‘MI:7’ Is Stunt Spectacular, Thorny Mission on Cruise Control

‘MI:7’ Is Stunt Spectacular, Thorny Mission on Cruise Control

By Lynn Venhaus

One thing about Tom Cruise: Love him or hate him, he is a consummate entertainer. And let’s face it, we’re sucked into Cruise’s World nearly every time he headlines an adventure trying to save the world.

If there is peril, he shows up. He knows how to throw himself to a rip-roaring yarn, as he has proven time and again. In yet another bold, brash move as Ethan Hunt, he pushed himself with death-defying stunts that are among the most dazzling in movie history in this seventh one, “Mission: Impossible – Dead Reckoning Part One.”

His Impossible Missions Force team must track down a dangerous weapon before it falls into the wrong hands. With control of the future and the fate of the world at stake, and dark forces from Ethan’s past closing in, a deadly race around the globe begins.

Now 61, Cruise was 57 when filming initially started, so give him credit for stretching himself physically, a remarkable feat. For a glimpse of the risky business — Exhibit 1: Motorcycle stunt on the edge of a cliff. My jaw dropped and my stomach flip-flopped when he freefalls.

That might not top the helicopter chase in “Fallout” (MI:6), also filmed by now head cinematographer Fraser Taggart, but it’s a dandy and among several terrifying set pieces including an extensive pulse-pounding pursuit through the streets of Rome and fights on aboard and on top of a speeding train (and not just any train, but THE Orient Express).

While not as emotionally impactful as Cruise’s “Top Gun: Maverick,” last year’s sequel to a 1986 film that proved to be more successful than anyone thought – I mean, 36 years later? — “MI 7” played to his strengths.

Because he exceeded expectations for making the 2022 top-grossing film of the year ($718,732,821, to be exact), and was an Oscar nominee for Best Picture, there is a great deal of current goodwill. Some said he “saved Hollywood” by getting people into theaters post-pandemic. Let’s see if he repeats.

MI7 produces the thrills that define a crowd-pleasing blockbuster, but not the chills, and perhaps still will be a summer success after a few other tentpoles sputtered.

There is a sense of comfort in nostalgia. Like John Williams’ rousing Indiana Jones score, composer Lorne Balfe uses variations of Lalo Shifrin’s iconic TV series theme song to punctuate the action.

As with Harrison Ford returning as Indy, Cruise settles into another beloved familiar character, fearless American secret agent Ethan Hunt. Based on the Emmy-winning TV show (1966-1973) formula created by Bruce Geller, this covert Impossible Missions Force spans the globe fighting international terrorists in sophisticated ways.

After 27 years, we expect elaborate action and increasingly complicated high-tech plots. The first feature film directed by Brian De Palma was successful in 1996, its sequel stumbled in 2000 directed by John Woo, came back super-charged by director J.J. Abrams with Philip Seymour Hoffmann as a cunning villain in 2006, was even better in director Brad Bird’s “Ghost Protocol” in 2011, followed by what some say are the best ones in Christopher McQuarrie’s “Rogue Nation” in 2015 and “Fallout” in 2018. Now we have a long, dense follow-up in “Dead Reckoning,” a first part that is 2 hours and 43 minutes.

Hayley Atwell is the slippery Grace, Tom Cruise is Ethan Hunt, world savior.

McQuarrie, who directed and co-wrote the script with Erik Jendresen, has been a consistent collaborator with Cruise during the 21st century. They first worked together on “Valkyrie” in 2008, followed by “Jack Reacher,” which he directed, and “Edge of Tomorrow.” That led to writing and directing the fifth and sixth ones, the first repeat director.

McQuarrie won the Oscar for his original screenplay “The Usual Suspects” in 1995 and was nominated last year for the adapted screenplay of “Top Gun: Maverick.”

The man who created Keyser Soze knows his way around criminal masterminds, but there’s a less than compelling one in sinister Gabriel, played by Esai Morales. He somehow is connected to the evil algorithm “The Entity,” which is so advanced it manipulates reality and the truth to cause endless chaos.

