I just checked my homepage, and it loaded without a malware warning, so I guess it’s clean now. I apologize for the delay, but apparently it takes a couple of days for a review to go through. Actually Google still has a caution up for the site on its search results, so the request must still be in process, but the site is accessible now and I’m pretty sure it’s safe. Although I’m a little concerned that this is the second time my site has been hacked in the past few months. The first time, it was just the main page and it was simple to upload a clean copy — so simple I didn’t think to report it or change my password. Hopefully the password change will protect it, but if this becomes a problem again, I may need to consider moving my site to a different host.
In other news, my jacket arrived intact. And I finished that plotline from Uncertain Logic, though I still have a way to go on the other main ones, and just over a month to deadline. The problem is that it turned out way too long, but now I’m going through and looking for stuff I don’t need, things I explained twice, etc. Unfortunately I’m under the weather today and haven’t been able to do as much work as I’d hoped. I’d also been planning to go see Dawn of the Planet of the Apes at last today, but I just wasn’t up to it.
Oh, and I decided to take one more look at air fares for flying to Shore Leave, and I’m glad I did, because I was able to find a decently priced flight to Baltimore that only goes a little bit out of the way (layover in Philadelphia) and works out reasonably well timing-wise. So for the first time, I’ll be flying to Shore Leave instead of going by bus or car. I’m so glad I don’t have to take another pair of really long drives, especially since it frees up an extra couple of days for writing. And I’ll get a chance to use my new smartphone’s “airplane mode.” (Which makes it sound like it should sprout wings and fly around. Heck, it can do almost everything else.)
Okay, the webmaster told me the site seems clean and instructed me on how to contact Google for a rescan of the site. I’ve done that, and also changed my password. It may take a day or so for Google to clear the warning, but I’m pretty sure the site is clean now, I hope.
Oh, these past few days… I’m into the climax of one of the main plotlines of Uncertain Logic, but things keep happening to distract me from writing. On Tuesday morning, the first chilly morning we’ve had in weeks, I discovered I couldn’t find my jacket and searched everywhere for it; it ultimately turned out I left it in Aunt Shirley’s hall closet in Detroit, so she’s mailing it back to me. Then my fridge light bulb burned out and I had to notify the apartment manager. Then I had an ophthalmologist appointment that afternoon and couldn’t see clearly enough to write until the evening. And then yesterday this malware thing happened and I’ve been dealing with that. I guess I should be proud of myself for maintaining enough focus to get any work done at all.
Folks, a fan just notified me of getting a malware warning when trying to access my home page. I found the files had been altered yesterday and uploaded clean copies from my computer, but I’m still getting the warnings on my laptop browsers, although I get through fine on my smartphone. I’ve contacted the webmaster to find out more, and I’ll keep you posted.
TrekMovie.com has posted a bunch of blurbs for upcoming Star Trek novels scheduled over the next year, including my own Rise of the Federation: Uncertain Logic, the third volume in the ROTF series, due in April 2015. The article is here:
And here’s the Blurb for ROTF:UL:
Years ago, Jonathan Archer and T’Pol helped unearth the true writings of Vulcan’s great philosopher Surak, bringing forth a new era of peaceful reform on Vulcan. But when their discovery is seemingly proven to be a fraud, the scandal threatens to undo a decade of progress and return power to the old, warlike regime. Admiral Archer, Captain T’Pol, and the crew of the U.S.S. Endeavour investigate with help from their Vulcan allies, but none of them suspect the identity of the real mastermind behind the conspiracy to reconquer Vulcan—or the price they will have to pay to discover the truth.
Meanwhile, when a long-forgotten technological threat re-emerges beyond the Federation’s borders, Captain Malcolm Reed of the U.S.S. Pioneer attempts to track down its origins with help from his old friend “Trip” Tucker. But they discover that other civilizations are eager to exploit this dangerous power for their own benefit, even if the Federation must pay the price!
No cover has been released yet, but I’ve been allowed a glimpse at the not-final solicitation cover, which I think is pretty interesting and hopefully will be released soon, though I have no idea if it’ll be anything like the final cover.
(And it occurs to me that “ROTF:UL” is kind of an unfortunate acronym. I assure you the book is not full of rot. Oh, well, at least I didn’t call it Rise of the Federation: Logic, Mayhem, and Outrage.)
Plenty of other interesting book blurbs are at the link!
I debated with myself whether to edit my original “Full series overview” post to add the revival, but I think it would be easier just to link to it and add a second post, mainly covering the 1988-90 revival series and the feature film series, but also updating some of the bits from the first post. So here’s the link:
The revival TV series added 35 episodes to the tally from the original, for a total of 206 episodes and 197 distinct adventures — or maybe 193, since four of the revival episodes were fairly close remakes. Highlights:
Regulars: Reactivated government agent Jim Phelps (Peter Graves), electronics engineer Grant Collier (Phil Morris), theater professor Nicholas Black (Thaao Penghlis), all-around tough guy Max Harte (Tony Hamilton), fashion designer Casey Randall (Terry Markwell). Randall dies midseason, replaced with journalist/singer/Secret Service agent Shannon Reed (Jane Badler).
Initially remakes of original-series episodes, soon giving way to new episodes and loose reuses of original premises in different ways. A surprisingly direct continuation from what had come before, with a mix of international intrigue and crime-busting cases; after an initial emphasis on capers that go off-plan and create jeopardy for the team, the season settled into routine, clockwork capers with very little character exploration, much like the original. A high percentage of episodes featured supernatural-themed capers exploiting villains’ superstitions, usually through holography.
Production in Australia allowed more striking and exotic location work and more international flavor, unfortunately leading to worse ethnic stereotyping than the original generally had. In departure from original, most episodes were set in real countries.
Beginning of the fleshing out of the IMF as an organization, establishing other agents, a research lab, and the like. First steps toward a more action-oriented focus.
Cold opens used in every episode. Tape-scene briefings replaced with video minidiscs in special players, and ending in freeze-frame title card/music sting like that in the original’s dossier sequences. No off-book missions, so disc scenes used in every episode. Video dossier scene used only in pilot. Team briefings occasionally took place on site rather than in Jim’s apartment, and were often more preliminary and straightforwardly expository than in the original, with little of the gadget/trick demonstration common in the original.
Main title theme modernized, electronic/guitar arrangement. Preview clips in titles replaced with generic title sequence. End titles initially over “IMF” logo, later over stills from episode.
