Only Tom Cruise Can Stop Dastardly A.I. in ‘MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE’

A lesser Mission Impossible movie is still better than 90% of the dreck that passes for big budget blockbusters these days. Unfortunately, though, Mission: Impossible – Dead Reckoning Part One is lesser Mission Impossible. A handful of the choices made by writer-director Christopher McQuarrie in his third effort behind the camera for this franchise just didn’t quite work for me. The array of villains are undercooked and ill-conceived, particularly the introduction of a sinister mystery man from Ethan’s past who falls mostly flat by virtue of his story feeling either one-dimensional or incomplete; the attempt to capitalize on AI (2023’s buzziest buzzword) as the ultimate baddie didn’t quite feel in step with the franchise; a decision to remove a particular character (in a weirdly blatant attempt to “make room” for another younger version) irked me; as did the bifurcation of this film into two halves, leaving this particular installment hanging as if Tom Cruise himself dangling from a precarious cliff face. A lot of complaints, I know, but there’s also plenty to love here.

One might assume that splitting this seventh installment into two parts was needed to reach greater depths of storytelling or allow for the creation of a truly sinister villain, requiring dense, meticulous character development and plotting, but that’s simply not the case. Yes, Dead Reckoning is a bit talkier than previous installments, which makes for a pace that is at times somewhat more sluggish, but the additional exposition doesn’t make the mission any more impossible or the stakes any higher than they’ve previously been. Even though Dead Reckoning: Part One boasts plenty of thrilling moments, it doesn’t quite reach the pulse-pounding, adrenaline-shock heights of Fallout, the zany failing-upwards hijinks of Ghost Protocol, or the truly towering villainous performance found in Mission: Impossible III.

It all begins with startling relevance: a submarine malfunction. Onboard this submarine is the future of warfare, an AI known as “The Entity”, possessing the ability to harness the intelligence of world governments and subtly reshape global truth. Dealing with the timely concepts of fake news and artificial intelligence is a clever choice, and the script from McQuarrie, longtime franchise screenwriter Bruce Geller, and newcomer Erik Jendresen does its best to imbue The Entity with sinister overtones.

The ever-expanding M:I roster gets another addition in the form of master thief Grace, brought to life by Hayley Atwell, whose mission is to snatch the key for an as-yet-unidentified client. Atwell shares the screen with fellow franchise newcomers Cary Elwes, Shea Whigham, and Pom Klementieff, each of whom brings big screen presence but ultimately lack in depth. Let’s not forget the return of Vanessa Kirby, reprising her role as The White Widow from Fallout, and Henry Czerny stepping back into the shoes of Eugene Kittridge from the original film, who add a touch of gravity and a splash of nostalgia to round out the ensemble.

Tom Cruise, as always, gives a stellar performance in the pole position. His magnetic charm dominates every scene, demonstrating the same kind of charisma one might attribute to a cult leader (*cough cough*). Hayley Atwell, too, is a standout, stealing just about every scene she’s in, much like her master thief character Grace. The pacing of the film has its share of ups and downs. Despite never crossing into dull territory, it has moments where it feels like the narrative could’ve been tighter and more concise. Perhaps, if the fat was trimmed and the entire story presented in one go, it would’ve been more effective, but we’ll have to reserve judgment until Part Two hits the screens.

In terms of overall impact, the return of Lorne Balfe as the film’s composer should not be overlooked. The film’s opening scenes lack his music, starkly highlighting the depth and complexity he brings when his score finally hits. And though Dead Reckoning is a fun ride, it’s hard to shake off comparisons to its predecessor, Fallout, which for this critic was a near-perfect embodiment of the action genre and Ethan Hunt’s power as the action genre’s most memorable cultural mainstay. Word on the street is that the next installment is the final one, but they’ve tried to put Hunt in the ground before and were unable to. Let’s hope that if he does get one more ride, it manages to both complete – and top – this first part.

CONCLUSION: ‘Mission: Impossible – Dead Reckoning Part One’ showcases the franchise’s penchant for wowing practical set pieces while featuring its killer ensemble of super spies, but it’s a notable step down from the incredible heights of ‘Fallout’. It’s fun, surely, just not amongst the best of the series.