The menace is never-ending, although the enigmatic plot is dull. However, four interesting actresses shine in strong-willed roles: Hayley Atwell, Pom Klementieff and Vanessa Kirby, while Rebecca Ferguson returns for round three as MI6 operative Ilsa Faust.

Even with his energy and intensity, Cruise needs strong support, which he gets from the unsung heroes Simon Pegg as tech turned field agent Benji Dunn and Ving Rhames as wingman Luther Stickell.

Foe-turned-frenemy Atwell distinguishes herself as the slippery Grace. Since 2011, she has played beloved Peggy Carter, Captain America’s one true love, in all things Avenger-related in the Marvel universe (TV and film).

 Oscar-nominated Kirby returns as the mysterious White Widow from “Fallout,” still sketchy, and a ferocious Klementieff, Mantis in the “Guardians of the Galaxy” films, is cold-blooded assassin Paris.

It’s a stacked cast. Cary Elwes is CIA’s Denlinger and Henry Czerny, from the first movie,  is back as Kittredge, while Shea Wigham and Greg Tarzan Davis are agents Briggs and Degas hot on the trail.

Czerny, with his ace delivery, has the best line: “Your days of fighting for the so-called greater good are over. This is our chance to control the truth. The concepts of right and wrong for everyone for centuries to come. You’re fighting to save an ideal that doesn’t exist. Never did. You need to pick a side.”

It’s a very different global playing field from when they first launched the feature film. They’ve all been high-octane state-of-the-art thrillers, but this one is hyper-speed. Stunts aside, their mission has always been against shadowy figures hell-bent on ruthless power. Noble, sure, but do we care?

My main beef is that it’s not so much a nail-biter as it is an exercise in endurance. The mumbo-jumbo about “The Entity” gets ridiculous.

Yet, the adrenaline rush takes over viewing. Think of it as a summer sojourn to Cruise World. We are all pulled into his orbit. We’ll see what he’s up to next June, as no. 8 is set for June 28, 2024.

“Mission Impossible Dead Reckoning Part I” is a 2023 action-adventure directed by Christopher McQuarrie and starring Tom Cruise, Hayley Atwell, Esai Morales, Rebecca Ferguson, Ving Rhames, Simon Pegg, Cary Elwes, Henry Czerny. It is rated PG-13 for intense sequences of violence and action, some language and suggestive material .and runs 2 hours and 43 minutes. It opens in theaters on July 12. Lynn’s Grade: B-.

Unforgettable Action Sequences Elevate Solid ‘Mission: Impossible’ 7

Unforgettable Action Sequences Elevate Solid ‘Mission: Impossible’ 7

By Alex McPherson

Featuring incredible stunts, timely themes, and an engaging, though imperfect balance between goofiness and sincerity, director Christopher McQuarrie’s “Mission: Impossible – Dead Reckoning Part 1” is a reliably fun action-espionage blockbuster, if occasionally weighed down by inelegant plotting.

“Dead Reckoning,” the seventh installment in the “Mission” series, follows rebellious daredevil Ethan Hunt (Tom Cruise) and his loyal, idiosyncratic Impossible Mission Force comrades Benji Dunn (Simon Pegg), Luther Stickell (Ving Rhames), and love interest Ilsa Faust (Rebecca Ferguson), as they embark on yet another death-defying mission to save humanity from itself.

They’re after two halves of a key that could allow them to destroy a rogue artificial-intelligence algorithm generically called “The Entity,” which has the power to upend civilization as we know it. Any and all global powers (including the CIA, led by Henry Czerny’s Eugene Kittridge, previously featured in the first “Mission” film) want to harness it for their own militaristic ends.

Despite its eye-rolling name, The Entity is an eerily prescient antagonist for Ethan and company to square off against — essentially the ultimate spy, able to infiltrate our always-online existence to control the nature of truth itself, plus, most likely, all the world’s weapons. Nowhere is safe from the Entity’s grasp.

The team’s plans are complicated with the unexpected arrival of courageous thief Grace (Hayley Atwell), walking a thin tightrope between friend and foe, who must eventually join sides with Ethan, along with the Entity’s human envoy, Gabriel (Esai Morales), a villainous ghost from Ethan’s past that contributed to him joining the Impossible Missions Force in the first place.

