If you’re a connoisseur of modern helicopter cinema, then Mission: Impossible – Fallout is the event of the season. Not since Black Hawk Down has the Neo-Copterism movement asserted such a well-defined visual aesthetic, such elevated narrative and tonal language, such awesome fucking explosions. Everything a refined and learned copterhead cinephile could possibly desire finds fresh life here. There is an absurdist, Lynchian quality infused into the rhythmic weaving of two whirlybirds; there are rarefied, Brechtian attributes present in those characters left on the ground. There is a continuation of the leitmotif established in the first Mission: Impossible‘s chopper-chase finale. When read through the lens of the tenets of cinéma vérité, Fallout delivers a powerful indictment of those who don’t actually know how to fly such a machine. And, in a move sure to receive recognition come awards season, auteur director Christopher McQuarrie playfully inverts the male gaze by literally flipping Tom Cruise upside down in a helicopter.
…whoops. Sorry, folks. Had my Snobometer set to High. Still, the fact remains that if there’s any Mission: Impossible movie able to withstand a level of actual criticism, it’s probably Fallout. Here, for the first time, Ethan Hunt is challenged to question whether he should choose to accept every mission that comes his way; maybe those self-destructing messages are actually destructive to Ethan’s self. That’s already a higher-level starting point for this character than any of the previous five films cared to put forth, content instead with wall-to-wall action and death-defying stuntwork.
Continue reading Mission: Impossible – Fallout (2018)
Jack Ryan has the distinct honor among cinematic spies of being…not that great. He’s been in more films than Jason Bourne and as many as Ethan Hunt (once Mission: Impossible – Rogue Nation hits theaters next month), but after being shuffled from actor to actor over the course of the franchise the character has lost a ton of steam. Part of this is due to the caliber of actor (from Alec Baldwin to Harrison Ford [x2] to Ben Affleck to Chris Pine) and part of this is due to the fact that Ryan’s less “spy” and more “data analyst”. That’s not a cop-out, though: Jack Ryan is really just an analyst. It’s the increasing need to shove Ryan into spy territory that begs the comparison to other spies (‘magine dat), so by the time Shadow Recruit came out Jack Ryan wasn’t a mild-mannered systems professional but a sexy gun-wielding wannabe.
And hey: if you want us to make that comparison, Mr. Powers That Be, then with the ghost of Tom Clancy as our witness we’ll do so gleefully. Or not so gleefully, as it were, because no one’s having any fun at all with Shadow Recruit. Why should we? We established in our recent review of the fantastic Quiller Memorandum that a great spy movie doesn’t even need to have a spy as the main character, so forcing Ryan to be more badass than bookworm doesn’t do much for credibility in that arena. Spoon-feeding every plot point doesn’t help either, and again with Quiller the brilliance was in the sense that any John Doe walking across the screen could be a villain; the poster tagline for Shadow Recruit is a flaccidly unoriginal TRUST NO ONE…but then we get nineteen shots of the hotel maid looking suspicious, so it turns out we’re informed exactly who we should and should not trust.
Continue reading Jack Ryan: Shadow Recruit (2014)