Mission: Impossible - Fallout
碟中谍6：全面瓦解
Mission: Impossible - Fallout
Mission: Impossible - Fallout
Mission: Impossible - Fallout
Ohjaus:
Christopher McQuarrieKäsikirjoitus:
Christopher McQuarrieKuvaus:
Rob HardySävellys:
Lorne BalfeNäyttelijät:
Tom Cruise, Henry Cavill, Rebecca Ferguson, Simon Pegg, Ving Rhames, Vanessa Kirby, Alec Baldwin, Sean Harris, Angela Bassett, Michelle Monaghan (lisää)Suoratoistopalvelut (6)
Juonikuvaukset(1)
Parhaat aikomuksesi palaavat usein vainoamaan sinua. Mission: Impossible – Fallout käynnistyy, kun Ethan Hunt (Tom Cruise) ja IMF:n tiimi (Alec Baldwin, Simon Pegg, Ving Rhames) sekä muutama vanha tuttu liittolainen (Rebecca Ferguson, Michelle Monaghan) joutuvat kilpajuoksuun aikaa vastaan, kun vaaralllinen tehtävä menee kauhealla tavalla pieleen. (Finnkino)
(lisää)Arvostelut (15)
I felt an orgiastic enthusiasm, spoiled by moments of bitterness that a second or third viewing might or might not mitigate. Nolan himself would have been ashamed to conceive it in such a Dark Knight fashion, because he would be accused of copying himself. In particular, Balfe merely changed a few notes of the Dark Knight scores to give the dialogue tension and lend the storyline a continuously pulsating momentum. However, most of the action mega-scenes, which are almost groundbreaking in the given genre, and the brutal physical fights are not backed with music but – as the current trend dictates – only with raw sound, which gives them realism. These modern elements of deafening musical urgency and epic yet realistic action create a combination that make us pee our collective pants in joy, but it is spoiled by an overly complicated plot with repeated unmasking and changes of identities, where we manage to understand the basic storyline but keep getting lost in the individual plot twists. At least that’s what happened to me. And probably not because I’m stupid, but because of the script and its attempts to make everything dramatic at all costs, even at places where no dramatization is necessary. For this, I give it four stars, and elevate the more moderate and elegantly beautiful Rogue Nation to five. By the way, of all of Fallout’s scenes, I liked the sentimental one with the French woman cop the best. Cruise has some really beautiful women here, prettier than in many Bond movies.
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The day before, I saw an overstuffed digital coloring book, the new Avengers, and those endless fights didn't breathe any life, the only thing that sweated during them were the computer processors as they rendered the CGI. In Cruise's film, on the other hand, the contact fights oozed animalism, they were raw and you could feel every punch, it was such a relief to see that old-school action flicks are still being made. The charismatic Cavill is a stud, I can imagine him as the new James Bond, even with that fabulous mustache. And Cruise? I don't know how he does it, if eating umbilical cords to prolong his youth, or if he made a deal with the devil, Hubbard, or Ashtar Sheran, whatever, but to look like that at 56 and still perform those stunts, hats off. I'm 11 years younger and when I take my groceries to the 6th floor, by the third floor I'm already putting on an oxygen mask because I feel like I'm going to die :o)
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SPOILERS AHEAD. I find it a bit paradoxical to blame Fallout for being so reminiscent of Rogue Nation. Isn’t a certain degree of similarity, the certainty that we more or less know what awaits us, the reason that we like movie franchises, whether it’s Bond films, Marvel movies or the Star Wars saga? Besides that, Fallout offers enough specific elements to keep it from being interchangeable with its predecessor and it continuously highlights a certain cyclical nature that Ethan Hunt encounters in his life. ___ Unlike the previous instalments, this one makes greater use of a subjective narrative (dreams, ideas) and more frequently brings up the protagonist’s past, which suddenly began to burden him (similar to Bond in Skyfall). His dilemma – whether to help one beloved person or to save millions – is manifested especially in the female characters (Julie, Ilsa, the French policewoman). The central conflict established by the first scene (including a copy of Homer’s Odyssey, in which the mission is given to Hunt) is based on a desire for harmony, accompanied by concerns that he will irreversibly disrupt it with his actions. In fact, he “only” seeks inner peace (similarly to Ilsa wanting to return home). ___ Two and a half hours of the movie are then filled with various complicated deferrals of this goal (toward which it is necessary to work through several constituent tasks), which at first seems to be within reach (trading in plutonium), but