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

WATCH THE TRAILER

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Posted by David Ferguson

ME BEFORE YOU (2016)

June 2, 2016

me before you Greetings again from the darkness. Who doesn’t enjoy a good cry in a dark movie theatre? The first feature film from director Thea Sharrock is taken directly from the tear-jerker novel by Jojo Meyes (who also wrote the screenplay). Although I try to avoid using the term very often, it’s very much a by-the-numbers chick flick … complete with the heart-of-gold working class girl trying her best to “save” the handsome rich guy to whom life has dealt a tough hand. For fans of the book and the genre, it should deliver the desired effect … the studio even provided movie logo tissues for the screening.

For most of us, the effectiveness of this type of movie comes down to the characters. Luisa is the effervescent working class girl hired as a personal assistant to the extremely wealthy quadriplegic Will Traynor. Emilia Clarke (“Game of Thrones”) does everything in her power to make us (and Will Traynor) like Luisa. To describe her as optimistic is like saying Eric Clapton can play guitar. Calling her perky would be like saying Donald Trump has hair. Both statements are true, but hardly capture the totality of reality. In stark contrast, Sam Claflin (The Hunger Games: Mockingjay) purposefully underplays Will … the one time cliff-diving, James Bond birthday video type now confined to a wheelchair.

Lu is a constant toothy smile complemented by expressive and active eyebrows that somehow overshadow her chatty bedside manner, and kaleidoscopic and geometric clothes and shoes … all encompassed with an ever-bouncy step that would make Tigger envious. Lu mostly shares the screen with Will and the personal nurse and therapist Nathan, played by Stephen Peacocke. The camera certainly loves all three of these faces, and director Sharrock wisely adds Janet McTeer and Charles Dance as Will’s parents. They bring a regal presence to what otherwise could have played a bit too cutesy.

Despite the heavy dose of “awww”, the story deserves credit for touching on the “right to die” or “dying with dignity” debate. While those closest to Will selfishly proclaim they don’t understand his plan to head to Switzerland, it’s Nathan who says it best … ‘who am I to judge’. While a full on discussion of the topic would be out of place here, the film does a nice job of not shying away from the process.

Other recognizable faces in the cast include Jenna Coleman (“Doctor Who”) as Lu’s sister and confidante, and Matthew Lewis (Harry Potter series) as Lu’s fitness freak boyfriend who isn’t very understanding … of either Lu or her job. There’s also an odd but welcome wedding cameo from Joanna Lumley. My biggest issue with the story is that I just never understood how or when Lu fell so deeply in love with Will. Sure, I get the appeal of the castle, the concertos, and the tropical vacations, but where was the real personal connection? Was it simply that she thought she could charm Will into changing his mind on the big decision?  That’s not really love. Another piece that’s difficult to take … the numerous musical interludes seemingly designed to make sure viewers are in the proper state of melancholy. There was another segment that I found not just ironic, but actually annoying; however, discussion of the “Live boldly” advice would give away the film’s ending … something I’m not sure even matters since it’s made pretty clear throughout, but it still goes against my movie code.

watch the trailer:

 

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Posted by David Ferguson

THE WOMAN IN BLACK (2012)

February 4, 2012

 Greetings again from the darkness. The quest for quality horror films is a never-ending project. Since low budget fright fests are the easiest way to make money in Hollywood, most take shortcuts that leave us feeling cheated. This remake of a 1989 British TV horror film actually has wonderful production design … the Gothic mansion is a sight to behold. Unfortunately, the shortcut here was a story that offers little substance, despite being based on Susan Hill‘s novel.

Daniel Radcliffe (yes, Harry Potter himself) plays a young, widowed solicitor named Arthur Kipps, who is still grief stricken, and now on the verge of losing his job. He is given one last chance to prove his mettle to the firm by going to a remote village to settle the affairs of recently deceased client. His young son (Misha Handley) and his nanny are to meet him in the village a few days later.

 The local townspeople clearly don’t want him there and are constantly trying to shoo him back to London. Of course, no one ever bothers to tell him why they are frightened and why they are so angry with him for going to the old house. This mansion is a work of art. It has the necessary creep factor to star in a real horror film. The furnishings and fixtures and decor are really the star of the movie. In fact, the DVD should include a segment on the antique mechanical toys.  It’s not giving away anything to say that every time Radcliffe sees this mysterious woman in black, something bad happens in the village.  The mystery is solved easily enough as we read along while Radcliffe organizes the letters.