- Best episodes: “The Pawn” and “The Fortune,” followed by “The Legacy.” Best remake: “The Legacy,” whose final act improved upon the original’s weak ending.
- Worst episodes: “The Devils” is worse than anything from the original series. “The Haunting” is also quite bad, and “Submarine” isn’t much better. Worst remake: “Submarine,” a hugely inferior reworking of the original’s finest episode, though it’s only a loose remake.
Regulars: Jim Phelps, Grant Collier, Nicholas Black, Max Harte, Shannon Reed. Only season besides S6 where the same regular cast appears in every episode. Only season in franchise where the team has no supplemental members.
Entirely new episodes, though a couple were loosely inspired by original-series premises. First season since S4 to include a 2-parter. The first half-season broke formula much as S5 did, having more capers go wrong and delving more into the characters. The characters spent more time as themselves (rather than playing assumed roles) than in any previous season. The second half largely dropped the caper formula in favor of more conventional action storytelling where the characters were searching and improvising more often than enacting preplanned strategies.
Unique in having no purely crime-focused episodes; every criminal case had an international/geopolitical aspect. Resumes original series’ practice of using largely fictitious countries, though with several real locations (or caricatures thereof) used. Increased emphasis on action, solving problems with force or gunplay rather than deception and stratagems. The opening 2-parter was essentially an over-the-top action movie, almost a trial run for the feature films. Increasing shift toward fanciful or exaggerated scenarios, and continued emphasis on supernatural cons.
No change in initial formula: Cold open, disc briefing, team briefing usually in Jim’s apartment but occasionally at on-site command post.
- Best episodes: “Countdown,” “The Fuehrer’s Children,” “For Art’s Sake,” and “The Princess.”
- Worst episodes: “Cargo Cult” is the worst episode in the entire franchise. “Banshee” and “The Assassin” are both dreadful.
So how would I rank these seasons relative to the whole? Remember, my rankings for the original series were:
- Season 5
- Season 1
- Season 3
- Season 4
- Season 7
- Season 6
- Season 2
The 1988 season — call it season 8 — was generally routine and mediocre in storytelling, about on the same level as S2, but weakened by less interesting music and by the disappointing presence of Terry Markwell in the first 2/3 of the season. I’d pretty much have to rate it below S2, then. The ’89 season — call it season 9 — is trickier to rate, since it started out so strong but sank so low. In that respect, it’s close to season 6, which had a number of strong episodes offset by a number of poor ones. But the worst episodes of S9 are below the quality of anything in the original series, so I’d have to put it below S6, though it has enough interesting ones to put it above the generally bland S2. So the new ranking would be:
- Season 5
- Season 1
- Season 3
- Season 4
- Season 7
- Season 6
- Season 9
- Season 2
- Season 8
Regulars: Ethan Hunt (Tom Cruise) is the only true regular. Luther Stickell (Ving Rhames) appears in all four films but is only a team member in three. Benji Dunn (Simon Pegg) is effectively a regular starting with the third film. No one else appears in more than one film.
A remarkably inconsistent film series, with each film reflecting its own director’s style and sensibilities. The first two films and the subsquent J.J. Abrams-produced series can be seen as three separate, highly distinct attempts to adapt M:I to film, sharing only a leadactor and a few recurring tropes. Unlike the TV franchise’s team focus, the films are focused on Ethan Hunt as a lone hero and romantic lead, with only Ghost Protocol having an ensemble approach (and eschewing a romantic subplot, for the most part); but Hunt does not emerge as a well-drawn character until the third film. Only the third and fourth films have any shared continuity besides the return of Hunt and Stickell. What the films have in common is a shift toward a greater emphasis on action and on tales of intrigue and treachery. All of the first three films involve traitors in the IMF, and all but the second involve Ethan Hunt being accused of treason and going on the run. The intricate capers that characterized the original series are generally reduced to set pieces within the films’ plots.
The IMF is fleshed out into a division of the CIA, based in Langley, VA. Every film features either senior IMF officials or “the Secretary” himself, though with different officials in each film. The first three films have the briefing videos narrated by the agent’s superior in the IMF, and the fourth has the Secretary deliver “your mission, should you choose to accept it” in person (along with other mission briefings by an anonymous, possibly computerized voice). The method of the briefing delivery is different in every movie. Dossier videos are incorporated into the briefings in films 1, 3, and 4, and as part of a visual montage in film 2. Teams are usually selected by the superior rather than the team leader. Team members are now career IMF agents rather than civilians, although the premise that they are deniable, non-official agents without the protection of their government in the event of discovery is retained — and utilized far more heavily than in the series.
All films take place in real locations and are generally filmed in them. All plots focus on large-scale espionage or on the terrorist acquisition of WMDs.
Every film has a cold open, though the subject matter varies. Every film uses the Schifrin main title theme, but only the first and fourth have full-length title sequences based on the format of the original series. Only the third and fourth films use “The Plot” in full, though the first uses snippets; the second film is unique in the franchise in eschewing the melody altogether.
- Best films: M:i:III, M:I — Ghost Protocol.
- Worst films: M:I-2 is clearly the worst, but the first M:I isn’t much better.
Ranking the movies is pretty easy:
1) Ghost Protocol: Very well-directed and fun, with the greatest focus on classic M:I-style capers and schemes and the only really ensemble-driven story in the film franchise. Very close in quality to its predecessor, but the greater fidelity to M:I and the superior music put it over the top.
2) M:i:III: Just as well-done in its own way, but more serious. Terrific, rich character work and effective action, and by far the best use of a female lead in the franchise. The first film to give Ethan Hunt an actual personality. The only drawbacks are an insufficient focus on the ensemble (though they do get a few nice moments here and there) and relatively little use of classic capers, with the Vatican sequence being essentially the only one.
3) M:I: A fairly tepid conspiracy thriller with mediocre acting and a key plot point that makes no sense whatsoever (the Bible “clue” that proves nothing at all), not to mention a climax that defies physics more ridiculously than most action movies do. Further marred by the character assassination of “Jim Phelps.” Still, it’s redeemed somewhat by the effective and iconic set piece of the Langley heist, and by making more use of series-style capers and tropes than any other film in the series save GP.
4) M:I-2: A cartoony, over-the-top, Hong Kong-style action movie, which is something that might be fun as a separate entity, but that doesn’t work as something calling itself Mission: Impossible. An aggressively mindless exercise in style over substance, dominated by insanely overdone action and a deeply superficial excuse for a romance between Hunt and the film’s one and only female character, a travesty next to the moving relationship he has with Julia in the subsequent films. Barely even feels like M:I, barely uses a team, and the villains use more IMF-style tactics than the heroes. The best that can be said about it is that it succeeds in its goal of being a dumb, shallow action cartoon, unlike its predecessor, which fails in its goal of being a smart conspiracy thriller.
