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. 

Casino Royale (1967)

Every spy movie has to have some sort of mystery in it. The mystery here: who the hell thought this was a good idea? I mean, it’s not like the legit Bond movies take themselves all that seriously, so how far can you really go in parodying them? The answer to that question is painfully evident here. Every so often this movie raises itself up and achieves a level of extraordinary stupidity; the rest of it is a mishmash of lame, incomprehensible, unwatchable, or some combination of all three. The only moment in the movie that is even within hailing distance of competence is the baccarat scene—and that’s the one part of the script that plays it straight! Otherwise, this is a bomb of staggering proportions, a film that is so bad it can’t even achieve "so bad it’s good." Seriously, I like a spoof as much as the next guy, but this...words fail. At least, as I struggle to find something good to say, I can at least report that a few of the women in the flick are great to look at. So there’s that. Otherwise, yeesh. Your mission: avoid this at all costs.

Argylle

Silly, cute and fun. see, this is why you have to take a movie’s aspirations into account. If you approach this flick with the expectation that it will be a towering work of masterful cinema, then you have missed the point from the first few moments. Clearly, we’re in the realm of fluffy entertainment, and given that parameter, this entry achieves what it aims for. Bryce Dallas Howard is the greatest strength here; she’s adorable from her first scene and it’s her presence that makes everything go here. Even when she loses a touch of that luster midway through the story—there’s a tactical error in terms of characterization at that point, but it’s not fatal—Howard still brings enough charm and funny vibes to carry the tale to its satisfying conclusion. Also, there’s a cat who plays a big role, so that’s guaranteed fun right there. No new filmmaking epoch gets started here, but you’ll have a good time with this one if you let it be what it is. Discover that secret and you’ll find the key to being a good movie watcher. 

Mission Impossible: Dead Reckoning, Part One

A previous review link suggested that, perhaps, this series’ prior outing might be the last of its breed, if only because Tom Cruise has been doing this for so long that the exercise can’t possibly maintain particular interest going forward. Well, I guess here’s the proof that I was, shall we say, dead wrong. Apparently, the man and his crew have an inexhaustible ability to wring entertainment out of this concept. The stunts—in many ways the raison d’etre of this franchise—are up to the usual level of audacity. The plot is relatively clear, and rather timely, even if it drags its concept to a certain outlandish extreme. As for the human elements, I admit that there have been so many personnel twists and turns so far in the series that I’ve forgotten quite a bit about who is whom among the crew, beyond the core members of the team—Ving Rhames and Simon Pegg inhabit characters who are indelibly well-defined—but that really doesn’t matter for enjoying this flick. The experience is about just letting all the hyperkinetic chicanery wash over you, appreciating the awesomeness of those stunts and the cleverness of the setups while relishing the laughs scattered throughout the not-taking-itself-too-seriously script. At that level, it’s no wonder the thing keeps working. MI is pretty much as immortal and unkillable as Ethan Hunt himself—there’s always some escape to be made, some new ledge to leap onto and keep the thing climbing or running or scrambling its way forward. That, the fact of this franchise’s eternally entertaining nature, is a mission—or at least an enticement—that moviegoers have long since learned to accept. The thing couldn’t self-destruct even if it wanted to.

Allied

Part of this story is set in Casablanca...but its mind is on Casablanca all the way through. Indeed, this movie doesn’t just take a number of its cues from that most famous of films, but it is very much a not-so-funhouse mirror image of that cinematic legend. Hell, there are even moments sprinkled throughout where the now-aging Brad Pitt even looks a bit like Humphrey Bogart. (Co-star Marion Cotillard, though talented and impressive in performance, doesn’t quite measure up to or resemble Ingrid Bergman.) This being the world of today, things don’t work out quite as well for these characters as with the habitués of Rick’s. Nevertheless, the full package ends up as a decently-crafted thriller, one that has enough twists and turns to keep the plot interesting without wrapping itself up into a Moebus strip of too-clever confusion (a failing of all too many mystery-spy-intrigue flicks). Mission: mostly successful.

Mission: Impossible - Fallout

An acceptable level of audacity. After taking a bit of a dip in the previous outing, this installment -- almost a direct continuation of the previous film’s storyline -- rises up once again to a most satisfying height of mayhem, twists and turns, and hanging by a fingernail intensity. And, as an added bonus, the script injects an element of emotional depth into the proceedings, in the person of our hero’s former flame, a piece of his puzzle that had been building in the previous outings, but only becomes fully realized as a key component here. Adding that to the already expert execution of all the great spy movie must-haves -- outrageous action, world-class locations, eye-popping settings, and a hint of aplomb and cool humor -- solidifies this flick as both another fine and fun entry in the series, and a representative example of the franchise as a whole. This one has a certain valedictory air to it, as if this may be Cruise's last go-around as Ethan Hunt; if so, it’s a worthy way to say sayonara to what is, in many ways, a career-defining body of work. Impossible or not, I’m willing to declare this mission more than just accomplished. Bravo.

