Mission to “save” the big screen

Tom Cruise (born 1962) returns to replace his imperishable sixty-year-old body with the predicted “death of great cinema” in the award-winning franchise’s seventh film. Mission impossible. One year after reboot The best guns (To whom Steven Spielberg has credited no less than reviving post-pandemic cinemas and saving Hollywood) Cruise dons the outfit of Ethan Hunt, the irreplaceable protagonist of the series, which after eight films has grossed an estimated $3 billion.

BASE ON YOURSELF Originally based on the 1960s television series of the same name, the films released since 1996 sit halfway between other well-known spy series, without the nostalgic kitsch of James Bond and the subtly melancholy existentialism of Jason Bourne. The formula is as predictable as the characters are reliable. First, he, Ethan Hunt, is an unnamed spy allergic to authority, plagued by ever deeper doubts about his role as the anonymous instrument of an increasingly amoral authority.
In the world of triple, quadruple and quintuplets, the only reliable relationships are those with his surrogate family IMF (Mission Impossible Squad), Hunter (Ving Rhames) and Benji (Simon Pegg) and the women (agents and antagonists) they revolve around him.

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Tom Cruise: “I have never been afraid of not knowing. My school was a movie set.”Unlike 007, which has only recently implemented equal opportunity reforms, the presence of women has always been an integral part of The task is impossible from Michelle Monaghan to Angela Bassett and Vanessa Kirby. In that reckoning the cast gets the evil Pom Klementieff and the excellent Hayley Atwell.
Everything is held together by a subtle plot pretext with equally validated elements: an initial self-sustaining message that sets the mission in motion, an antagonistic entity seeking absolute power through global terrorism, a goal that Hunt and his associates must achieve with the help of the superhuman. tests – in this case a double key, the only tool capable of deactivating the evil force that threatens humanity.

It cannot be said that the script by Eric Jendresen and Christopher McQuarrie (the director who took over the fifth film franchise after Brian DePalma, John Woo, J.) is an artificial intelligence capable of absolute digital surveillance. The script outlines the most pressing problems with the epistemological ambitions of the fake era (“ This could be the end of the shared truth as we knew it!”) But the dialogue and plot are really secondary to the main course and the breathtaking action that follows.

Having archived the prologue, which is very similar to an introductory introduction to a video game, we set off on an exotic odyssey that will put on the hero’s path a series of seemingly insurmountable trials, the main function of which is to impress the viewer more than the previous ones. episode . Starting with a wink Lawrence of Arabia

Hunt/Cruise then engages in a series of heartbreaking chases and carefully staged fights. “Mission Impossible” now exists in the patented dimension of “acrobatic” cinema, in which it is the undisputed champion. An integral part of the branding is strictly analog action, avoiding digital effects whenever possible, with one star famously pulling off his own stunts.

AND, PERHAPS since Buster Keaton, that an actor doesn’t regularly put his physical safety at risk to give emotion and entertainment. This film is no exception, and one of the highlights is one heavily spoiled by the trailers, about Cruise’s real-life jump into the void from an alpine cliff – actually a Norwegian mountain. “It works” as a kind of guarantee of sports authenticity – a tacit pact of danger, which in the past saw Ethan Hunt climb the Burj Khalifa skyscraper or always clung to the cockpit of a flying Airbus with his bare hands.
It must be admitted that the action is not only amazing, but also truly original, starting with unisex fights inspired by Chinese Wushu (and Pencak Silat from Raid Gareth Evans) down to the use of locations. This film is dominated by Italian scenery, particularly Venice and Rome, the latter in particular being best used in sequences that combine action with elements of comedy, thanks also to Hayley Atwell, who counters Cruise’s mastery more than well. Without revealing too much, suffice it to say that what Tom and company do on the steps of Trinita dei Monti is not exactly sustainable tourism.
Must be withIndiana Jones

octogenarian Harrison Ford and an upcoming revenge film starring Liam Neeson and Denzel Washington, one might wonder if Hollywood isn’t ruled by some sort of action gerontocracy. In the meantime, though, even if that alone isn’t enough to “save Hollywood,” Mission impossible remains one of the best arguments for watching movies on the big screen.