Mission: Impossible - The Final Reckoning

Sic transit gloria cinema. If this really is the end, that is. What was in many ways the most unlikely of top-level movie franchises—in story, in execution, in star power, in sheer quality of execution—has apparently reached its denouement with an outing that is, perhaps, not the best of the series, but one that is representative and certainly full of entertainment value. You don’t really need to fret too much about the story here; this installment is continuing a thread that has been building for around three episodes now (and arguably grew out of the details of the entire series, as the movie makes clear with numerous self-referential flashback montages)--and all that really takes a back seat to the typically audacious stunt sequences anywat. Tom Cruise is very much his usual self here: strong, on-point, and totally in control of his character and environment (and he is deserving of accolades for clearly being a driving force in making this franchise what it became, which is a film series that far exceeded any reasonable expectations). The supporting cast does good work, too, including fine goodbyes to stalwarts Ving Rhames and Simon Pegg in their definitive roles, as well as solid performances from the rest of the crew--including Pom Klementieff in a role where, oddly, she speaks only French but apparently understands English in amazing detail. But hey, we’re not here to quibble; this stuff is all about a fun times at the movies, and this flick mostly pays that off, without ever descending into self-destruction. That’s a good mission to complete successfully—and here’s the proof. 

Dumb Money

There is a strange aspect to this movie, a measure of confusion that pervades the story. Based on the movie’s marketing and general vibe, you go in and watch with the impression that this story of lower class Davids sticking it to investor class Goliaths is on the side of the poor people. Yet many of the film’s trappings seem to indicate that the term “dumb money”—the rich assholes’ sneering characterization of two-bit retail investors—may not be so far off the mark. For one, the presentation is awash in rap “music”—and not exactly clever rap, either, but more like some of the ugliest sounding, meanest sounding, and, yes, stupidest sounding noise the producers could have found. The aural choices seem to imply that the cohort of paycheck-class types are exactly as churlish and ignorant as the title insult insists they are. Those same characters themselves, throughout the story, persistently make the case against the “short squeeze” they are engaging in, and the outcome many of them foresee does, in fact, eventually come to pass, in real life if not in reel life. (GameStop stock, when I watched this flick, was trading at around $20 a share—hardly the several hundred dollars per the price achieved in the midst of the mania.) Finally, the end notes before the credits relate that the hedge fund types, in the wake of all this, are now more careful about shorting stocks—all well and good, I suppose, but hardly the revolutionary outcome the squeeze participants were hoping to achieve, by their own presented testimony. So is this movie actually making an admiring case for the poor people? Or is this an exercise in declaring that those on the bottom really can’t win? Given the big picture, my guess is this film is firmly on the side of the little people, but presents that viewpoint somewhat incompetently. Thus, an interesting story and some good performances, in a story that holds interest for anyone with a thirst for economic fairness, get wasted by filmmakers who simply don’t quite make the case in favor of their heroes. A “should have been” movie that just isn’t quite. (Note: the library DVD I used to watch this movie had some playback issues, especially late in the running time. I undoubtedly missed a few crucial scenes, which might have changed my opinion on the piece overall. Watching comes with risk.)