Movie Review ~ The Greatest Showman

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The Facts
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Synopsis: Inspired by the imagination of P.T. Barnum, The Greatest Showman is an original musical that celebrates the birth of show business and tells of a visionary who rose from nothing to create a spectacle that became a worldwide sensation.

Stars: Hugh Jackman, Michelle Williams, Zac Efron, Zendaya Coleman, Rebecca Ferguson, Keala Settle

Director: Michael Gracey

Rated: PG

Running Length: 105 minutes

TMMM Score: (5.5/10)

Review: The Greatest Showman is a movie with a huge identity crisis. An old fashioned musical in structure and feel populated with modern style pop tunes and performances, it’s a bizarre film to experience firsthand but one I must admit I’ve had swirling around in my head ever since I saw it. Clever (or cunning) marketing has positioned this gigantic piece of cotton candy to be front and center whether you like it or not. Billboards, television advertisements, a live preview performance in the middle of last week’s A Christmas Story Live!, not to mention endless appearances by its stars on talk shows have all made The Greatest Showman impossible to miss. So with all the hub bub and howdoyado, does it wind up being something you want to fit into your busy holiday schedule?

I guess the answer is how far you like your patience to be tested. For me, the movie works in fits and spurts but the time between the material that lands starts to grow wider the longer this circus is in town. I walked out of the screening feeling like I was going to give this one an outright pan but like I mentioned before, I was seeking out specific songs from the soundtrack before the end of that day. Oscar winning songwriters Benj Pasek and Justin Paul (La La Land) have a way with a hook and more than one song has the potential to become the earworm you won’t be able shake. I’ve even fallen prey; I’ve been humming the lovely power ballad “Never Enough” sung by Loren Allred (and not by actress Rebecca Ferguson who mimes the singing rather well) for days now.

As mentioned above, the film wants to have its cake and eat it too and that greed starts with the opening credits. The old 20th Century Fox logo appears but then is quickly replaced by the new one as Pasek and Paul’s opening number begins. Why the two logos? If director Michael Gracey wanted to give us a throwback musical, why not start with a bit of retro-ness and juxtapose that with his Moulin Rouge-esque filmmaking style? Or just go modern from the get-go and hit the ground running?

The story of creative entrepreneur and eventual circus ringmaster P.T. Barnum has been turned into a musical already (1980’s rarely produced but quite lovely Barnum) and at 105 minutes the movie is a sanitized Cliff Notes version of Barnum’s humble upbringing and gradual rise to legendary stardom. In fact, the second number of the movie covers several decades of his life as Barnum (Hugh Jackman, Logan) goes from being the poor boy in love with a rich girl all the way through their eventual marriage. You won’t be finished with your popcorn before Barnum and his wife (Michelle Williams, Wonderstruck) have had two kids and are struggling to make ends meet.

Through some quick thinking and creative deception, Barnum manages to secure a loan to buy a museum of stuffed oddities he eventually turns into a theater brimming with side show acts. A bearded lady, the world’s smallest man, a pink wigged trapeze artist (the lovely Zendaya, Spider-Man: Homecoming), and more are all part of the show…and they can sing to the rafters too (so can Jackman and, to a lesser extent, Williams). Barnum’s circus draws huge crowds but doesn’t help gain him access to the cultured upper crust he so desperately wants to be a part of. Even becoming partners with a society darling (Zac Efron, The Lucky One) gets him an audience with the Queen but not the respect of his fellow New Yorkers.

While in London, Barnum becomes enamored with Swedish opera singer Jenny Lind (Ferguson, The Snowman) who agrees to come to the states for a Barnum produced tour. Barnum sees it as his chance to go legit and distances himself from his original entertainers, betraying their trust along the way. Hints of desired infidelity can only go so far in a PG-rated family film but Lind doesn’t seem to have sailed across the sea just to sing her song and cash a check. By the time Barnum is arriving by elephant to his daughters ballet recital I was ready for it all to be over…and then it pretty much was.

