Author: Sebastien Kraft

Sean Connery was the most classy. Roger Moore was the most seductive. Timothy Dalton was the most gritty.  Pierce Brosnan was the most suave. Today, Daniel Craig is the perfect hybrid of all his predecessors.

Coming off his first two outings as MI6 Agent 007, the critical hit, Casino Royale (2006) and the disappointment that was Quantum of Solace (2008), Craig returns in Skyfall, stronger and more motivated than ever.

In order to rejuvenate Bond and adapt him to his modern audience, Director Sam Mendes understands that he must first lower 007 down and humble him before raising him back up to his former glory. In Skyfall, Bond is older and world-weary; he is not as agile, accurate, and effective as he used to be. However, the film finds virtue in trust in others, and it emphasizes the notion that sometimes, the old ways are the best.

Among Skyfall‘s greatest strengths is its supporting cast. Naomie Harris delivers a perfect performance as the modern-day Ms. Moneypenny, whose relationship with Bond remains flirtatious, albeit not as cartoonish as in the Connery years. Javier Bardem’s portrayal of main antagonist, Raul Silva, a former MI6 agent, is also quite intimate and personal, and effective, at that. Bardem adopts the Bond franchise as though he were always a part of it, a hidden pearl waiting to be discovered. Viewers will have absolutely no trouble accepting him as the villain, and the conflict in which he engages with Bond is extremely compelling.

Other characters such as Berenice Marlohe’s Bond girl, Severine, and Ben Whishaw’s hybrid gadget-maker/quartermaster, “Q,” are also perfectly cast, and they complement Craig’s Bond with excellent chemistry and a great deal of realism.

The film’s emotional core revolves around the encompassing theme of resurrection, which lends the film a gravitas that is unprecedented – but ingenuous and original on Mendes’ part – in the 007 saga. Indeed, during one encounter with Silva in the film, Bond even explicitly cites this recreation of life as his principal hobby, and only half-humorously. As evidenced in the film’s action-packed trailer, Bond is seemingly shot off a moving train and killed in the film’s opening. In itself, the mere fact that this is not a spoiler for the film already exhibits the extent to which the film delves into existential depths. Driving questions such as, “Why not stay dead?”, which Ralph Fiennes’ handsome and frank Bond ally, Gareth Mallory, asks Bond, render the plot all the more captivating.

Ultimately, Skyfall delivers through its riveting action sequences such as this elegantly-shot Shanghai fight, and also through its innate ability to be more than just an action film. In its entirety, Skyfall is a contemplation on life and our human raisons d’etre – very literally, our “reasons for being” and our motives for persevering past life’s obstacles.

Despite all of Skyfall’s captivating storylines and intricate relationships, the interactions between Bond and Judi Dench’s resilient, strong-willed MI6 chief, “M,” are the film’s most intriguing and touching moments. Dench is superb in her best outing yet as Bond’s superior, and she gives Craig a run for his money with ease. In the end, however, the pair are two peas in a pod, both in character and performance, and the film would not have been the success that it was without them.

Skyfall is a thoroughly entertaining chapter in the James Bond saga that reinvented 007 for the modern age. On a personal note, it is my favorite of the 24 Bond films released to date, and I can’t wait to rewatch it!

Final rating: four stars, without question:

Image Credits (in order of appearance):

1.) See below –

4 More Character Posters Revealed for Skyfall

2.) http://bondandbeyond.forumotion.com/t1750p60-skyfall-character-poster-s

3.) https://docublogger.typepad.com/barn_movie/2017/01/film-critic-linda-cook-gives-4-out-of-4-stars-to-the-barn-raisers.html

Among avid cinema enthusiasts, commonly known as “geeks,” it is often believed that, save for The Empire Strikes Back (1980), sequels are never as effective as their predecessors. Though Avengers: Age of Ultron is in many aspects a thoroughly enjoyable movie, it indeed follows the movie tradition of not quite living up to the hype that the original created.

Released in May 2015, Age of Ultron needed to successfully continue the Avengers saga while also setting the stage for future films in the Marvel Cinematic Universe (MCU). Given its release date, this film was very much a sort of “bridge” to the 2016 hit, Captain America: Civil War, and more importantly, this year’s mega-hit, Avengers: Infinity War. 

My principal concern with Age of Ultron is that it does not stand concretely on its known; more simply put, it is not enough of an independent entity. Fans wait months, if not years, for the next Avengers films, and Marvel Studios is well aware of this. With its nearly $460 million and over $1 billion gross totals domestically and worldwide, respectively, Age of Ultron clearly capitalized on its loyal audience. However, as evidenced here, the fact that a film carries the Avengers brand does not guarantee it is a masterpiece or chef d’oeuvre.