The annoying thing about the film is that whenever we get a chill-inducing moment like a shadow in the background or a figure passing by a mirror, it is immediately followed up by a cheap parlor trick involving a sonic blast of music and an ear-piercing scream. It’s as if the director (James Watkins) is convinced movie goers are too ignorant to know when to be scared.  His solution: provide clues to say “Scream now!” Ciaran Hinds and Janet McTeer add a touch of class to the film as Mr.and Mrs. Daily, who recently lost their son. Mr. Daily has found solace in the bottle, while Mrs. Daily teeters on the brink of insanity. My theory that no film featuring Mr. Hinds can be all bad is tested here, and Ms. McTeer was seen recently as the best thing about the Albert Nobbs film.

 On a positive note, this is a nice transition movie for Daniel Radcliffe. He has quite a career challenge as he tries to break loose of the Harry Potter clamp. He succeeds here with quite a different physical appearance, though he really has little to do but alternate between a distantly forlorn look and peering cautiously around dark corners. A couple of interesting notes: the boy playing his son is Radcliffe’s real life godson; and the actor who played Radcliffe’s role in the 1989 original is Adrian Rawlins, who played Harry Potter’s father in those movies.

By the way, how long until Daniel Radcliffe realizes he should just steer clear of train stations?

SEE THIS MOVIE IF: you are desperately seeking a horror film that isn’t a slasher … even if it’s not very good OR you are anxious to see Daniel Radcliffe first real step towards a film career outside of “Harry Potter” OR you just want to see a beautifully creepy haunted house

SKIP THIS MOVIE IF: you are expecting a classic horror story in the vein of Poe OR you have had your fill of cheap tricks designed with no purpose other than to cause viewers to jump

watch the trailer:

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Posted by David Ferguson

ALBERT NOBBS

January 30, 2012

 Greetings again from the darkness. We are accustomed to movies with men posing as women for comedic effect … Mrs. Doubtfire and Tootsie come to mind. Watching an extremely serious, even bleak, film with a woman (Glenn Close) posing as a man is quite rare, and I will say, downright uncomfortable. When Albert Nobbs is described by his co-workers as a strange little man, they have no idea!

The film is based on a novella by George Moore, and has been a pet project of Glenn Close since she starred in the off-Broadway play in the 1980’s. Her dream has been realized in this film directed by Rodrigo Garcia. The film has an extremely talented cast including Brendan Gleeson as a doctor, Bronagh Gallagher as Mrs Page, Mia Wasikowska, Aaron Johnson and Brenda Fricker as hotel staff, Pauline Collins as the hotel proprietor, and Jonathan Rhys Meyers as a frequent hotel guest.  The song over the closing credits (co-written by Ms. Close) is sung by Sinead O’Connor.

Beyond that fabulous cast, the only thing that really makes the film worth watching is the curious performance of Ms. Close as Albert Nobbs and the much more colorful and lively turn by Janet McTeer as Mr. Page … the only one (we know of) who can understand what Albert is going through. Both are nominated for Oscars. During the film, we get the personal story from each of these characters on why they made their choice, but Albert’s story is a bit muddled. He/she seems to have just fallen into the life and been unable to stop for the past 30 years. Now, Albert has a dream that can only be achieved through the wages earned as the non-descript, efficient waiter in an 1890’s Dublin hotel.

 There are many painful scenes to watch, but none moreso than Albert courting Helen so that he can have a partner for his new business. He has no idea how a real relationship works or why people are attracted to each other. Albert just sees Helen as a means to an end, and is following the blueprint set by Mr. Page.  Some will enjoy this much more than I, as the thought of pretending to be someone you aren’t for 3 decades is just more than I can even comprehend. When Gleeson’s doctor spouts that he has no reason why people choose to lead such miserable lives, I concur whole-heartedly.

SEE THIS MOVIE IF: you want to see how little joy would be had spending one’s life pretending to be someone else OR you don’t want to miss two Oscar-caliber performances (Close, McTeer)

SKIP THIS MOVIE IF: misery in 1890’s Dublin holds no more interest for you than misery in any other era or locale

watch the trailer:

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Posted by David Ferguson