BONJOUR TRISTESSE (2025)

June 13, 2025

Greetings again from the darkness. Beauty. It permeates every scene in Durga Chew-Bose’s (TINY FURNITURE, 2010) adaptation of the 1954 Francois Sagan novel. The novel was previously adapted for the screen in 1958 by legendary filmmaker Otto Preminger, and this new version assumes a different tone while maintaining the essence of the novel. It should be noted that Sagan was only eighteen years old when her novel was published, adding pertinence to the character of Cecile.

A stunning villa by the stunning rocky cliffs and deep blue water houses the stunning trio of Raymond (Claes Bang, THE NORTHMAN, 2022), his girlftriend Elsa (Nailia Harzound, “Gone for Good”), and his daughter Cecile (a mesmerizing Lily McInerny). Stunning describes most everything here, so repetitive use is allowed. Raymond’s wife and Cecile’s mother, Sophie, died a dozen years ago, and the teenager (18) and her dad have a close relationship. For a while, we find ourselves asking, “who is the third wheel?”. Is it Cecile? Is it Elsa? Could it even be Raymond? Well, while Raymond and the gorgeous and philosophical Elsa make a beautiful couple, Cecile frolics with Cyril (Aliocha Schneider), a charming local boy who makes the perfect summer plaything.

Only nothing is perfect in this world where beauty abounds. Soon, Sophie’s long ago best friend, fashion designer Anne (Chloe Sevigny) shows up. Her invitation from Raymond exposes the bond he had with Elsa for what it was, while also disturbing Cecile. Things are quite awkward for a while as Anne’s low-key manner can best be described as passive-aggressive, even as she and Raymond grow closer. The simmering conflict between the women is fascinating to watch as it unfolds … sans any of the overly-dramatic histrionics we’ve become accustomed to in American relationship movies. These women are sly and clever as they quietly scheme.

Working closely with writer-director Durga Chew-Bose are cinematographer Maximilian Pittner, Costume Designer Miyako Bellizzi, and composer Lesley Barber in capturing the awe-inspiring by-the-sea with a south of France summer look and feel. Early on, Elsa states, “Everything is about listening”, which proves true for the characters, but it’s highly recommended that viewers also keep their eyes open!

On digital nationwide beginning June 13, 2025

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Posted by David Ferguson

TATAMI (2025)

June 13, 2025

Greetings again from the darkness. Given the turmoil around the globe, being the first film co-directed by an Iranian filmmaker and an Israeli filmmaker makes this one even more impressive … both on screen and behind it. The co-directors are Zar Amir Ebrahimi (who also stars) and Guy Nattiv (who also co-wrote the screenplay with Elham Erfani). Nattiv previously won an Oscar for his superb short film SKIN (2018).

Arienne Mandi (“The Night Agent”) delivers a powerhouse performance as Leila Hosseini. Leila is a competing for Iran in the WJA World Judo Championships. Her husband Nader (Ash Goldei) and their young son are cheering her on back home, along with a house full of friends and family. We first see Leila as she hops on the bike to drop .3 kg in 20 minutes in order to make her fighting class weight of 60 kg. After cruising through the first couple of rounds, Leila discloses to her coach Maryam (co-director Zar Amir Ebrahimi) that she has “a great feeling today.”

It doesn’t take long for her great feeling to turn sour. The Islamic Republic calls Maryam and orders Leila to fake an injury and withdraw to avoid the possibility of losing to an Israeli competitor in the finals. When Leila refuses, the threats to her family become real and danger awaits for anyone associated with Leila or Maryam. As any dedicated athlete can attest, the pursuit of excellence has nothing to do with politics … until it does. The story is inspired by a true story, and we see the extreme actions from all parties. It’s filled with tension and anyone who values freedom will be aghast.

Filmed in Georgia (the country, not the U.S. state), the writing and acting are top notch, even for those of us (yours truly) who know little of judo competitions. Tatami is the mat used for the competitions, and Leila certainly had multiple battles going on simultaneously. We feel her pain, both physical and emotional. Flashbacks are used sparingly to provide background, and it’s obvious why this film has been so frequently recognized and awarded on the festival circuit. The lesson, which never seems to be learned, is that political conflicts, even long-standing ones, can benefit so much from the humanity shown by individuals.