Tony Star/Iron Man (Robert Downey Jr.), Steve Rogers/Captain America (Chris Evans), Thor (Chris Hemsworth), Natasha Romanoff/Black Widow (Scarlett Johansson), Clint Barton/Hawkeye (Jeremy Renner), Bruce Banner/Hulk (Mark Ruffalo), and Nick Fury (Samuel L. Jackson) all return in wholly respectable performances for each of the aforementioned actors. New additions Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) and Pietro Maximoff/Quicksilver (Aaron Taylor -Johnson) also shine in their first MCU stints.

Director Josh Whedon, returning from 2012’s original The Avengers, lends Age of Ultron a degree of originality by humanizing his heroes. Viewers discover that Hawkeye is married and has a family, and Whedon lends the team an unforeseen vulnerability.

In the end, however, something feels forced. A brewing romance between Banner and Romanoff attempts to portray the pair as outcasts for the sake of emotional development. However, the interactions between characters are not as natural and seamless here as in the original, in which they all first met. In Age of Ultron, the Avengers are a cohesive unit, and they throw a party. Humorous one-liners and jokes are aplenty, and while they do serve their purpose well, they are almost too frequent, and sometimes out of place.

The film’s action set pieces are the most captivating.  A highway chase in South Korea involving Cap and Black Widow is among the episode’s most entertaining scenes. The final battle against sentient robot, Ultron, who replicates himself numerous times to form his own army, is also exciting and action-packed. The battle, as well as the creation of Ultron himself, are straight out of Marvel comic books. Each hero receives his or her elegant costume upgrade, and the production and set design are excellent. The film’s special effects are also technically sound and extremely on-point – I never believed that a floating city could be made to look realistic! Thus, as purely a comic-book movie, Age of Ultron is fairly satisfying.

Though it is by no means a poor movie, Age of Ultron has too many moving parts, and when I saw it in theaters, I felt that, for fans such myself, it was not completely worth the painstaking wait. The fantastic Downey-Evans-Hemsworth trio could save any movie, and Age of Ultron greatly benefits from their performances. As evidenced by its box office showing, the film is entirely marketable thanks to the Avengers name. Unfortunately, from a story and plot standpoint, Age of Ultron is not sufficiently captivating, prompting me to dub it underwhelming, and ultimately, as in the above title, “mediocre.”

Final rating:

2.5 out of 4 stars

Image Credits (in order of appearance):

1.)https://www.cleveland.com/entertainment/index.ssf/2015/04/how_avengers_age_of_ultron_set.html

2.) https://comicbook.com/2014/10/23/avengers-age-of-ultron-first-teaser-poster-released/

3.) https://www.boiseweekly.com/boise/avengers-age-of-ultron-scores-second-biggest-opening-in-history/Content?oid=3465535

4.) https://www.codeproject.com/Questions/458976/How-can-I-apply-the-half-star-rating-control-with

One might wonder, how is it possible to convey an astronaut’s true emotions during a flight or launch? In the Neil Armstrong biopic, “First Man ,” director Damien Chazelle, who also directed the likes of “Whiplash” and “La La Land,” makes the answer blatantly clear — the emotions lie in the eyes.

Based on the book by James R. Hansen , “First Man” – released on October 12, 2018 – is an intimate account of Armstrong’s tumultuous life as a NASA astronaut, and ultimately, as the first man to walk on the moon during the renowned Apollo 11 mission.

For all the unabashed heroism and patriotism of space films past — see classics “The Right Stuff” and “Apollo 13 ” — this film’s greatest virtue is its grounded storytelling. Indeed, Chazelle strips his story of all idealism and he understands that unglorified realism is the only proper method of cinematically recounting a true story.

“First Man” boldly takes viewers to a place few would expect from the space exploration genre. The film’s cinematic reinvention revolves around two entities that are inherent to space travel, darkness and most notably, silence. These themes become most prevalent in the film’s climax, a lunar sequence with almost no dialogue.

The film is simultaneously intense and genuine in its portrayal of the dangers and personal costs of space exploration. The opening sequence immediately thrusts the viewer into the action.

It features Armstrong, played by Chazelle’s “La La Land” star Ryan Gosling , in the cockpit of the X-15, a high-altitude rocket plane , with no heroic theme song to accompany him; it is only a man and his ship. During each launch and mission, Chazelle utilizes extreme close-ups of Armstrong’s eyes to showcase the physical struggle and mental fortitude required of an astronaut.

Another scene that showcases the film’s brutal intensity is the incredible, gravity-defying “Agena spin” sequence during Armstrong’s second mission to space. A clip from this sequence can be viewed here.

