Mission: Impossible – The Final Reckoning is a weaker operation with some dazzling high points

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It seems best that the Mission: Impossible film series is drawing to a close. As a fan who thinks some of the most thrilling action scenes ever filmed can be found in movies like Ghost Protocol or Fallout, I must admit that the ambitious plan by director Christopher McQuarrie and star Tom Cruise to conclude the story with a grand two-part adventure has shown signs that the series is running out of fresh ideas. The frequent references back to earlier installments are becoming too much of a hindrance. When reminiscences about the past dominate so much, it’s time for a farewell.

The movie “Mission: Impossible – Dead Reckoning” started off with an exciting blend of ominous apocalypse anticipation and playful silliness. In this installment, characters seem to accept that the apocalypse is imminent, while other scenes feature Shea Whigham and Greg Tarzan Davies in a comical chase reminiscent of Wile E. Coyote chasing Road Runner, with Tom Cruise as the Road Runner. As we approach the final two-part series, “Mission: Impossible – The Final Reckoning,” the tension becomes more catastrophic (at times recalling Sidney Lumet’s “Fail-Safe”), and there’s an overabundance of explanatory dialogue. Unfortunately, this dialogue is excessive and heavy on lore, but luckily, the grandest action sequences remain enjoyable.

In two months following “Dead Reckoning,” we find Ethan Hunt (Cruise) in control of two keys essential to open a crucial compartment on the submerged Sevastopol submarine. Teamed up with Grace (Hayley Atwell), they are swiftly apprehended by the adversary from “Dead Reckoning,” Gabriel (Esai Morales). Formerly an obedient henchman for the malevolent A.I., The Entity, Gabriel has devised fresh, daring intentions not only for this technology but also for global dominion.

Regrettably, the early encounter with Gabriel in “The Final Reckoning” sets up some of its main initial issues. For instance, an excessive amount of screen time is given to Gabriel explaining details about the Mission: Impossible universe. This encompasses a retcon that undermines the appealing ambiguity surrounding the MacGuffin from Mission: Impossible III. Furthermore, Hunt and Grace are confined in a monotonous, forgettable bunker. Even the more basic settings of previous Mission: Impossible films had character, such as the Russian gulag at the start of Ghost Protocol or the sleek bathroom where Cruise and Cavill fought in Fallout.

Instead of this Gabriel-dominated scene and other initial scenes in Final Reckoning, set in countless indistinguishable London underground tunnels, it might have been more effective for McQuarrie and Erik Jendresen’s script to begin around the 40-minute mark when Ethan attempts a direct conversation with President Erika Sloane (Angela Bassett) regarding assistance. This adjustment could significantly enhance the overall quality of the film. Prior to this, the visuals lack the needed impact. Moreover, Hunt seems isolated from his companions Benji and Luther. To make matters worse, the script continues to insert unnecessary links between this final installment and the earliest Mission: Impossible films, resulting in cringe-worthy connections.

We visit this spot, as wisely put by Nicole Kidman, to enjoy the over-the-top thrills of the Mission: Impossible series, where the stakes and characters often find themselves in precarious situations just inches away from catastrophe. However, delving further into the mythology established by the original Mission: Impossible film is seldom an option. The initial sequences, which set the stage for the challenges faced by Hunt and his team, are marred by a lack of showing rather than telling. Characters talk extensively about The Entity causing global turmoil and enforcing martial law, but we as viewers only catch brief glimpses of this chaos as Hunt speeds through another dark London tunnel, barely perceiving the reality he’s hurtling towards.

Even renowned character actors such as Holt McCallany and Charles Parnell, along with Bassett’s heavyweight presence, fail to make the apocalyptic dialogue feel genuinely moving. However, once Hunt crosses paths with enigmatic submarine captain Jack Bledsoe (Tramell Tillman), the movie gains momentum remarkably. To start, it’s intriguing to witness Hunt, now on his eighth film, encounter a character type he’s never come across before: an individual as unpredictable as himself. Typically, Hunt is surrounded by people who exclaim, “Ethan, that’s insane!” In contrast, Bledsoe seems prepared for any chaos that Ethan might bring about. Moreover, Bledsoe’s submarine boasts Katy O’Brian from “Love Lies Bleeding” as a scuba expert, which adds considerably to the enjoyment of “The Final Reckoning.

Instead of just these two briefly glimpsed characters, what truly escalates the tension in “The Final Reckoning” is when it starts dishing out action. All of a sudden, Hunt engages in a physical altercation with a man inside the submarine, while Benji, Grace, and Paris (Pom Klementieff) handle armed adversaries in a cabin. With gunfire erupting and Hunt figuring out ways to transform everyday objects into weapons, “Reckoning” leans into the action-packed elements that this series is known for. Regrettably, the sense of déjà vu that permeates this installment is evident, particularly in Benji, Paris, and Grace’s fight scene which echoes a similar cabin battle from “Fallout”.

In “The Final Reckoning,” there’s been a noticeable shift from dialogue-driven exposition to action and spectacle. Previously, discussions about defeating The Entity and explaining the world’s perilous state were frequent, but now, they’ve been replaced with Hunt embarking on a real mission. Characters are leaping from helicopters, plunging too deep into the ocean, and racing across icy landscapes. Instead of telling the story, McQuarrie is showing it. This transformation is reflected in the film’s most thrilling moments, such as a nerve-wracking scene where Hunt navigates the interior of a submarine. The sub’s flooding water levels create an ongoing tension that mirrors Hunt’s encounters in his missions. McQuarrie cleverly infuses humor into the varying degrees of gravity Hunt experiences and sets a timer for this massive vessel, which is unbeknownst to Hunt.

This action-packed set piece is exceptionally well-executed, featuring a thrilling dogfight between Gabriel and Hunt in two colorful biplanes. The scene is visually captivating, with its bright and sunny backdrop, sharp camera work showcasing the mid-air battle, and even the eye-catching colors of the glider. Additionally, the movie provides a lot of humor by portraying Gabriel as overtly villainous, similar to a member of Team Rocket. In fact, during the third act, he shouts phrases like “catch me if you can!” and “bye bye!” at his opponents. It’s refreshing that the movie has ditched expository dialogue in favor of this entertaining antagonist.

When The Final Reckoning focuses on being purely fun and silly, McQuarrie and the team really shine. This is evident in the over-the-top, dramatic moments during the third act featuring Sloane and a group of bickering U.S. military leaders and agency heads. These characters never seem to speak normally; instead, they’re all trying to outdo each other with lines as grandiose as Alec Baldwin’s “Ethan Hunt is the living embodiment of destiny” from Mission: Impossible – Rogue Nation. Frequently switching between the main characters and these unnecessary side players feels unusual, but it does make for an entertaining oddity.

Despite some impressive moments, “The Final Reckoning” feels disjointed and overly complex compared to films like “Ghost Protocol” and “Fallout“. Director McQuarrie seems to struggle managing the sprawling narrative, making it harder for Ethan Hunt to hold onto the story’s threads than hanging onto the side of planes. Regrettably, the film’s complexity outpaces its grasp, leaving viewers yearning for more of what this series is known for. The abundance of characters and callbacks adds unnecessary weight, and the runtime, at times, seems unnecessarily prolonged, such as a global battle with HAL 9000 lasting five minutes longer than “Boyhood“.

When the attention centers around the skillfully performed action sequences, “The Final Reckoning” maintains a smooth rhythm.

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2025-05-26 18:15