We Are Venom: Review of Venom

Venom

Director: Ruben Fleischer

By Alex Watson

Despite having one of the standout casts of 2018, Marvel fans are still waiting for a good outing for Spiderman's nemesis. Venom on paper had all the goods but sadly director Ruben Fleischer is never able to find a good blend between action and comedy. The result feels like a limp and wasted opportunity on an intriguing set up. Tom Hardy manages to salvage some pride with a decent performance, but for once he cannot be the sole saviour.

Eddie Brock (Tom Hardy) is a TV journalist who ends up losing everything including his job and fiancee Annie (Michelle Williams) after unwisely confronting crooked billionaire Carlton Drake (Riz Ahmed). To prove Drake is using homeless people as test subjects for an unknown species, he breaks into his lab to investigate. However, during his time there Eddie merges with a symbiote named Venom which will give his body a new and scarier kind of host.

The main problem with Venom comes from its rather formulaic and generic script. Starting slowly, we see Eddie's world gets turned upside down, his break up with Annie would have been more painful if there were any chemistry between the two leads. A floundering and drunken mess afterwards, he gets thrown a bone when a more sympathetic Drake employee (Jenny Slate) drops the knowledge he is killing innocent people. When he finally crosses with Venom, the result is nowhere near as entertaining as this should have been. As a character, Eddie is a rather blank slate throughout and we are never truly given a chance to understand his motivations or any kind of backstory about Brock himself. Likewise, Carlton Drake, a compelling nemesis in comic form has little impact or threat here outside of just being kind of a dick.

Studio interference has also played a role in the impact of this movie being lessened. Keen to cut this down to a PG-13 rating, the needed dark tone is disappointingly absent. Also, the movie never truly finds its rhythm and there a number of cringing moments. Eddie humiliating himself in front of Annie by jumping in a lobster tank in a restaurant is a prime example.  Given Fleischer's previous effort, Zombieland, the laugh factor should have been a shoe-in. Sadly he opts to do numerous and rather lifeless action sequences which frustrate more than they entertain. This could have another hit in the Deadpool inspired range if Fleischer chose to utilize the hilarious main duo, but there is simply not enough snappy wit to make this work.

Only in the final act does this movie become anywhere near watchable and once Eddie and new buddy begin to bond, some life comes to the movie. While an end credits sequence does provide a burst of excitement for a potential sequel, this first effort is left to rue what might have been.

Normally a movie's ace in the deck, Tom Hardy is easily the standout. Juggling between a more physical yet comedic turn, Hardy is up for the task and gives Eddie Brock a far stronger feel. As his new special friend Venom, his deep and booming voice always sends a chill down our spines. Becoming a capable actor across all cinematic forms, it will be interesting to see what Hardy can do if given the chance to return. Michelle Williams is barely used in what is an underwritten role as Eddie's lost love Annie. Always able to bring her all to even the smallest scenes, Williams has precious little to do here. Riz Ahmed is equally wasted as villain Carlton Drake and is saddled with some truly dull dialogue. An able actor in big films, this movie wastes the talents a fine talent.

Venom should have been an end of year treat for all its patient fans. Tragically, we are still waiting for a definitive outing for one of Marvel's best anti-heroes.

The Book of Life: Review of The Public

The Public

Director: Emilio Estevez

By Alex Watson


As a director, Emilio Estevez movies only come along when he is truly ready. His last picture, the Martin Sheen starring 'The Way' was a touching and authentic story of self-discovery which showed a maturity and a keen eye for humanity. His new effort, The Public is a movie which gives a compelling voice to the homeless and a sharp commentary on the lack of resources that are available. 

Stuart Goodson (Emilio Estevez) is a librarian in Cincinnati, Ohio who each day encounters a number of homeless members such as Jackson (Michael K. Williams). While happy and content in his job, things become more complicated when his superior Mr Anderson (Jeffrey Wright) announces he has been named in a lawsuit against the library. One night a brutal Midwestern cold front is about to hit the city and all the shelters are maximum capacity. What follows will result in a tense stand-off between Detective Bill Ramstead (Alec Baldwin), local D.A Josh Davis (Christian Slater), the staff and the homeless.

While its message might be a little overstated in places, The Public still makes good use of its setting and the sheer quality of performers. Estevez has always a preference for showing the plight of the average person and Stuart Goodson is a weary yet personable library supervisor. Along with his co-worker Myra (Jena Malone), the pair are simply trying to do their jobs without causing a fuss. The homeless who frequent the space are tolerated as this is the only safe place they can go without being hassled or rejected. The library tries to maintain order and give support as best it can, but Estevez shows what a tough role this can be, especially when dealing with patrons with severe mental health disorders. Goodson is a man who is doing his best to be supportive but his hands are tied by bureaucracy.

