Ghost Protocol: Review of Mission Impossible: Fallout

Mission Impossible: Fallout

Director: Christopher McQuarrie

By Alex Watson

The Mission Impossible Franchise seems to have found its perfect duo in Tom Cruise and Christopher McQuarrie. The new effort Mission Impossible: Fallout somehow not only tops the exhilarating thrills of Rogue Nation but also gives this movie an emotional core. Gone are the days of good-natured fun and for the first time ever, The MI franchise seems to be unafraid to explore character depth.

Ethan Hunt (Tom Cruise) and his crew (Simon Pegg and Ving Rhames) are caught in an awkward position after a mission in Berlin goes wrong. Faced with the world's potential destruction from a plutonium bomb, Hunt faces his most perilous mission yet. The re-introduction of old frenemy Ilsa Faust (Rebecca Ferguson) also complicates matters. Then there is the added problem of the CIA sending handler August Walker (Henry Cavill) to babysit his team.

There has been a sense of this franchise beginning to grow a conscience, Mission Impossible: Fallout is a movie that finally highlights the ramifications of Ethan Hunt's occupation. There is friction aplenty amongst the IMF team-members from the very start. Forced to be partnered with the hulking Walker and chasing a terrorist intent on resizing the world's population through deadly means, to put it mildly, things look very bad. While McQuarrie keeps his dialogue scenes brief and to the point, the sheer amount of thrills speak volumes. Frequently, this franchise finds new ways to provide jaw-dropping set pieces and here, it's on whole new level. A gripping bike chase through Paris, a bathroom fist fight that veers into almost 'Hulk Smash' territory to finally Cruise doing what he does best- running over rooftops! The sixth instalment plays its ace cards smartly and rather than getting lost in an overly complex plot like parts 2 or 3, details are kept to the point at all times Simplicity and entertainment are the key items on the agenda here.

On this occasion there finally seems to be more of an action's have consequences element to affairs. In a rare move, Rogue Nation villain Solomon Lane (Sean Harris) is swept back in to bring a cold and creepy element to proceedings. Lane is the ghosts of IMF past and through his almost whispered dialogue, Hunt's whole world is put into a tailspin. Just what has Ethan gained from accepting all these missions? How do you sleep at night when the world is at stake? The team comradery has never been better and frequently see we scene that demonstrates a deep trust and how far a teammate will go when lives are on the line. The reintroduction of Ilsa is also smartly played, once again remaining morally ambiguous, guessing her motives is literally mission impossible (sorry for the pun). Hunt both needs and mistrusts her in the same breath, but why does she keep crossing him? On his mind is also ex-wife Julia (Michelle Monaghan), which ironically becomes one of the movies key devices late on.

While Mission Impossible: Fallout does lose a few marks for a rather obvious plot twist, it can be forgiven because the last act contains pure excitement. Each MI film has to have one out of this world set piece- it finds it with a midair helicopter battle against stunning mountain scenery. A potential disaster has never looked so beautiful or been this fun before. McQuarrie also finds little moments of joy amongst the against-the-clock feel. Luther undergoing an unlikely bonding session while defusing a bomb is just one of these. The next instalment is going to have one hell of a task bettering this one. This series is now on firm footing and Ethan Hunt can now officially take his place among the very best of franchise heroes.

Tom Cruise shows no signs of slowing down in his twilight years and once more he is unafraid to get physical. Hanging off cliffs, riding bikes at breakneck speeds, brawling alongside Superman- all in days work this guy. Cruise is also able to handle the more human side and show us a glimpse into the troubled mind of Hunt. At heart, the world will always come first but there will forever be a 'what if' surrounding his entire being. Rebecca Ferguson again is able to match Cruise and makes this character impossible to read. Ilsa is becoming a welcome new addition to this franchise. Henry Cavill is also solid support as the big muscled Walker and he adds an air of mystery to his conclusion. Some may have focused on his moustache (which had to be digitally edited out during Justice League shooting), but Cavill once more shows he is a safe bet for a big budget piece.