Working with a by the numbers script from Jenny Bicks (Rio 2) and Bill Condon (Beauty and the Beast), director Gracey never lets his camera (or editor) rest for too long. It’s imitation Baz Lurhman through and through but there’s something oddly watchable about the whole endeavor. Jackman and Efron are fine song and dance men and their number is a percussive highlight, as is Keala Settle’s knockout “This is Me” which sees Pasek and Paul going for Oscar number two. Sure, overall the music largely sounds the same and a few numbers are indistinguishable from the other (I barely remember the song Williams lilts through) but there are a few winners. It’s a strange choice not to have Ferguson do any of her own singing and I think it robs the movie of some sincerity…though to be fair it’s already strange that a world famous opera singer is singing a rafter raiser in her chest voice belt mix in the first place.

So what to do about this weird blend of current sound and throwback moviemaking? It’s far from the worst thing I’ve seen this year and I find myself growing more affectionate for it even as I write this review. It’s desperation to please initially rubbed me the wrong way but the film has its heart in the right place. Would I see The Greatest Showman again? Probably. I wouldn’t run away with this circus but I wouldn’t run from it either.

31 Days to Scare ~ The Snowman

The Facts:

Synopsis: Detective Harry Hole investigates the disappearance of a woman whose pink scarf is found wrapped around an ominous-looking snowman

Stars: Michael Fassbender, Rebecca Ferguson, Charlotte Gainsbourg, Jonas Karlsson, Toby Jones, Chloë Sevigny, Val Kilmer, James D’Arcy, J.K. Simmons

Director: Tomas Alfredson

Rated: R

Running Length: 119 minutes

Trailer Review: Here

TMMM Score: (1/10)

Review: Whoa…it’s been a long time since I’ve been to a movie this bad from the get-go. Yes, The Snowman is unquestionably as terrible as you’ve heard it is and it’s likely going to wind up the worst movie released theatrically in 2017. That the film is even getting a wide release is a bit of a miracle and one has to give major chutzpah props to Universal Studios for daring to send out this not even half-baked lame thriller. What’s especially depressing is that so many talented (and Oscar-winning!) people were involved with this both in front of and behind the camera. Collectively, someone should be made to give back one of their Oscars and I’ll leave it to the group to decide who is going to part with their little gold man. A movie this incompetently made demands a sacrifice.

Based on Jo Nesbø’s international bestseller but evidentially substantially changed by the three screenwriters attributed to the script, The Snowman starts on the wrong foot and never recovers. Not that it attempts to, jumping right into introducing boozy Detective Harry Hole (Michael Fassbender, 12 Years a Slave) in Oslo as he stumbles back to the police force after a drunken bender. There’s little in the way of character introduction of any kind, the movie just happens to find recognizable faces along the way and incorporates them into the story when convenient.

There’s Rebecca Ferguson (Life) as, I think, a visiting detective with a secret agenda that still takes on local cases, such as the one with the missing woman that unites her with Harry. This investigation leads them to a possible serial killer who, Ferguson hilariously concludes, is triggered “by the falling snow”. Possible suspects include a suspicious husband of the missing woman (James D’Arcy, Cloud Atlas), a creepy doctor (David Denick, The Girl with the Dragon Tattoo), and wealthy land developer played by J.K. Simmons (Patriots Day). Simmons is just one of the cast sporting a disastrous British accent, though the entire action takes place in Norway. Are these all just a specific band of ex-pats with a killer in their midst? Nah, all the signs and newspapers are in English…even the police station features no Norwegian signage.

I’ve always said I couldn’t get enough of Chloë Sevigny (Lovelace) but she’s playing twins here and it turns out…one Sevigny is more than enough. Then there’s the mysterious case of the nearly unrecognizable Val Kilmer seen only in flashback as a detective in neighboring Bergen. Looking shockingly sickly (the actor recently survived a throat tumor) and clearly dubbed, his performance is off the rails and just another piece of a puzzle that is just not meant to fit together. I can’t even go there with Charlotte Gainsbourg (Samba) as Fassbender’s old girlfriend, especially after witnessing a clothed sex scene between the two that’s as awkwardly uncomfortable to watch as seeing a lab rat trying to mate with a St. Bernard.

