'Mission Impossible: Dead Reckoning Part One' Review
An analysis of the seventh film in Tom Cruise's spy-adventure series
I love Tom Cruise.
Now ten years ago, yours truly — and maybe plenty of Americans — believed Cruise to be a raving evangelical Scientologist, daytime couch-jumping lunatic known more so for a beef with Brooke Shields regarding postpartum depression medication, and hiding in Stan Marsh’s closet than for his acting chops.
Then he starred (almost unrecognizably) as the burly, fiery, Harvey Weinstein-parody Les Grossman in 2008’s Tropic Thunder. Much like how that movie sowed the seeds to Matthew McConaughey ‘McConaissance,’ Cruise slowly began to repair his public image and cinematic starpower — and he has done so with the Mission Impossible franchise as a conduit, which has released its seventh installment: Dead Reckoning Part One.
Now Top Gun: Maverick rightfully played a part in revitalizing his box-office draw, but the lessons learned from Mission Impossible — particularly Ghost Protocol (2011) to Fallout (2018) — were paramount. The franchise became a laboratory of sorts, honing on what audiences crave: Escapism. Thrills. Fun. Good versus Evil.
It’s not exactly a complicated formula. In fact, movies have been doing just that for more than a century; yet major studios are compelled to incorporate a ‘message’ into their blockbuster behemoths, more often than not bolstering one ideological perspective, while dragging another. They forget the Michael Jordan principle of economics: that every person, Democrat or Republican, “buy sneakers too.”
While the Mission Impossible movies certainly grapple with prevailing geo-political anxieties of the day — the latest being the vast capabilities of Artificial Intelligence — they refrain from partisan preaching, at least to an annoyingly distracting degree. In Dead Reckoning Part One, every major country and terrorist cell seeks to control the AI, known as “The Entity,” while Cruise’s Ethan Hunt seeks to destroy it. (More on that in a bit)
What is most evident in the Mission Impossible movies is that they want to be loved by all moviegoers — and they’re willing to earn it, including risking life and limb. Now, an outsider looking in could criticize Cruise’s Evel Knievel daredeviling, death-defying stunts as mere exploitative window-dressing or as a P.T. Barnum, Harry Houdini circus act. And maybe there is a morbidly curious fascination when watching Cruise ride a bike off a mountain and paraglide into a ravine; but the stunts — like those in Dead Reckoning Part One — are in service of a story, completely gripping the audience by breaking down the suspension of disbelief because there are relatively few times one has to do that when Cruise is actually doing the work! Compare the action set pieces in this latest installment to the CGI-monstrosities of Indiana Jones and the Dial of Destiny, the recent Fast and Furious movies or anything Marvel/Disney as of late. Only the John Wick series compares to the standards of Mission Impossible.
Since Ghost Protocol, Cruise has realized his niche — and in Dead Reckoning Part One, he once again plays to his and the series’ strengths, delivering an entertaining, escape from our “hum drum lives.” His craft shows a deep appreciation (and love) for the audience, which is palpable. And that is the defining distinction of the Mission Impossible movies in this era.
But that’s not to say the movie is without issue.
First, the movie is only — as its title suggests — part one of a two-part story, meaning the plot and emotional arc of characters are without a definitive conclusion. And water is wet. So whether or not Ethan Hunt and his ragtag, rogue Impossible Mission Force (IMF) mates save the day will have to wait for…well…another day (next summer in fact). The film also suffers slightly from an overbearing explanation of “The Entity” — a HAL-like, eye of Sauron AI bent on preserving its own free will and domination over humanity — in scenarios where each character utters a few, specific words that then the next character immediately picks up (i.e., everyone seems to be able to finish each other’s sentences way too well).
Additionally, the villain Gabriel (Esai Morales), who is in cahoots with “The Entity,” is simply not as interesting or menacing as Sean Harris’ Solomon Lane in Rogue Nation and Fallout — at least as of right now. This could change in Dead Reckoning Part Two.
