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.

In Space No One Can Hear You Scream: Review of Life

Life

Director: Daniel Espinosa

By Alex Watson

Daniel Espinosa's movie Life is a movie that has the material to become a great thriller, but never makes the most of its potential. Although the influence of Gravity and Alien is strong in this one, Espinosa's picture is plagued with a mediocre script. Once more space is the ultimate enemy and there are some sequences which are genuinely chest-tightening. Sadly what should have been a tight claustrophobic sci-fi flick is left with a rather flat aftertaste.

Aboard the International Space Station, a team of six astronauts comes across the ultimate score. A probe successfully retrieved from Mars have given them bonafide proof of life on this planet. While studying the life form (nicknamed Calvin), it soon becomes apparently that this organism might not come in peace. Before long David Jordan (Jake Gyllenhaal), Miranda North (Rebecca Ferguson) and Rory Adams (Ryan Reynolds) are trapped with nowhere to go.

The main problem with Life is that Daniel Espinosa seems in a big hurry to get things done. His build-up to the big reveal feels rushed and we are given zero time to learn anything about this mission or our heroes. When the killings begin (shock horror!) it's hard to feel any kind of nerves or terror because this all feels so damn familiar. There are constant doubts and suspicions from the get-go about what intentions Calvin harbours? Biologist Hugh Derry (Ariyon Bakare) believes it to be peaceful and is determined to research it. The company back on earth wisely refuses to let it anywhere near the atmosphere and being stuck in deep space is one element that adds some needed tension. When the hunt begins, there are some magnificent tracking shots but Espinosa fails in the suspense department.

It's also hard to route for our heroes because they are so thinly written and many of them come off as bland and uninteresting. We know Jordan prefers life up in space due to his mistrust of humans and that Japanese crew member Murakami (a wasted Hiroyuki Sanada) is expecting a child. Calvin comes off as the main star of this picture and his ever growing body is a source of constant worry. The growing smart and awareness he displays make us want to marvel at his brio as he constantly thwarts his pursuers. With his translucent skin and bone-crushing abilities, he is able to slip around the ship with ease. This new type of antagonist makes this a more a watchable film than it should be. Espinosa does make full use of this and in the zero gravity of space, it makes for a number of interesting confrontations.

One big plus about Life is that Espinosa does ensure that his movie is given a strong finish. It might underwhelm during the movie's first three-quarters, but the finale is worth sticking around for. Survival goes out the window long before and it soon becomes about containing the threat. Calvin is a creature with the ability to wreak havoc on earth. Jordan, North and others are all determined to keep this creature in deep space- no matter what the cost might be. The ending is the one element that will stick with you. Will anyone see it coming? Maybe you will but you still won't be prepared for it. Espinosa shows no mercy during the last act and as Calvin grows biggers, the odds of success are continually slashed. This might be your typical popcorn thriller, but there are moments which guarantee open mouthed shocks.

Somehow the top draw cast manages to get more mileage out of the meagre characters they are given. Jake Gyllenhaal, in particular, is very watchable as the strange yet personable Jordan. Disliking human nature and more at home among the stars- he emerges as the lone hero of this piece. Rebecca Ferguson is sadly given little to do other than sound bossy and follow protocol. However, her Miranda North is possible the most honest character of the bunch and her desire to follow the rules might be what saves the group. Ryan Reynolds despite adding some charm to proceedings is unable to add much as Rory Adams. While the most outspoken of the group, we are given none of ballsy gusto that he delivered in buckets while playing Deadpool.

Life is a movie that really could have been something more. However, it is let down by its overly familiar premise and its inability to make the most of its potential leaves us disappointed.

Derailed: Review of The Girl On The Train

The Girl On The Train

Director: Tate Taylor

By Alex Watson

Book adaptations often divide fan opinions, but in the case of Tate Taylor's adaptation of Paula Hawkins popular thriller The Girl On The Train, the cries of anguish have been loud. Many fans were upset by the unnecessary changing of the story from London to New York and by the casting of Emily Blunt who was deemed 'too beautiful' for the role by Hawkins herself. While it may not be a complete disaster, this movie drops well short of the expectations and what could have been a well-crafted thrill ride turns into a ride to nowhere.

Rachel Watson (Emily Blunt) is an alcoholic divorcee who still pines for her former life with ex-husband Tom (Justin Theroux). Taking the same train every day, she sees him playing happy family with the woman he left her for Anna (Rebecca Ferguson). On the same train, she observes the couple next door Scott (Luke Evans) and Megan (Haley Bennett) who to Rachel seem to like the perfect couple. When Megan goes missing and is presumed dead, Rachel takes it upon herself to find out what happened. By involving herself in her old world and invading other people's lives a dangerous path follows.