TATAMI opens nationwide on June 13, 2025

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Posted by David Ferguson

THE PHOENICIAN SCHEME (2025)

June 11, 2025

Greetings again from the darkness. At this point it seems clear that Wes Anderson makes movies for himself and his devoted followers … and his loyal troupe of actors. I can’t think of another filmmaker whose movies are so instantly recognizable and consistently similar in look and feel. The pacing, verbal style, color palette, and overall rhythm of his latest compares favorably to some of his previous, including: ASTEROID CITY (2023), THE FRENCH DISPATCH (2021), THE GRAND BUDAPEST HOTEL (2014), and MOONRISE KINGDOM (2012). Rather than a criticism, that’s intended instead as a notice to viewers. If, like me, you’ve enjoyed his past films, you’ll likely take pleasure in this one.

Benecio Del Toro (one of the great faces in cinema) takes the lead here as wealthy businessman Zsa-zsa Korda, who inexplicably defies death about as often as most people brush their teeth. Due to his frequent near-death experiences and the risk involved in pursuit of his latest project, Korda names his daughter, Liesl (Mia Threapleton, daughter of Kate Winslet), a nun-in-training, as his sole heir and invites her to be part of the latest venture. The enterprise is exceedingly well-planned as evidenced by the labeled wardrobe boxes. Of course, the project is too convoluted for us to understand, but that matters little. It’s the globe-trotting and interactions with famous faces that raise the entertainment value.

‘Deadpan’ is today’s magic word – as it is in most Wes Anderson films. And if there is a secondary word of the day it would be ‘goofy’, because this undoubtedly falls on the light-hearted end on the Anderson scale. It’s filled with jokes, site gags, and purposefully oddball moments designed to elicit laughter (or at least enjoyment). The third of the lead triumvirate here is Michael Cera, who seems completely at ease – actually excelling in the Anderson world. He plays Bjorn, a character more complex than we are initially led to believe … although we don’t believe it, even initially.

Joining in the fun is an all-star line-up of actors other filmmakers only dream of casting. These include: Willem Dafoe, Scarlett Johansson, Rupert Friend, Richard Ayoade, Jeffrey Wright, Hope Davis, Benedict Cumberbatch, and Mathieu Amalric, each memorable in their segments. You won’t want to miss Tom Hanks and Bryan Cranston as brothers taking on the infinitely unskilled duo of Del Toro and Riz Ahmed (as a crowned Prince) in a game of basketball … and even that pales to the scene with Bill Murray as God.

Anderson co-wrote the script with frequent collaborator Roman Coppola and the score comes from 2-time Oscar winner Alexandre Desplat. Cinematographer Bruno Delbonnel perfectly captures the Anderson flavor in what I believe is their first time working together. What I find fascinating is that while watching the film, the characters and story struck me as a bit of a lark, yet some moments have come back around in my mind, and it seems quite clear that Anderson purposefully and slyly buried some life messages in this little comedy. What I’m saying is that the film works as a comedy, but also may carry a bit more heft that what I thought while watching. That falls under the definition of refined filmmaking.

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Posted by David Ferguson

Book Review: “Warhol’s Muses”

June 7, 2025

“Warhol’s Muses: The Artists, Misfits, and Superstars Destroyed by the Factory Fame Machine” by Laurence Leamer

These days the name Andy Warhol invokes images of the zany 1960’s and a cultural icon of the 1970’s. To hear the name Warhol more often evokes a snapshot of an era, rather than the legacy of the person. Images flash through our mind of Marilyn Monroe, Campbell’s Soup, Brillo Pads, and even celebrity photos from Studio 54. Author and biographer Laurence Leamer has an impressive track record of documenting the entourages and close ties of the women associated with celebrity men in some of his previous books: “Capote’s Women”, “Hitchcock’s Blondes”, “The Kennedy Women”, and this latest follows the travails of the women who took a swim through Warhol’s Factory.

Leamer pulls no punches. For those searching for more ‘flower power’ or ‘peace and love’, this is not the book for you. In keeping with that, this is not so much a history of Andy Warhol as it is a detailing of the line of “superstars” that entered and departed from the Warhol sphere of influence. Surprisingly, this makes for reading that is every bit as interesting (and a bit dispiriting) as the numerous biographies that have been written on the man himself.

What Leamer makes clear is that Warhol had a desperate need to be famous. His pop art that sells for such extravagant prices today, never seemed to be a passionate pursuit, and for years it only got him so far along the path of A-list celebrity. Instead, Warhol’s talent for using the beauty and presence of these women to open high society doors seemed to be his true commitment … and the cost to those women mattered little to him. In fact, a recurring theme is his lack of emotional ties. Warhol seemed to carry a void for all but his own image. Although a few benefitted at times, these are the women who paid the price for his public image.