Mission Impossible: Fallout proves that sixth time really a charm. Cruise and McQuarrie together is becoming the dream team these movies need. Let's just hope its a lucky number seven next time.

Hello Darkness My Old Friend: Review of Batman vs Superman: Dawn of Justice

Batman V Superman: Dawn of Justice

Director: Zack Synder

By Alex Watson

On paper, this super-fight mash-up sounded like a win-win for all involved, sadly Batman V Superman: Dawn of Justice is frankly a false dawn. While it has brief moments that thrill, the continually dark and gloomy edge leaves the movie empty at its core. Zack Synder seems more focused in dazzling us visually rather than allow this movie to be a fun experience. What follows will likely leave you asking a number of questions when the end credits role.

Superman (Henry Cavill) is currently being hailed as both hero and villain after saving Metropolis in the last installment. Preventing Zod almost left a heavy cost to human lives and deeply affected one Bruce Wayne (Ben Affleck). Wanting vengeance on the Man of Steel, Batman is also facing a bad rap from the media due to his excessive revenge crimes. Lurking in the shadows is one Lex Luthor (Jesse Eisenberg) who seems a little too interested in examining some found Kryptonite.

Batman V Superman: Dawn of Justice is a picture that feels too drawn out despite Synder's best intentions. The principle issues seems to be the favour of talk over action and like all VS installments, it takes it sweet time. Beginning during Superman's previous finale, Synder gives us a Roland Emmerich-style opening which sees Bruce Wayne frantically try to save his employees. This section does give an early thrill and it plants the bitter seed of conflict within Wayne as he seeks for survivors amongst metropolis wreckage. Batman in this piece is a paranoid, sociopathic wreck that brands his victims. Morally the man is suffering and his dreams are haunted by nightmares of giant flying bats. A new spin on his childhood is a pleasant change as it is shown to begin in 1981 (look for an advert for Excalibur). Jeremy Irons also fits in well as the new Alfred and is given a more in depth part than Michael Caine;s surrogate father. The hatred built up between the two men is justified, but sadly this feels like a lightweight affair.

Supes has also been hitting bad press and despite saving the planet, his seeming lack of conscience for human lives has alerted public conscience. "He is a man who answers to no-one!" cries one survivor to Senator Finch (Holly Hunter) and for once this movie does question his hero status. Scott McNairy appears a man who has been wrong by Superman and is keen for revenge. This side note does give us one very unexpected twist, but it doesn't really affect the picture.  On the other side, Clark Kent doesn't seem to be too fond of the Dark Knight's tactics. When finally together in the same room, it just doesn't conjure up that sizzling feeling required. Then along comes Lex Luthor, who in this picture is a floppy haired and tortured wiz kid who comes off more like a manic Energizer Bunny than a bad guy. His plotting fails to spark any interest and his schemes appear to be not thought through.

When the showdown finally hits, Synder lets his two leads run riot as they do battle in the slums of Gotham. Fists fly, walls crumble, krypton grenades blast and for a brief time we smile. The entertainment factor is decidedly low throughout so this injection of adrenaline keeps it on life support.However, this effect does not last due to the overuse of CGI and yet another air battle (what is it with superheroes and midair?) Synder soon sends this finale into a more bland and familiar territory. The long delayed big screen debut of Wonder Woman (Gal Gadot) gives us possibly the strongest character throughout and this warrior is gutsy to the bone. Her impact in this one might by limited, but it does tickle the interest as to what she can do in a full feature. Essentially this piece will begin to feel like an extended trailer for the Justice League by the climax.

