Mission: Impossible – Fallout movie review


Director : Christopher McQuarrie
Cast : Tom Cruise, Henry Cavill, Ving Rhames, Simon Pegg, Rebecca Ferguson, Sean Harris, Michelle Monaghan, Angela Bassett, Alec Baldwin, Vanessa Kirby, Wes Bentley
Genre : Action/Thriller
Run Time : 147 mins
Opens : 26 July 2018
Rating : PG-13

Ethan Hunt (Tom Cruise), the Impossible Missions Force’s (IMF) greatest agent, heeds the call of duty again. He’ll do whatever it takes – be it jumping out of a plane, hanging off sheer cliff-faces, tearing through Paris on a motorbike, leaping across rooftops in London or hijacking a helicopter – to get the job done.

After the events of Mission: Impossible – Rogue Nation, the shadowy network of former spies known as the Syndicate is left without its leader Solomon Lane (Sean Harris). The IMF discovers that the remnants of the Syndicate, known as the Apostles, are now working for hire and plan to acquire plutonium to build three nuclear bombs. The Apostles also plan to break Lane out of prison.

It’s up to Hunt and his team to stop the Apostles and prevent worldwide devastation, but it will be an uphill task. Ethan, Luther Stickell (Ving Rhames), Benji Dunn (Simon Pegg) and their boss Hunley (Alec Baldwin) also face opposition from within: CIA director Erica Sloane (Angela Bassett) distrusts the IMF and its methods, and assigns her top agent, August Walker (Henry Cavill), to keep an eye on Hunt and company. To complicate matters, Ilsa Faust (Rebecca Ferguson), an MI6 agent who went deep undercover as a Syndicate operative and who has a personal grudge against Lane, re-enters the fray. Threatened on all sides, Hunt and company have their work cut out for them, as the stakes reach stratospheric levels.

The Mission: Impossible film series, based on the 60s TV show of the same name, is interesting in that until now, each film has been helmed by a different director: Brian DePalma directed the first one, John Woo the regrettable second entry, J.J. Abrams made his feature film directorial debut with the third, Brad Bird his live-action debut with the fourth, and Christopher McQuarrie directed the fifth. McQuarrie, who also penned the screenplay for this film, is the franchise’s first returning director, and he hits it way out of the park.

Fallout is a muscular yet nimble film, a bravura showcase of stunning set-pieces that are strung together by a credible, propulsive plot. McQuarrie achieves a masterful tone – this is a serious film in which Hunt faces grave professional and personal consequences, but it’s never a dour or overbearing one. It runs for 147 minutes but is remarkably light on its feet. The action set pieces can stretch for 15 minutes or longer at a time, but the audience is glued to the screen throughout.

Credit must be given to second unit director/stunt coordinator Wade Eastwood, who helps McQuarrie stage some of the most impressive stunts in the franchise’s storied history. Just when we thought this film couldn’t top Tom Cruise hanging off the facade of the Burj Khalifa or clinging for dear life onto the side of an Airbus A400M, this film gives us Cruise using the skids of an out-of-control helicopter as a jungle gym and performing an actual High-Altitude Low-Opening (HALO) skydive.

The motorcycle chase that criss-crosses through Paris and sees Hunt ride against traffic in the infamous Arc de Triomphe Roundabout pulls out all the stops and throws every trick in the book at the screen. The helicopter chase feels like two kids holding toys chasing each other around a room, made vivid, utterly convincing reality. Many sequences in this film are utterly insane but have a distinctly different feel to the joyously over-the-top set-pieces in something like the Fast and Furious franchise.

The plot manages to be familiar yet unpredictable and intelligent. There are the expected double-crosses and questioned allegiances, but the film stays compelling by striking an admirable balance between the end-of-the-world stakes and the personal stakes. McQuarrie takes sheer delight in teasing audiences with near-miss after near-miss. While nothing in the franchise has superseded the tension of the cable drop close call scene in the first film, several bits in Fallout come very close.