The cold front hitting Cincinnati has resulted in more and more people freezing to death each night. During this movie, there is a firm statement on the lack of shelters available and many of the homeless are simply trying to keep warm. Stuart himself is dealing with his apartment heating being down, which has him making contact with his attractive apartment manager (Taylor Schilling). When the stand-off occurs, Jackson and the others simply just want a place to send the night. Stuart despite reservations allows this to go ahead and they barricade the doors. Everyone outside the library just wants this to be done with- Ramstead is a negotiator who is also looking for his drug-addicted son. He simply wants everyone to go home and not have to deal with the slimy and corse Davis whose campaign for Mayor is not going to plan.

The final act of The Public might seem formulaic and has a number of slightly cliched moments (complete with quoting the Grapes of Wrath). Plus there are some side stories that perhaps overstay their welcome- particularly Gabrielle Union's vampirish newswoman who portrays Stuart as a kidnapper. However, despite these flaws, there is still a nice sense of authenticity and comradery. While there is a heavy-handedness to Estevez's direction, he is still able to emphasize the struggle the homeless face to be heard. Libraries are increasingly considered to be a safe haven because few places offer them a place to simply be and access services that can help turn their lives around. Stuart desire to help is made clearer during the final act and credit to Estevez for giving this subtle touch. Within the walls of the library, there is a tension building that could potentially give the police a reason to storm. The resolution to this may divide audience members, but it will still leave a smile on our lips.

Emilio Estevez has always been a capable performer as well as director and once more he is on double duty. As Stuart, Estevez conveys a good sense of weariness alongside a fighting spirit. While he may be a reluctant participator, he is also a leader with a sense of compassion. The supporting cast alone elevates this picture and Alec Baldwin gives a fine turn as Ramstead, whose fear for his son's safety is in conflict with his role in attempting to end the stand-off. Christian Slater is also in fine form as the particularly nasty Davis. While this role may see him permanently in one gear, Slater makes full use of his distaste of this tricky situation.

The Public is a movie which gives some much needed focus on the problems the homeless face each day. It might not see much action comes awards time, but Estevez still shows he is a director who makes us think.

Saved: Review of Boy Erased

TIFF EXCLUSIVE

Boy Erased

Director: Joel Edgerton

By Alex Watson

Joel Edgerton's career as a director so far shows he is unafraid to tackle sensitive subjects. Adapting Garrard Conley's hard-hitting memoir Boy Erased, Edgerton gives a powerful commentary about the effects of LGBTQ people forced into conversion therapy. He also addresses the fears and often irrational actions of parents concerned more with their image than accepting their children. With a breakout turn from upcoming star Lucas Hedges, this is one of the most powerful films that 2018 has to offer.

Jared Eamons (Lucas Hedges) is a young man who is the son of  Pastor Marshall Eamons (Russell Crowe) and doting mother Nancy (Nicole Kidman). While away at college, he is outed as gay to his parents who offer him a  compromise- either be disowned or attend gay conversion therapy. Forced to attend a program under the leadership of the outspoken Victor Sykes (Joel Edgerton), Jared quickly becomes disillusioned with the message being given and has doubts over whether it will cause any real change.

"You cannot be born a homosexual. This is a lie, its a choice," comments Sykes at one stage. Throughout Boy Erased, Edgerton is able to tread a very fine line with his message on conversion therapy. Jared is a young man who encompasses the All-American boy, he is popular, athletic and comes from a loving but devout Baptist family. Edgerton jumps back and forth between timelines to give an impression the past that has plagued Jared. One of the more harrowing sequences comes from when Jared meets fellow college student Henry (Joe Alwyn) and a blossoming romance quickly turns into a sexual assault. Starting in almost rom-com style, this switch from a meet-cute to a life-altering event is shocking. From here, Jared's life begins to unravel. Under Sykes rule, the attendees are frequently put through the emotional wringer and are often derided. Sadistic instructor Brandon (Flea) is particularly savage- forcing students to line up in order of how manly they seem.