While “First Man” depicts Armstrong’s rise to international prominence through NASA’s Gemini and Apollo programs , the film is incredibly grounded and it humanizes Armstrong almost to a fault. Though apt and realistic, Gosling’s overly stoic and introverted portrayal of Armstrong emphasizes the astronaut’s meticulous — and at times, emotionless — mastery of his complex craft. Gosling’s performance is excellent, but it needs a bit more flavor.

       Gosling as Armstrong in the cockpit of the Gemini capsule.

Meanwhile, Claire Foy, known for her role in “The Crown,” is perfectly cast as Armstrong’s wife, Janet . Foy’s genuine performance as the de-facto family leader amidst her husband’s frequent absences seamlessly compliments Armstrong’s relentless devotion to his post. Foy easily replaces her real-life British accent with a distinctly southern inflection that adds independence and fierce determination to Janet’s character.

Jason Clarke, an Australian actor , is also indistinguishable and superb as Armstrong’s Gemini peer and best friend, Edward White. Both Ed and Janet offer moral support to the oft-impenetrable Armstrong. In addition, Corey Stoll turns in a humorous yet convincing performance as Buzz Aldrin, Armstrong’s more extroverted Apollo 11 comrade.

Throughout the film, Chazelle’s up-close-and-personal, shaky-cam style is extraordinarily effective in conveying Armstrong’s palpable emotions directly to the viewer. This cinematography style is especially apparent in the interactions between Gosling and Foy, a pair with undeniable chemistry.

Gosling an Foy in an emotional scene from First Man.

An example of Chazelle’s intimate directorial style can be viewed in this New York Times breakdown.

Chazelle’s choice to shoot First Man on 16 mm film is beautifully original and very effective. This technique grants the movie a more narrow and multicolored 60s-like gradient that blends in quite well with the Space Age time period.

The vivid yet succinct presentation of the Apollo 1 fire that killed three astronauts further exhibits the impact of Chazelle’s directorial choices, many of which were inspired by fellow director Christopher Nolan. Chazelle reunites with composer Justin Hurwitz , his Harvard classmate and Oscar-winning “La La Land” partner, to craft the film’s stunning soundtrack and sound mixing. The realism of launch and ignition sound effects is innate and immersive, and they greatly contribute to the viewer’s firsthand experience.

In addition, masterful set design enables the film to recreate the NASA space capsules with extreme precision and to the nearest dial.

The film’s greatest homage to Armstrong’s legacy is its emphasis on the characters’ emotions and facial expressions, rather than on its own script. As a blockbuster, “First Man” significantly strays from the status quo by humbling its hero. However, as a unique, wholly entertaining cinematic masterpiece or chef-d’oeuvre, as Chazelle, a native of France, might say, the film exceeds all expectations.

Ultimately, “First Man” defies Hollywood tradition in its choice to lower its hero down to human level instead of elevating him to immortality. Though Armstrong will be forever remembered, the film thrives due to its originality and fearlessness in telling a story exactly as it took place — no glorification needed.

Final rating: 3.5 out of 4 stars

Image Credits (in order of appearance):

1.) https://muropaketti.com/elokuvat/ryan-gosling-lahtee-kuuhun-talta-nayttaa-neil-armstongista-kertova-first-man-elokuva/

2.) See below –

Sea of Tranquility

3.) https://people.com/movies/ryan-gosling-claire-foy-first-man-sneak-peek/

4.) See below – (3.5/4 stars rating image)

Review: Blue is the Warmest Color (2013)

When was the last time a film’s stars were recorded singing live, rather than lip-syncing? When was the last time a renowned actor-director teamed up with a pop star? When was the last time Warner Bros. approved an actor’s lifelong passion project? When was the last time such a project amassed $75 million worldwide – in its first week?

The answer to all these questions is A Star Is Born, directed by Bradley Cooper and starring Lady Gaga, Cooper, and Sam Elliott. Released just last week on October 5, this film bypasses the traditional Hollywood brouhaha to delve more deeply into inherently flawed characters and the wonderfully soulful, purifying entity that is music.

Chief among the film’s greatest virtues are its story, emotional resonance, and jaw-dropping soundtrack. The film chronicles the struggle of Jackson Maine (played by Bradley Cooper), a skilled rock-and-roll-meets-country musician. Jackson, an alcoholic and drug addict, meets Ally (Lady Gaga), a cook by day and bar singer by night. Ally’s booming voice and elegant allure – Lady Gaga oozes stardom and showmanship from the film’s onset, even in spite of her character’s humble beginnings – soon captivate and inspire Jackson. Subsequently, Ally joins Jackson in concert and the two set off on tour.