Tom Cruise might stumble here and there (*ahem*The Mummy*ahem*), as any actor is wont to, but in the recent Mission: Impossible films, he can always be counted on to be on top action hero form. This is not a man who half-asses anything, and the 56-year-old is consistently impressive, pushing himself to the absolute limit in the name of our entertainment. Cruise broke his ankle jumping across buildings in London, and that take remains in the film. Hunt displays nigh-superhuman strength and stamina that does stretch suspension of disbelief, but Cruise gives such an engaging performance that we just go along with it.

Cavill is enjoyable as Walker, an arrogant, lethal CIA agent, meant to serve as Ethan’s foil. An early sequence in which Walker’s presumptuousness nearly costs him and Ethan the entire mission establishes Walker as a risk-taker, but not one as canny as Hunt. Cavill is an actor who can sometimes be a bit boring, but he’s got enough charisma here to go toe-to-toe with Cruise.

The film succeeds in parcelling out stuff for everyone to do, meaning that both Benji and Luther do not feel side-lined – Rhames even gets to deliver one of the film’s most emotional moments. Pegg gets far more physical than in the preceding films, while still being the resident loveable goofball.

Ferguson’s Ilsa Faust felt like the ideal Bond girl, and the character continues to be capable and mesmerising. Even after all she and Hunt’s team went through in Rogue Nation, we’re questioning where her allegiance lies.

Vanessa Kirby is entertaining as the seductive black-market broker known only as the ‘White Widow’, effortlessly sexy with a dangerous gleam in her eye. Hunt’s wife Julia (Michelle Monaghan) is back, and how the film works her into the plot feels at once contrived and brilliant.

Alas, Angela Bassett doesn’t get much to do, glowering condescendingly and ordering Cavill about. This reviewer was afraid Baldwin would be distracting, given his high-profile Saturday Night Live role over the last one-and-a-half years, but he still is credible and handles the character’s dramatic scenes with ease, reminding us that he’s still a serious actor too.

Pound for pound, Mission: Impossible – Fallout is this summer’s best action extravaganza so far. A breathless thrill ride with just enough on its mind, incredible feats unfold with precision and finesse. It’s spectacle that will set pulses racing, and have audiences exiting the theatre thinking “yeah, this is what going to the movies should feel like every time”.

RATING: 4.5 out of 5 Stars

Jedd Jong

Pete’s Dragon

For F*** Magazine


Director : David Lowery
Cast : Oakes Fegley, Bryce Dallas Howard, Robert Redford, Wes Bentley, Karl Urban, Isaiah Whitlock Jr., Oona Laurence, John Kassir
Genre : Adventure
Run Time : 1 hr 43 mins
Opens : 1 September 2016
Rating : PG (Some Intense Sequences)

Pete's Dragon posterCall it “Re-Pete’s Dragon”: Disney has remade one of the lesser-known films in their canon, changing the setting from a seaside Maine town in the 1900s to the forests of the Pacific Northwest in the 1980s. Pete (Fegley), has spent six of his 11 years alive living in the forest after being stranded there following an accident. He has since befriended a green, furry dragon named Elliott (Kassir), who has the ability to turn invisible. Elderly wood-carver Meacham (Redford) claims to have encountered a dragon in the woods in his youth, but everyone writes it off as a tall tale. Meacham’s daughter Grace (Howard), a forest ranger, takes Pete in after Natalie (Laurence), the daughter of Grace’s boyfriend Jack (Bentley), spots Pete in the forest. In the meantime, Jack’s brother Gavin (Urban) becomes obsessed with capturing Elliott, thinking it will bring him fame. Pete must learn to live as a regular boy, but yearns to be reunited with his friend Elliott.