Director Tomas Alfredson (Tinker Tailor Soldier Spy) has popped up in interviews saying that 15% of the script wound up not being filmed and that does not surprise me in the least. It at least explains how Oscar-winner and longtime Martin Scorsese collaborator Thelma Schoonmaker (Cape Fear) managed to piece together a movie that makes almost entirely no sense. There are no scene transitions or establishing shots so it is impossible to determine where the characters are in relation to not only the plot but each other. There’s one sequence cut so poorly that you think two actors are in the same room but are in fact miles away from each other. Ferguson’s hair changes color several times, about as many times as Fassbender’s hair gets longer then shorter from one moment to the next. While Oscar-winning cinematographer Dion Beebe (Into the Woods) captures some of the gloomier Norwegian vistas with a bit of flair, the visuals are weighed down heavily by the sterile production design from Maria Djurkovic and Tatiana Macdonald (Oscar nominees themselves for The Imitation Game) that heavily favors latte colored IKEA furnishings.

A competent creative team has crafted a truly incompetent film here, even the finale is botched with the suggestion of a sequel so laughably inserted that your heart aches for the Universal Studios executive that must have pleaded for it to be incorporated just in case.  I’m usually not a fan of audiences talking during a movie but as the film progressed the chatter became louder and louder as everyone began to question what in the actual hell was going on. This is terrible filmmaking, an embarrassment for every single person above and below the line.  While it’s bound to be mentioned in the same breath as other Scandinavian-set thrillers, it not even fit to be included in the belch that follows that breath.

The Silver Bullet ~ The Snowman

Synopsis: Detective Harry Hole investigates the disappearance of a woman whose pink scarf is found wrapped around an ominous-looking snowman

Release Date:  October 20, 2017

Thoughts: With the popularity of Norwegian author Jo Nesbø’s series of novels following Detective Harry Hole (yikes, a most unfortunate name), it was merely a matter of time before the hardened investigator appeared onscreen.  I’m intrigued to see Michael Fassbender (Prometheus) signed on to what could be yet another lucrative franchise, lately he’s seemed to be making a lot of interesting indie choices.  What could have attracted him to such commercial fare?  Probably it’s the money but maybe there’s promise in this mystery which also stars Rebecca Ferguson (Life), J.K. Simmons (The Accountant), and Chloë Sevigny (Lovelace).  A big screen adaptation of Nesbø’s novel Headhunters made for fun fare a few years back and with these procedural serial killer flick on the decline, let’s hope The Snowman doesn’t melt at the box office.

Movie Review ~ Life (2017)

The Facts:

Synopsis: A team of scientists aboard the International Space Station whose mission of discovery turns to one of primal fear when they find a rapidly evolving life form that caused extinction on Mars, and now threatens the crew and all life on Earth.

Stars: Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds, Hiroyuki Sanada, Ariyon Bakare, Olga Dihovichnaya

Director: Daniel Espinosa

Rated: R

Running Length: 103 minutes

TMMM Score: (6/10)

Review: On the drive home after the screening of Life, I ran afoul of my partner after repeatedly referring to it as an ‘odd, little movie’.  At first thinking I was just lazily falling back on a casual turn of phrase, I began to agree with myself that for all its A-List star power, occasional scares, and well-executed special effects the film was a strange, small endeavor for all involved.  Not tiny enough to be a direct-to-video tax write-off and not big enough to be a major player in the summer months (though it was intended for a May 2017 release until Alien: Covenant moved its release date in close proximity), Life fits decently into the grey area between Oscar season and the mid-year blockbuster event films.

In an unusually long pre-title sequence, we meet the crew occupying the International Space Station as they intercept a satellite returning from Mars containing a specimen from the red planet.  As the camera glides from person to person, it feels less like an introduction and more like a location tour to help orient the audience for the action to come.  Macho Rory (Ryan Reynolds, Deadpool) is the wise-cracking dude of the team, Army vet David (Jake Gyllenhaal, Prisoners) is about to break the world record for most consecutive days in space which worries quarantine officer Miranda (Rebecca Ferguson, Mission: Impossible – Rogue Nation).  They join commanding officer Kat (Olga Dihovichnaya), scientist Hugh (Ariyon Bakare, Jupiter Ascending), and pilot Sho (Hiroyuki Sanada, 47 Ronin) in marveling at the extraterrestrial life discovered when the Mars sample is thawed out.