Everyone is simply trying to do the right thing, Sykes while abusive and narrow-minded is under the illusion that he is fixing people. However, this approach brings up some moments which are almost unbearable. Such as when fellow classmate Cameron (Britton Sear) is forced to be beaten by his family with bibles to 'strike out the demon'. The slow camera shots and dark orange glow of the room make this look almost like a horror film. Thankfully, Edgerton resists the urge to make these people cartoonish villains and instead he shows people more bound by tradition than hate. Marshall is a proud father who is wary of his families image and is unable to shake the old ways but never once is he made out to be hateful or prejudicial. Nancy is also an old-style mother who 'falls in line' but throughout her awareness about the horror of the situation grows to the extent where she can barely disguise it. Jared at first agrees to this treatment due to his love of the family, but frequently he finds himself plagued by self-doubts and his growing backbone skulks the screen like a tiger. He is never a big talker, but throughout his quiet manner, you can sense his frustration and confusion building.

Boy Erased is a frightening commentary on the real effects of being forced into the closet. In the program, the students are all just trying to push through, but the threat of being kept long term is one that is utterly horrifying. Edgerton smartly casts Quebecois director Xavier Dolan as the conflict Jon who 'salutes' rather than touching others and Australian singer Troye Sivan who encourages our hero to 'fake it till you make it!' These people are always to refer to their homosexuality as a sin and this repression and mental abuse is shown as harming lives rather than saving them. While this type of story might be familiar and in some cases almost a Hollywood staple, Edgerton is able to project a much need bite into proceedings with overselling the potential redemptive themes. One beautifully acted scene towards the end sees Jared finally lays out to his father how their relationship should be and guaranteed there will not be a dry eye in the house! "I don't want to pretend anymore' our hero says and right there is the official slogan the movie is looking for.

Lucas Hedges has already been making a name for himself with his turns in movies such as Manchester by the Sea. Here, he ensures that his name will be among the nominees come Oscar time. His performance is one of great reserve and he fully amplifies the pain and confusion that Jared feels. He also finds room to also give him a likeable yet smart-ass feel as the movie increases and by the end, this character has become fully rounded. Nicole Kidman also gives her all in the supporting department and Nancy's love for her son is frequently tested by never once broken. Russell Crowe has a hard task portraying the unshakable religious father but he adds a human element to this role which shows how a father's love often conflicts with his morals. As the hard-headed Skyes, Joel Edgerton delivers a performance that at times is at risk of being a caricature, but mercifully he elevates his performance to show a man convinced his is doing God's work but his short-sighted approach is only succeeding in driving away those he wants to save. A little tidbit about him at the end credits will raise a smile.

Some may see this type of film as a guaranteed road to Oscar glory- but you can't deny the sheer power of storytelling in Boy Erased. On performances alone, this has serious awards contention.

One Giant Leap: Review of First Man

TIFF EXCLUSIVE

First Man

Director: Damien Chazelle

By Alex Watson

In just four movies, Damien Chazelle has emerged as one of the most innovative directors in Hollywood. His Neil Armstrong biopic First Man now pushes him into the stratosphere. Capturing the sheer danger involved with the 1960's 'Space Race', Chazelle brings us an astonishing take on one of the most important historical events. Rather than get bogged down in patriotism, he gives us an authentic look at ordinary engineers trying to pull off a monumental task.

Neil Armstrong (Ryan Gosling) is a civilian pilot who is considered to be something of a wildcard. Eager to push the boundaries, Armstrong joins the NASA Space Program which quickly sees him set against other experienced pilots such as Ed White (Jason Clarke) and Buzz Aldrin (Corey Stoll). While his reputation will slow skyrocket, there are also several tragedies that emphasize the hard mission that lies ahead. What follows will cement his name in history. 

First Man immediately hooks its audience from the first frame as we see a young Armstrong as a test pilot. Bringing his vessel up on the edge of space, he soon gets caught in a nightmarish scenario as he continually rises towards the great unknown. The sheer tension and exhilaration is but a taste of what is to follow. Armstrong is a quiet and slightly introverted man who is reeling from a personal tragedy. Preferring numbers to people, this picture perfectly channels his dislike of the public eye but shows the sheer tenacity he brought to the job. Considered a liability in the air due to several 'mishaps' he faces some stigma from his superiors. Shot in an almost subdued colour ratio by DP Linus Sandgren, Chazelle lets the pace roll along slowly and gives his audience time to understand its protagonist. His wife Janet (Claire Foy) is wary of the task her husband is trying accomplish, but her fears and concern are loudly voiced.