Also joining the fray is the White Widow (Vanessa Kirby, both seductive and goofy) from “Fallout,” and two frustrated U.S. agents always one step behind (Shea Whigham and Greg Tarzan Davis), who might or might not eventually shift their morals.

As the team embarks on a globe-trotting adventure in locales such as Rome and Norway, everyone is put to the test, and Ethan must reckon with saving those he loves over succeeding in his goals, all the while dealing with an unpredictable adversary that can seemingly predict his every move and turn his own gadgets against him. It can’t quite account for human ingenuity, or Ethan’s/Cruise’s unwavering commitment to putting themselves at risk for viewers’ entertainment.

Indeed, “Dead Reckoning” is, at times, a glorious spectacle — the practical stunt work on display puts the recent “Indiana Jones and the Dial of Destiny” to shame. With McQuarrie’s energetic direction and solid performances across the board, from Cruise especially, the latest “Mission” film delivers on the action front, though the twisty narrative lacks the visceral punch of the thunderously memorable set pieces.

And lordy, are those sequences invigorating to behold — filmed with a clarity by cinematographer Fraser Taggart that lets all the practical stunt work shine; largely eschewing CGI to forefront athleticism, which lends a (relatively speaking) grounded feel to the proceedings.

Lorne Balfe’s blaring score adds additional oomph. The much-publicized motorcycle-to-base-jump off the steep Norwegian mountainside is suitably spectacular, but a frantic chase through Rome — with Ethan and Grace handcuffed to each other driving a Fiat while being pursued by authorities and a sadistic killer named Paris (a scene-stealing Pom Klementieff) — is possibly the standout set-piece: full of bombastic slapstick comedy and split-second decision making that feels dangerous and thrilling. 

And the train showdown, holy moly, does not disappoint in the slightest, featuring edge-of-your-seat filmmaking that consistently ups the ante moment-to-moment as gravity begs to differ. Add to that a considerable helping of bone-crunching hand-to-hand combat (one brawl taking place in a narrow alley), and all the gratuitous running from Cruise we’ve come to expect, “Dead Reckoning” is worth watching for these scenes alone, bolstered by the cast’s commitment to this self-aware, somewhat messy tech-paranoia plot.

Hayley Atwell, Tom Cruise

Cruise continues to shine as Hunt, an ”agent of chaos” (as one character calls him) who’s willing to throw himself into danger for the greater good, but being forced to make impossible decisions to protect his friends and loved ones. Cruise’s portrayal lacks the emotional weight of his efforts in last year’s “Top Gun: Maverick,” but he still excels, nimbly navigating the film’s ludicrous plot developments and comedic relief with comforting self-awareness.

Pegg and Rhames provide equal parts comedic relief and pathos (grappling with the Entity’s manipulation of their advanced technology, such as the Entity impersonating their voices), while feeling underused and relegated to the background for most of the runtime. Ferguson is badass as always, as is Atwell, who lends spunk to her character of Grace and has palpable chemistry with Cruise. Grace takes on a pretty standard backstory/arc, yet is always fun to watch thanks to Atwell’s energy and inherent likability.

Morales is solid but unmemorable as the Entity’s henchman (even though McQuarrie tries his darndest to make us care from some rushed flashback revelations), and Klementieff deserves more screen time as a scarily ruthless assassin. The ensemble is always enjoyable — fully committed to the screenplay’s occasionally screwball rhythms — when all we’re really waiting for is the next harrowing spectacle to unfold. 

“Dead Reckoning” isn’t an all-out action film, however, and McQuarrie’s just as focused on the espionage narrative, which can’t live up in comparison, and lacks the creativity of the set pieces. The Entity is certainly a timely antagonist, but it remains difficult to care about much in the “Mission” universe because of the screenplay’s need to over-explain and “tell rather than show” regarding its capabilities, barring a couple memorable situations.

Although the film’s exposition-dumping approach is a staple of the genre, it lacks much emotional impact; the frequent flashbacks similarly try (and only half-heartedly succeed) to churn up investment, and the film’s constant forward momentum leaves little time for reflection, or opportunities to meaningfully dig into the psyches of its characters — even with a nearly three-hour runtime. 

