Perhaps the film series with an almost symbiotic link to its main actor, “Mission: Impossible”, begins its journey towards what they announce will be its final end with this first part (but the number 7 link in the successful chain of impossible adventures ), which aims to close the enormous dramatic arc of the spy and benefactor of global causes Ethan Hunt, giving his actor, the indefatigable Tom Cruise, a breather, who with this film will seek to rescue a summer of languid productions in content and flaccid performance box office. And it will surely achieve it, since the film offers everything its captive audience is looking for in a film with this well-defined brand, which has consolidated a succession of plots very similar as an equation (Hunt + Sins of the past + Villain on duty * Unheard-of sequences of chases and fights), with the usual infrastructure that includes sophisticated international sets or scenarios and the plot stamp of writer-director Christopher McQuarrie, who already feels at ease with these films. But the process has already been somewhat automated, to the point that the adversary is a renegade artificial intelligence, constituting a curious irony both because of the historical moment in which there are strikes in Hollywood repelling in the presence of said technology capable of supplanting the work of writers and actors, as well as the plot of the film, which suspiciously looks like a cut and paste of the great successes of the predecessor films, with some variants here and there that continues to entertain due to the quality of the production factors, however Clear signs of narrative exhaustion.
The film opens with a Russian submarine, the Sebastopol, being sabotaged by a powerful weapon that uses an AI so sophisticated that it begins to speculate on specific plans for a new world order, but it can only be activated with a two-part cruciform key that, after the Tragedy in the submarine, it has gone missing. Since the fate of the world depends on who gets said key, it falls to Hunt and his usual team, computer ace Luther (Ving Rhames) and analyst Benji (Simon Pegg) to get hold of them once Hunt’s ambivalent ex-boss , Eugene Kittridge (Henry Czerny), -who we believed missing since the first film after the incident of the exploding gum and the giant fish tank- has given you all the information about the whereabouts of one of the parts of the key. Hunt will find unexpected help from a skilled pickpocket named Grace (Hayley Atwell), whom he meets at an airport, to counter the nefarious plans of a man who is an important part of Ethan’s past, Gabriel (Esai Morales), in whom he sees a twisted mirror of behavior and morality and who works directly for Artificial Intelligence, which has been ominously dubbed The Entity, along with a silent hitman named Paris (Pom Klementieff). Using other characters from past films such as Ilsa Faust (Rebecca Ferguson) and the ambitious arms dealer Alanna, aka The White Widow (Vanessa Kirby), the script aims to rivet some plot loose ends and strengthen others that show the protagonist’s great commitment to his friends and allies, perhaps manifesting as his Achilles heel when the AI seeks to harm his teammates in order to defeat Ethan.
It is curious how a 1960s television series like “Mission: Impossible” that arose from the cultural furor over spy fantasy characters from the Cold War like James Bond, finds a postmodern reflection in this film that takes up several of the structural components of those films, with Sean Connery to conceive crazy adventures against formidable villains where the global destiny is at stake but with a framework that must be assembled on the fly like puzzle pieces, trying to pass off as complicated a plot that is very linear in its substance and form. This desire to entangle the elemental has become part of the house brand and in this sequel the plot points occasionally become morrocotudos for no reason, unbalancing the rhythm of the story, one that is highly dependent on the patience of the viewer in the face of too much repetition in dialogues. and events about what we see (there’s a scene where two characters on a train literally enunciate with ridiculous passion what we already know by way of exchanges from a Silver Age comic), by way of breaks between action sequences, which We already know they will not reproach Cruise’s efforts because they come out perfect. And yet there is something tired before the umpteenth chase in Venice or Cruise running (Again! But we also understand that this is his thing), or riding a motorcycle at heart-stopping speeds that already produce a slight yawn instead of the rush of adrenaline that used to provoke. And to be honest, “Mission: Impossible – Deadly Judgment – Part 1” can be a lot of things that aren’t necessarily rosy, but the enthusiasm that evidently goes into the making of these tapes continues to be infectious, and I guess you have to be thankful that they’re a long way off. of the abysses represented by other brainless action summer products such as the smash of “Fast and Furious X”, so of the lesser evils, at least until the conclusion of this saga comes next year, then we’ll see… .
Mail: [email protected]
2023-07-17 13:07:27
#MISSION #IMPOSSIBLE #DEADLY #SENTENCE #PART #MISSION #IMPOSSIBLE #DEAD #RECKONING #PART
