Epic Swan Song in MISSION IMPOSSIBLE: THE FINAL RECKONING

Tom Cruise continually pushes the limits of incredible stunt sequences in Mission Impossible: The Final Reckoning which brings key elements from past films full circle and caps off thirty years of ‘missions’ in a grand conclusion with emotional thrills.

The world is at the mercy of the artificial intelligence called The Entity that is rapidly taking control of the nations’ nuclear arsenal and threatening global annihilation.  As the President (Angela  Bassett) and her military staff contemplate nuclear Armageddon, the world’s last chance is Ethan Hunt (Cruise).  Assembling his talented team, his first task is to find the source of the Entity and then kill it, but the Entity’s operative, Gabriel (Esai Morales), proves a lethal adversary. As Hunt takes an incredible leap of faith amid seemingly hopeless situations, the countdown brings the world closer to its end.

Director/cowriter Christopher McQaurrie has made a compelling story filled with enough action for five films.  This is an epic in every sense from its tense, underwater set piece to the heart pounding aerial chase.  By relying on more practical effects, the film seems more visually impressive especially on an IMAX screen   Sequences often contain intense, parallel action that heighten the stakes to almost unbearable levels.  There is sacrifice and loss, and the screenplay, sprinkled with humor and surprises, is clever by constantly upending audience expectations with the unexpected instead of well-worn clichés. All the supporting roles are distinct and well-acted.

Despite its 169 minute runtime, the story is constantly engaging, and hardcore fans should be delighted and rewarded especially with significant call backs to plot points and characters from past films in the series.  This makes for what could be a terrific send off for Cruise’s franchise (or very possibly a new beginning).

****1/2 of ***** stars

THUNDERBOLTS* and Their Inner Demons

 

Despite recent misfires, some of Marvel’s successful films have reworked traditional film genres like political thrillers (Captain America: The Winter Soldier) and horror (Dr.Strange and the Multiverse of Madness).  While past trauma has been previously featured in subplots, Thunderbolts* is the first Marvel film to deal exclusively with painful pasts in a meaningful way and informs the film with heart and soul. It also features a standout performance by Florence Pugh.

CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus) has attracted unwanted attention from Congress and plots to hide some incriminating secrets that involve her group of mercenaries including Yelena (Pugh), The Winter Soldier (Sebastian Stan), and The Red Guardian (David Harbour). These antiheroes are tormented by their dark pasts and begin to tentatively work together to find the truth about their employer even as a mysterious figure named Bob (Lewis Pullman) emerges who may represent an extraordinarily powerful being (shades of Brightburn) threatening all in his path. Can the newly formed Thunderbolts unite to save the day?

This well-paced film has more than a passing kinship with The Suicide Squad and Guardians of the Galaxy as it shows these misfits learning to trust one another and become something greater than themselves, and as such, transforms this story into something special. Whatever inner demons and past regrets each possesses, these pale when compared to Bob, which forms the core theme that coalesces in a heartfelt climax.

With this film, Pugh’s Yelena has emerged as a force to help lead the new generation of Marvel heroes in future phases.  Imagine a well-acted, psychological drama weaved into an action thriller resulting in a film with character, depth and substance. Marvel is growing up. (Stay for the final post credit.)

**** of ***** stars (add ½* for Pugh fans)