Cooper and Lady Gaga.

From an audience’s standpoint, the film is incredibly engaging in that it reconciles themes of addiction, love, and the price of stardom. As Ally rises to prominence, she must learn to synthesize life as a celebrity with her family life with Jackson. The sincerity and authenticity of Cooper and Lady Gaga’s performances are sensational, and even the casual viewer will feel chills upon several occasions.

In the end, the three clear pillars of the film’s soundtrack are original songs “Shallow,” “I’ll Never Love Again,” and “Maybe It’s Time“. In these songs and others, the film’s original lyrics and performances are incredibly emotional. In addition, from a cinematic and directorial standpoint, its intimate, close-up filming style is extremely effective in relating the characters directly to the audience.

Supporting roles are also essential to A Star Is Born, and low-voiced southerner, Sam Elliott – recognizable as the narrator from RAM truck commercials and Coors Light ads – delivers as Jackson’s long-tenured manager. In the film, Elliott combines his signature bass with substantive, at times vulnerable acting, proving himself a powerful counterpart to Cooper’s singer. Anthony Ramos also shines in a minor role as Ally’s best friend and coworker, Ramon, remaining humorously on par with screen mainstays Cooper and Lady Gaga.

Cooper, Lady Gaga, and Elliott.

Overall, a fantastic script, excellent directorial choices on Cooper’s part, and an otherworldly soundtrack propel A Star Is Born to a new level of cinematic glory. Though the film is rated “R” for “language throughout, some sexuality/nudity and substance abuse” (Motion Picture Association of America), it strays from the conventional, large-budget, action-packed box office breakers of present Hollywood tradition. Readers beware: no spoilers here, but be sure to bring Kleenexes…

While A Star Is Born is, at its core, a remake of its 1976 predecessor starring Barbara Streisand, it does not feel as such and is wholly original. This is an absolutely excellent film that, thanks to its original soundtrack, Bradley Cooper, and Lady Gaga, not only succeeds, but thrives. If A Star Is Born is not present at the Academy Awards, I have no idea what film could be.

*See behind-the-scenes footage here.

Image Credits (in order of appearance):

1.) https://www.imdb.com/title/tt1517451/

2.) See below-

Oscar Voters Are Sure to Go Gaga for Bradley Cooper’s ‘A Star Is Born’

3.) https://abcnews.go.com/GMA/Culture/bradley-cooper-reveals-singing-stage-star-born-terrified/story?id=58252180

4.) https://docublogger.typepad.com/barn_movie/2017/01/film-critic-linda-cook-gives-4-out-of-4-stars-to-the-barn-raisers.html

How does one modernize spy movies? This is a question that film directors have long contemplated, largely in vain. In many respects, James Bond’s suave one-liners and Jason Bourne’s darker, shaky-cam action have aged well; however, come 2014, something was still missing from spy movies, and Kingsman: The Secret Service, directed by Bond alumnus, Matthew Vaughn (Casino Royale, 2006), summed it up in one letter: “R”.

More often than not, profanity drags a film down, and it severely limits a film’s cinematic scope in terms of audience size. However, Kingsman blows all conventional wisdom out of the water, providing the viewer with a truly enjoyable and often hilarious cinematic experience. Its “Restricted” rating from the Motion Picture Association of America grants it a heightened level of intrigue that render it all the more appealing.

Kingsman‘s uncommon watchability and rewatchability originate from its characters and its levelheadedness as a film. Grounded in reality, Kingsman follows the struggle of Eggsy (Taron Egerton), a young adult living in the poorer London suburbs. Eggsy is the son of a deceased Kingsman agent who suffers from an abusive relationship with his stepfather and local bullies. A star gymnast in his early teens and a marine drop-out, Eggsy forgoes college and a more prosperous career route to provide for his abused mother and baby sister. The film’s depiction of Eggsy’s humble beginnings tremendously engage the audience, for it incites hope and pity towards him.

Enter Harry Hart (Colin Firth), a handsome gentleman arriving to bring Eggsy’s – and the audience’s – hopes to fruition. Harry teaches Eggsy the ways of the secret Kingsman intelligence organization, an entirely inconspicuous entity that has protected England for centuries.

One of the film’s most memorable scenes involves Eggsy entering Harry’s office and reading utterly banal headlines on the front pages of newspapers on the wall. These newspapers all followed important Kingsman missions, none of which were publicly acknowledged. This scene speaks to the humility that one must adopt in order to truly become a gentleman.

Harry and Eggsy entering Kingsman headquarters.