Musically, the revival series was less interesting than its predecessor, featuring only three composers in the first dozen episodes and only one for the remainder of the series. The three scores each contributed by Lalo Schifrin and Ron Jones were of mixed quality, though each had one really interesting one, one reasonably good one, and one mediocre one. The remaining 23 scores by John E. Davis (assisted by Neil Argo in season 2?) were generally uninteresting. However, the changes in US union rules requiring new scores in every episode mean that Davis is second only to Schifrin in the total number of M:I episodes scored.
The films have used three different composers, Danny Elfman, Hans Zimmer, and Michael Giacchino, with only Giacchino being used twice. Elfman’s score was reasonably good and Giacchino’s were both excellent, with the Ghost Protocol score being particularly impressive. Zimmer’s score for the second film was mediocre, and the only one geared more toward rock sounds than orchestral scoring.
The updated list:
- Lalo Schifrin: 26 credited scores, seasons 1-8, plus themes used in 4 films
- John E. Davis: 23 credited scores, seasons 8-9
- Richard Markowitz: 9 scores, S3-4
- Robert Drasnin: c. 7 scores (8 credited), S2-3, 5-6
- Gerald Fried: 6 scores, S1-4
- Jerry Fielding: 6 scores, S2-4
- Ron Jones: 6 scores, S8
- Walter Scharf: 5 scores, S1-2
- Benny Golson: 4 scores, S5-6
- Richard Hazard: 3 scores, S4-5 (+1 credited, S6)
- Robert Prince: 2 scores, S5-6
- Michael Giacchino: 2 scores, films 3-4
- Jacques Urbont: 1 score, S1
- Don Ellis: 1 score, S1
- Harry Geller: 1 score, S5
- Hugo Montenegro: 1 score, S5
- George Romanis: 1 score, S6
- Duane Tatro: 1 score, S7
- Danny Elfman: 1 score, film 1
- Hans Zimmer: 1 score, film 2
The list of composers who have worked on M:I and Star Trek has grown, now including Fried, Fielding, Romanis, Jones, and Giacchino.
Here’s the updated list of regular and recurring IMF team members by number of appearances, incorporating the entire franchise. This includes everyone who was a team member more than once, so it leaves out most of the movie characters. This time I am incorporating Barney and Lisa Casey’s return appearances in the revival despite their not being formal team members, since they did actually participate in the teams’ endeavors, something I didn’t recall when I made the original list.
- Jim Phelps: 178 (not counting presumed impostor in first movie)
- Barney Collier: 169 (plus at least 1 offscreen assist)
- Willy Armitage: 147
- Rollin Hand: 76
- Cinnamon Carter: 71
- The Great Paris: 49
- (Lisa) Casey: 35 (plus 6 offscreen assists)
- Grant Collier: 35
- Nicholas Black: 35
- Max Harte: 35
- Dan Briggs: 27 (only on mission in 20)
- Shannon Reed: 24
- Dana Lambert: 23
- Doug Robert: 13
- Casey Randall: 12 (mostly minor contributions)
- Mimi Davis: 7
- Tracey: 6 (4 distinct missions)
- Ethan Hunt: 4
- Luther Stickell: 3
- Dr. Green (Allen Joseph): 2 (plus 1 offscreen assist)
- Dave (Walker Edmiston): 2
- Benji Dunn (Simon Pegg): 2 (only 1 as formal team member)
Note that Jim has now surpassed Barney as the most frequently appearing character in the franchise.
Bob Johnson (Voice on Tape/Disc) is heard in 192 episodes (all but 14), with 9 being recaps in multiparters, coming out to 183 distinct briefings. Johnson is in none of the movies, having died three years before the first film’s release.
Best Team Leader: Previous winner: Jim Phelps. New candidates: Evil Impostor Jim Phelps, Ethan Hunt.
Is there even a contest? Well, we can rule out Jon Voight’s Evil Jim right off the bat; assassinating your own team is kind of a disqualifier. And Ethan is too much of a lone wolf and grandstander, plus he has a hard time holding onto a team. No change here — the original Jim Phelps, accept no substitutes, still wins by a mile.
Best Second-in-Command: Previous winner: Barney Collier. New candidates: Grant Collier, Ethan Hunt.
I’m counting Ethan because he was Evil Jim’s second-in-command in the first film, and Grant because he generally seemed to be the first one Jim briefed before the others. Ethan didn’t give a very good showing in the role, allowing virtually his entire team to be killed by their team leader, so he’s out of the running (no pun intended) again. And Grant was never really given the chance to take the lead in Jim’s absence, so while I have the feeling he would’ve done a great job, he never got to prove it. No change here: Barney still wins.
Best Master of Disguise: Previous winner: Rollin Hand. New candidates: Nicholas Black, Ethan Hunt.
Man, that Hunt guy sure gets around. But his full-mask impersonations are too dependent on high technology, including synthetic voice chips, which seems like cheating. His less extreme makeup jobs using his own face and voice aren’t bad, but they don’t display as much range as Rollin’s did. And Nicholas had even less versatility; though theoretically he could do a perfect job mimicking anyone so long as the actor’s voice was dubbed over his, in practice the actor was unconvincing in the role. So again, no change: Rollin still wins.
Best Tech Guy: Previous winner: Barney Collier by default. New candidates: Grant Collier, Jack Harmon (Emilio Estevez), Luther Stickell, Benji Dunn.
Let’s start with the movie guys. Jack Harmon’s main accomplishments, as seen in the first film, are watching stuff on a monitor, being out-hacked by his own boss, and getting killed by a truly ridiculous deathtrap. Not impressive. Luther’s good with the hacking and with monitoring the team operations, but he’s not as hands-on as his predecessors. And Benji, while enthusiastic as anything, is a bit of a bumbler. The only real contender for Barney is his own son. And I’m tempted to give Grant the win. All things considered, he’s a more versatile IMF agent than his father, skilled not only in the tech stuff but in roleplay and physical combat as well. True, Barney expanded into those fields when necessary, particularly in seasons 6 & 7, but Grant did them better. However, this category is specifically for best tech guy, not best all-around agent. And tech-wise, while Grant had more advanced gadgets than his father, it seemed that his activities involved a higher ratio of typing on keyboards to doing hands-on gadget/mechanical stuff. That doesn’t necessarily mean that he accomplished less, but it does feel like his tech work was less versatile, more in the direction of Luther’s one-note hacking and monitoring. Still, he did a fair amount of field work and gadgeteering as well. It’s a very close contest, and I’m tempted to call it a tie. But here’s the thing: Grant owed his skills to what he learned or inherited from Barney. So if anything, Grant’s achievements only add to Barney’s legacy. So again, the original verdict stands.
