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Lead Critic for the site, as well as serving as an editor when needed.
This year, more than most in recent memory, feels like the year of the action film. With the likes of John Wick: Chapter 4, Creed III, and others such as Extraction 2, the seventh Mission: Impossible film fits well into the cog with this year’s other action films. Mission: Impossible – Dead Reckoning continues the high-octane action of the last couple of films—2015’s Rogue Nation and 2018’s Fallout. While the seventh entry also has great emotional beats, there are bits where the script feels lighter than it wants to be and feels like these beats belong in an earlier film in the series rather than here. Still, these small bits fade away amongst the chaos, albeit remaining and keeping the script lower than it should be when compared to its predecessors.
Moreover, with Dead Reckoning, the franchise continues to prove that it is one of the best action series in the world of cinema. With practical stunts abound, no one else is really making these types of films but stars like Tom Cruise and filmmakers like Christopher McQuarrie. It also works well enough that McQuarrie knows his main character is similar to that of Sergio Leone and The Man with No Name.
This entry shines in letting the audience know that this is, in fact, the beginning of the end for Ethan Hunt. The dialogue continuously throws out ideals about things like destiny, the world ending, and “fighting the good fight,” and where Hunt really belongs in the grand scheme of fate. This is when the emotional beats truly shine. The stakes feel extremely high and on the nose for Hunt, which has truly never felt better to see played out on screen.
Spoilers to follow.
Where We Begin
After setting up a huge plot device in the cold open, essentially a sentient AI, Dead Reckoning reveals more about the Impossible Mission Force’s recruitment tactics and reminds us that the government might forgive but will not forget. Perhaps one of the best elements at the start reveals that our own Ethan Hunt was given “The Choice.” Reckoning‘s villain, Gabriel (Esai Morales), is also connected to Hunt’s past before he accepted the choice, which was probably a bit criminal in nature. Gabriel took the life of someone close to Hunt and won’t be phased by having to do so again.
On that note, it would have been great to see more of Ilsa Faust (Rebecca Ferguson), but she and Gabriel square off in the film’s climax, reinforcing Hunt’s ideals that the series, at times, leans on heavily. While some may hate the scripting decision, it usually feels refreshing when someone close to the protagonist dies. It tends to make the film much more interesting in terms of our hero’s journey. In Faust’s case, she ultimately becomes somewhat of a martyr for Hunt’s continued fight in the upcoming eighth entry. This is especially the case, considering the way McQuarrie and co-screenwriter Erik Jendresen have crafted this epic two-part story.
McQuarrie and Jendresen’s Storytelling
Dead Reckoning also feels like the first half of our overall story, which is great and feels necessary. The ending is near perfection, too, leaving the audience wondering, but not necessarily about where the story will go. McQuarrie and Jendresen know the audience so well, so of course we know where it will go. This opens the door for Grace’s (Hayley Atwell) fate and who Gabriel really is, and how Marie (Mariela Garriga)—a woman from Hunt and Gabriel’s past—factors into the next entry, which are all fantastic questions.
However, moments within the mass chaos ultimately hurt the severity of the respective scenes. It’s more annoying than anything, but still entirely noticeable. They are few and far between, such as Grace and Hunt realizing their car is a Fiat 500, and at first try, Hunt runs into a nearby wall. Things such as this are best left for earlier entries in the series like Mission: Impossible II. Still, while these things are entirely forgettable, they are worth pointing out for the sake of the tone Dead Reckoning sets early on. These moments just feel out of place.
The bond between Hunt’s usual IMF team of Luther Stickell (Ving Rhames) and Benji Dunn (Simon Pegg) has never felt stronger. This creates a great dynamic between the three actors in each scene. Pegg and Rhames get plenty of time to shine and have really turned into their own fantastic supporting characters alongside Cruise’s Hunt. Another returning character, not seen since the original film in 1996, Eugene Kittridge (Henry Czerny), now the director of the CIA, serves a great purpose and has a real role in his return, rather than just being Hunt’s handler. It’s welcoming to see another face already established in this universe.
Our Biggest Mission: Impossible Cast of Characters Yet
This entry introduces several new characters with great performances all around. Hunt will end up sacrificing more than he wants to by the next film. Not only that, but it seems that Gabriel will continue to prove his point one way or another before it’s all over. After all, he is now been responsible for the death of two women Hunt cares about. Therefore, there is no telling who else Gabriel will take down.