Several epic and quite creative training scenes involve Eggsy holding his breath underwater for a prolonged period of time; skydiving with his fellow trainee, Roxy; laying on a track shortly prior to the arrival of an incoming train and having to hold his tongue about Kingsman; and being forced to shoot his dog. The sheer originality of these scenes exhibits the screenplay’s audacity, a rare virtue in modern cinema. Henry Jackman’s soundtrack is also stupendous, perfectly complementing every action set piece and gentlemanly wardrobe change.

Every successful action film pits protagonists against equally charismatic and appealing antagonists. Such is the case here. Samuel L. Jackson and Sofia Boutella offer unique performances as the villainous Valentine and the blade-legged Gazelle, respectively. Jackson’s gangster-style take on the role modernizes the typical spy villain, and Valentine’s motivation to solve climate change – albeit by committing widespread genocide – is a fairly plausible objective for such an eccentric villain.  Jackson’s addition of a lisp is also a perfect acting choice, as it humanizes Valentine.

Though Kingsman‘s character development is excellent, the film suffers from gratuitous blood and violence, most notably a church killing rampage featuring Harry. However, the film is bold and original, taking audiences – not to mention, largely traditional British theater actor, Firth – to places they have never even imagined. Ultimately, the film’s combination of action, heart, and wit is unbelievably coherent, and in spite of its “R” rating, the film truly works. Families can be wary of a few “close your eyes” or “lower the volume” scenes , but in the end, it is not a secret that Kingsman: The Secret Service is a hit.

Final rating: 

Image Credits (in order of appearance):

1.) https://www.amazon.com/KINGSMAN-SECRET-SERVICE-ORIGINAL-Version/dp/B00YX2NEZO

2.) https://www.tailoronten.com/blogs/news/17774808-the-suits-of-kingsman

3.) https://themoviemayor.wordpress.com/

Sam Shepard; Ed Harris; Dennis Quaid; Scott Glenn; Barbara Hershey; Jeff Goldblum; Levon Helm. These names represent both the famous and the legendary. Some are even immortalized on the Hollywood Walk of Fame. All starred in the 1983 classic, The Right Stuff, a cinematic masterpiece based in aviation and space exploration that both encompasses and redefines patriotism, friendship, camaraderie, and the American spirit.

Based on the book of the same title by Tom Wolfe and directed by Philip Kaufman, The Right Stuff is most definitely among my top five favorite movies of all time, and I believe it deserves a great deal more renown than that which it has obtained. Indeed, though seemingly forgotten, this jewel of a film has aged seamlessly with extraordinary acting and special effects.

The movie spans the first 15 years of the U.S. space program, and it chronicles both the U.S.-Russia “Space Race” and the early pioneers of supersonic aviation. Since I was five years old, my favorite airplane was the orange Bell X-1 rocket plane – now hanging in the Smithsonian National Air and Space Museum in Washington, D.C. – that was the first to break the sound barrier (Mach 1) on October 14, 1947. I was first drawn to The Right Stuff when I learned that the X-1 featured prominently in the film; however, though the X-1 remains my favorite plane, I now rewatch The Right Stuff to revisit its fantastic performances and its gritty, human storylines.

The Right Stuff opens in the Southern California desert as test pilot Charles E. “Chuck” Yeager (Sam Shepard) becomes the first to fly faster than sound in the X-1. The grounded, unbreakable friendships between Yeager, his Air Force partner, Jack Ridley (Levon Helm), and his wife, Glennis, quickly become evident. Scenes featuring Yeager and Glennis on horseback grant the film a personal, “salt of the earth” feel, and they offer a return to the post-war heartland of America.

The film’s emphasis on the camaraderie between characters is essential to its theme: that everyday men can be (and were) heroes. The Right Stuff effortlessly alternates between Yeager’s test pilot world in California and the Mercury astronauts’ first exploits – the first days of NASA – in Cape Canaveral, Florida.

Leading the charge among the Mercury astronauts is Ed Harris as the handsome, talented, and widely popular John Glenn. The film thrives in depicting Glenn’s relationship with his loving wife, Annie (Mary Jo Deschanel), who possesses a clear stutter and speech impediment. Harris’ acting brilliance comes to full fruition when Glenn tells Annie that he will support her unequivocally if she stands her ground and sends the television cameras, as well as then-Vice President Lyndon Johnson (whose raging temper is portrayed hilariously by Donald Moffat) away.

In addition to the familial tumult of an astronaut’s life, the paradox between the glory and the peril of the job quickly becomes evident. The film’s special effects are sensational, especially during Glenn’s launch and his first few orbits. These scenes feature Glenn watching the beautiful sunrise over Earth before immediately having to reenter the hazardous atmosphere and risk burning up, hence the aforementioned paradox.