Best Regular/Recurring Female Agent: Previous winner: Cinnamon Carter. New candidates: Casey Randall, Shannon Reed.
For once we have no candidates from the movies, since no female agents have made repeat appearances. That leaves the two women from the revival series. Casey Randall was by far the weakest regular agent of either sex, rarely given anything significant to do and limited in range when she was. She was certainly the weakest seductress of them all, despite being relatively beautiful. But Shannon Reed was very impressive — strong, smart, charming, sexy, reasonably versatile as a roleplayer, and a pretty good singer too. Her main drawback was a tendency to be made a damsel in distress, but despite this, she never felt weak or helpless, and indeed it sometimes gave her the chance to be even more heroic. It’s another close contest — indeed, the contest between the original series’ three main female leads was also quite close — but I think we have our first upset, with Shannon now getting my vote for the best female agent, by a narrow margin.
Best One-Shot Female Agent: Previous winner: Crystal Walker (Mary Ann Mobley) from “Odd Man Out.” New candidates: Every female agent in the movies.
Again, I won’t list all the candidates by name, but my favorite of the movies’ female agents was Zhen Lei (Maggie Q). Jane Carter (Paula Patton) got more to do, but she felt uncomfortable and out of place in the IMF’s roleplaying gambits, being more a blunt instrument who struggled to fulfill her responsibilities. Still, I don’t think Zhen quite upsets Crystal, although it’s very close.
Best Strongman: I’m changing this category from Best “Other Guy” because now we have more than one candidate in the strongman category. Previous winner: Willy Armitage. New candidate: Max Harte.
For once, we have a clear upset. Willy was pleasant enough and good with the physical stuff, but limited as a roleplayer. Max was less a strongman per se and more an all-around tough guy and fighter, but he was also a much more capable roleplayer, pilot, stunt rider, and the like. He was a great asset to the team and wins my vote easily.
Best One-Shot Male Agent: Previous winner: Joseph Baresh (Albert Paulsen) from “Memory.” New candidates: Jack Harmon, Franz Krieger, Billy Baird, Declan Gormey, William Brandt.
Okay, Brandt is the only one on the list who made much of an impression at all, aside from Krieger, who was a villain. But since he’s allegedly attached to the upcoming fifth movie, I’m not sure he qualifies for the one-shot category. Let’s leave this undecided.
So there we are — nine seasons and four movies. Please don’t ask me to redo this whole thing again when M:I-5 comes out, or this reviewer may self-destruct. Until then — “Mission… accomplished!”
Now adding a more detailed overview of the most recent Mission: Impossible film, which I offered initial thoughts on back in 2012. M:I — Ghost Protocol was the live-action directorial debut of Brad Bird (The Iron Giant, The Incredibles, Ratatouille), with a script by Alias writer-producers André Nemec and Josh Appelbaum. J.J. Abrams produced the film, providing some continuity with its predecessor, a first in the M:I feature film “series.”
Bird establishes his strong visual sense right away with sweeping, dynamic overhead shots of Budapest, closing in on Josh Holloway as he flees from pursuers, casually leaping off a roof — after tossing down a cartridge that inflates into an airbag to catch him. He thinks he’s home free, but a dainty-featured blonde beauty (Lea Seydoux) assassinates him before he has a chance to react, hugging him close and kissing his cheek as she shoots him a few more times, then stealing the package he’s carrying.
Cut to a Moscow prison, where a small IMF team consisting of returning character Benji Dunn (Simon Pegg) and newcomer Jane Carter (Paula Patton), no known relation to Cinnamon Carter. Benji is controlling the prison doors to let out a certain person they’re trying to spring, who turns out to be Ethan Hunt, again with longer hair (this is becoming a pattern, short-l0ng-short-long). Benji plays Dean Martin’s “Ain’t That a Kick in the Head” over the prison PA so Ethan can time his escape (during a prison riot, hence the song selection), a trick evocative of the use of carnival music to time a prison break in season 1′s “Old Man Out.” But Ethan won’t go without rescuing another prisoner, Bogdan (Miraj Grbić), who gave him intel and would be killed for it if he were left behind. Once they get out through a hole Carter blows in the cellar floor, she introduces herself to Ethan and he tells her to “light the fuse,” very cleverly incorporating the opening of the main titles into the action, and leading into a title sequence like a Pixarized version of the original series (or first movie) titles, with the CGI fuse burning through not just clips from the movie to come, but shots showing moments from the film from entirely different angles. It’s a bravura sequence, and Michael Giacchino scores it with an even bolder, brassier rendering of the Schifrin theme than he used last time. It ends with the fuse detonating a charge that I now realize must’ve been intended to bring down the tunnel and prevent pursuit, though that was only implied, since…
We cut right to Ethan, Benji, Carter, and Bogdan fleeing in a van — until they deftly transfer Bogdan to another IMF van. Benji explains he passed the field agent’s test, and Carter explains that Josh Holloway was her partner (and lover) and was killed trying to prevent Russian nuclear launch codes from falling into the wrong hands, which they now have — those hands belonging to the girlish assassin from before, Sabine Moreau, who intends to deliver them to a terrorist called Cobalt. The van stops by an old public phone which opens to reveal an IMF computer thingy that gives Ethan his mission — the first time in the film franchise that the briefing voice is anonymous rather than Ethan’s (or Phelps’s) boss. The gig is to infiltrate the Kremlin and get the files identifying Cobalt before he can destroy them. The “self-destruct in five seconds” bit is comically subverted when Ethan has to go back and smack it to set it off. Meanwhile, Benji mentions to Carter that Ethan’s marriage with Julia didn’t work out — disappointing, since she was so important to him in the third film.
