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Rating: Among the different types of viewers, there are those who love the Mission: Impossible saga and those who consider it a poor imitation of James Bond. In fact, the two series share the concept of a super-technological and indestructible spy who, against all logic of espionage, draws attention to himself with spectacular action scenes and always wins thanks to hyper-advanced gadgets and improbable plot twists.
In this penultimate chapter, Ethan Hunt is played by a Tom Cruise in excellent shape for someone over sixty, with the usual intensity of “motorcycle stunts without a stuntman”. Originally, Ethan was less misogynistic and slightly more credible than Bond. Over time, though, he has turned into a parody of himself, as demonstrated by this now-ailing saga - a compendium of recycling, exaggerations, and self-celebrations.
If you’re wondering, “But at least can someone who’s never seen the other films find it fresh and innovative?” The answer is a resounding no. Even the most indulgent viewer, the one who gets excited over mindless explosions and chases, will find themselves fighting off sleep crises given the 2 hours and 43 minutes duration.
The film starts with the inevitable McGuffin, which is a narrative pretext. This time, it's a cruciform key in two parts that can neutralize a super-artificial intelligence called The Entity, with a creative effort worthy of a lobotomized hamster.
Entity, of course, has gone rogue and threatens to control the entire world. Considering this concept was already expressed in 1969 with HAL from “2001: A Space Odyssey”, you can understand just how innovative this film is.
The key, which is continually mentioned in case most of the audience suffers from Alzheimer's, was “found” somehow after the shipwreck of a Soviet submarine in the Arctic, and Ethan has to retrieve one half of it, which unsurprisingly ends up in the hands of the current thief, Grace, who happens to be agile, strong, independent, and sexy, the classic femme fatale in action, stealing and fleeing while Ethan chases her, though he is also being pursued.
From this point on, the film transforms into a tour of previously seen chases and scenes: from Abu Dhabi (aping Dubai in Ghost Protocol), to Rome (repeating the third film), to Venice (echoing the Paris party of Fallout). Along the way, Ethan encounters sinister figures, all chasing the key, including two more strong, independent, and sexy women and a blonde Asian killer with a face covered in powder, dressed like a clown, straight out of Kill Bill but without Tarantino's talent behind the camera.
As if all this wasn’t enough, the grand finale is set on the Orient Express in Austria, attempting to emulate the famous Eurostar sequence from the first film and failing miserably. The result? A senseless collage of recycled scenes … and not even complete! Because in May 2025, the second part will be released. For those brave enough to face it.
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