Fascination turns to horror as the specimen, dubbed “Calvin”, begins to grow rapidly in mind and body, eventually escaping the confines of the lab and hunting down the crew one by one.  It’s Alien-like premise aside, there are a few surprises to be had in Paul Wernick and Rhett Reese’s script for Life as it takes some turns you may not be expecting.  Director Daniel Espinosa (Child 44) is no Ridley Scott, however, and the workmanlike way Life is compiled and its odd pacing gives it the feeling of a movie that desperately wants to be better than it is.

When Reynolds, Ferguson, and Gyllenhaal signed on, I’m betting they were counting on this being a summer release but truth be told the way the film is structured and performed it feels more like an art-house alternative to a sci-fi horror tent-pole picture.  Reynolds is on cruise control as his usual cool as a cucumber self while Gyllenhaal surprisingly rests a bit on his laurels and goes only halfway in crafting the haunted character he’s perfected in films like Enemy and Nightcrawler.  Only Ferguson seems to lock into her role, never over-doing the “company man” attitude or under-selling her rising terror that this creature may somehow find its way back to earth.

Had the movie only had three characters, it may have felt a bit less cramped…and been a bit easier to understand.  Dihovichnaya & Sanada’s thick accents make it difficult to understand them at times, which becomes a problem anytime they’re tasked with delivering key bits of information.  There’s an attempt to give Bakare an interesting back story in a briefly mentioned tangent as to how the wheelchair bound man is living out his dream of mobility in the anti-gravity playground above earth.  Alas, any deeper development is jettisoned in favor of more scenes of peril inflicted by the bloodthirsty fast evolving being that’s taken over the ISS.

While there are some solid special effects sequences that take place outside of the station, anything that happens inside had me alternately rolling my eyes and raising my eyebrows.  Calvin flirts between an animated starfish-like object and a questionably created CGI monster that looks like an evil cousin to the benign alien creatures from The Abyss.  Espinosa films so much of the movie in tight close-up or without any establishing shots that it’s often hard to tell where anyone is in relation to each other and voiceovers are used as a cheap gimmick to tell what they can’t show.  I definitely got a couple of guffaws from the way the astronauts kept bobbing up and down (some more violently than others) as a way to show the zero-gravity atmosphere.

So yeah…it’s an odd little (big-ish) movie and while it may carve out some decent box office numbers by being released in a movie climate that’s been largely earthbound, Life isn’t going to be on the calling card for anyone involved.  It’s bound to be forgotten entirely by the time Alien: Covenant is released in two short months.  Perhaps this will find greater value on Netflix which, come to think of it, would have been an ideal release platform instead.

Movie Review ~ Florence Foster Jenkins

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The Facts:

Synopsis: The story of Florence Foster Jenkins, a New York heiress who dreamed of becoming an opera singer, despite having a terrible singing voice.

Stars: Meryl Streep, Hugh Grant, Simon Helberg, Rebecca Ferguson, Nina Arianda

Director: Stephen Frears

Rated: PG-13

Running Length: 110 minutes

Trailer Review: Here & Here

TMMM Score: (6/10)

Review: There’s a play based on the life of Florence Foster Jenkins I saw several years back called Souvenir.  A two-person drama set in a supper club where Jenkins performed with her pianist Cosmé McMoon, you knew in advance that she was regarded as a terrible singer and that’s what attracted me to it.  The lights go down and I spent the next twenty minutes waiting for the actress playing Jenkins to open her mouth and warble out an opera aria.  She did. I laughed.  Then I spent the next two hours waiting for it to be over, the frivolity having running its course by the time the third song began.

That’s what seeing the new film Florence Foster Jenkins feels like…waiting for the joke and then checking your watch to see when it will end.  Buoyed by strong performances but misguided by some plot distractions that laboriously pad the running length instead of graciously filling it, it’s not a bad film in the slightest, just a one-joke movie that has its moment in the sun before entering some rainy weather territory which seriously drags down the latter half of the picture.

Jenkins (Meryl Streep, The Iron Lady) was a spirited eccentric that actually believed she could sing and was surrounded by friends (some say hangers-on) that wouldn’t be honest with her.  Her common-law husband (nicely played by Hugh Grant, Cloud Atlas) pays reporters for good write-ups and has a girlfriend on the side (Rebecca Ferguson, Mission: Impossible – Rogue Nation) while her new pianist (Simon Helberg) is aghast that someone so bad could be lauded so much.