Giacchino gives us a taste of “The Plot” when the briefing voice informs Ethan that he’s been assigned Benji and Carter as his team to save time. The agents hardly ever get to pick their own teams in the movies! He then gives us a bit more of “The Plot” as Bird’s camera swoops over the Kremlin — and then modulates into a similar-sounding melody in a bombastic Russian-marching-song idiom, one of my favorite pieces of music from the score. Carter uses a remote-controlled toy balloon to drop a hacking transmitter down a chimney so that when Ethan and Benji enter disguised as a Russian general and his aide, their clearance shows up on the computer. Then Ethan and Benji set up an elaborate projection-screen system in the hallway that tracks the eyes of the desk guard (ubiquitous Vancouver actor Mike Dopud) and shows him an image of the hall behind it. As I remarked in my initial review, this is a fancier version of a gambit seen in “The Falcon, Part 3,” but it’s exercised with a lot more comic flair. But things get serious when Ethan finds the records already expunged and then hears a voice cutting in on their frequency, announcing to the “team leader” that the detonator has been set. The Kremlin guards also pick this up and are alerted to the infiltration. Ethan aborts the mission and gets out, but then the building he was in blows up, and even the Patented Tom Cruise Run isn’t fast enough to get him away unscathed. He awakens in the hospital, under arrest and blamed for the bombing, as he learns from Russian intelligence man Sidorov (Vladimir Mashkov), who’s determined to punish him for his alleged crime. Ethan makes a break onto the window ledge but has second thoughts about jumping shirtless and barefoot into a dumpster full of medical waste, and there’s a humorous bit of interplay with Sidorov, who’s watching him amusedly from the window. But then Ethan manages to slide down a wire onto a passing van’s roof and get away, swiping some poor guy’s cell phone to call for retrieval.
He’s picked up by no less than The Secretary (Tom Wilkinson), who happened to be in Moscow but has been recalled in disgrace. He tells Ethan the entire IMF has been disavowed and shut down, but lets him know he intends for Ethan to escape and mount a rogue operation using an “overlooked” equipment cache. He also introduces Ethan to William Brandt (The Avengers‘ Jeremy Renner), an IMF analyst. Ethan realizes he passed Cobalt in the Kremlin and sketches the face on his hand to show to Brandt, who recognizes him as Kurt Hendricks, a nuclear strategist with an apocalypse obsession and a belief that global cataclysm is a necessary step in evolution. He stole a missile-controlling briefcase from the Kremlin and blew it up so they wouldn’t find out, as well as to put the blame on the US and heighten tensions.
The Secretary personally delivers “your mission, should you choose to accept it” on a flash drive, but just as he’s telling Ethan what a friend he is, the car is attacked and the Secretary and driver killed, and as the limo overturns, Bird cleverly shoots the entire sequence from inside the back seat, until it crashes into the river. Ethan concocts a diversion to get himself and Brandt away from the firing guards, and afterward Brandt is confused about how Ethan knew it would work. Ethan explains it was more a matter of instinct, both his and the wildly firing guards’, than rational thought.
The equipment cache is in a train car that happens to be moving when they find it, leading to some slapstick as they try to gain access. Inside they find Jane and Benji, and Ethan briefs them on the mission to intercept Hendricks’s henchman Wistrom (Samuli Edelmann) when he buys the launch codes from Moreau, then follow him back to Hendricks. He insists that both Moreau and Wistrom are assets that need to be kept alive until they find Hendricks, which angers Carter, who wants revenge on Moreau for killing Sawyer from Lost. But Ethan’s adamant: revenge must wait.
The movie series’s skyscraper fetish now reaches its greatest height, literally, for the meeting is at the tallest building in the world, the Burj Khalifa in Dubai. Another of Bird’s swooping chopper shots introduces it magnificently, and Giacchino gives the tower its own lush Arabian motif, my other favorite theme from the film. The gambit is one used on the original series, to intercept both parties in a meeting and make each one think they’re meeting the other, with Jane meeting Wistrom as Moreau and Ethan meeting Moreau as Wistrom. But they have to hack the building’s security servers to control the elevators, and of course the only way to get to them is via our climactic installment of “Ethan Hunt Climbs Things.” I doubt I need to summarize the most famous sequence from the movie, but Ethan’s free climb of the glass exterior of the Burj showcases a lot more of Bird’s flair, wit, and comic timing, as well as Cruise’s impressive commitment to his work and insistence on doing his own stunts.
Ethan barely survives the climb and return, but then more things start to go wrong. The mask machine breaks down, so Ethan and Carter have to pull off the impersonations without masks and pray that Moreau and Wistrom have never met. Then Wistrom shows up with a Russian code expert he’s kidnapped to verify the codes, so the plan to replace them with fakes and track the paper to Hendricks needs revision — the copies (scanned by a special contact lens and printed inside a special briefcase) have to have authentic codes. (But the paper still has to be fake since it’s impregnated with a tracer they can track.) Brandt balks at handing over the real codes, but Ethan convinces him there’s no other way. The team manages to pull off the deception long enough for Wistrom to leave with the traceable codes, but then Moreau gets wise to Brandt’s contact lens and attacks him. Carter captures her and takes her back to the team’s room, handing Benji the gun since she knows she’ll kill Moreau if she has a gun on her. Moreau gets the drop on Benji, and Carter ends up having to kick Moreau out the still-open window a hundred-odd stories up. It’s unclear whether she even had a choice, but she’s screwed up.
After encountering Sidorov again and eluding him, Ethan breaks out the Patented Tom Cruise Run and chases Wistrom through a sandstorm, and I like how Bird uses the blinding conditions as a contrast to the wide-open action of the Burj Khalifa climb, mixing it up and keeping it interesting. But here’s where things didn’t quite work for me, since the idea was to trail Wistrom back to Hendricks, but Ethan ends up chasing him openly and then trying to catch him, even crashing a car into his to stop him, but he gets away and removes a mask revealing that he was Hendricks all along. Huh? Why? That doesn’t seem to make sense. Was it just something they inserted because there had to be at least one impossibly convincing mask impersonation in the film?
Later, the team is torn up with mutual recriminations, and Ethan confronts Brandt about the mad fighting skills he showed in the Burj Khalifa, asking why such a capable field agent would be just an analyst. On getting no answer, Ethan seems to abandon the team and goes off alone. Carter confronts Brandt, and he tells her and Benji what he wouldn’t tell Ethan: That he was responsible for protecting Ethan and Julia without their knowledge, but he failed and Julia got killed — much to the shock of Benji, who thought she’d simply left Ethan. Hunt was in the Russian jail for killing the Serbian assassins.