While the moving of location to New York might be one of the stronger points of The Girl On The Train it lacks the needed tension that book gave in buckets. The early train rides past her old neighborhood in upstate New York are breathtaking. We feel the pain as the train stops and forces her to gaze upon her husband living in their old house with the woman who ruined things.  Another plus point is how Tate Taylor with brutal honesty demonstrates the effects of Rachel's alcoholism and how her misery has compiled from her self-loathing. Bitter about her divorce and unable to shake the past she is lost in a sea of despair and her constant appearances have caused friction. After waking from one particularly disturbing blackout, she is shaken to the core.

The skewed narrative does well to show Rachel as an unreliable narrator and its non-linear structure makes us second guess frequently. Permanently sozzled, we often wonder if Rachel is hiding something as she can never seem to remember anything "I'm not the girl I used to be" she denotes frequently. Investigating officer Detective Riley (Allison Janney) suspects she knows more but Rachel is unable to trace her steps. Megan and Scott represent everything she yearns for, but as events inform us all is not as it appears. While it is key to the plot, Megan's story feels undercooked and doesn't quite draw us in. Haley Bennett looks the part of the devoted wife, but she fails to really engage. Her supposedly volatile relationship with Scott is never properly explored and her sessions with the mysterious Dr. Kamal Abdic (Edgar Ramirez) fill more like fillers than actual plot devices.

Key to the fans frustration in The Girl On The Train is Erin Cressida Wilson's script, what starts as promising stuff soon ruins itself with its insistence on too many twists, the majority of which feel predictable and it lacks the suspense of the novel. The final act which was soon shocking on paper just feels bland and near laughable. Taylor tries to dress things up well, but his talented cast cannot bring this to fruition. The cinematography of Charlotte Bruus Christensen is the real star of the piece as through her gliding shots she draws the audience into the heart of things. She firmly captures the continual insomnia of Megan and Anna's restlessness with her perfect home life. One notable exception is watching Rachel waking up to more than a hangover in her room, through Christensen she wakes up to pools of vomit, blood, and a nasty head wound. This one scene is the element that changes the tide.

What holds the film together is an outstanding star turn by Emily Blunt who is proving herself a capable actress across multiple forms. Blunt does more than just capture Rachel's continual drunkenness she absolutely nails her fragility and disillusion of how her once perfect life has gone south. In one amazing monolog, she ably demonstrates the characters self-destruction, hatred, and her desperation. Mesmerizing throughout, Blunt holds the audience sympathy but never crosses over into alienating them. She also gives Rachel a good air of hope and we hope she finds the redemption she so needs. Many criticized Blunt as miscast in this role, but it is impossible to think of the picture working without her.

The Girl On The Train will go down as a badly missed opportunity, it might be a pretty looking ride but its lack of story will have fanatics steaming at the ears.

Voice of an Angel: Review of Florence Foster Jenkins

Florence Foster Jenkins

Director: Stephen Frears

By Alex Watson

The voice of this New York-based singer in the 1940's was a thing of rare wonder, for all the wrong reasons. With Florence Foster Jenkins, Stephen Frears has created a picture that a bittersweet portrayal of a lady of true courage in the face of mocking laughter. While it might play things safe, this picture does highlight that even though this woman couldn't hit a note, she refused to lay day down her arms. Meryl Streep again seems a certainty to be included in the awards lists with a brave performance.

New York heiress, Florence Foster Jenkins (Meryl Streep) is an active socialite among Manhatten's wealthy elders. She has dreamed of making it big with her singing career managed by actor hubby St Clair Bayfield (Hugh Grant). Wishing to performance live again for the first time in years, Florence hires pianist Cosme McMoon (Simon Helberg) to accompany her. Only one thing stands in her way of universal stardom, is an awful singer. McMoon soon realizes he has gotten involved with something unforgettable and potential career-killing.

There is an air of sadness through Florence Foster Jenkins at her delusions of grandeur, being wealthy means she knows the right people and in high society no-one sneers at your lack of talent. Early on, it is well established that St Clair through some well-executed deviousness keeps the haters at bay by allowing papers he is friendly with to review her. The marriage between the two is one of the sweeter elements as the pair remain devoted to each other, St Clair is committed to helping Florence achieve her dream of sold out concert stardom, no matter how much he smiles through the pain. So it is quite a surprise when he nips off to his mistress Kathleen (Rebecca Ferguson) when Florence is set down for the night. This relationship is one that is well explained but creaks throughout under the strain.

Hearing Florence's truly awful voice is what the picture is all about and when it is revealed it really is something to behold. The horror that spreads across Cosme's face when the sound first echoes out is flat out hilarious. Sounding somewhere between a wailing ghost and a screaming monkey, Frears plays this to full effect and the audience comes to realize this woman really has no shred of talent. Keeping the illusion that she is gifted is the main charge of Frears' movie and Cosme's dreams of stardom being a slow rot as he is forced to keep up appearances in the face of his benefactor Florence paying him handsomely. The barely suppressed giggles he badly attempts to hold back after his first encounter with the voice mirror the audience.