gradually becomes more distant the harder Hunt and his team try to achieve it (basically in accordance with one of the meanings of the subtitle, they fall ever deeper). Hunt unwittingly contributes to the implementation of the villain’s plan and thus to the realisation of his worst fear from the opening scene. ___ The constant uncovering of the identities of double and triple agents who plot against each other (of which we are sometimes aware and sometimes not) shows how difficult it is to recognise reality in an unstable postmodern world of simulacrums (see also the scene in which Benji guides Hunt through a 3D space according to a 2D map) and offers – above all – more and more pretexts for the spectacular action on which this franchise is based and to which the logic of everything else is subordinated. So, yeah, the villain has to leave London from the tower of the Tate Modern gallery, Hunt has to ride around the Arc de Triomphe at full speed in the wrong direction, and he has to skydive into Paris from seven kilometres up, because it looks fantastic and will boost your adrenaline level. Suspension of disbelief. Alfred Hitchcock. If you have a problem with that, you will find it excessive and improbable, any you will unfortunately not fully enjoy Fallout. ___ By giving us the dizzying feeling of straddling the boundary between life and death, Fallout is reminiscent of great grotesques like The General and Safety Last! (though Cruise bases his performances on speed and strength rather than physical acrobatics). With their rhythm, use of deadlines, inventive incorporation of Schifrin’s motif and the way everything smoothly fits together in the end, the action scenes are incredibly intoxicating, while also being sufficiently diverse in terms of vehicles, combat methods, multiple storylines running in parallel (in this regard, the final action scene is very Nolan-esque) and the extent of our awareness of what’s going on, which contributes to the fact that we often do not know with certainty whether we are seeing the fulfilment of a premeditated plan or improvisation. ___ Life supposedly flows in spirals and Fallout is structured accordingly, as it repeats situations that we saw in the first half of the film (a shootout in the London underworld is strikingly reminiscent of the handover in Berlin) or in previous instalments of the series with a slight alteration of forces, which the characters are aware of, knowingly winking at each other (and at us) and making fun of their (again) seemingly zero chance of success and survival. The episodic narrative, composed of several outstanding action sequences with their own patterns of development and breathtaking gradation, is again not only utilised, but also reflected. There is no way for anything to end except with a spectacular cliffhanger. ___ Sure, Fallout could have been shorter, less overloaded with plot twists and more focused on the action than on the characters, but in terms of the development of today's world and the Mission: Impossible franchise, I find its more pronounced melodramatic nature (which contributes significantly to the longer runtime) and greater prevalence of postmodern doubt about what is actually real to be a logical way to raise the stakes without resorting to excesses likes those put out by the creators of Fast & Furious. Of course, it can’t be ruled out that Hunt will race with tanks and submarines next time. He evidently still has the physique for that. 90%
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After watching this Mission: Impossible movie, I had to go back and read my reviews of the previous instalments. I found out that it basically was what it always has been; an incredibly high-quality action thrill ride with Tom Cruise. I think he’s currently the only actor who works this hard for action movies. There’s barely any CGI in the movie. Not only do most of the scenes feel real, they also are. It’s apparent that Tom gave it all he’s got and when you watch him jump off a plane nearly 4 miles above the ground, you can see all of the hundred plus jumps he had to do for this scene to work. He’s a champ. Nobody in Hollywood even compares to him nowadays. Everybody’s hiding behind a green screen and the only extra thing they might do is go to a gym after shooting so that they can show off their muscles. As far as the actual movie goes, I got what I wanted – the best action scenes of this year, Tom in a million different ways and his gang that radiates charisma. And unfortunately maybe a little bit of confusion because of the script, but that’s always the case with Mission Impossible movies. Anyhow, it gets very decent four stars from me and I’m convinced that the name Mission Impossible means more in 2018 than people could have hoped for some 20 years ago.