Ethan goes to meet with a Russian arms dealer, a relative of his old friend Bogdan. I think the sewed-up ski mask used to blindfold Ethan is the same ugly-muppet one from the first film. He tells the dealer about the nuclear threat and asks where Hendricks could get a satellite able to relay the control signal to a missile, learning there’s one that was sold to a Mumbai media mogul. But he won’t be able to hack it alone. So he has to mend fences with the team, and they fly off to plan the mission. There’s some fun banter between Brandt and Benji as the former is skeptical of the latter’s plan to get him past the deadly cooling fan into the massive server for controlling the satellite.
At the party held by the mogul, Nath (Anij Kapoor), Carter’s job is to be the seductress, getting Nath alone and getting the satellite control codes from him however she can. She’s in a sexy turquoise dress that tries to be as impressive as Maggie Q’s little red number from the last film, and comes reasonably close (though Paula Patton’s own physique helps enormously). But Jane is totally clumsy at playing the seductress, and only gets away with it because Nath doesn’t mind the dominatrix type. Once Brandt hesitantly takes the leap, gets into the server control, and gives Benji access, Benji finds that Hendricks has already taken control of the satellite. Carter gets the codes by force, but it’s too late. The only option is to get to the transmission site before missile launch, but even Ethan and Jane’s fancy sportscar can’t get through the Mumbai crowds in time. Now their last chance is to abort the launched missile in the few minutes before impact. Ethan spots Hendricks leaving and gives chase while Jane, Brandt, and Benji deal with Wistrom, who’s trying to damage the transmission equipment, which they have to repair while also contending with Wistrom and his gun (and Jane has to keep going despite being shot). Benji ultimately saves Brandt from Wistrom.
Meanwhile, Ethan chases Hendricks to an automated car-park tower (a full-size, working one constructed specifically for the film), and they battle for the case among the moving platforms, the logic of the sequence playing out not unlike that Popeye cartoon about chasing a baby through a construction site. It’s very clever and funny. Although it takes a serious turn when Hendricks, a true fanatic believing the apocalypse will save humanity, jumps to the ground and kills himself to keep Ethan from getting to the case in time. Ethan drives a car off its platform and relies on its seatbelt and airbag to save him (they do), then crows “Mission accomplished!” as he hits the abort button on the missile control — which doesn’t work until Brandt, freshly saved from Wistrom, turns the transmitter back on, neutralizing the missile. Sidorov, whom Ethan had the arms dealer contact, shows up just after the nick of time and realizes that Ethan wasn’t the bad guy.
Later, in San Francisco, Ethan is hanging out with Luther Stickell in a cameo scene when he meets with the others, tells them they made a good team, and offers them new missions. Benji and Jane accept, but Brandt resists, confessing that he let Julia die. But Ethan’s timed the meeting to show him that Julia is still alive, that Ethan faked her death and got her into witness protection to spare her. Michelle Monaghan gets only a wordless cameo, but it’s nice that she’s still potentially in play for the future. All’s well, and Ethan gets an assignment to go after a terrorist group called “the Syndicate,” an in-joke reference to the name always used for the mob in the original series. He vanishes into the mist, leading into an end-credit sequence scored, for once, not by a pop tune but by a suite of Giacchino’s (and Schifrin’s) themes for the film.
As my original review made clear, this is my favorite M:I film and the one that I think comes closest to the original series. But I have to revise what I said before, that the first three directors made movies very much in their own characteristic styles while Bird made more of a faithful M:I movie. Actually, Bird makes this movie his own just as much as the others did. It uses a lot of the tropes and trappings of M:I, but subverts them comically (along with many action-movie tropes as well), and it’s the intricately plotted visual and character humor that make it a Brad Bird film. The movie is much more fun and snarky than its predecessors and more so than the original series. It’s got the same kind of character focus that Abrams’s M:i:III had, but with a different tone and pace. It’s also unique among the M:I films in being an ensemble piece: All three supporting team members have their own arcs and stories, rather than just being there to back up Ethan. (Which may be because there was a tentative plan to phase out Cruise in favor of Renner as the franchise lead, although that plan was abandoned.)
Giacchino’s score here is my favorite of the series as well, even richer and more gorgeous than his score for the previous film, and one of my favorite Giacchino scores overall, the other being The Incredibles. I do wish he’d used “The Plot” for more than just the Kremlin sequence, though. It would’ve been interesting to hear an Indian-styled rendering of it in the Mumbai sequence, although we do hear a bit of the main title in that idiom.
Mission: Impossible 5 is currently in pre-production, with Christopher McQuarrie (writer of The Usual Suspects, Valkyrie, and Edge of Tomorrow) as director and a script by Iron Man 3‘s Drew Pearce. Abrams is still producing, but this franchise just can’t hold onto a director for more than one film. We’ll have to see what fresh flavor McQuarrie brings. For now, though, this is the end of my review series — although I do have one more franchise-overview post to come.
With this film, the M:I series returned after a 6-year gap, with Paramount bringing aboard Alias creator J.J. Abrams to relaunch the series — which he did so successfully that Paramount entrusted him not only with the ongoing M:I franchise, but with its sister franchise Star Trek as well. But that’s later. For now, M:i:III, as it was styled on posters, was directed by Abrams and written by Alex Kurtzman, Roberto Orci, and Abrams.
The cold open this time is a flashforward in which Tom Cruise’s Ethan Hunt awakens in captivity and is told by Owen Davian (Philip Seymour Hoffman) that he has a bomb in his brain. Davian grills him about the location of something called the Rabbit’s Foot, which Hunt believes he’s already given Davian. Davian threatens the life of a woman who’s clearly dear to Ethan, counting down relentlessly from ten, and Ethan runs the gamut from pleading to bargaining to threatening to reasoning to begging. Ethan Hunt shows far more characterization, and Tom Cruise shows far more acting range, in the first four minutes of this film than in the previous four hours of the franchise. It’s a brilliant, stunning opening and deeply refreshing after the tepid films that preceded it.
Once the countdown ends, we hear an ominous shot, and cut to a brief title sequence, with Abrams’s regular composer Michael Giacchino giving us a big, brassy orchestral variation on Schifrin’s theme. Cut to the woman we just saw threatened, and it’s Michelle Monaghan as Julia Meade, who’s throwing an engagement party with her fiancee, Ethan Hunt, whom she believes to be an employee of the Virginia Department of Transportation. It’s another marvelous scene rich with everyday texture, and it humanizes Ethan and grounds the film in a way that M:I has never been grounded before. This is the first time ever that we’ve been given a reason to identify with Ethan Hunt on an emotional, human level — and it only took ten years for it to happen. At last, our wooden action hero has become a real live boy.