Pete's Dragon Elliott and Oakes Fegley 1

Pete’s Dragon is quite the wonder in that in contains nary a shred of cynicism. Director David Lowery strives to recapture the charm of old-school ‘A Boy and his X’ tales, and largely succeeds. Little of the original 1977 musical film remains: there’s a boy named Pete and a dragon named Elliott who can turn invisible, and the characters of Nora and her father Lampie are reworked into Grace and Meacham. Pete’s Dragon is what a remake should be: key components of the source are repurposed to fit a new vision and it isn’t a beat-for-beat re-tread of what came before. It’s warm-hearted but does take a while to get into gear, with a few moments bordering on cheesy. Pete’s Dragon stands on the shoulders of kids’ adventure films like E.T.: The Extra-Terrestrial and The Iron Giant, its old-fashioned sensibilities contrasted with the advanced visual effects technology used to bring Elliott to life.

Pete's Dragon Oona Laurence, Elliott and Oakes Fegley

Elliott is a supremely loveable creation, with some design cues taken from The Never-Ending Story’s Falkor the Luck Dragon. Lowery justified giving Elliott a furry coat by saying he wanted Elliott to be “the kind of dragon you really want to give a hug to”, and this reviewer did indeed very much want to hug Elliott. The visual effects work, supervised by Tony Baldridge and Eric Saindon, makes Elliott feel like a living, breathing creature. The moments in which Elliott interacts with his environment, knocking over trees, splashing about in the river or sliding into the grass after a rough landing, are uniformly convincing. Elliott possesses multiple doglike attributes, with his vaguely Chewbacca-like vocalisations provided by voice actor John Kassir. Every whimper and growl makes Elliott seem more like an actual animal, and the in-universe explanation of the dragon being regarded as a folk legend cryptid gives this flight of fancy some grounding.

Pete's Dragon Oakes Fegley

The live-action actors expectedly play second fiddle to Elliott, but they all take this quite seriously. Fegley’s Pete is the second feral boy in a live-action Disney movie this year, after Neel Sethi’s Mowgli in The Jungle Book. Fegley brings a wildness and physicality to Pete, whose years in the forest have made him adept at climbing pretty much anything. His interactions with Elliott are the very stuff that warm fuzzy feelings are made of.

Pete's Dragon Oona Laurence, Bryce Dallas Howard and Wes Bentley

Between this and Jurassic World, it seems giant CGI creatures just won’t leave Howard alone. She doesn’t get much to do, but her performance does feel straight out of an 80s Amblin movie. Redford’s gravitas, warmth and that perpetual twinkle in his eye give the film plenty of heart. Meacham is an old-timer who never lost that sense of imagination. Laurence was one of the child actresses who originated the role of Matilda in the eponymous musical on Broadway, and glimmers of the precociousness integral to Matilda are present here. She gets to boss Redford around a little, and it’s a lot of fun to watch the living legend getting barked at by a kid. Bentley is passable if not terribly interesting as a blue-collar dad, while Urban sinks his teeth into the antagonist role even though it’s a little thinly written. He sneers the line “the dragon is mine!” with admirable conviction.

Pete's Dragon Robert Redford

While it bears more than a few similarities to that recent Boy and His X favourite How to Train Your Dragon, Pete’s Dragon is charming is different ways too, thanks to its wholesome Americana vibe. Live-action kids’ adventure movies are a bit of a dying breed, but Disney’s recent live-action successes might mean a resurgence for the subgenre. As an avid indoorsman, this reviewer enjoys experiencing the wonders of nature from the comfort of a cinema hall. New Zealand doubles for the Pacific Northwest, and the actual scenery is as pleasing as the computer-generated visuals. Daniel Hart provides a rousing score, and ‘hip-hop violinist’ Lindsey Stirling makes her feature film debut performing Something Wild with Andrew McMahon in the Wilderness. It all makes for a simple, wistfully-told story that harks back to simpler times and yet doesn’t drown in schmaltz.

Pete's Dragon Elliott and Oakes Fegley 2

Summary: Despite starting out slow, Pete’s Dragon becomes an absorbing adventure boasting marvellous visual effects work. Toothless has got heady competition in the ‘cutest dragon’ stakes.

RATING: 4 out of 5 Stars

Jedd Jong