The 1960's Space Mission was one of great tragedy and Chazelle never lets the audience forget the good men who lost their lives. The Apollo I disaster is the most horrific of them all and NASA at this point is literally playing with fire. As the deaths stack up, so do the fears of both the men and wives involved with the project. The director refuses to go easy on his audience when it comes to technical details and the mathematics and jargon come thick and fast throughout to give us a glimpse of how thorough and precise each person would need to be to prevent even the smallest error. The moon landing is highlighted as the main goal, but the movie's most unbearably tense scene comes from when Armstrong's Gemini 8 attempts a test docking sequence. Those how are claustrophobic may want to look away because never once does Chazelle take the action out of the crowded cockpit and rarely leaves the face of Armstrong and as the spacecraft spins faster out of control, so do the nerves all audience members. Set to regular composer Justin Hurtwitz's screeching score, any hope we have a relaxed and peaceful film vanish into the depths of space. During the sequence, there was no green screen involved and the reactions on the cast members are very much real!

As First Man nears its final mission, there is a sense of strain building as Neil is forced more into the path of the press. Unlike the more jovial and charismatic Aldrin, Neil loathes the attention and public scrutiny that the space race is considered costly and wasteful. The potential threat to their lives is made overwhelming clear.  One scene even sees Chief Deke Slayton (Kyle Chandler) is forced to listen to a death announcement pre-written for the Apollo 11 crew. When we finally reach the moon, the audience is finally allowed to exhale. This picture, however, always keeps Armstrong in its sights and it is a very fascinating portrayal of a man considered an All-American Hero. His bravery in the face of adversity is utterly enthralling, but few of us understood the personal cost it involved.

Ryan Gosling in his second outing with Chazelle perfectly channels Neil Armstrong. A fiercely private man with no time for silly questions or intrusions, Gosling shows us a man fighting an internal battle and having to keep himself in check when good men are dying all around. At times a surly and far too literal human, Gosling shows us a lighter side to his character around his family combined with an intense fear of disappearing into the great unknown. This could well be Gosling's year for Oscar glory. Claire Foy however, emerges as the one who wins the audience sympathy and as Janet Armstrong she captures the audiences growing concerns as her husband prepares to embark on a possible suicide mission. So frequently this type of character is underwritten, but in this piece, Janet is given room to grow and we see firsthand the toil it creates on her family life.

First Man is a remarkable piece of work about an event that was so well documented. At only 33, Damien Chazelle has already earn a place among the elite.

Black and White: Review of BlacKkKlansman

BlacKkKlansman

Director: Spike Lee

By Alex Watson

These days it is difficult to define a 'Spike Lee Joint' because, after a powerhouse late 80's/early 90's, his modern-day results have been a mixed bag. BlacKkKlansman sees him finally getting back on track and the result is a hilarious yet powerfully relevant piece on racial tensions. Based on a true story of a black officer infiltrating the Ku Klux Klan, Lee is able to make this unbelievable tale not only seem plausible but gives us several characters which go deep.

Ron Stallworth (John David Washington) has recently become the first ever black police officer for the Colorado Springs Police Department. Dissatisfied with his treatment, on a whim he called the local chapter of the KKK and pretends to be an all-hating white male. Realizing that he cannot show up in person, Stallworth convinces white officer Flip Zimmerman (Adam Driver) to become the face of the operation.

Set in 1970's America, the country is still a hotbed for discrimination and despite Stallworth's efforts, he experiences racism from the outset. Even his own co-workers refer to black suspects as 'Toads' and this early hostility is wonderfully exposed by Lee. The very notion that Stallworth was able to convince the KKK over the phone gives the movie the bulk of its laughs. "God bless white America!" he heartily jabs during one of their first phone calls. Stallworth emerges as the real thinker of the group and these calls gradually become a recurring joke in the office. His conversations with Grand Wizard David Duke (Topher Grace) are the true highlight, particular Duke's observation of how Ron must be white given how he pronounces the letter 'R' correctly.

The activism of this era is also given its fair share of focus, in pair Black Students Union president Patrice (Laura Harrier) whose fire and refusal to bow to pressure gives her an instant magnetism. Ron is drawn to her desire to oppress the klan simply by existing. A passionate speech by activist Kwame Ture (Corey Hawkins) gives Stallworth exposure to what is yet to come and stirs something deep inside to begin his mission. Zimmerman is also a man fighting against his own prejudice as he is a Jewish police officer and for the first time, he is forced to defend himself. Faced with any number of anti-jewish rants by bitter klan member Felix (Jasper Pääkkönen), Flip has to continually tread the fine line.