Sadly apart from the regular humor that her terrible singing provides, Frears doesn't wish to go any deeper and Florence Foster Jenkins is simply shot after shot of glamorous parties that the wealthy heiress hosts- potato salad being stored in a bathtub is a brilliant idea. St Clair's relationship with her is a wholesome one and is explained very by both parties, but it doesn't hold the picture together like it should. Writer Nicholas Martin appears only interested in the very basics rather than digging deeper into what was a very peculiar common law marriage. The final concert where Florence lives her dream of selling out Carnegie Hall has a sense of dread from the beginning, particularly with a bunch of drunk soldiers attending. Though it is all strangely uplifting and you are tempted to stand and applaud this woman for living a dream most of us would shy away from.

Meryl Streep again proves a revelation as the non-talented Florence. Hearing her straining each note and butchering classics by Mozart among others makes us squirm with discomfort. Streep makes good use of emotion when recounting Jenkin's sad and unfortunate back story and her scenes with Hugh Grant are genuinely moving. The courage that she gives this character are what make scenes fire and even though she has her friends who will never say a bad word, she is still determined for the world to hear her- regardless of how she sounds. Hugh Grant produces what could be his finest work as St Clair Bayfield. Demonstrating a range of emotions many would have thought impossible is his 90's stardom, Grant plays a man who although motivated by the money, is completely attached to help his wife achieve her dreams. Their marriage may be thin on the ground, but the feelings are not.

Florence Foster Jenkins is a movie that might not be the grandstand we hoped, but it is still a textbook example of how never to give up on your dreams. Not matter how poorly you may sound.

Back In The Saddle Again: Review of Mission Impossible: Rogue Nation

Mission Impossible: Rogue Nation

Director: Christopher McQuarrie

By Alex Watson

After an uneven last couple of outings, Mission Impossible: Rogue Nation restarts this franchise in breathtaking style. Making a stunning opening with the now notorious shot of Ethan Hunt hanging from an airplane, director Christopher McQuarrie shoots to thrill. Although continually ringing the box office bell, critics were quick to point out signs of wear in this spy series. The after effect of the IMF team's fifth adventure is that we are now eagerly anticipating a sixth outing.

After the IMF is dissolved by CIA chief  Hunley (Alec Baldwin), Ethan Hunt (Tom Cruise) must now contend with an enemy group named 'The Syndicate' led by Solomon Lane (Sean Harris). Along with fellow agents Benji (Simon Pegg), Luther (Ving Rhames) and Brandt (Jeremy Renner), Ethan faces a tough fight against an organization intent on causing chaos worldwide. Not to mention the tricky business of ambiguous agent Ilsa Faust (Rebecca Ferguson).

From the beginning of Mission Impossible: Rogue Nation, McQuarrie quickly gets down to business. Throwing aside any temptation for drawn out narrative or lengthy back stories, the former writer turned director sets about just making a great thriller. Any logic flaws in the story are happily overlooked during a stunning first act set against the opera in Vienna. Watching Ethan Hunt involved in a fight while hanging above a stage as 'Nessun Dorma' is in full swing is bound to broaden smiles all around. Paced to perfection cleverly following the sheet music to the crescendo, this moment is but a snapshot of what is to come later.

More than anything, this fifth installment shows that it hasn't lost its ability on the set piece front. One sequence has Ethan diving into secure underwater server beneath a Casablanca power station to retrieve a super secret red box file. This act is presented beautifully and as Ethan runs dangerously low on oxygen, we hold our breath with him. Not one to hold back, McQuarrie follows this up with one of this year's finest car chases. This moment proves everything effective that a chase should have, including some witty lines. Seeing the exasperation on Benji's face when Ethan asks if he is wearing a seat-belt is priceless. "ARE YOU ASKING ME THAT NOW!" he bellows while the car flies backwards through the air.

What perhaps makes Mission Impossible: Rogue Nation is the mystery surrounding it. On dual duty as both writer and director, McQuarrie succeeds in creating a wonderful uneasy feel. What exactly are 'The Syndicate'? And why does Ethan obsessed with pursuing them? Ilsa however, is the biggest puzzle piece of all. Continually throughout this adventure we find ourselves assumptions about this woman stumped. An irresistible presence and a magnificent femme fatale character, Ilsa is possibly the closest that this series will come to a co-anchor. As a villain, Solomon Lane has presence and his icy chill he brings along with it is truly stirring.

Tom Cruise once more proves that the Mission Impossible series definitely belongs to him. In a performance that is self-assured and surrounded by an easy cool like his first installment, it demonstrates that Ethan Hunt still merits a place in the film world. Rebecca Ferguson nearly steals the film from under Cruise in a sizzling turn. A bold and sexy presence, Ferguson marks the strongest female presence in the series so far. The chemistry between the two runs like a charm and we can only hope she returns in future installments.

Finally the Mission Impossible series has found the right formula and style that makes it successful. Previous efforts have tinkered with a number of ideas (including a Limp Bizkit opening track) and has remodeled Ethan Hunt. Mission Impossible: Rogue Nation is a simple and basic thriller that only wants to entertain. More of the same next time please!