Focused on the last year or so that Jenkins was alive, director Stephen Frears (Philomena) and writer Nicholas Martin have crafted a splendid looking period piece set in New York (but filmed in London) that hits most of the right notes even as their leading character runs afoul of her own musical keys.  Still, there’s a paint-by-the-numbers feeling to it which keeps it awkwardly grounded and merely content with going through the emotional moments.

Yet from the rapturous reception the film received at my screening, it’s clear this is an audience-pleasing picture.  I almost feel like I need to see it again since so many lines were lost to audiences roaring over a previous phrase (which I feel is actually a problem with overall editing…didn’t anyone involved screen this with a crowd first?).  Released at the tail end of summer when more discerning crowds have come in from the summer sun, it’s likely to be a well-timed alternative to the CGI heavy box office fodder that’s hogged many screens at your multiplex.

Streep is, as always, beyond reproach and you can pretty much count on her making another trip to the Kodak theater with another Oscar (and SAG and Golden Globe) nomination under belt.  There’s already a ton of press showing Streep singing well (like in Into the Woods) and praising her bravura bad singing here and it’s nice to find out she did the majority of the singing live.  It can’t have been easy for a trained singer to learn to sing so poorly…but Streep doesn’t merely sing off-key, she’s studied Jenkins and found out WHY she doesn’t sing well and used that to get the sound right.  Her Queen of the Night aria is alone worth the price of admission.

Supporting Streep is a dandy Grant who I hope will also get some Oscar recognition for his work.  A difficult role seeing that he’s a bit of a cad, Grant digs deep and shows that above all else the man he’s portraying truly loved Jenkins even though they couldn’t have the kind of life together that either planned.  Under some old age make-up, Grant remains charming in that aloof sort of way but over the years he’s grown as an actor to temper that aloofness with authenticity.

Aside from Streep and Grant, the other supporting players are a mixed bag.  Helberg’s performance is all overbite…literally.  Though Martin takes some time to flesh out Jenkins long-time pianist, Helberg plays him so slight and twee that I half expected him to fly away at any given moment.  He’s got good chemistry with Streep, though, and that’s all that really matters.  I’ve liked Ferguson and Nina Arianda in other movies but not much here…both play grating women in roles that easily could have been excised, especially Ferguson as Grant’s long-time mistress.

What makes Florence Foster Jenkins something I’d cautiously recommend is the stately way Frears, Martin, and Streep have presented this delusional socialite who performed her final concert to a sold-out crowd at Carnegie Hall.  Knowing the difference between a characterization that’s eccentric instead of goofy, Streep gives her the requisite dignity without letting her totally off the hook.  Like the overall film and the peculiar woman at its center, it’s an admirable close but no cigar.

The Silver Bullet ~ The Girl on the Train

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Synopsis: Rachel spends her daily commute fantasizing about the seemingly perfect couple who live in a house that her train passes every day, until one morning she sees something shocking happen there and becomes entangled in the mystery that unfolds

Release Date:  October 7, 2016

Thoughts: For several years now I find myself thinking at the end of most movies “Emily Blunt should have been in this…Emily Blunt makes everything good.” and it’s an opinion I hold fast to. Luckily, Blunt (Into the Woods) is front and center in this new trailer for the highly anticipated big screen adaptation of the bestselling novel The Girl on the Train.  Sure it shares not only an October release date but a plot kinship with 2014’s nice and twisted Gone Girl, but if this first look is any indication (and, I know, it’s not) Blunt could find herself with an Oscar nomination like Rosamund Pike did for Gone Girl.  Plus…I mean, look at the cast: Allison Janney (The Way, Way Back), Justin Theroux (Wanderlust), Rebecca Ferguson (Mission Impossible: Rogue Nation), Lisa Kudrow (Neighbors)…just a roster of dependable, stellar talent. October is a great month for mystery and I’m ready for my ticket to ride this Train.

The Silver Bullet ~ Florence Foster Jenkins (Trailer #2)

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Synopsis: The story of Florence Foster Jenkins, a New York heiress who dreamed of becoming an opera singer, despite having a terrible singing voice.