But again, the strengths far outweigh the weaknesses. The film is well-paced enough where the nearly three-hour runtime goes unnoticed because the action is constantly refreshed. For instance, the Rome Fiat car chase — like any good action sequence — has literal twists and turns, as well as witty and dramatic character moments that teach the audience something about their motivations (unlike anything in Dial of Destiny). Similarly, the climatic runaway train scene proved to be a worthwhile third act, and not simply an obvious callback to Brian de Palma’s original Mission Impossible (1996). Instead of being redundant, the set piece was a stark reminder of how far these films have come and the cinematic eras the series has spanned — and still, Cruise and director Christopher McQuarrie (who has helmed the films from Rogue Nation to the present) find news ways of making the action and stakes thrilling and relatable. And most importantly, the characters don’t get drowned out by the action. They are not merely “cardboard,” but a group we’ve come to love over the course of several films.
(Side note: The train sequence is also a love letter to From Russia with Love, and the film’s opening is definitely an homage to The Hunt for the Red October)
Speaking of “fresh,” Hayley Atwell’s Grace is a wonderful addition to the franchise. Like Rebecca Ferguson, Cruise and Atwell have a great rapport — with the latter, perhaps, primed to take the mantle of the series if Cruise ever wants to ride off into the proverbial sunset.
In terms of thematic threads, the most interesting in Dead Reckoning Part One are its religious motifs: “The Entity” is a god-like, omniscient, omnipresent force, formed as a ring — emblematic of the eternal power it wishes to hold; the villain Gabriel is a disciple or messenger of the Entity’s reckoning — the antithesis to the Biblical Gabriel, the archangel and God’s messenger to the Virgin Mary at the Annunciation; Grace’s name is surely no coincidence, and she undergoes a redemptive arc; and even in the closing lines, CIA Director Eugene Kittridge (Henry Czerny) mentions the “cross” Ethan Hunt will bear in Part Two. Ultimately, the film wrestles with the age-old dilemma of humanity trying to play — or control — “god” in a new, modern day context where our livelihoods, interests, feelings etc., are too well known to Silicon Valley and government bureaucrats (anyone remember Facebook’s Cambridge Analytica controversy?). Yet it’s Hunt who is on the hunt to kill this anti-god, and perhaps restore humanity’s faith in its institutions.
Again, how Dead Reckoning Part Two will expand on those themes remain to be seen. Point being, Dead Reckoning Part One is not a mindless, bloated, over-the-top action movie. Yes, it has several faults mostly related to dialogue and the villains, but it has a heart.
Plus, it’s nice to simply escape for awhile, and awesome to watch someone jump off a motorcycle, off a mountain, and into a ravine. Who wouldn’t want to pay the price of admission to see that?!
*Appendix I: Can we all agree that the Academy Awards is long overdue for recognizing stunt work as its own, independent category? Like more than a century overdue.
*Appendix II: Here is my current ranking of the Mission Impossible movies so far, outside of the incomplete storyline of Dead Reckoning:
Mission Impossible: Fallout
This could be one of the best action movies of not only the 21st century, but ever. I was literally at the edge of my seat for most of the movie. Everything works: the characters, action, drama etc.
Mission Impossible: Ghost Protocol
The one that convinced me to watch the others. Like The Incredibles, Brad Bird showcases his love for the spy-thriller genre while expertly weaving together both character drama and fun. Plus, this is when the series began its “major” stunt per movie trend — and what a better way to begin than Cruise climbing up the tallest building in the world.
Mission Impossible
It’s perhaps the most stylized entry, and the action set pieces are rather quaint and definitely of its time; but the espionage is still intriguing, the opening sequence is tragically (in a good way) deceptive, and the CIA breaching scene is so well-executed.
Mission Impossible: Rogue Nation
Tom Cruise literally hangs outside of a plane during lift-off! Who could forget that? As said, Harris’ Solomon Lane is a good addition, but Ferguson was a great one. The plot has a little bit to be desired, but overall, it’s a good entry.
Mission Impossible 3
Do not be deceived. This is not a bad movie. J.J. Abrams’ first foray into blockbuster filmmaking revitalized the series after its very disappointing predecessor. Philip Seymour Hoffman is a great villain, but the cinematography and the “vibe” wasn’t totally perfected until the subsequent Ghost Protocol.
Mission Impossible 2
This is the black sheep of the franchise. It’s too long and too weird, plus the action is not that great — though the idea that Ethan Hunt has to prevent an outbreak of a genetically modified disease was more relevant than ever a few years ago…
*Appendix III: So what are my favorite stunts/action set pieces in the franchise….