Over the course of the film, Yeager and his pal, Ridley, engage in a recurring line of dialogue. Yeager asks Ridley whether he has “any Beeman’s” chewing gum, to which Ridley replies, “Yeah, I might have me a stick,” before the two set out to prepare Yeager for his next, most daring flight. This humorous repetition in the face of mortal danger conveys the notion that friendship can conquer any life challenge, no matter the speed or altitude. The various pre-flight gum conversations, which are both quite funny and perfectly acted, can be viewed here.

In the end, the most triumphant aspect of The Right Stuff is its soundtrack, which I believe to be among the single most underrated movie scores of all time and possibly the greatest ever. Composed by the unrivaled Bill Conti (Rocky, The Karate Kid, For Your Eyes Only), the instrumentation is part-classical chef-d’oeuvre, part-50s rock-and-roll, and wholly American patriotism. Conti’s steady rises and descents – alternating crescendos and diminuendos – culminate in a fanfare for the ages. Conti’s main theme can be found here.

Clocking in at a lengthy three hours and 13 minutes, The Right Stuff it is not the sort of film that is commonplace today. However, while today’s viewers may flock to shorter, “shoot-em’-up” action films for mere entertainment, The Right Stuff is a movie that all viewers can enjoy – as both entertainment and an allegory on the human condition and the American spirit.

Nominated for eight Academy Awards in 1984, The Right Stuff won three: Best Original Music Score for Conti, Best Sound Editing, Best Sound Mixing, and Best Sound Editing. The film was nominated for Best Picture, and Sam Shepard was also nominated for Best Actor in a Supporting Role. Unanimously praised by critics – see its astounding 98 percent rating on aggregate review site, Rotten Tomatoes – The Right Stuff is a cinematic masterpiece that will not be forgotten, and that will continue to inspire Americans such as myself for generations to come.

 

Verdict: Though I would like my reviews to become more strict (critical), this film is too good for it not to receive a perfect grade of four stars.

Image Credits (in order of appearance):

1.) https://www.imdb.com/title/tt0086197/

2.) https://hiveminer.com/Tags/1,nasm/Timeline

3.)http://blog.al.com/breaking/2010/04/tomas_olfe_author_of_the_right.html

4.) https://docublogger.typepad.com/barn_movie/2017/01/film-critic-linda-cook-gives-4-out-of-4-stars-to-the-barn-raisers.html

A ticking clock. A helicopter. A motorcycle. A hero in peril. These are all elements of a traditional action blockbuster. Though Mission: Impossible – Fallout – directed by Christopher McQuarrie and starring Tom Cruise, and released on July 27, 2018 – contains all of these elements, it is far removed from the traditional action film. Indeed, its cinematic quality and appeal are infinitely greater than the everyday blockbuster, and its near-perfect 97 percent rating on aggregate review site, Rotten Tomatoes, speaks to its unparalleled luster and its high level of pure entertainment.

In its entirety, Fallout is a steady crescendo filled to the brim with exhilarating stunts, rapid chase scenes, and shiver-inducing suspense. One of Fallout‘s greatest qualities is that it often lets the action speak for itself, omitting any unnecessary dialogue and allowing the viewer to decipher the events taking place. Ultimately, though, it is the man leading those events who is the most remarkable.

Tom Cruise is at his absolute best in his sixth outing as Impossible Mission Force (IMF) agent, Ethan Hunt, performing death-defying stunts with unbelievable ease and poise, and making the maneuvers seem as common as cereal for breakfast. Cruise’s dangerous sequences include a high-speed motorcycle chase around the Arc de Triomphe in Paris, which can be viewed here; a High Altitude Low Opening (HALO) jump that required 105 separate jumps to film in real life, all which Cruise completed without a stuntman; multiple jumps between buildings in London – one in which Cruise broke his ankle in real life, but still managed to complete the take (see this clip, viewer discretion advised 🙂 ); and a climactic helicopter chase that is among the best action sequences ever put to film. Though these exploits push Cruise to his physical limits, they are to the viewer as a bone is to a dog: utter thrill and delight.


Tom Cruise: airborne or born for the air?

Fallout distinguishes itself from other action movies – and from all films, for that matter – in its synthesis and seamless intertwining of emotional depth, societal implication, and edge-of-your-seat excitement. Michelle Monaghan returns from Mission Impossible: III and Ghost Protocol (2006 and 2011, respectively) as Ethan’s estranged wife, Julia, but though her secondary role is quite moving, it is the primary supporting cast that steals the show. Ving Rhames returns as Ethan Hunt’s longtime partner, the irreplaceable, low-voiced Luther Stickel, and Simon Pegg reprises his role as the charismatic Benji Dunn, a tech-savvy source of perfectly measured comic relief that is never blown out of proportion. Alec Baldwin also turns in a very respectable showing as IMF Director Alan Hunley, serving as the older, wise superior to Cruise’s Hunt. McQuarrie also includes two symbolic references to the 2015 Paris terror attacks that each involve a wounded police officer on the ground waiting to be shot. These references are vivid and poignant, and they serve their purpose quite well in grounding Fallout in the real world.