Mission: Impossible - Rogue Nation

Solid but not spectacular. This is the first film in the franchise that feels like it lives a rung down on the ladder. Not to say that it’s bad; this is a fine, workmanlike rendering of the series’ oeuvre, with all the elements that made the previous four outings so successful. There’s just a hint that maybe we’ve seen a bit too much of this at this point. The action is top notch, if not as hair-raising as some of the sequences of earlier entries. This one is a bit thin on the humor that leavened the prior episodes, hinting that perhaps the production has started to take itself a bit too seriously. One thing that does stand out: these movies have a (I don’t know if I’d call it refreshingly) jaundiced view of government -- not just foreign governments or the USA’s institutions, but seemingly every government on earth. In that way, this is a spy franchise that is more plugged into the zeitgeist than, say, the Bond movies have been for a long time. That’s perhaps not something you want to appreciate -- the world was probably a better place when you could actually believe in something -- but it is at least worth nothing, and to some extent respecting. So, in sum, we take a small step down here, but this part of the canon remains high-level action entertainment -- still a mission worth accepting.

Mission: Impossible - Ghost Protocol

The strength of this franchise? Scenario imagination. The things these people think up are simply outrageously entertaining. The Dubai sequence here, for instance, is remarkable for its inventiveness, in multiple dimensions -- not the least of which is Tom Cruise scaling the Burj Khalifa's exterior, which set my fear-of-falling response into white-hot psychosis mode. And that’s really just the start of it. So much of the spectacle in these films is so over the top that it serves as its own context and raison d'etre; the details of the story, plot and overarching theme are largely irrelevant to whether or not the film succeeds as entertainment. That may not be truly good moviemaking, but it undoubtedly delivers a high quotient of entertainment. Shakespeare it’s not, but a good way to kill a couple of hours and enjoy oneself? Most emphatically, yes.

Mission: Impossible-III

Specializing in absurd bravado. Arguably, no one but Tom Cruise could pull off the combination of cheeky fun and audacious action that is the hallmark of the M:I series. This is highly professional blockbuster moviemaking, and regardless of who the director is—de Palma, or Woo, or in this case J.J. Abrams—the credit for the quality of this franchise must largely go to Cruise (who is both star and above the title producer throughout this series). It’s almost impossible not to enjoy these flicks, even considering their sometimes silly story lines or out of left field plot points or even an almost total lack of continuity between episodes (Ving Rhames is about the only commonality in the series besides Cruise himself). This is all about the spectacle, and Tom and his team never fail to deliver the goods, whether it’s jaw-dropping stunt work or moments of laugh out loud humor mixed into the mayhem. Don’t make the mistake I originally did in dismissing these films as lowest common denominator multiplex fodder; this is really the state of the art in movie-for-the-masses filmmaking. Accept the mission and give this and the rest of the series a look.

Mission: Impossible-2

It is itself, only more so. This second outing in the series takes the template--one is tempted to call this work formulaic, but that would be too negative--formed by the first and magnifies it. Credit for that must go to having John Woo as the director, or at least to the decision to bring the Hong Kong action master in to helm the production. His  touch shows throughout the proceedings, in a building pattern that eventually reaches a point where, at the climax, the movie achieves maximum John Woo-ness, with set pieces, stunts and visuals that are so over the top that certain moments are laugh out loud funny. Other parts of the production are uneven yet entertaining. The story runs from simple and straightforward to a growing complexity, where at at least one point it’s hard to follow who is doing what. The propensity of the characters to wear flawless disguises assists in creating certain confusion, though at one point the ploy is used so obviously that there’s humor in what should otherwise be a serious confrontation scene. Then again, this flick never really takes itself too seriously, except perhaps for its through line of ogling Thandie Newton, a pastime that gets devoted attention almost from start to finish. Overall, this movie delivers decent popcorn entertainment; if you don’t expect brilliance--and clearly, many moviegoers have not over the franchise’s lifetime--you will be mostly satisfied with your investment here.