In BlacKkKlansman, Lee is able to keep a fine balance between laugh out loud comedy and a political commentary. This is what makes this movie of the most unique 2018 has to offer. While the fight for equality may still be going on, Lee makes it clear what his audience will need to do and who the real enemies still are. Stallworth is an officer not just conducting a personal crusade, he is fighting for all the others still being wronged by a corrupt and racist system. As the sheer absurdity of this situation escalates, so does the tension of the movie. In Donald Trump's America, this movie is quite possibly one of the most potent commentaries on the state of current events.

John David Washington gives a central turn which firmly puts him on the map. The son of Denzel has certainly inherited his father's charisma and leading man chops. Throughout this piece, he is an engaging and hilarious character whose street smarts mark him out as a real leader. Familiar to fans of Dwayne Johnson's show 'Ballers' there is a new Washington in town now! Adam Driver is also excellent as the conflicted Zimmerman. Finally forced to face acknowledging a religion he grew up with by never identified with, Driver channels his doubts and insecurities about infiltrating the Klan. Always a reliable character actor, this guy is fast becoming one of Hollywood's most dependable leading men. Laura Harrier also gives her career a massive shot in the arm as the determined student leader Patrice.

BlacKkKlansman is a movie where Spike Lee finally regains the voice that had previously been lost. This might be a tough movie for awards contention, but Lee is definitely back on track.

Golden Age of Grotesque: Review of McQueen

McQueen

Director: Ian Bonhote and Peter Ettedqui

By Alex Watson

Lee Alexander McQueen was no ordinary person. Rising from a working-class lad from London's East End to being among the top fashion designers in the world, he earned his stripes several times over. His often dark yet savagely beautiful shows showed an artistic eye like no other. His suicide in 2010 rocked the fashion world to its core and deprived the world of an artistic genius. Directors Ian Bonhote and Peter Ettedqui's biopic McQueen delves deep into the soul of a troubled and restless individual who was often at odds with himself.

His humble beginnings would pave the way for this average young man to become something else entirely. It is revealed that some of the abuse he witnessed and suffered at the hands of certain family members would give way to a darkness that frequented his work. His 'Highland Rape' show, in particular, was an early example of how fashion could embrace the grotesque side of humanity. Convinced by his lifelong friend and mentor Isabella Blow to use his middle name as it would make him sound more refined, Bonhote and Ettedqui show McQueen's hard rise up the fashion ladder. Dubbed the "King of the Yob Culture", and "L'Enfant terrible" among others Lee would have to fight hard to shake off this image. Being a chubby skinhead from a distinctly unglamorous background, there was a chip on his shoulder that gave him an edge.

The early work is shown as something that fashion had never before seen. McQueen was actually still on benefits at the time of his collection and was forced to hide his face during his first TV interview on 'The Clothes Show'. Artistically there was a surreal beauty of his work and in McQueen shows the boldness and electricity he was capable of bringing to a catwalk. Models being sprayed with paint by robots, cars accidentally set on fire and an Atlantis inspired show- Lee was never the same artist twice. It also brings forward the audacity and sheer brilliance of his notorious 'VOSS' show which set inside an insane asylum was a two-way parody of the fashion industry itself. This cool feeling he was able to bring to British fashion now seems quite extraordinary and he was truly one of the last underdogs in the fashion world.

As a man, McQueen is shown to be a person of many different sides. On the one hand, he was a committed family man whose relationship with his mother gave him a stability that few others could offer. In his work life, he was a man whom could be difficult and demanding but was highly respected by his peers. His increase in success, however, meant a dramatic shift in loyalties and attitudes. His perhaps unwise move to become Creative Director of Givenchy (McQueen called the founder "Irrelevant" upon their first meeting) opened his world artistically but also lead to him become a newer and more difficult persona. One of the more heartbreaking aspects of the film is learning how he pushed Isabella aside despite her years of support. Loyalties become broken swiftly as fame increases and soon the pillars of support crumble.

Fashion can be a cruel world to be associated with and the savagery of this is shown to have eventually taken a toll on McQueen. Crash diets, cocaine use and the intense pressure are just some of the elements that could have pushed him over the edge. McQueen seeks not to point fingers but to ask the immortal question of who could have helped? There is a jagged sense of remorse among his former peers and while a major success, this man was plagued by an inner torment that couldn't be relieved. McQueen is a movie that is equal parts fascinating and devastating. The man's genius on the catwalk was legendary but underneath the man himself was just as compelling.

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.