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Sur­real films in fo­cus / D3



Quan­tum of So­lace The Syn­di­cate are omi­nously con­gre­gat­ing .

This re­sults in an elab­o­rate but beau­ti­fully mounted se­quence in which Ethan is obliged to pre­vent an as­sas­si­na­tion dur­ing the per­for­mance. It’s es­pe­cially im­pres­sive com­pared to the com­par­a­tively clumsy opera se­quence in Quan­tum of So­lace. Di­rec­tor/co-writer Christo­pher McQuar­rie ev­i­dently set his sights higher, mod­el­ling af­ter the cli­max of Al­fred Hitch­cock’s The Man Who Knew Too Much.

From here, though, the movie goes through the Mis­sion Im­pos­si­ble mo­tions, as Ethan breaks into an ul­tra-se­cure com­puter fa­cil­ity (see the first movie), par­tic­i­pates in a thrilling, break­neck mo­tor­cy­cle chase (see the sec­ond movie) and is blackmailed by the vil­lain to em­ploy his tal­ents to do his bid­ding (see the third movie).

You get the whiff of des­per­a­tion through­out, as when the shirt­less Ethan is prepped for tor­ture, an op­por­tu­nity to see Cruise re­mains buff at age 53. Even when Cruise is not on screen, peo­ple talk about him, as when Bald­win’s spy­mas­ter warns his odi­ous Bri­tish coun­ter­part (Si­mon McBur­ney): “Hunt is the liv­ing man­i­fes­ta­tion of des­tiny and he has made you his mis­sion.”

Di­a­logue-wise, that’s a clunker wor­thy of a Steven Sea­gal movie.

Con­sider it a sig­nal that the fran­chise has not only aban­doned the team dy­namic of the orig­i­nal TV se­ries, it has largely aban­doned its hero. Mis­sion Im­pos­si­ble 5’s mis­sion is to al­low Tom Cruise to defy his age and wan­ing box-of­fice clout. Its suc­cess will be judged at he week­end box of­fice... should you choose to ac­cept it.

— Cary Dar­ling, The In­tense Tom Cruise Face — you know the ex­pres­sion I mean, where he looks like he’s about to ex­plode and/ or start yelling, but doesn’t — makes fre­quent ap­pear­ances, as does the trade­mark arm-chop­ping Tom Cruise Run. — Moira Mac­don­ald,

is a sigh of de­feat. Now Tom’s only goal is to give us a kick­box­ing fight or a mo­tor­cy­cle chase ev­ery eight min­utes, and hope for the best. — Kyle Smith, This is en­ter­tain­ing in its schematic way; it’s im­pos­si­ble not to re­spond to the theme mu­sic on a Pavlo­vian level. There’s a sen­ti­men­tal at­tach­ment. But like Tom in that almighty open­ing plane stunt, I’m find­ing it harder and harder to hang on. — Peter Brad­shaw, For about 90 min­utes or so,

is grandly ex­cit­ing. But in the fi­nal half-hour, McQuar­rie makes a crit­i­cal mis­take: He starts tak­ing this en­joy­able non­sense se­ri­ously. — Rene Ro­driguez,




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