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I totally appreciate the craftsmanship, the totally awesome Tom Cruise, the great action scenes and pacing. I'd be bullshitting if I said I was bored, but at the same time I felt all along that most of those things were done a little better by the previous film. Whether it was the chases, the work with the bad guy (it's all too transparent here) or the sort of embellishment that makes a great scene stand out (I missed the opera this time). It's great, but not as great as last time, and I really can't imagine that if I had to choose which of the last two M:I episodes to watch now, I'd reach for the sixth one. Not to sound overly disappointed, but it's like choosing between The Dark Knight and The Dark Knight Rises. I'd give Ledger the edge, but if I can't find him, Hardy certainly won't offend me. It's just... it was just a little more interesting last time. In every way.
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Great work, but I am missing a top scene, which was Turandot in part five or Burj Khalifa in part four. Nevertheless, the action component is the best since the Dark Knight Rises, in which Nolan hung a plane on a twine. Cruise is a gambler who, with his courage, fights against time, and the fact that acting stars are dying out. He will do everything to keep the audience gasping for breath and not be afraid to take extreme risks because of it. McQuarrie is able to direct it perfectly onto the screen. It will be over when they say it's over.
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The sixth movie has only one weak point, it comes after a perfect fifth movie. And so, unfortunately, it tries be better in the classic way of all Hollywood sequels “more of everything, too much of everything, with old and well-known character and this time it´s all about the saving the world, as always". The result is a much more straightforward (ok, blunt) script, which this time only serves as a link to let Tom jump on the rooftops of London for two and a half hours, drive two kilometers in the opposite direction in streets of Paris or hang hundreds of meters above the Kashmir mountains. So loved nice spy dialogs of the last part are not seen anymore, here is everything about nuclear bombs, cutting colored wires and hundredths of seconds. So much for the shortcoming. Otherwise, it is not about anything; dead adrenaline constantly (but as a matter of fact constantly) graded diverse event based on clarity, choreography and stunts. So, this time it's “only" a phenomenal big-budget real action movie and an average spy movie. Last time this symbiosis worked really well. But not this time. Even so, it is undeniably a genre movie event of the year, that´s for sure.
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After the fourth episode, Mission Impossible has become one of the best action franchises of our time (Bond and Bourne are not even close), and with the sixth episode the series literally reaches its peak. Tom Cruise, at 56, performs an incredible physical feat, with his iconic running and stunt escapades that cause stuntmen to lose their jobs, literally sweating blood and risking his life for his franchise! Hats off and much admiration. Story-wise it's classically convoluted and nicely twisted, and I liked that, although this time there was no twist that killed me like last time, but still a high standard. As for the action, it's full throttle almost the whole film. The fight in the restroom right at the beginning probably won't be beaten this year, and the adrenaline-packed chase with motorbikes, and the finale itself, which absurd, with the best helicopter chase I've ever seen. Alongside Ethan Hunt, Rebecca Ferguson is wonderful here again, and she definitely deserves more action roles, and then there’s the new surprise of Henry Cavill, who, when he's not comic-book movies, is actually an excellent actor who can handle multiple stances at once and can make a real nuisance of himself in fights. Praise must also go to Rob Hardy for his excellent cinematography, which adds to the authentically intense experience. A proper ride. 95%
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A repeat of the essence of ostentatious espionage, which is once again strongest when it goes against the usual rules and boldly builds the whole story on humanity, the strength of characters, on the healing scars of seemingly indestructible experiences. Although there is naturally no shock of a never-before-seen approach, Christopher McQuarrie too cautiously walks his own beaten path and turns Fallout into more of an M:I 5.5, but the combination of additional internal tension among multiple organizations and a grand Bond-like finale fit so perfectly together that when all is said and done nothing bothers me about this approach.