Release Date:  May 6, 2016

Thoughts: I’m not prone to posting more than one column dedicated to my thoughts on a preview for a film but I’m making an exception in the case of Florence Foster Jenkins.  This full trailer arrives on the heels of a nice little teaser and gives audiences more to anticipate in this true-life story of a socialite singer who drew thunderous crowds…even though she couldn’t carry a tune with both hands.  I already know that I’m going to like Meryl Streep (Into the Woods) as the deluded dame but I think the real interest here will be around Hugh Grant (Cloud Atlas) who seems to be coming into his second act as an older leading man.  Gone is the foppy haired charming stutterer and in its place is an actor that’s been taking on note-perfect roles as of late.  Directed by Stephen Frears (Philomena), this looks like a pleasant treat.

The Silver Bullet ~ Florence Foster Jenkins

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Synopsis: The story of New York heiress Florence Foster Jenkins who dreamed of becoming an opera singer, despite having a terrible singing voice.

Release Date:  May 6, 2016

Thoughts: We all know Meryl Streep can sing after turns in Mamma Mia, Into the Woods, and even Death Becomes Her…but how good can she sing badly?  This looks like a swell comedic turn for the Oscar winner, ditching her more serious fare for the kind of fun diversion she likes to take up between period dramas and new accents.  I know a little about the lady she’s portraying and if the film is half as clever as the Florence Foster Jenkins stage play Souvenir (this film is not based on that) we’ll be in for a good show that’s not as off-key as its subject.  Always nice to see Hugh Grant (Cloud Atlas) part of the mix, too.

Movie Review ~ Mission: Impossible – Rogue Nation

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The Facts:

Synopsis: Ethan and team take on their most impossible mission yet, eradicating the Syndicate – an International rogue organization as highly skilled as they are, committed to destroying the IMF.

Stars: Tom Cruise, Simon Pegg, Jeremy Renner, Rebecca Ferguson, Alec Baldwin, Ving Rhames, Sean Harris, Simon McBurney, Tom Hollander

Director: Christopher McQuarrie

Rated: PG-13

Running Length: 131 minutes

Trailer Review: Here

TMMM Score: (6.5/10)

Review: If there’s one thing I’ve said time and time again in this here blog it’s that Tom Cruise knows how to deliver a spectacular action film.  Off-screen antics aside, Cruise proves with each new release that he knows how to build off of his strengths and give the audience what they came for.  Never less than 100% committed to the work (see his bold turn in the otherwise blah Rock of Ages), he’s best when he’s going the extra mile.

That being said, for this fifth installment of the TV show turned blockbuster franchise I felt that Cruise and company didn’t take as strong a step forward as they did with 2011’s Mission: Impossible – Ghost Protocol.  That film felt fresh, with a renewed interest in inventive action sequences coupled with an intriguing plot of crosses, double crosses, and triple crosses.  Cruise tried out some cool stunt work and director Brad Bird produced a nice mix of over the top action and sly spy work.

With Bird off directing Tomorrowland, Cruise brought old pal Christopher McQuarrie into M:I5 and that’s where some problems surfaced.  All four previous installments had brought Cruise together with different directors he had no prior shorthand, but this is the first time Cruise is working with a director he has history with.  McQuarrie wrote 2008’s Valkyrie and 2014’s Edge of Tomorrow for Cruise and wrote/directed the underappreciated Jack Reacher back in 2012.

So what we have is a star and a writer/director that kinda already had it all figured out before starting up production and the final effect feels like an overly safe but still better than average film that could have been great.  No matter how many of his own stunts he was reported to have performed himself, Cruise isn’t challenged much by McQuarrie to truly push the limits so the resulting movie feels slightly tentative and more in service of protecting the profitable franchise instead of doing something truly original.

Not that McQuarrie’s script is your run-of-the-mill spy tale.  Sure, there’s a lot of intrigue to go along with the spy movie checklist items but it’s more intelligent than its predecessors and aims high in covering a lot of thoughts and ideas.  Each previous Mission: Impossible film has had its share of twists and turns and this is no different, it’s a credit to the filmmakers that even when the plot points feel rehashed from similar films they still manage to be effectively entertaining.