The muses of the title and the ‘superstars’ of Warhol’s Factory are subjects of fairly comprehensive recording and analysis by author Leamer. The ten discussed are: (Baby) Jane Holzer, Edie Sedgwick, Brigid Berlin, Mary Woronov, International Velvet (Susan Bottomly), Viva (Susan Mary Hoffman), Ultra Violet (Isabelle Collin Defresne, Salvador Dali’s former lover), Nico (Christa Paffgen), Ingrid Superstar (Ingrid Von Scheven), and Candy Darling (James Slattery). You may recognize some of the names, but what mattered to Warhol was that each stood out in a crowd, and while clutching his arm, helped soften his homosexuality for the masses. Each brought a level of glamour and a form of respectability to a mostly reserved and often socially awkward man.

Of course, the other side of that coin is where Leamer spends his time. Sex, drugs, art, and parties all over Manhattan were keys. However, Leamer details Warhol’s “independent” films that seemed to offer little more than an outlet for his fetishes, while providing hope for stardom to these women. Warhol made these “underground” movies for his own pleasure and as a way to lure those he wanted as part of the Factory. His movies like “The Chelsea Girls”, “The Nude Restaurant”, and “Blue Movie” may have been the best known, yet ‘smut’ or pornography often was the most accurate label for a Warhol film. Leamer makes this point without dwelling in the gutter.

Self-destruction is a recurring theme throughout Leamer’s recounting the tales of the muses, and he usually provides the evidence of Warhol being the reason, or at least a big part of it. Even with death/suicide occurring all-too-frequently, Warhol rarely showed outward emotion or grief. His peeps were not just replaceable, they were in fact, frequently replaced. Author Leamer goes on to detail Warhol’s connection to and management of The Velvet Underground, as well as his being shot at the Factory in 1968 by radical feminist writer Valerie Solanas (“SCUM Manifesto”). There is very little about this book or its stories that we find uplifting. Actually, the opposite is true. Despair was the emotion I most often felt while reading Leamer’s book, yet it’s also so well researched and insightful that we find ourselves appreciative of pulling back the curtain on a secretive icon of an era.

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Posted by David Ferguson

DANGEROUS ANIMALS (2025)

June 6, 2025

Greetings again from the darkness. I’ll admit to being braced for a low-budget horror movie that would have more in common with SHARKNADO than JAWS. This genre film from director Sean Byrne and screenwriter Nick Lepard is neither of those films, but certainly holds its own as terror on the open sea.

The extended pre-credit opening sequence tells us all we need to know about Bruce Tucker (Jai Courtney, A GOOD DAY TO DIE HARD, 2013). He’s a survivor of a childhood shark attack and his scars led to his obsession with the creatures – running a tour boat for those who want to get up close and personal with sharks (while in a cage, of course). Athletic and adventurous Greg (Liam Greinke) coaxes his meek and timid girlfriend Heather (Ella Newton, “Harrow”) onto the boat and into the cage. It turns out her hesitancy would have been better served as Tucker’s rugged charm quickly turns quite sinister.

Independent surfer, Zephyr (Dallas’ own Hassie Harrison, “Yellowstone”) crosses paths with Real Estate dude Moses (Josh Heuston, “Heartbreak High”) and the two exchange banter that certainly qualifies as high-level flirtation … leading to the back of Zephyr’s van, and her eventual unannounced departure. It doesn’t take long before her evening of bliss turns into her being next in Tucker’s long line. It’s a line so long, he has a VHS tape library of all his conquests/victims. See, Tucker does more than just sing the “Baby Shark” song. He feeds his sadistic nature in a manner that I won’t detail here.

IFC and Shudder films have teamed up to deliver a surprisingly taut thriller from an absurd premise thanks to Jai Courtney not overplaying a villainous role that could easily be over-the-top, and Hassie Harrison playing a believably tough woman fighting for survival. When Tucker first says, “No one even knows you’re here”, we recognize that we are in for a ride. This is director Sean Byrne’s first movie in ten years (THE DEVIL’S CANDY, 2015), and the first to include two versions of the “Ooby Dooby” song by Teen Jesus and CCR. For lovers of this genre, just know that the money shot is worth the wait.