Mission: Impossible

I missed out on this one for some 27 years. That seems...highly improbable. Especially considering how prominent this film and its sequels became. In truth, the old TV show came across (to me, at least) as not particularly fertile ground for growing a whole film franchise, and in this first entry in what became a series, it doesn't always look that promising. As a stand alone piece, this is mostly entertaining work, with some decent action sequences, though hardly knock-your-socks-off stuff. Perhaps that’s the product of watching this flick so many years after its first arrival; action filmdom has largely--in every sense of the word--moved on to bigger and better things since the mid ‘90s.  The story here is relatively straightforward, unlike many a spy movie; perhaps that is a key to how this film and its sequels have had such broad appeal. Then again, Tom Cruise's charisma contributes tremendously to that success, too. His inherent confidence--the key trait that he brings to his every role--shines through throughout the proceedings, giving the viewer the sense that he’s being guided all the way through by the surest of leaders. You never really doubt that the hero is going to come out on top, whatever obstacles are placed in his way, and thus the climax and conclusion prove satisfying. Ultimately, it’s not the greatest thing ever, but it’s a good way to kill a couple of idle hours, and sometimes that’s what watching a movie is all about. 

No Time to Die

A fitting swan song for Daniel Craig’s run as James Bond, even if it does get a little too mushy here and there. There are some minor pacing problems, but when the action comes it does so in sequences that rival any in the series. As with any Bond film, the eye candy must be first rate; here Lea Seydoux and Ana de Armas admirably fill that need here. Other cast members do good to excellent jobs in support. Mostly, though, this is about Craig, stating his case as (maybe) the best Bond ever. It may be hard to lift him above Connery--who after all defined the role, and had the advantage of better context (Cold War) and, frankly, better productions (storylines, writing, and that certain, mid-century spy movie joie de vivre) on his side--but the modern man probably sits at at least No.. 2. That's hardly something to be ashamed of. This last trip through the MI6 underworld reminds us how lucky we’ve been to have had the franchise resurrected from its seeming expiration back in the Dalton/Brosnan days, when the joy largely went out and camp was practically king. Our man--or, at least, the original king's man--will return, per the post-credits teaser--but it’s hard to imagine the new guy doing any better than Craig's body of work. (That is, assuming the new Bond is a guy, and that the producers don’t go really far off the reservation with their choice). This Bond may not have gone out with the biggest bang, but he left a big, shining legacy for film history to remember and enjoy.

Tenet

Be your own Bond. It’s a certainty that recent rumors about someone Black taking over the role of world’s preeminent movie spy informed the casting of this film’s lead. And it raises a good point: why take over someone else’s franchise when you have the opportunity to develop something wholly fresh and new? Of course, the trick there is to do the developing and actually create something that is fresh, and new—and well done. That goal is somewhat accomplished here. This is a spy film that’s so devoted to its on-screen skulduggery that it even keeps its secrets from the audience. The viewer is never really informed about who the players are here, which side is which, or what, or whomever. Add that to the deep humbug about winding and rewinding time and everything starts out as clear as mud…and pretty much stays there throughout. You can just let those aspects slip and choose to view the scenery; there is enough audacious action sequences that it can be enjoyed simply on that level. You can also appreciate John David Washington’s cool, always in control performance as the (strangely unnamed) man making the moves, in one timeline or another. Is that stuff positive enough to build an enduring franchise a la 007? Well, that remains to be seen, in the future…which may be the past…or something like that.

Red Sparrow

Spying is hard. That may be the main takeaway from this flick. There are some downsides to this outing: the story gets a little murky with all its convolutions, Jennifer Lawrence is good but not as good as she usually is, and the edges here a quite rough. Indeed, watching this movie is a bit like looking at the cinematic version of Brutalism; there's none of the panache that so many Bond movies have imprinted upon us as a necessary component of the typical espionage thriller--particularly when Russia vs. the West is involved. And note: the violence here is particularly hardcore; no punches are pulled, and it's fair to assume that this film will be tough for some people to watch. Still, all in all, the story stays interesting all the way through, and the whole thing is intriguing enough--and challenging enough--that it earns relatively high marks. Take a look, but proceed with caution.

Atomic Blonde

This movie probably never would have been made if it had not been pitched with the word "blonde" in the title. Hollywood, of all places, knows what sells. (The source material's title is "The Coldest City." Go figure.) So does this flick achieve such golden status as its title wants to suggest? Well, the story is a muddle, but that may not really be a problem, since this film is clearly an exercise in trying to recreate pre-Achtung Baby Berlin to its greatest degree. How much it succeeds is a matter of speculation, as few of us were actually there and can make a comparison. A lot of the clothing and stylistic touches--for instance, neon lighting in peoples' apartments--look about right for the late '80s, although the music choices are ham-handed (many of the songs, though authentically '80s and some even quite good, had long since fallen out of rotation by 1989). Mostly, this movie is an excuse to see Charlize Theron beat the tar out of people. On that front, she acquits well, and the filmmakers deserve credit for making the violence legit and not creating some stylized, "fight ballet" stuff like we've seen a lot lately. All in all, it's OK--not great or necessary, but hardly the sort of thing anyone would really clamor for (certainly not for a sequel).