Along with the inclusion of Kittridge, Grace is a fantastic character who seems to keep Hunt on his toes in ways he doesn’t expect and will ultimately choose the right path over a hefty payday. Another interesting character is Jasper Briggs (Shea Whigham), another CIA agent tracking Hunt. While it is never revealed, he also appears connected to Hunt’s early IMF career somehow because it seems extremely personal.
Vanessa Kirby and Frederick Schmidt also return as Alanna and Zola Mitsopolis, respectively, and have a bigger role to play here than in Fallout, which is great to see. Degas (Greg Tarzan Davis), Briggs’ partner, sees right through Briggs and can sense that somehow he and Hunt are connected, even if Briggs tells him it isn’t personal. Paris (Pom Klementieff) is an assassin ultimately spared by Hunt, for better or worse. She plays against type here, and it’s a bit refreshing. Cary Elwes portrays Denlinger, the Director of National Intelligence. I don’t remember the last asshole role he had, but he plays it well here, plus he’s a bit of a smartass, which is kind of funny.
Action, Action and More Action!
The action sequences rival even the biggest blockbusters in Hollywood today. While many decide to go with CGI, every sequence feels as real as possible, being that it is all practical. The infamous motorcycle to cliff jump to parachute stunt that was filmed on the first day—and that Tom Cruise did a dozen times before they got the take that was wanted—is perhaps wildest moment of the entire film. It was anticipated as soon as the screen opened. The moment it happened, audiences felt some sort of shock and awe at the insanity of Tom Cruise. It’s just freaking awesome. He keeps the audience thoroughly entertained.
The first big action sequence, set in the desert, is a great way to kick off Dead Reckoning. It doesn’t prepare you for the rest, but not in a bad way at all. There’s a sense of a slow burn between each sequence to keep the audience begging for more. The airport sequence is also fantastic and keeps the narrative moving forward while also allowing more exposition and depth for our characters. The train sequence—also the last big action set piece—is amazing to see all at once. The trailers do not do it enough justice. Each sequence is bound to be a different favorite for everyone, it’s so thrilling!
Technical Elements
While the script has its great, good, and bad moments, the direction is McQuarrie’s best in the series so far. He continually pays homage to the tense moments that were present nearly all the time in Brian De Palma’s original film with dutch angles and crocked framing. This is some of the best action camerawork in recent times, especially considering the overuse of the one-take shot present in many action films today. The camerawork also shines during car chases, the way McQuarrie and cinematographer Fraser Taggart bob and weave around passing cars, all while keeping the chase in near-perfect framing and blocking. It is truly impressive camerawork.
Editor Eddie Hamilton’s assemblage is also top-notch and doesn’t overshadow or hurt the already amazing camerawork on display; instead, it’s so smooth here. Music composer Lorne Balfe returns to score Dead Reckoning, to great appeal. This is definitely the best score since Mission: Impossible III and even surpasses Fallout, which also featured a great score by Balfe. The score adds to the overall feel and tone, and the percussion-heavy pieces here are some of Balfe’s best.
Production designer Gary Freeman’s set pieces are some of the best from an action film that I have ever seen. They truly add to the depth of the locations throughout the film. There are a few newer locations in this entry, which is refreshing. The stunt work and effects are also superb, and nothing feels out of place or timed poorly; everything is near perfect.
Final Thoughts on Mission: Impossible – Dead Reckoning
What many refer to as “cheese” or “cheesy moments” are few and far between to keep the audience thirsty for more. Mission: Impossible – Dead Reckoning is a fantastic action summer blockbuster. It is designed to entertain and keep the audience coming back for more. It is a film that deserves to be seen on the big screen and will perhaps go down as one of the greatest action films of all time.
Tom Cruise, Christopher McQuarrie, and the cast and crew have given audiences something to be proud of. Besides a few smaller moments in places, the narrative is amazing and feels like a proper “part one” of two parts. The film’s ending feels necessary. There isn’t any “cliffhanging” aspect to the end, but there is definitely a question of “Okay, so where do we go from here?”. It’s honestly very refreshing for a story with two parts. Dead Reckoning is cohesive enough to stand on its own despite knowing there is a second part to this story. Honestly, that’s perfectly okay, because this was one of the best action films ever put to screen.
4.5/5 stars.
Mission: Impossible – Dead Reckoning is now playing in theatres everywhere!
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Lead Critic for the site, as well as serving as an editor when needed.
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