Tom Cruise is the closest thing we have to a modern marvel on the current cinema landscape. Despite being over 50 years old, it seems like he continues to redefine what it means to be an action hero in the 21st century. A lot of his brilliance stems from taking a page out of the playbook from generations gone by.
He is by no means Buster Keaton but he channels that same fearless energy that makes the movies feel like an arena of adrenaline-filled possibility. The important distinction is the very fact his films do not shy away from CGI and yet they find this perfect medium between real and practical stunts, paired with the limitless canvas current technology allows for.
Despite the obvious implications, it’s hard not to think of the double meaning of Fallout as Cruise finds himself skydiving, fighting, chasing, leaping, and bounding his way through his mission. He hangs suspended from an escaping helicopter in one perilous stunt that looks deserving of our trepidation.
There’s the noted seismic jump that literally leads to him breaking his leg because his convincing flailing momentum took him right into the side of a building — clinging to its edge — instead of lifting him over. Any number of toils and sacrifices he takes for the movie pay heavy dividends. As an audience, we can see his effort and applaud him for it.
Like Keaton before him, there is something attractive about a hero who is implacable. Nothing can stop them. Cruise even gets a motorcycle chase of his own no doubt worthy of Steve McQueen, if not even better (I can’t believe I said that).
It’s always a pleasure to admit a film has some stellar twists and Fallout more than delivers in this regard. Some are easily foreseeable and a couple might catch just about everyone off guard. As it should be. However, at the end of the day, it doesn’t matter because the story does not put all its eggs in this single basket. Once the twists are done with, there are still so many other reasons to stay engaged.
If we are to believe Hitchcock, it is not about these sudden payoffs but this maintained sense of constant tension and impending doom. Fallout grabs us in its opening scene and will not dare let up. Writer-director Christoper McQuarrie is in such a unique position because, with the aid of Cruise, he has created his own personal sandbox to work with, while running with Ethan Hunt and the Mission Impossible universe that has been bequeathed to him.
He feels more than comfortable with these characters and the world and this allows him to employ a certain amount of torque and elasticity to stretch it to its utter limit. This is far from Bruce Geller’s franchise headlined by Peter Graves in the 1960s. MI has been cross-pollinated with Bond, Bourne, and anything else you can imagine from Jackie Chan to the plethora of modern spy TV programs on the airwaves.
What sets it apart is the specificity of this world and this we can attribute back to McQuarrie. Vagueness, austere execution, and bland beats will get you nowhere in this day and age. Sure, we have the overarching MacGuffin. There are the three plutonium cores being bandied about for the life of Ethan Hunt’s nemesis Solomon Lane, underlined by the threat of mercenary terrorists operating based on his influence across the globe.
A plethora of covert organizations all have a hand in these international affairs. One of them is MIA headed by Alec Baldwin, another the CIA with Angela Basset. She has brought in her own man (Henry Cavill) to finish up business. In her eyes, Ethan Hunt has already jeopardized the job; he cannot be trusted to see it to completion. If these organizations are purportedly on the same team (along with MI6), one can only imagine what happens when they cross paths with their real enemies mixed in with social terrorists and opportunists like White Widow (Vanessa Kirby). But every antagonistic, tension-filled dynamic is all crucial for there to be a story of any conflict and consequence.
However, the meaning is aggregated because of what our hero is up against. Stakes of a personal nature are almost imperative because they take these broad social issues with heady implications and place them right in the wheelhouse of a hero. It’s no coincidence Ethan Hunt is touted for caring for individual people around him because this influences how he saves the world. It’s full of humanity. It also complicates his life like nothing else.
Not only is Lane still on the loose, conducting a mission of not simply anarchy but out and out revenge, he’s after Ethan and those close to him. Because the friendships of Luther and Benji run thick and deep. He will do just about anything to protect his buddies. The same goes for Ilsa Faust (Rebecca Ferguson) who inevitably ties into the action. In my estimation, Ferguson remains one of my favorite action heroes, full of resiliency, wit, and most important of all, a believable amount of humanity.
In this particular story, their relationship is plagued by the hazards of such an occupation, making excruciating choices, and finding people you care about on the other end of a kill list. But to Hunt, the important differentiation is that these are not liabilities (although they might seem to be), as much as they are what sets him apart. And if you thought the connections end there, you’d be very much mistaken. Someone else very important to him (Michelle Monahan) turns up again.
This film is constantly twisting and turning, bursting with movement and setpieces galore but it simultaneously builds to a genuinely satisfying crescendo. This would not be possible without the legitimate character dynamics built over the years. Even someone like me — a relative latecomer to the franchise — can feel the gravitational pull between these people. There is a weight to the relationships even within this context of cloak and dagger danger.
In the end, the final act feels like a textbook example of cross-cutting because we have three strands that we’re constantly invested in. We care about the characters in peril but also about their objectives. Each one ties into this greater mission and the ultimate resolution of our story.
Disarming a bomb is a staple and alone it would seem trite. It’s reinforced by the other parties tracking down the second plutonium core conveniently stationed with a clandestine Lane, now in hiding.
Simultaneously Hunt fearlessly tracks a helicopter carrying the prop that must be retrieved if all the other tasks are not to be for naught. It’s a throwaway object really but what makes up for it is the continued tenacity of Cruise to take on the stunts and make the action sequences compelling — that and special effects, of course. But we don’t feel completely bloated by them. There is enough personal interaction to make it feel accessible even on this harrowing scale.
We finally reach the peak and just as it seems we’ll either be blasted to oblivion or tossed over the cliffside, the release valve is hit with ultimate satisfaction. This is without a doubt one of the most exhilarating rushes available over the past summer. There’s little left to do but be flabbergasted by Tom Cruise. Top Gun was so long ago. Even the original Mission Impossible is now over 20 years old. Yet he remains as a lucrative action star and for the time being, he isn’t going anywhere.