Kingsman: The Golden Circle

I'm not sure about this. This movie and its predecessor seem to want to be a looser, updated version of James Bond, and in some ways it pulls that off. It's got all the action--in spades--the gadgetry, the humor, the 'save the world' trope...it's all in place, and I can't really say it's not entertaining. And once again, the filmmakers have a certain amount of political insight where they try to deliver a satirical but somewhat cogent point. All well and good. But--and it's a huge 'but'--there are problems here, too. The combination of sophisticated and crude will clash a bit too much for some viewers. This film (and this applies to the previous entry, too) relies almost obsessively on long action sequences that are heavy on visual and camera gymnastics: stuff that looks good at first, but gets tedious after a while, despite the director's obvious love affair with his own shot-making cleverness. And, in addition to being crude, this outing is also remarkably violent; only the John Wick movies are a match for the violence displayed here, and those flicks are substantially darker in tone. This is almost like "playful psychopathy" here--which isn't always funny and entertaining. Toning it down a bit would probably make for a better movie--though I wouldn't count on seeing that in the seemingly inevitable third installment.

Never Say Never Again

At last, the Bond movies project is complete, now that I've re-watched this movie, the rogue production of a remake of Thunderball. A couple of things stand out: one, Sean Connery's appearance here demonstrates in no uncertain terms that Bond actors have to be put out to pasture at a certain point. There's just no getting around the fact that Connery was too old for the role at this point, even though he acquits himself rather well in this outing. The plain fact is, the man in the tux has to have a certain appeal that only a man under a certain age can have. Secondly, this film suffers from its rogue status for one very good reason: the lack of proper licensing meant they could not use the actual James Bond theme for the music, and the absence of those familiar sounds makes a huge difference. It also doesn't help that the movie runs just a bit too long. And, like its model, there's a bit too much underwater work here; the action always seems slower when everyone is hauling around a scuba tank. There's fun stuff, a strong dose of irreverent humor sprinkled throughout, some good action, and some silliness, too. All in all, it's not bad, but it never really had a chance to live up to the best standards of the Bond canon.

Jason Bourne

At this point, one must approach the continuing popularity of these Bourne movies with a certain amount of perplexity. The plain truth is, except perhaps for the first one, they're just not very good. It's easy to look at the main player in the spy genre -- James Bond flicks -- and laugh at them for a certain amount of campiness, but at the very least those movies have made, and continue to make, a minimal effort to spin out some character development for their main actors. In contrast, Matt Damon's genre vehicle has never really bothered with carving out a real identity for anyone involved in the proceedings. Lack of identity is, to be sure, the point with Bourne, but that doesn't mean everyone else in the cast has to be a mannequin; a sense of who these people are -- and why we should care about any of it, beyond bromides about national security and such -- would make for a more effective story, and thus movies more worth watching. You don't get that here. You do get some pretty decent action sequences, but that does not really a good movie make. If you're truly a fan of the series -- somehow -- I guess you'll want to see this, but really everyone else should have long since moved on from here.

Licence to Kill

A reaffirmation: Dalton was doomed from the start. After watching this movie, one wonders what a third Timothy Dalton-James Bond movie would have been like. Hell, this one barely feels like a Bond movie: again the tone is grim; there isn’t even the traditional Cold War context to the story (this one is all about Bond’s personal vendetta against a Latin American drug dealer); and, most baffling of all, the production values took a steep nose dive for some reason. Watching this movie feels a lot more like tuning in to a TV movie rather than a big screen outing in filmdom’s most durable franchise. This film seems cheap, unimaginative, and joyless. Whatever one thinks of Dalton as Bond, all of these problems couldn’t have been all his fault. However it happened, bringing in fresh blood--for both the outlook and the character--was a dire necessity by this point.

The Living Daylights

It becomes abundantly clear early on in this movie: Timothy Dalton never had a chance as James Bond. The surprise, in retrospect, comes from the fact that it probably wasn’t his fault. The producers made a huge mistake in changing not just their lead actor, but also the entire tone of the series with this movie. There’s hardly any of the joie de vivre that was a hallmark of the Bond flicks present in this outing; the tone is decidedly darker, more downbeat, almost dour. That the franchise needed a shakeup could hardly be denied, but changing both Bond and his milieu at the same time was more tinkering than was warranted. If Dalton had gotten a chance to be as playful as Connery or Moore, maybe movie history would have been a bit different. As it is, this one is OK, not great--though there are a couple of really good action/stunt sequences--and stands as mostly just a footnote in the series’ narrative.