Building off of an idea introduced in the final moments of Mission: Impossible – Ghost Protocol, Rogue Nation starts with Ethan Hunt and his IMF (Impossible Missions Force) compatriots attempting to prevent a stash of nuclear armaments from falling into the hands of the shadowy organization known as The Syndicate.  At the same time, the future of the IMF is called into question by a high ranking government official (Alec Baldwin, Aloha, doing his best impression of Alec Baldwin) and soon Hunt becomes a wanted man by The Syndicate and his own government.  Teaming with a skilled agent with a questionable allegiance (Rebecca Ferguson, Hercules), Hunt hops around the globe in search of the head of The Syndicate (rat-faced Sean Harris, Prometheus, a mostly forgettable villain).  Saying more of the serpentine plot would take up too much room here but suffice it to say that the quest isn’t easy and more than a few lies will be told along the way.

Where the film really excels is the breath-taking stunt work.  From the opening airplane sequence (already more than a little spoiled by the trailer and poster) to an underwater operation to thwart a complex security system to an edge of your seat motorcycle chase through the Moroccan desert, the film is a must-see on the biggest screen possible.  I didn’t catch it in IMAX but will seek out a screening later to really appreciate the scale of the work that went into these stunts that are more than worth the price of admission.

While Cruise may be the star of the show, Ferguson manages to swipe the film right out from under him.  Previous movies have placed the females as little more than damsels in distress (no matter if they’re trained super agents or not), but Ferguson represents a character that’s Hunt’s equal in every way.  Sure, her presence in a variety of skin baring costumes gives Cruise and audience members something to swoon over but McQuarrie wisely keeps it all business, adding to her mystery.  We never really know quite what side she’s on, so we never know what to expect when she appears onscreen,

While I’ve loved Simon Pegg’s work as a supporting cast member in Star Trek, Star Trek: Into Darkness, and two previous Mission: Impossible films, it was an unfortunate mistake to beef up his role here as Cruise’s nervous ally within IMF.  Sure, he’s a valued element of comic relief but he’s made too much of a central figure here, taking time away from Cruise, Ferguson, and the forward motion of the plot.  It’s not all Pegg’s fault, but I’m sure Jeremy Renner (Avengers: Age of Ultron) and Ving Rhames (Won’t Back Down) would have liked a little more screen time of their own.

I felt like Mission: Impossible – Ghost Protocol heralded the start of a new chapter of Ethan Hunt and the IMF and thankfully that’s continued here in Rogue Nation.  I do, however, wonder whatever happened to Paula Patton from Ghost Protocol, and Maggie Q from #3…not to mention Hunt’s wife (Michelle Monaghan, briefly seen at the end of the last film).  I kept hoping for a hint at what’s to come next but sadly the film leaves us with more questions than answers.  I’m invested enough in the series to keep accepting future Missions…but hope that the next outing feels a bit more challenging.

The Silver Bullet ~ Mission: Impossible – Rogue Nation

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Synopsis: Ethan and team take on their most impossible mission yet, eradicating the Syndicate – an International rogue organization as highly skilled as they are, committed to destroying the IMF.

Release Date: July 31, 2015

Thoughts: I feel like I’ve spent a lot of time over the past several blogging years defending Tom Cruise. There’s a faction of audience members that can’t get past Cruise’s religious beliefs, wacky couch jumping tendencies, and somewhat self-aggrandizing attitude. Still…here’s the thing…the man knows how to make a movie. In fact, I’d say that Cruise has energetically come out of a mid-career slump of outings that were too serious and “important” and settled nicely into delivering popcorn chomping ready events that highlight his strengths. A lot of that renaissance was firmly cemented with 2011’s Mission: Impossible – Ghost Protocol — maybe the franchise’s most enjoyable outing yet. I’ve got a good feeling about 2015’s upcoming fifth installment of Cruise’s spy series…and apparently so does Paramount Pictures. The studio moved it up from a prime Christmas Day release to an end of the summer bow that could be perfect time for box office gold. Reteaming Cruise (Oblivion, Edge of Tomorrow) with his Jack Reacher director Christopher McQuarrie (Jack the Giant Slayer) and with familiar faces (Simon Pegg, Jeremy Renner, Ving Rhames) returning and a new beauty (Rebecca Ferguson, Hercules) on board this is one mission I’m more than happy to accept.