coming, there are still
a flurry of twists and turns which I didn’t expect. These show great
self-awareness for the formula of this series, either in a highly fun way or in
a way which raises the stakes for the characters both on a personal and
potentially global level.
It’s difficult to state how tremendous an accomplishment Mission: Impossible – Fallout is, particularly
in the action genre. Not a single person is here simply for the pay cheque;
these are all highly dedicated artists doing what they love and doing it so
much better than all but a few of the competitors. After a exposition-heavy but necessary beginning, the world-class action starts and almost never lets up.
The beauty of McQuarrie’s screenplay and direction, combined with the
exceptional cast, is that characters are still constantly flourishing and
developing in the middle of the magnificent chaos; the characters don’t feel
like constructs, but real people putting their lives on the line for what they believe
in. Mission: Impossible – Fallout is
both a modern action classic and one of the best espionage thrillers put to
screen, joining the likes of Mad Max:
Fury Road, 2007’s The Bourne
Ultimatum and Casino Royale. I’m
aware that’s high praise, but everyone involved deserves it. Achievements like
this don’t happen often, and when they do, it’s nigh-on impossible for a movie lover like me to use understatements.
By the time the credits roll, only one question remains; if
this series continues, who will choose to accept the mission of making a
follow-up to Fallout? It may just
prove to be what the series prides itself on; Impossible. Go and see this on
the biggest screen possible; this message will self-destruct in 5 seconds.
Actually, one more question; how did they do… BANG!