But Ethan gets a call that Giacchino accompanies with Schifrinesque bongos, hinting at intrigue ahead. The call draws him to a 7-Eleven where he’s met by IMF Operations Director John Musgrave (Billy Crudup), offering him a shot at rescuing a trainee of his, Lindsey (Keri Russell, star of Abrams’s Felicity), who’s been taken captive. Ethan resists, since he’s given up field work to become an instructor training new recruits; but Musgrave suggests he buy a disposable camera, which contains the mission briefing, delivered by Musgrave himself (the first time the narrator’s face has ever appeared in a briefing recording). Lindsey was taken in Berlin while searching for arms dealer Davian, and Musgrave has already assigned a team — the second time in the film franchise that we’ve seen the team selected by the director rather than the team leader. The team consists of recurring character Luther Stickell (Ving Rhames) and newcomers Zhen Lei (Maggie Q) and Declan Gormley (Jonathan Rhys Meyers, future title character of the 2014 Dracula TV series). For some reason, Zhen’s name is pronounced “Zen.” A nickname?
When we see the team’s faces in the briefing video, Giacchino introduces a leitmotif he’ll be using throughout the film, reminiscent of Schifrin’s “The Plot” but more Giacchino-esque. But then Ethan tells Julia that he’s going out of town for a transportation conference, and once he rendezvouses with the rest of the team, I’m delighted to say that Giacchino gives us the first full statement of “The Plot” in the film series to date, and indeed its first full use since the revival episode “For Art’s Sake” 17 years earlier. It’s glorious. The motif is used again in the mission that follows, but it’s a very, very un-IMF-style mission, going in with guns and bombs to break out Lindsey and retrieve Davian’s laptops (which are damaged in an explosion). The team members even have military-style code names for the op: Ethan is “Raider One,” Luther is “Observer,” Zhen is “Groundhog” (since she breaks in from underneath), and Declan is “Phoenix” because he’s the chopper pilot. How come movie-era IMF teams always have chopper pilots? Anyway, Lindsey tries to tell Ethan something for his ears only but doesn’t get the chance due to all the bangs and booms. They get to da choppa but are chased by another choppa through a wind-vane farm, and Lindsey suffers severe pain, and Ethan finds out she has a bomb in her head and tries to fry it by zapping her with a defibrillator, which will stop her heart, but then he plans to zap her again to restart it. Which isn’t actually how defibrillators work (they stop fibrillating hearts but don’t restart stopped ones, despite 99.99999% of their portrayals in fiction), but he doesn’t get the chance to do it anyway, because the action of the chopper chase delays him until she dies (the charge being small enough to be entirely internal but still fatal).
So he’s all bummed out about that, and even worse, he can’t confide in his beloved Julia about his grief. Not to mention that he and Musgrave are raked over the coals by Director Brassel (Laurence Fishburne), who’s something of a blowhard fond of labored and colorful turns of phrase, but he still comes off as a strong authority figure by virtue of being Laurence Fishburne. Anyway, at Lindsey’s funeral, and after some flashbacks to her IMF training (which is all firearms and fighting, not a trace of the deceptions and gadgets and roleplay that are supposed to be the IMF’s bread and butter), he gets a call from a package service that Lindsey sent something to a mailbox she kept for him. It’s a postcard with a microdot, but Luther can’t read the dot without special equipment.
Meanwhile, Simon Pegg makes his debut as Benji Dunn, a colorful IMF technician who’s deciphered enough from Davian’s hard drives to know that he’s planning to steal and sell a valuable weapon called the Rabbit’s Foot, though Benji has no idea what that is, aside from a rambling speculation about high-tech end-of-the-world superweapons. He’ll be in the Vatican soon to meet a buyer, so now the team knows where he’ll be and when. He goes to tell Julia he’ll be away again, and she senses he’s hiding something and asks when he’ll let her in. He responds by convincing her to get married right there and then, which is at once very romantic and very evasive.
We finally get something resembling an apartment scene as Ethan briefs the team on the operation to kidnap Davian. The Vatican sequence is the closest thing in the film to a classic M:I gambit. Ethan and Declan stage a delivery-truck breakdown by the Vatican wall to give Ethan a chance to infiltrate via our next installment of “Ethan Hunt Climbs Things,” this time combined with the Patented Tom Cruise Run as he PTCRs up the wall on a retracting cable. Now, I’m not even going to try to keep track of all the PTCRs in this film; there’s barely a major action sequence here without one. Not since Lee Majors has an action star gotten so much mileage (so to speak) out of his run. Anyway, Ethan spoofs a security camera, then changes to a priest disguise to get in, while Declan gets in as the delivery guy and then changes to a guard’s uniform so he can let in Zhen as a party guest in a fancy sportscar. While Ethan helps Luther break in by vandalizing a wall with artwork painted on it, Zhen enters the party wearing the most amazing red dress I’ve ever seen, and uses a compact to take reference photos of Davian for Luther’s mask-making machine. Yes, the movie’s following the precedent of the revival series in using computer-aided, photo-based technology to manufacture masks, though the specific mechanism is more elaborate. Meanwhile, Luther lectures Ethan about how long-term relationships can’t last in their line of work, until Ethan breaks down and tells him he’s already married Julia. Luther also benefits from the film’s innovative use of actual characterization for its characters, giving Ving Rhames more to work with than he had in the previous film, and making Luther’s friendship with Ethan feel more substantial than it did in the first two.
Zhen then spills a drink on Davian’s shirt so he’ll have to retreat to the bathroom, where Ethan in Davian disguise tackles him and forces him at gunpoint to read from a card so they’ll get enough phonemes for the voice-altering throat gizmo (returning from the previous film) to mimic his voice accurately. I think this is a really clever new touch, a nice bit of comedy that actually makes technical sense. They smuggle Davian out through the ducts while Ethan-Davian lets Zhen pick him up and drive off in her car, which they exit via a sewer cover underneath just before blowing up the car to fake Davian’s death.
