Mission: Impossible - Dead Reckoning Part One (2023)
Directed by Christopher McQuarrie
Ethan Hunt and his IMF team embark on their most dangerous mission yet: To track down a terrifying new weapon that threatens all of humanity before it falls into the wrong hands. With control of the future and the world's fate at stake and dark forces from Ethan's past closing in, a deadly race around the globe begins. Confronted by a mysterious, all-powerful enemy, Ethan must consider that nothing can matter more than his mission—not even the lives of those he cares about most.
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What critics say influenced Mission: Impossible - Dead Reckoning Part One
Director Christopher McQuarrie also borrows a linguistic device from The Hunt for Red October – starting with Russian speech then quickly moving to all characters speaking English.
That scene gives me the claustrophobic vibes of The Hunt for Red October and Crimson Tide-like moment.
Commencée en pré-générique dans une longue séquence à l’intérieur d’un sous-marin évoquant The Hunt for Red October ( À la poursuite d’Octobre rouge) de John McTiernan, ce septième épisode de la série cinéma des Mission : Impossible nous transporte très rapidement dans le désert de la péninsule arabique puis dans un aéroport ultra-moderne.
Those cartoonish aspects are riotously reinforced, though, in a climactic train sequence that’s as much a straightforward action showstopper as it is a tribute to Buster Keaton’s The General , with Ethan and others frantically attempting to reckon with a runaway locomotive careens toward a ravine.
Once the train gets going, we see how everything gets set up to build for the moment where McQuarrie and Cruise get to a climactic moment that pays homage to Buster Keaton’s “The General,” but with a modern twist.
After that, the narrative doesn’t reach that same high tension, though action fans will surely lap up two exceptional extended set-pieces—an elaborate car chase through Rome and a pulsating Orient Express finale that cinephiles with a good knowledge of film history would surely cite The General (1926) as ‘inspiration’.
A climactic train sequence even calls The General to mind.
The MacGuffin driving the plot is all very contemporary, even if it’s truth-manipulation themes are rather reminiscent of the 1997 Bond entry Tomorrow Never Dies .
The car chase on the Spanish Steps wouldn’t have been half as memorable without Hunt and Grace awkwardly navigating being handcuffed together (perhaps in a nod to Tomorrow Never Dies ?) and the breathtaking motorbike / parachute stunt is grounded in reality by Ethan snapping at Benji “I’m trying to get away from the mountain!”
This setup is essentially the early stages of “The Terminator’s” judgment day, or, in an eerily paralleling manner, reminiscent of the way “The Matrix” described A.I. figuring out useful ways to manipulate humans.
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Just what The Entity is, we’ll all have to wait for “Part Deux,” but as best I can tell it’s something of a hybrid of a ChatGPT artificial intelligence nursing a bottle of Jim Beam and that pained virtual incarnation know as SID (sadistic, intelligent and dangerous) from the 1995 sci-fi whimper known as “Virtuosity,” a movie that people only went to see because it starred Denzel Washington and forgot about quickly because of McQuarrie’s “Usual Suspects.”
As a result, there’s a bit of early letdown; but when atop a runaway locomotive or dashing through a claustrophobic maze of Venetian alleyways (the murky haziness of it all hauntingly reminiscent of Nicholas Roeg’s “Don’t Look Now”) or at an Entity-hosted rave with baddies toting Glocks just three writhing bods away, the action is “Tár”-timing taut, superbly choreographed and maintaining its grip from first blow to final fall.
These moments are bolstered by real destruction (comically excessive at times) and real stunts – something that almost effortlessly surpasses the likes of “John Wick,” even though those movies are known for genuine fighting.
Furthermore, the saga is known for its impressive, big-scale stunts, not so much for fight choreography – this equally incredible accomplishment clearly belongs to John Wick .
Es simple, su gran entusiasmo por las acrobacias de acción impregna la producción de estas películas con una energía palpable solo comparable (al menos en el sistema de Hollywood) hoy en día con el increíble trabajo de personas como Chad Stahelski y Keanu Reeves en la franquicia de “John Wick” o a George Miller con “Mad Max: Fury Road” .
„Mission: Impossible“ positioniert sich damit ähnlich wie „ John Wick “ gegen den Trend, Blockbuster-Action ausschließlich am Computer oder vor Greenscreen entstehen zu lassen.
Para além disso, a saga é conhecida pelas suas acrobacias impressionantes e não tanto por coreografia de luta – esta caraterística igualmente fenomenal pertence claramente a John Wick.
Fraser Taggart’s cinematography is impressive, seemingly paying homage to the kind of adventure movies they used to make in the sixties (like Where Eagles Dare and the early James Bonds), and the production design this time is remarkable.
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Ethan and Grace were handcuffed together like James Bond and Was Lin in Tomorrow Never Dies and they were chased whilst driving a small car which felt like a combination of For Your Eyes Only , The Bourne Identity , and The Italian Job .
That scene gives me the claustrophobic vibes of The Hunt for Red October and Crimson Tide-like moment.