To the screenplay’s credit, in a meta-textual sense, Cruise has also been a fierce defender of the cinematic experience, so Hunt’s battle against an evil algorithm could extend to Cruise’s own defense of practical stunts, the “theater experience,” and the increasingly bloated streaming ecosystem. Looking at “Dead Reckoning” from this angle makes the labyrinthine plot a touch more meaningful.

Despite these shortcomings, what really stands out about “Dead Reckoning” is the chutzpah of its creators. By the end of its runtime, it leaves an indelible impression as an achievement in action filmmaking. Regardless of storytelling stumbles, this is a must-watch on the biggest screen you can find — let’s just hope “Part 2” can deliver more on the character front.

This image released by Paramount Pictures shows Simon Pegg, from left, Ving Rhames, Tom Cruise and Rebecca Ferguson in “Mission: Impossible Dead Reckoning – Part One.” (Christian Black/Paramount Pictures and Skydance via AP)

“Mission Impossible Dead Reckoning Part I” is a 2023 action-adventure directed by Christopher McQuarrie and starring Tom Cruise, Haley Atwell, Esai Morales, Rebecca Ferguson, Ving Rhames, Simon Pegg, Cary Elwes, Henry Czerny. It is rated PG-13 for intense sequences of violence and action, some language and suggestive material .and runs 2 hours and 43 minutes. It opens in theaters on July 12. Alex’s Grade: B+.

‘BlackBerry’ Cast Stuns in Surprisingly Moving Smartphone Story

‘BlackBerry’ Cast Stuns in Surprisingly Moving Smartphone Story

By Alex McPherson 

A darkly comedic story of game-changing technology and capitalism’s fateful hand, director Matt Johnson’s “BlackBerry” is a sublimely well-acted, bittersweet film that’s both laugh-out-loud funny and emotionally raw.

Based on the book Losing the Signal: The Untold Story Behind the Extraordinary Rise and Fall of BlackBerry by Jacquie McNish and Sean Silcoff, the film begins in 1996 in Waterloo, Ontario, at a small company called Research in Motion (RIM) — founded by two pioneering tech/pop culture geeks, the soft-spoken Mike Lazaridis (Jay Baruchel) and his boisterous, morale-boosting BFF, Doug Fregin (Johnson). They’ve made a breakthrough: a product combining a cellphone, email device, and pager all-in-one.

Mike, Doug, and their team are passionate and exude a sense of innocence, separated from the gloom of corporate bureaucracy. Their cluttered office, full of nerds whose technical skills are matched only by their knowledge of all things movies and video games, is lively and laid-back, but they lack the “marketing expertise” (and maybe the maturity) necessary to make a name for themselves. They remain millions of dollars in debt due to a terminated contract for a modem they constructed.

Fortunately, or unfortunately, they attract the attention of corporate shark Jim Balsillie (Glenn Howerton, of “It’s Always Sunny in Philadelphia” fame), freshly fired from a company that Mike and Doug clumsily pitched to. Jim sells himself as someone who could make their product (originally called the “Pocketlink”) a best seller, if he gets 50% of the company, he’s made co-CEO, and they change its name.

Mike hires him (much to Doug’s disapproval), and Jim helps launch their company into the stratosphere, leaving scruples firmly in the dust. With a vicious ego, penchant for manipulation, and aggressive marketing instincts, Jim’s “help” proves to be a blessing and a curse, as BlackBerry emerges as the world’s first smartphone and essentially changes the lives of everyone on the planet.

This image released by IFC Films shows actor and director Matt Johnson on the set of “BlackBerry.” (IFC Films via AP)

With strong performances, kinetic direction, and a screenplay that masterfully balances hilarity and wistful sorrow, “BlackBerry” is a timely story of dreams, greed, repercussions, and fractured relationships. Johnson’s film isn’t merely a eulogy for a company slain by progress, but a harsh reminder of the risks intermingled with success, and what can be lost in the pursuit of greatness.