Ben Affleck might not have been the fans favourite choice, but he does convince as Bruce Wayne. Unfazed by his failure as Daredevil, Affleck gives his Batman as a twisted logic and does well keep his characters thirst for payback suppressed. Henry Cavill does the best he can as Superman but is given precious little to work with. Had the writing been deeper then this could have been a great character study on his feeling beneath the cape. Instead Cavill is forced to feast on the generic scraps he is fed. Jesse Eisenberg comes off worst of all as Lex Luthor and his performance is very much a love/hate thing. Giving a very hammy overtone, Eisenberg lacks any sense of immediate threat and you have to wonder why either hero doesn't kill him within seconds of meeting him?

No doubt one of 2016's biggest misfires, Batman v Superman: Dawn of Justice should have been the first dose of summer fun. Now they will have to contend with the angry message board comments. Let's hope any errors get fixed for Justice League.

Cold War Collision: Review of The Man From U.N.C.L.E

The Man From U.N.C.L.E

Director: Guy Ritchie

By Alex Watson

Although it suffers from a rather bland story line, Guy Ritchie's adaption of The Man From U.N.C.L.E is a stylish affair that succeeds as pure entertainment. The dream partnership of Henry Cavill and Armie Hammer is one that make the picture click. Ritchie is gradually making a career on steadily paced action flicks and his good run continues here. This perhaps isn't quite the must see blockbuster as originally intended but there is enough thrills and witty banter for us to want a second helping.

During the cold war both CIA agent Napoleon Solo (Henry Cavill) and KGB agent Ilya Kuryakin (Armie Hammer) are forced to work together to stop a fascist group. Hatred and rivalry is still simmering from an unforgettable first encounter in East Berlin. Thrown into the mix is Gaby Teller (Alicia Vikander), the daughter of a renowned Nazi bomb scientist who is a target for both agencies. Can both men work through their animosity and save the world?

A cool and calculated work from the very get-go, Ritchie opens memorably as we play at cat and mouse game in East Berlin. Through rescuing Gaby, both agents become acquainted when Ilya and his 'barely human' abilities are ably demonstrated as he literally rips the tail off Solo's car. When paired together the result is a fine one as Solo's witty yet insolent humour wonderfully plays off Ilya's embittered intensity. Together the men share the shame goals and underneath all the bickering and one upping there is a fine team underneath.  The dueling of minds, car chases and clever tricks from former thief Napoleon give the picture a slick feel that allows it to glide along.

The villains Alexander and Victoria Vinciguerra (Luca Calvani & Elizabeth Debicki) are a little low on taste and have nothing to do little else than look rich and cunning. Centrally the story is one of the few misfires of an otherwise fine ride because outside the cool imagery, it just feels like a standard ride. The original TV series did pride itself on the characters solving a problem a week. This picture though runs out of fuel after a bright start and the picture instead becomes confused on what exactly the prime focus is? Action sequences become less frequent and the picture suffers from a lack of growth through this.

Aside from these forgivable oversights, The Man From U.N.C.L.E is still a great experience and thanks to a wonderful triumvirate it does succeed. Gaby is perhaps the trump card for both men because she truly fears neither. The budding romance between her and Ilya might not completely convince but it does give a great boost in the side laughs department. There is also wonderful late addition of British agent Waverley (Hugh Grant) who shows up to near upstage boyj men with a dry but well-timed sense of funny. Working both as an offbeat buddy comedy and as an action flick, Solo and Kuryakin are a perfect match for one another.

The principle success of Ritchie's film comes from the excellent pairing of Henry Cavill and Armie Hammer. From the start the pair plays off each other magnificently and Cavill's cocky and suave way is matched by Hammer's ferociousness. Refusing to be upstaged, Alicia Vikander holds her own as the tough natured Gaby. Although wanted by both agencies, Gaby firmly makes it clear that she belongs to no one and Vikander gives her a smart edge that helps her stand out. In a brief appearance Hugh Grant also gets a laugh in as Waverley and shows what is perhaps his finest work in sometime.

Guy Ritchie has done a good job developing The Man From U.N.C.L.E and has delivered one of this summers cooler thrillers. It might not be perfect, but it has enough excitement and provides a wonderful threesome to shape a series. Next time it might be a different story... tune in next week to find out!