From a casting standpoint, it is Rebecca Ferguson, returning as MI6 agent, Ilsa Faust, from Mission: Impossible – Rogue Nation (2015), who shines brightest and delivers the most resonant and sentimental performance. Since her first appearance in Rogue Nation, Ferguson and Cruise have complemented each other perfectly, interacting with complete chemistry and never missing a beat. The blooming romance between the two, though never explicit, is, as in Rogue Nation, stylishly and elegantly depicted, especially in a meeting between Ethan and Ilsa at the picturesque Colonnes de Buren architectural site in Paris.

In order to thrive, a film with great heroes must also possess villains who are equally well-portrayed. Henry Cavill, whom most viewers would recognize as Superman, plays Ethan’s complex, mustache-sporting, and deceptive foe with menace and fortitude. Sean Harris also reprises his Rogue Nation role as Solomon Lane, and McQuarrie’s choices as both director and screenwriter are such that they pair Cruise and Cavill, and Ferguson and Harris, as exact counterparts in both actor and character. This equivalence only intensifies the battle and further lures the viewer in, culminating in an explosive showdown involving the imminent detonation of not one, but two nuclear bombs.

Composer Lorne Balfe accompanies Fallout with a profound, ambient soundtrack that fits in quite nicely. Balfe’s recurring use and remix of the Mission: Impossible theme, originally from the late-’60s television show, is expertly inserted and innately captivating, greatly enhancing the film’s visual entertainment through audio.

Ultimately, McQuarrie turns in a masterpiece, depicting the fictional world of IMF espionage in a grounded, realistic manner, even though Cruise’s superhuman aerial stunts are far from grounded! Fallout also delves deeper into Ethan Hunt’s emotions and alludes to previous Mission: Impossible films through scenes such as the iconic rock-climbing segment from Mission: Impossible II (2000, see below). This homage, which is brilliantly replicated at Fallout‘s climax – in contrast with the opening of Mission: Impossible II – is truly awesome and satisfying, and it caps off a wild but meticulously organized thrill ride that is successful in all aspects.

They say history repeats itself…Mission: Impossible II (2000), top, and Mission: Impossible – Fallout (2018), bottom.

*Beginning with this review, I am instilling a rating system out of four stars. Mission: Impossible – Fallout earns a perfect four out of four stars.

Image Credits (in order of appearance):

1.) https://www.imdb.com/title/tt4912910/

2.) See below –

Go Behind-the-Scenes of Mission: Impossible – Fallout’s HALO Jump Stunt

3.) https://www.usatoday.com/story/life/movies/2018/07/25/mission-impossible-fallout-5-times-tom-cruise-blew-our-minds/830088002/

4.) http://time.com/5349500/mission-impossible-fallout/

5.) http://www.icollector.com/Mission-Impossible-II-Ethan-Hunt-s-Chalk-Bag-Tom-Cruise_i15604008

6.) https://www.yahoo.com/entertainment/death-defying-mountain-top-screening-mission-impossible-fallout-085956593.html

7.) https://docublogger.typepad.com/barn_movie/2017/01/film-critic-linda-cook-gives-4-out-of-4-stars-to-the-barn-raisers.html

For this, my first movie review, I have selected a film that possesses personal significance. This blog is entitled Tricolored Reviews, and the 2006 Pixar hit Cars, directed by John Lasseter, was the first film I ever saw in the United States after moving to Maryland from my native country, France. At that time, as a mere six-year-old child, I did not fully grasp or comprehend – indeed, given my limited mastery of English – the cinematic masterpiece that I was enjoying.

Among Pixar’s various successes, I often hear my friends and classmates cite Toy Story, Monsters, Inc., The Incredibles, Ratatouille, Finding Nemo, Up, or others as their favorite. However, seldom do I hear the opinion with which I wholeheartedly agree: that Cars is at once the most underrated and the very best Pixar film.

The film’s simple title is misleading: though this adventure includes numerous automobiles, its theme centers around much more than just vehicles. Indeed, Cars is an allegory on both life and the American Dream. The movie depicts small towns, large canyons, busy interstates such as Route 66, evolving landscapes, and the humble, grounded values that are at our nation’s core. Subsequently, Cars allows itself to be omni-applicable, for through optimism, it grants itself an innate relatability with American viewers of all ages.