On a plane back, Ethan quizzes Davian about the Rabbit’s Foot, but Davian only threatens to find his loved ones and make them suffer and die. He boasts about killing Lindsey for fun in order to provoke Ethan to threaten his life, so that Luther calling his name to stop him will reveal his name to Davian, getting him one step closer to revenge. Although he only gets the first name, so his ability to find out the rest so quickly is a subtle clue that he has help inside the IMF. As is the fact that he’s promptly freed by an attack on the IMF convoy crossing the Chesapeake Bay Bridge-Tunnel, which is a nice sequence because we see Ethan and his team trying to protect and help the civilians endangered by the attack. That’s very refreshing after the last film, where Ethan was insanely reckless about civilian safety in his car and motorcycle chases, even the “playful” one with Thandie Newton in the first act. But no sooner is Davian out that he calls Ethan and threatens to kill Julia unless Ethan steals the Rabbit’s Foot for him, so Ethan has to flee the scene in the first car he can steal (which happens to be a high-end Mercedes — what are the odds?) and race to the hospital where she works. But Davian’s man gets her first, and Ethan is confronted by an IMF team sent to arrest him. Even the PTCR can’t save him from a tasering. At HQ, he’s all trussed up and gagged as Brassel bloviates over him, revealing that he’s suspected of being the mole who helped spring Davian because he fled the scene. It’s the second time in three movies that Ethan’s been accused of treason. But Musgrave helps him escape after clandestinely letting him know that the Rabbit’s Foot is in China. (I like how this is done. In the party scene earlier, we saw a bit of Ethan using his lip-reading skills to answer a question Julia was asking in the next room, to set up this later scene where Musgrave mouths his secret message for Ethan to lip-read. Yet it was established very subtly and organically, well-disguised as just a bit of character interplay.)
So Ethan goes to downtown Shanghai — how come superweapon labs are never in boring, non-photogenic locations? — and finds his team has been sent by Musgrave to help him. He devises a plan to get to the skyscraper housing the lab by rappelling across from another building, just what we’d expect from Ethan — but then he starts writing math equations on the window to plot his trajectory, which is not what we would’ve expected from the hotheaded daredevil of the first two films, and is another touch that nicely grounds the film in a less cartoony reality than its predecessor and fleshes out Ethan as an individual. Anyway, we then see him swinging across and breaking in, but we only see the reactions of the other team members waiting outside and having a character moment or two, before the action kicks in again and Ethan makes an abortive and near-lethal BASE jump to get out and then has to contend with Shanghai traffic and weak cell signals before telling Davian he has the RF, just in time to spare Julia’s life. Then he sends the rest of the team home and gets picked up by Davian, and we end up in the scene we saw in the cold open, with Ethan getting the bomb injected into his head. After it appears that Julia’s been killed, Musgrave shows up! He says “It’s complicated,” then tears off “Julia”‘s mask to reveal the face of the translator/security chief (Bahar Soomekh) who failed to protect Davian at the Vatican. Musgrave explains that he’s cultivated Davian as a resource in defiance of Brassel’s orders because he thinks it can do more good to control his arms sales so the IMF/CIA can track down bigger fish through him and take them out. Which sounds like the kind of strategy the intelligence community might actually use, tolerating the little fish as informants to get the big ones, so it’s not that clear why he has to do this in secret. But now it’s personal for Ethan. He gets Musgrave to call the people who have Julia so he can hear her voice, then takes out Musgrave while still shackled to a chair, breaks out, and calls Benji on Musgrave’s phone, getting him to trace the location of the last call.
And this leads to the apotheosis of the Patented Tom Cruise Run as he dashes through the streets of old Shanghai, including a single unbroken shot that must be 30 seconds long. Eventually he finds Julia held captive in a small clinic, but Davian shows up, activates the bomb in Ethan’s head, and fights with him, eventually losing. Ethan frees Julia and gets through her fear and confusion to persuade her to shock him temporarily dead to short out the bomb — after giving her a lightning-quick lesson in firearms. And then, while he’s out of action — I love this part. This part is amazing. Julia gets into a firefight with Musgrave’s men, then takes out Musgrave by chance when he shows up with the Rabbit’s Foot. Then she CPRs and cardiac-thumps Ethan until he revives — so fortunately we never did see a defibrillator being unrealistically used to start a stopped heart. (I wondered why she didn’t find a shot of adrenaline for his heart in the clinic, but maybe she couldn’t read the Chinese labels.) So after being in the conventional role of the love interest and the damsel in distress for most of the film, Julia ends up being the one who single-handedly beats the main villain, retrieves the McGuffin, and saves the hero’s life. It’s an awesome subversion of action-movie gender roles, and particularly refreshing after the last film did so poorly with gender balance. And it suggests that Tom Cruise’s ego is perhaps not as inflated as people tend to think — because he was willing to have himself rendered ineffectual in the climax of the film so that someone else could save the day.
Afterward, Ethan tells Julia the truth about his job, and then, once Brassel clears and thanks him, we see that he’s brought in Julia to meet his team, letting her fully into his life. The story ends back in the everyday, character-oriented place where it began, and reinforces that Julia is Ethan’s equal and his partner, not just his lust object.
I love this film. Okay, granted, it’s no more faithful to the M:I formula than its predecessors, much more a big spy-action movie than a caper movie. It’s also like the previous two films in its reuse of tropes like a traitor in the IMF, Ethan being on the run from the IMF, Ethan being lowered into places on ropes, etc. It’s a blend of the conspiracy-thriller elements of the DePalma film and the over-the-top action elements of the Woo film. And it’s still “The Adventures of Ethan Hunt and His Backup” rather than a full ensemble piece, at least until the climax where Julia becomes the heroine. The Vatican sequence feels like a faster-paced version of a classic M:I operation, but it’s a small portion of the film. I realize now that the first film actually had more classic M:I-style material (the Kiev opening, the Prague operation, the Langley heist) than this one did. So this film is nearly tied with the Woo film for being the least Mission: Impossible-like installment in the franchise. But Abrams, Kurtzman, and Orci took what had been a tepid, shallow action series to this point and brought humanity, thoughtfulness, and wit to it even while maintaining a similarly exaggerated level of action. This is what Abrams did effectively in Alias at its best, balancing larger-than-life spy-fantasy action with everyday, human relationships and emotions, and that human touch makes it easier to enjoy the crazy action because there’s a reason for emotional investment in what’s going on. The film also makes much better use of Tom Cruise as an actor, and makes Ethan Hunt a person at last rather than just an action figure.
As I’ve said before, M:i:III is more like Alias: The Movie than Mission: Impossible. But it’s the first Ethan Hunt movie that’s actually good.
I already gave my thoughts on the fourth film, Ghost Protocol, when it came out. But I’m going to do what I suggested I would and post a fuller analysis to complete my review series. Maybe seeing it in the wake of all three predecessors will offer new insights.