Opening in theaters on June 6, 2025

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Posted by David Ferguson

SUNLIGHT (2025)

June 6, 2025

Greetings again from the darkness. After you loop the belt around the ceiling fan in the cheap roadside motel, you then tighten it around your neck. You are prepared to follow through, yet when you regain consciousness, you are shocked to realize your Sunshine Radio motorhome is being driven by a human-sized monkey. Writer-director and lead actress Nina Conti and co-writer and lead actor Shenoah Allen quickly jumpstart the oddities and make it clear this one is going where no man or monkey has gone before.

Ms. Conti (Tom Conti’s daughter) supersizes her stage act to play Jane in the monkey suit, while Mr. Allen takes on the suicidal Roy. The two become more than traveling partners. They slowly establish a connection that only two broken people can share – through humor, pain, and emotions. Jane has her sights set on Colorado and a business plan involving a pontoon boat with a banana floatie attached. Roy’s mission is to dig up his father’s grave and remove a valuable item that will make things better for both him and Jane.

You’ve never seen a road trip movie like this one. You’ve never seen a buddy film like this one. You’ve never seen a rom-com like this one. Despite the title, some of it is a bit dark, but the expertly written comedy never lets the shadow last too long. Instead, the focus is on these two people discovering themselves and each other. Jane says, “You can’t like her and me”, when referring to the person inside the monkey suit. Roy wants to cuss out his father when he exhumes the body. He’s already mad at his grumpy police mother (a colorful Melissa Chambers), but she’ll have more to say later.

Fake watches, a wolf costume, and an old motel key have their moments, but the best stuff is the banter between Jane and Roy. Sometimes, with a twist to the story, it’s even more than banter. Although these two people have been beaten down by life, they manage to find hope in each other. A tender and emotional story of connection builds, despite (or maybe because of) the monkey suit. The New Mexico scenery (cinematographer James Kwan) complements the pair’s banter as it ranges from argumentative to playful to flirtatious to psychological. Surprisingly, the film is a true pleasure to watch, although the ending might seem a bit off to some.

Begins its theatrical rollout in NYC on June 6, 2025

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Posted by David Ferguson

LEMONADE BLESSING (2025)

June 6, 2025

Greetings again from the darkness. Those teenage years can be so bumpy. One day is the worst ever, and the next day is the best. Dealing with parents is frustrating because they just don’t understand. Making friends is impossible. Today they like you and tomorrow they join with others in making fun of you. Clothes and shoes are never right. School is a waste of time. It’s a wonder anyone ever reaches their twenties. In his first feature film, writer-director Chris Merola doesn’t try to tackle all aspects of teenage misery, rather just enough to make sure we recognize it.

John Santucci (Jake Ryan, ASTEROID CITY 2023, EIGHTH GRADE 2018) is informed by his mother Mary (Jeanine Serralles, INSIDE LLEWYN DAVIS, 2013), “You’re always going to be good.” She says it so matter-of-factly that John takes it to heart, hoping never to disappoint her. In fact, he so wants to please her that he follows her mandate of taking Eucharist Minister Training at the Parochial School where she has registered him.

On his first day at the school, he locks eyes with Lilith (Skye Alissa Friedman) and it seems their paths intersect a few times as if the universe is forcing them together. It would be easy to say opposites attract here. John is a bit shy and naïve, while Lilith is rebellious and adventurous. However, they also have common ground. John has a controlling mom, while Lilith has a controlling dad.

This relationship of oddballs develops in a strange way. The two exchange notes with Lilith tasking John with ever more daring stunts to earn the next level of sexual fun/experimentation. Lilith is one of those big talkers whose public façade hides the same insecurities as every other kid. Of course, John is too green to notice and fights every urge he has to continue following her directions. Brother Phil (Michael Oloyede) runs the ministry program and sees right through John, and Angelo (Miles J Harvey) is John’s friend who adds to the peer pressure and cover-up of teen insecurities.

Jake Ryan is superb here, and plays John in the manner of a subdued Jason Schwartzman; however, it’s relative newcomer Skye Alissa Friedman who is the standout performer here. She brings a depth to the role that most actors would have likely missed, capturing the strain and confusion of the age. Together, the two make us care about teenagers that aren’t our own … quite impressive. Filmmaker Merola uses extreme close-ups quite often, sometimes making things a bit uncomfortable (in an intentional way). We look forward to his next project.