“BlackBerry” begins as a droll comedy, as Mike and Doug — two instantly likable dudes — bumble around trying to get their initial product off the ground. Mike is non-assertive and mild-mannered, a perfectionist who’s more focused on the minutiae of the products themselves than handling business dealings with investors. Similarly, the headband-wearing Doug is a lovable goofball, just as concerned with weekly office movie nights as meeting deadlines.

Johnson mines Mike and Doug’s “ineptitude” (which could also be viewed as happy-go-lucky purity) to deliciously comedic effect. Cinematographer Jared Raab’s camera captures the action with jittery, fly-on-the-wall framing that zeroes in on awkward pauses and cringe comedy, particularly in juxtaposing their amiability with Jim, who slings a never-ending supply of expletives that Howerton delivers with scenery-chewing delight. Jay McCarrol’s pulsating electronic score accentuates moments of panic among the team, at one point mirroring Mike’s increasing heart rates to memorable effect. 

Jim has a lot at stake, gambling his mortgage to pay RIM’s employees, and “BlackBerry” emphasizes the ways his dogged, aggressive approach benefits the company and zaps the humanity, camaraderie, and playfulness that was critical to the team’s dynamic. Jim’s more concerned with his own “status” than that of BlackBerry itself, willing to browbeat employees and yell nonstop to get what he wants (including, for example, owning part of the NHL — he is Canadian, after all). The vast collection of masks in his office reflect the elaborate performance he’s putting on to ensure his credibility.

Without dumbing down the technical side of things, the screenplay (by Johnson and Matthew Miller) mines comedic gold out of juxtaposing Jim’s monstrousness with Mike and Doug’s far different approaches to life and work, while also focusing on the small-scale connections (forged and broken) that form the backbone of BlackBerry’s tragic story. Indeed, it’s interesting to learn about Mike’s innovations and Jim’s promotional expertise, resulting in BlackBerry at one point owning 45% of the cellphone market. Johnson’s film, however, makes a lasting impact through its focus on the people at its center, and the personal fallout that can result from sky-high success.

Baruchel expertly embodies Mike’s innocence and gradual de-evolution: a person who’s instantly endearing, yet swept up in his own hubris and competitiveness as the company grows and is eventually derailed by the release of the iPhone. Mike’s timidity is replaced by sternness, leading to saddening moments of conflict with Doug, to whom Johnson brings a warmth that’s extinguished by others’ greed and lack of integrity.

Howerton is the standout by far, though, bringing to life a real piece of work that’s never less than entertaining to watch, even when wincing at his wildly over-the-top outbursts and financial dealings that (hopefully, at least) will come back to bite him in the ass. Michael Ironside, Saul Rubinek, Cary Elwes, Rich Sommer, and SungWon Cho make the most of small-yet-notable supporting roles. 

“BlackBerry” unfolds at a brisk pace, presenting a ground-level view of the team’s growth and decline that doesn’t paint its central players in black-and-white absolutes. If there’s a true villain in “BlackBerry,” it’s the capitalistic system that drives people like Mike over-the-edge, rewards cutthroat competitiveness above attention to detail, and saps compassion from even the most good-natured souls. 

This isn’t necessarily a “new” message, mind you, but Johnson’s film (far more so than the other crop of brand-focused films “Air” and “Tetris”) is a slyly powerful meditation on creativity and teamwork by its disheartening conclusion. Knowing what happens from the outset lessens suspense to a certain degree, but there’s still a dark thrill in seeing personal values ebb and flow as proceedings get increasingly out of control, and whether or not consequences are wrought upon the appropriate parties. This renders the rushed dénoument somewhat anticlimactic, revealing information through text that would have been compelling to watch through Johnson’s lens instead.

“BlackBerry” remains a gripping watch all the same, an empathetic view into the thorny weeds of business, and a cautionary tale about the human condition.

Jay Baruchel as Mike Lazaridis in “BlackBerry”

“BlackBerry” is a 2023 comedy-drama-biopic directed by Matt Johnson and starring Johnson, Jay Baruchel, Glenn Howerton, Rich Sommer, Cary Elwes, Saul Rubinek, SungWon Cho, and Michael Ironside. It is rated R for language throughout and run time is 2 hours. It opened in theatres May 12. Alex’s Grade: A-.