For an actor, “business” in the scene gives the performer something physical to do to complement their acting, whether verbal or nonverbal. For most people, this is something like fiddling with a water bottle, or shuffling through papers. For Tom Cruise in Mission: Impossible – Fallout, he has to act as Ethan Hunt while also… for real, solo flying a helicopter. As you do. It’s a fitting act for this lead character, as in the two latest Mission movies writer-director Christopher McQuarrie has weaponized Hunt’s “main character powers” as a key element of the story. Hunt’s success is textually and metatextually inevitable, but a great strength of Fallout is that it constantly generates incredible suspense for this impossible hero. Accomplishing this unlikely task, Fallout is another exceptional entry in perhaps our greatest modern action series.
When “the Apostles” of incarcerated anarchist Solomon Lane (Sean Harris) threaten the world with nuclear attack, Ethan Hunt and his IMF crew (Ving Rhames’ Luther Stickell and Simon Pegg’s Benji Dunn) must prevent catastrophe. But with the CIA insisting on the imposing agent August Walker’s (Henry Cavill) involvement, and Ilsa Faust (Rebecca Ferguson) still in the spy game, the chessboard is harder than ever to master.
To keep things fresh, Fallout trades in a variety of action scenes, from vehicular chases to foot chases to brawls. There’s a fantastic standout fight in a bathroom that has shades of The Raid, and features what others have referred to as Walker reloading his arms for a round of punches. But there are two stunning IMAX-format showstopper sequences that steal the spotlight: the HALO jump, and the helicopter chase.
The HALO jump required Cruise to perform it nearly 100 times, reaching speeds of 200 mph. After scaling the world’s tallest building, the Burj Khalifa in Ghost Protocol, Cruise here jumps out of a plane that’s over 100 times higher. (In the film the jump is above Paris, but it was filmed in Abu Dhabi; you can see the original ground-level location in the trailer.) The level of verisimilitude and pure human-in-the-void unease is only comparable to the space walk sequences from 2001: A Space Odyssey, but of course filmed with palpable realism. The helicopter sequence required Cruise to, you know, learn how to fly one, and to hairpin specifications. Visually, the scene resembles Go Pro footage; it’s that immersively real.
Even apart from these Buster-Keaton-on-a-mission accomplishments, Cruise gives a movie star performance. There are scenes where Ethan is acting, and Cruise’s intensity is enough to fool even the audience. There’s even a classic Jerry Maguire-esque moment of total befuddlement, plus an amusing showcase for the famous “Tom Cruise run”. And yes, the stunt that broke Cruise’s ankle is in the finished film.
Plot-wise, McQuarrie weaves a tangled web of standard spy movie material as a framework. But on a moment-to-moment basis, he and editor Eddie Hamilton generate a huge amount of tension. The buildup is just as precious to the movie as the relief of tension, whether it’s a flash of brutal violence or an aggressive kiss. The film delights in reversals. Not the expected espionage story double-crosses, but just smart cinematic storytelling. Scenes are set up a certain way, then subverted and flipped in a different direction (one early example really had me convinced it was steering the film in a certain direction then pulls the rug out). Moments from the trailer that you take at face value are given unexpected twists in the film. McQuarrie just knows the alchemy of movies; he speaks the language.
A while back, when Tom Cruise was attached to The Man from U.N.C.L.E. as Napoleon Solo, Henry Cavill auditioned for Ilya Kuryakin and didn’t get the job because he looked too much like Cruise. Now, Cruise and Cavill are an electric double-act in Fallout, with Walker as a brick-muscled foil for Hunt. Ilsa Faust’s wild card status is preserved, while still respecting the character (though she’s maybe underused). Luther and Benji are excellent sidekicks, Solomon Lane works as a villain on the back foot, and Vanessa Kirby as “the White Widow” brings an amused-by-it-all quality to her scoundrel character, along with a connection going back to the first Mission: Impossible. The only real off moment for me comes in an emotional scene between Luther and Ilsa, which starts off great, but ends up slightly baffling.
Fallout resoundingly closes another chapter in this storied action franchise. Through smart filmmaking that stokes both suspense and payoff, a likable ensemble, and another obstacle course for the human ragdoll Ethan Hunt, the sixth Mission: Impossible (M:I 6, which does factor in the agency MI6) chooses to accept its mission and delivers the goods. One wonders how long Thomas Cruise Mapother IV, now 56 years of ago, can continue topping himself. But for now, you will leave the theater exhilarated, exhausted, exquisitely tense, and extremely impressed. A strong 9/10.