Impossible – The Final Reckoning could be ‘the feel-bad film of the summer’

The opposite of an escapist box office, the eighth and apparently final for the Hunt Ethan de Tom Cruise is the most rude and grim Aventure franchise.

With so much tension and conflict worldwide, it can be a relief when a Hollywood box office success distracts the public with some escapism, some optimism and some scrolled fun and good character. Mission: Impossible: The final calculation is not that child or box office success. The eighth delivery in the Action-Aventura franchise of Tom Cruise-Totting-Adventure, the final calculation is a miserable and apocalyptic tract that is fixed in the subjects of how close we are of the nuclear arms, and civilization can collapse. Yes, you can see Cruise fight in his underpants and make another of his hanging plans routines, but still, he could be the feeling of summer.

“The truth is fading, war is approaching,” he finds someone at the beginning of the film, and then we are subject to missile shots that are thrown and the cities that are being erased. Instead of agile jokes, there is an COD philosophy about fate and choice, and instead of the classic adrenaline pumping theme of Lalo Schifrin, there are minor orchestral chords in the soundtrack. The disappointing of all this fatality and gloom is that the franchise has made the son of the change of meaning possible that he can see in his car hunting sequences. The Last Mision: Impossible Film, Dead Reckoning, was a fun and foamy euro scorn sprinkled with mischief, glamor and romance, or as close to romance as you are once going to obtain a cruise production, and the follow -up has the same McQuector writer, Christopher. However, the final calculation, almost completely established in tunnels and caverns, and in the depths of the ocean, is the most boring and dark film of the series, both literally and figuratively.

He dedicates an excessive amount of his execution time for almost three hours to the scenes of people sitting in gloomy rooms, explaining the story among themselves in gravel whispers. Again and again, we have to sit through the heavy and portentous thesis Murmullos: the title could also have been exhibition: endless. In general, thesis scenes are marked with flashbacks of what happened before, Flash-Forward to what could happen in the future and flash pants (if it is a term) to defame the soapy carpenters. But at the beginning of animating the exhibition, this frantic edition suggests that Mcquarrie and his team could not start the plot, so they continued cutting the images in smaller and smaller fragments with the hope that we can notice.

The depressing mood could be forgive in the legs if the final calculation was a genuinely intelligent and complex drama. But, unfortunately, it is as stupid as Hollywood box office successes. The premise, which follows from Dead Reckoning, is that an artificial intelligence called entity has tasks through the Internet, and will soon launch a global nuclear to what the Hich Incineran. I am not sure of the chickens to do this, or how the good know their plans, but it does not matter. The point is that the character of Cruise, Ethan Hunt, can eliminate this existential threat through some surprisingly simple media. All you have to do is click on two small gadgets together, and the entity will be a non -entity.

One of these gadgets is a box that contains the source code of the entity, which is current in a shattered submarine, therefore, a diving set in the deep sea that obtains complete marks for the ghost, and there are no marks for emotion. (How long do you want to see some swim in silence through murky water without villains that pursue it?) The other device that Ethan needs to end the entity is a “poisonous pill”: a thumb, basic oxhen) has gone to the leg). In the mission world: impossible, then, this poisonous pill is almost the most important object in history. It can literally save humanity. So why does Ethan leave him in his incapacitated friend and without surveillance, allowing the bad to easily stolen, Gabriel (Esai Morales)?

The iony is that the film continues to praise its main character to the heavens. When we do not listen to speeches about how heroic it is (delivered in gravel whispers, naturally), we are watching clips assemblies of the other films of the series, as if some were about to deliver a life performance award for life. But nobody mentions how catastrophicly stupid it was for not the poisonous pill of Putn Luther somewhat safer.

There are innumerable problems of the plot like this to obtain attacks before the film, possibly reaches the sequence of action that the spectators could see again, that is, that of the poster, with a cruise that clung to a biplane in the air. As we are often told, Cruise makes his own acrobatics, and he makes them brilliantly, so if you love to see the bee of the face shattered by winds of high altitude and high speed, then you will enjoy his last feat or aerobat. But it is not the most original piece: essentially, it is the sequence of helicopters in Mission: Impossible – Fallout mixed with the cargo plane sequence in Mission: Impossible – Rogue Nation. And you have to ask: biplanos? Actually? The choice of such an outdated vehicle suggests that the filmmakers had marked any other mode of transport in the course of the race of three decades of the franchise, so the biplanos were almost everything they had left.

If there is another sequel, then the gang will be forced to pedal around a park in Penny-Farthings, so it may be for the best that the final calculation is marketed as the grand final of Mission: impossible. It is a pity that the farewell of the series had to be so solemn, and so silly.