World premiere at Tribeca Film Festival on June 5, 2025

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Posted by David Ferguson

AUTUMN (2025, A Minha Casinha, Portugal)

May 31, 2025

Greetings again from the darkness. Empty Nest Syndrome is one thing I’ve never really understood. As parents, for eighteen years we work diligently to raise independent, morally strong and confident individuals who can contribute to society and stand on their own. When that time comes, it should be a celebration, not an episode of sadness and depression. For so many parents, it’s the latter. This first feature film from writer-director Antonio Sequeira takes on this topic by showing not just the changing family dynamics, but also the changes for the individuals.

The story begins as Tomas (Salvador Gil) is packing for university and his family celebrates his 18th birthday. His mom, Susana (Elsa Valentim) tries to sneak treats into his suitcase and prays for him, while the goodbyes at the train station shows just how saddened she is to be losing her first born to a London school. Tomas’ younger sister Belinha (Beatriz Frazao, a TV star in Portugal) and his father Otavio (Miguel Frazao, Beatriz’s real life father) are also there for the send off.

Filmmaker Sequeira breaks the story into the four seasons, and we witness the changes of each family member throughout this time, marked by Tomas’ seasonal trips back home. Initially, Tomas can’t wait to shake the dust off the rural life in Portugal for a new start in the big city. Belinha is tired of feeling slighted by her parents compared to the favored son. Otavio works hard on the family vineyard and with the livestock, quietly taking grief from his wife. His response to being bothered by kids growing up … “If they’re happy, I’m happy.” Susana sulks as she wonders where her own life went as she analyzes her dedication to family.

The generational differences are apparent, both in the kids deciding to study in other parts of the world, and in dad’s string of inappropriate jokes (no matter how many times they call him out). Tomas’ first girlfriend (Krupa Narci Givane) visits and Belinha makes a decision on her future … this leaves Susana and Otavio facing the reality of the many years ahead being comprised of just the two of them. Can they have their own life and re-ignite the marital spark?

Autumn brings the answers and resolution – one likely similar in theme to what many parents go through when their kids leave the nest … whether the missing bongos are found or not. The train station is a recurring locale and it’s quite telling to note the differences each time. Although it’s based in rural (and incredibly picturesque Portugal), the film from Sequeira will likely be relatable and insightful for most parents.

Available on digital platforms beginning June 2, 2025

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Posted by David Ferguson

MOUNTAINHEAD (2025)

May 30, 2025

Greetings again from the darkness. Artificial Intelligence and the uncertainty of its uses and power are real world concerns. On the heels of MISSION: IMPOSSIBLE – THE FINAL RECKONING, which dealt with AI as an omnipotent force, comes an HBO film that focuses more on the human beings driving the technology. Jesse Armstrong, the creator of “Succession”, delivers his feature film directorial debut as a combination of satire and caution.

Four ‘Tech Bros’ meet for poker weekend at a stunning mountainside home (an actual ski resort in Park City, Utah). Randall (Steve Carell, “The Office”) is the elder of the group, and is referred to as “Papa Bear”. He’s also convinced he can overcome his terminal cancer (these guys aren’t accustomed to taking no for an answer). Venis (Cory Michael Smith, Chevy Chase in SATURDAY NIGHT, 2024) is the world’s richest man, and behind the deep-fake tool causing so much of the global turmoil. Jeff (Ramy Yousef, POOR THINGS, 2023) is the renowned developer of an AI platform that Venis desperately needs to acquire for guardrails on his own system. Lastly, there is Hugo (Jason Schwartzman, MOONRISE KINGDOM, 2012), nicknamed “Souper” – as in Soup Kitchen – since he is the least filthy rich of the foursome, having not yet attained “B” status. It’s his house, nicknamed Mountainhead (a play on Ayn Rand’s “Fountainhead”), where the group has gathered.

Obvious from the beginning is the tension between hyper and cocky Venis and self-righteous Jeff, since the latter won’t sell to the former despite knowing full well how vital the transaction could be. In fact, it takes little time to note the massive egos on full display are used to mask each man’s insecurities. The rapid-fire sharp dialogue with cutting quips is normal to these guys, although at times Souper comes across as a bit desperate to impress the others. Does Jeff actually have morals, or is he simply enjoying his own power trip over Venis? Although that’s the biggie, there are numerous other minor moments of one-upmanship. Along the way, we get a couple of twists.