Cars is the perfect Pixar movie because it is inherently universal; in other words, it synthesizes action-packed and thoroughly entertaining race sequences – i.e., material that will instantly sell and is akin to a ready-made movie trailer – with profound emotional resonance and character development. Thus, the film can appeal to all audiences.

The film’s main character, Lightning McQueen (voiced by the incomparably charismatic Owen Wilson), evolves from selfish and greedy, “one-man show” – to quote one of his lines from early in the film – race car to a humble and genuine friend worthy of emulation. Ultimately, Cars offers invaluable insight into how one should carry out his or her life; that is, by transitioning from the fast-paced brouhaha that is life’s metaphorical “race track” and appreciating the little things. These fundamental aspects of life include nothing more than a drive in the forest, which Lightning takes with his love interest, Sally (Bonnie Hunt), a Porsche. Ultimately, Cars thrives in emphasizing the simplicity of life and the transition from youthful naïveté to mature wisdom that life engenders – that is, when it is carried out with dignity, friendship, and humility.

In addition, Cars’ soundtrack is among its greatest strengths, and this musical fortitude separates the film from its other Pixar counterparts – though, I will acknowledge, one can never omit Randy Newman’s “You’ve Got a Friend In Me” from Toy Story.* The soundtrack mixes timeless and modern hits, including “Route 66” by Chuck Berry; “Life Is a Highway” by Rascal Flatts; rock classic “Real Gone” by Sheryl Crow; “Find Yourself” by Brad Paisley; “My Heart Would Know” by Hank Williams; and perhaps the most powerful and emotional piece, “Our Town,” beautifully sung by James Taylor and written by Randy Newman. On a personal note, every time I hear, “Our Town,” I feel a knot in my stomach and I hold back tears, remembering all my deceased friends and family members. In addition, I begin to feel grateful for my life, and I am immensely moved. I hope you, too, will experience the song’s beauty here…

*Interestingly, Newman also composed and conducted the Cars instrumental score!

Initially, Cars opens to Lightning’s first race, the championship of the coveted – albeit fictional – Piston Cup. Lightning exits his trailer and enters the crowded, flashbulb-filled motor speedway to the enthralling tune of Sheryl Crow’s rock classic, “Real Gone.” From that moment, the film absolutely takes off, and Pixar even includes renowned sports announcers, Bob Costas and Darrell Waltrip – whose characters are hilariously renamed Bob “Cutlass” and Darrell “Cartrip,” respectively –  as de facto narrators. This opening is exciting to such an extent that every time I watch it – especially at the 3:55 mark when the TV intro cuts back to the race and the refrain of “Real Gone” resumes – I feel a rush of energy and pure delight.

In the end, Cars‘ primary virtue is indeed its characters and the relationships between them. The film’s principal arc involves the relationship between Lightning and his disillusioned mentor, “Doc” Hudson (voiced by the late Paul Newman). Lightning’s blossoming friendships with Mater, a rusty tow truck (voiced brilliantly by stand-up comedian and redneck imitator, Larry the Cable Guy), and Sally offer a blend of comic relief and romance that serve as a deliberate contrast to Lightning’s former, high-flying race life.

For all its perfect animation and wonderful storytelling, Cars features one scene in particular that is mind-bogglingly clever and moving, and I believe it is the best scene in all Pixar movies. The film’s entire first and second acts lead up to the final, tiebreaking race between Lightning and his two rivals. This race, the inevitable climax of Lightning’s arc, is an epic contest that concludes with one of the most audacious scenes ever put to film. When Lightning’s rival, Piston Cup veteran, Strip “The King” Weathers, suffers a terrible crash in his final race, Lightning sacrifices the championship and breaks as hard as possible, coming to a complete stop on the finish line. He then lets the malicious Chick Hicks win the race, switches to reverse, and pushes The King across the finish line. 
This scene encompasses Cars’ central theme: that racing is about more than just winning, and that character, rather than “an empty cup,” as Lightning puts it, is the true measure of oneself.

Image Credits (in order of appearance):

1.) http://soundeffects.wikia.com/wiki/File:Cars_2006_poster.jpg

2.) https://articulo.mercadolibre.com.ar/MLA-604251790-kit-imprimible-cars-bolsitas-invitaciones-candy-_JM?quantity=1

3.) See below –

"This grumpy old racecar I know once told me something—it's just an empty cup." 🏆 #WednesdayWisdom pic.twitter.com/p9H12U1rE5

— Disney•Pixar (@DisneyPixar) August 24, 2016