It is with a bit of a jolt that I realise that I have been going to see Mission: Impossible movies at the cinema for half of my life. It doesn't seem that long since I had only been going to see the first one for a couple of hours, at a rather lovely old cinema in Hull city centre, but there you go, that was 1996. I just wish that I had lasted in the interim as well as Tom Cruise, for he doesn't look that different to how he did in the first film, whereas I'm honestly starting to feel slightly ravaged.
These days, a nice Mission: Impossible movie is Tom Cruise's best shot at getting the kind of hit which sustains a career, which may be why he's finally settled down to making them approximately in accordance with a standard blockbuster franchise release schedule – to wit, one every three years or so. The new one is as punctuation-heavy as ever – Mission: Impossible – Fallout, directed (like the last one) by Christopher McQuarrie. The first few films in the series were essentially standalones without much connecting them, but the retention of McQuarrie as director signals that a bit of a change is in the air, although 'change', where this series is concerned, is a relative thing.
So it's front and centre once more for crack American fun-and-games squad the Impossible Missions Force, in this film comprising toothsome legend Ethan Hunt (Cruise, 56), comic relief Benji Dunn (Simon Pegg, 48), and computer whiz Luther Stickle (Ving Rhames, 58). Clearly the new young generation of agents just ain't cutting the mustard, even though Luther's ability to do all the running about and hiding in plain sight demanded by a typical Impossible Mission is somewhat compromised by the fact he looks about seventeen stone and is always wearing a selection of rather incongruous hats. Jeremy Renner, somewhat ironically, has not come back this time as apparently his commitments to Infinity War got in the way – I say 'ironically' as all of Renner's scenes in the Marvel movie ended up on the cutting room floor.
Plotwise, it turns out that capturing the international terrorist mastermind Solomon Lane (Sean Harris, 52) at the end of the previous film has only annoyed his various acolytes and caused violent global upheaval and terrorism (which only makes one wonder why Cruise et al bothered in the first place), and they are now intent on getting some plutonium so they can blow things up. They are assisted in this by the mysterious John Lark, a shadowy figure intent on causing international disruption and chaos whose real identity is a mystery (I wouldn't be at all surprised if he turned out to be a golf-loving Washington DC resident with an active Twitter account).
Well, things do not initially go to plan, as Cruise opts to save a comrade rather than secure the plutonium, and the team is obliged to proceed in the company of beefy CIA hard-case August Walker (a luxuriantly moustachioed Henry Cavill, 35 – this is the moustache that Warner Brothers had to spend a bomb digitally erasing from Cavill's mush after the Justice League reshoots), who is under orders to get nasty if Cruise looks like going rogue at any point (which is a pretty sure thing, given he seems to go rogue on a weekly basis in these films). It turns out that securing the plutonium will involve another run-in with Lane, not to mention ex-MI6 agent Ilsa Faust (Rebecca Ferguson, 34 – one thing about these characters is that they do lower the average age of the ensemble a bit), with whom Cruise had a bit of a thing last time round...
So, anyway, another new Mission: Impossible movie. As usual, I sat there watching the movie, making mental notes of pithy little observations I could make when it was time to write this here review which you are reading (if indeed you still are). But a strange sense of familiarity, even perhaps déjà vu, crept upon me as I did so. In the end I went back and re-read the reviews of Mission: Impossibles 3, 4, and 5, just to make sure I didn't end up repeating myself.
And, seriously, I'll tell you what a really Impossible Mission is: it's telling this film apart from the previous ones. Now, I know that probably sounds quite negative, and I should qualify it by saying that it's every bit as competent a piece of glossy, big-budget entertainment as the other films in this series. There are some stupendous, absurd stunt sequences, a ridiculously byzantine plot, first-rate action, competent performances, and all the rest. But the fact remains that, just like the previous films, it primarily resembles a series of set-pieces strung together by minimal plotting, said plotting revolving around double- and triple-crosses and characters ripping off their faces at key moments to reveal they weren't who they initially appeared to be.
The real Impossible Mission – or certainly, the very challenging one – is to identify the bits of Fallout which actually make it distinctive from the other films in this franchise. Well, initially it seems like the dramatic meat of the film is going to be built around the Big Moral Question of whether Tom Cruise is capable of dealing with a Hard Choice. Will he save a team-mate or grab the plutonium? Is he prepared to shoot a cop for the good of the mission? Is he even prepared to go head-on with Ilsa? Sounds quite promising, doesn't it, until it becomes apparent that the script is always going to let Cruise cop out of actually making a Hard Choice, or contrive it so that whatever dubious choice he makes works out in his favour. In the end this angle just gets dropped in favour of slightly vacuous stunt sequences (although, to be fair, the film concludes with a set-piece with a couple of helicopters that is absolutely eye-popping).
The other innovation in this film is the fact that it's much more a sequel to the previous film than is usually the case in this franchise – the same villain recurs, along with various other supporting characters. You also really need to be more than passingly familiar with the plot of Rogue Nation in order to completely follow that of Fallout (not that following the plot of one of these films is strictly necessary in order to enjoy it). The links go further back, with another appearance by Michelle Monaghan (most prominently seen in Mission Impossible 3), and the implication that a new character played by Vanessa Kirby is the daughter of Vanessa Redgrave's character from Mission Impossible 1 (I'm not sure this is even biologically possible, given their ages, but I suppose fertility experts get assigned Impossible Missions too). In this case at least, it's just something to reward those of us who've been turning up faithfully for over two decades.
When you really get down to it, Mission: Impossible – Fallout is basically just product made to meet the demands of a formula – there's still more than a little of Bruce Geller's classic TV show to proceedings, and there's a particularly bombastic version of Lalo Schifrin's classic theme this time around, but the film series has probably now eclipsed its forebear in terms of audience awareness. It basically just has all the fights, chases, stunts, twists, turns, and tricks you expect from this kind of film, delivered with a lot of gloss and conviction. And the end results are undeniably entertaining, even if six months later you'll be hard pushed to remember what this film was actually about, and probably find it blurring together with the others in your head. But this is the world of the popcorn action blockbuster – it's not intended to be a film for the ages, but a film for the moment when you're actually watching it, delivering a pleasant and familiar buzz. And, on those terms, it is undeniably a successful movie.