From their phones and TV, the four keep a constant watch on world events which seem to get darker and more dangerous by the minute … all the while these rich clowns battle over their personal minutiae. These are the kind of guys who may get a call from the President at any time. By the end, we are convinced of a few things. Rich people have their own personal agendas, often turning their money into toxic wealth. It seems likely that there are no limits to how far they would go to achieve their desired results. Also, any affiliation is possible, and all past misdeeds can be forgotten for the right gain. Lastly, despite the satire, AI is a danger if for no other reason than the humans driving it.

Debuts on HBO/Max on May 31, 2025

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Posted by David Ferguson

MISSION: IMPOSSIBLE – THE FINAL RECKONING (2025)

May 26, 2025

Greetings again from the darkness. The eighth and (supposedly) final entry in a fantastic action film franchise that began in 1996 may not be the best of the bunch, yet it’s a mostly satisfying farewell to Ethan Hunt and his team of world-savers. Making his fourth stint as a writer-director for the latest “MI”, Oscar winner Christopher McQuarrie blends new danger and stunning action sequences with admirable (if not a few too many) tributes and nods to the past films and characters (including villains).

Of course, none of this would be possible without the freak-of-nature we know as Tom Cruise. Something I’ve said and written many times before – Mr. Cruise was not only born to play the role of Ethan Hunt, through the years he has definitively made it his own. What has allowed most of these films to work is a combination of thrilling escapades required to prevent a catastrophe, and the tongue-in-cheek tone designed to let the audience off the hook in recognizing the audacity of the whole thing. Unfortunately, this one omits the clever banter and instead goes with a couple of wise cracks that lack the effect.

For anyone who is a bit concerned about the future impact of Artificial Intelligence, “The Entity” is the real villain in this one, and it’s likely to spook you a bit more about the unknown and untapped power. Although Esai Morales returns as bad guy Gabriel, the true danger of global destruction comes courtesy of AI and its ability to take over control of all nuclear weapons on the planet. Only Ethan Hunt (should he choose to accept) and his team can stop this from happening, and if they do, it’s very likely those heroics will be last-second and towards the end of the 169-minute runtime … and after numerous action sequences that leave us breathless.

There are two truly stunning action/stunt sequences that feature Cruise at his most daring and a filmmaking team at its most technically advanced. The second of the two sequences, and the one getting the most attention is the aerial battle between two vibrantly-colored vintage biplanes. Now that description would be cool enough for most movies, but not for this franchise and certainly not for Cruise. Here, he climbs around the wing as one plane is airborne so he can take over the pilot’s seat. Again, that would be an incredible feat for anyone, but it barely scratches an itch for this guy. Instead, he then makes his way from one airborne plane to other airborne plane so that he can then fight THAT pilot (Gabriel) … and he must do so while executing another task that is required to save the world.

Yes, that aerial sequence is breathtaking and deserves accolades, yet it’s the ‘other’ huge action sequence that left me wide-eyed and clutching the armrests. Watching Ethan Hunt deep dive into frigid ocean waters to a long-ago sunken submarine, and then navigating his way through the giant metal tube as it tumbles on the sea floor is nothing short of astonishing and jaw-dropping. It’s fantastic to watch and unlike anything previously seen on screen – including other submarine movies or underwater scenes.

In addition to Cruise and Morales, other returning players include Haylee Atwell as Grace, Simon Pegg as Benji, Pom Klementieff as Paris (an amazing character), and Henry Czerny as Kittiridge. Also returning is Ving Rhames as Luther … he and Cruise are the only two to appear in all eight MI films. Additions to the superb cast are Angela Bassett as the President, as well as Holt McCallamy, Janet McTeer, Nick Offerman, Shea Whigham, Greg Tarzan Davis, Tramell Tillman, and Hannah Waddingham. There is also a significant surprise appearance by another returner – one that I won’t spoil here. The final scene in Trafalgar Square comes across a bit corny, but let’s say they’ve earned the right.

Cruise’s courage and brilliance as Ethan Hunt are noted, while McQuarrie clearly has a love for the mission; and yet, we need to acknowledge the technical expertise brought by many, especially cinematographer Fraser Taggart and editor Eddie Hamilton. While this final entry might not be tops for the franchise, it’s yet another expertly crafted big budget film that delivers the thrills its audience expects. And for the price of a ticket, those two colossal action sequences combine with Lalo Schifrin’s timeless (and blood-pumping) theme song are tough to beat … make that impossible.

Playing nationwide in theaters

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Posted by David Ferguson

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