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The last real movie star built a monument of adoration to himself, before which nothing can be done except to tip one’s hat. In the years when Hollywood forgot how to make blockbusters and how to shoot action movies, it was Tom Cruise who brought real amazement back to the big screen. Now that others are beginning to understand that no CGI colouring book or frantic shaky cam can replace the breathtaking dimension of physical attraction, Cruise keeps raising the bar that he set himself in the area of what someone is capable of actually doing in front of the camera for the audience’s amusement.
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The older I get the more I enjoy the way the new Mission: Impossible films travel from country to country. The fantastic car chase around Paris and the helicopter duel in Kashmir are breathtaking. Few people know how to enjoy action like Cruise and he’s found a real soulmate in McQuarrie. Fallout no dead spots, the locations are beautiful and even the Eiffel Tower doesn’t seem overused. The story is appropriately dark, a little more so than in the last movie. This time it’s about the harm and consequences of spy agencies competing. The cast is solid and Cavill’s Walker is a proper bastard of a partner.
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The Dark Hunt Rises. Impressive, but the third entry is still unmatched. That one was incredibly brisk, and pumped-up with fan-boy gadgets. Fallout "only" meets the ambitious expectations of today's demanding mainstream audience, and very ably so. The first half is more uneventful, but once Cruise begins his breathtaking display of breathtaking stunts, everything is as it should be until the grand finale. Maximum deployment, minimum casualties. One of the best episodes and probably the most spy-y, most old-school and darkest.
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Tom Cruise is an atrocious fool, Henry Cavill an atrocious all-star. The sixth Mission: Impossible is more of an action than espionage film (unlike the previous film), but it's immensely honest and perfectly riveting. In addition to superbly shot fights, shootouts, stakeouts and chases, there are also some completely non-action, but admirably thrilling and impressive scenes (the Parisian policewoman above all) and, so I don’t forget, I give the creators bonus points for the partially confusing teaser that made the film surprise me more than once.
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I terms of script, it's still not as sharp as the Bourne trilogy, and Ethan Hunt ignores the laws of physics a little too much at times, but I can excuse the shit out of that, because MI6 is still probably the most entertaining spy action flick ever made. There's fatality, there's unpredictability, and there's a perfectly cheeky and brilliantly led incitement of curiosity (the rhythm of which is downright diabolical before the big reveal), but at the same time there's no shortage of riveting action set-pieces delivered with the requisite panache and always smartly inserted wisecracks. It's not a revolution of the genre, it's a pure homage to the traditions of spy films, perfectly adapted to the current trend and action drive of big blockbusters, while cleverly developing the fictional world and the established narrative and formal rules of the series itself. It's not better than the fifth one, which did a better job of marrying action with conspiratorial conversational twists, but it's undoubtedly an exemplary prototype of the technical possibilities of the contemporary blockbuster, with the gas pedal permanently on the floor and the narrative firmly grounded in tried-and-true old-school formulas. Perhaps I’ll add more after another mandatory stop at the cinema.
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An absolutely perfect prototype of a summer blockbuster in which the action starts from the very first seconds and does not take its foot off the gas till the end. I would best compare this endless adrenaline rush to the third Bourne movie or The Dark Knight, and it is from the latter one that Fallout takes inspiration for some of its action scenes as well as picking familiar elements from the soundtrack. Technically it's all done perfectly, and you can clearly tell that the action scenes were filmed realistically without the use of a green screen. This brings me to the top dog of Hollywood. Think what you will about Tom Cruise, but you rarely see someone who makes films so diligently, doggedly, without any stunt doubles and, above all, for the viewer. Considering that he was 55 (!) at the time of filming, what he shows here almost violates the laws of nature, and the other actors go all out in their roles as well. If you add the customary endless supply of major and (for the most part) unexpected twists, betrayals, and last-minute rescues, you get exactly the type of action movie that is increasingly unique nowadays and a must for every movie fan. My only quibble? The famous fifth installment was practically impossible to match, and indeed, in terms of the originality of the script, or attention to detail and surprising twists, the sleeker Rogue Nation remains unsurpassed.
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