By Michael Ordona, Common Sense Media (TNS)
Parents need to know that “Mission: Impossible — Fallout” is the sixth movie in Tom Cruise’s hit spy action franchise — and the most intense. It steps up the action from previous entries in the series, which is quite a feat. The vehicle chases are much more intense than in previous episodes, and the fighting feels more visceral; blows look like they actually hurt. There are also shootings, knife fights, and deaths, but blood is rare (typical for these movies). And there’s still humor; the movie doesn’t feel slow or heavy, despite its nearly two-and-a-half-hour running time. Expect a bit of strong language (“s — t,” “bitch,” etc., plus one use of “f —ing”), but there’s not much in the way of sex or substance use content to worry about. Main character Ethan Hunt (Cruise) remains a stand-up guy in a world full of betrayal; in general, the good guys are consistently willing to sacrifice themselves to save others. Henry Cavill and Rebecca Ferguson co-star.
WHAT’S THE STORY?
“Mission: Impossible — Fallout” is a direct sequel to its predecessor,”Mission: Impossible — Rogue Nation.” The villain from that movie, Solomon Lane (Sean Harris), looms large over this one as superspy Ethan Hunt (Tom Cruise) races against the clock to stop Lane’s followers from acquiring and detonating nuclear weapons. Hunt is helped/hindered by CIA bruiser August Walker (Henry Cavill) and enigmatic British agent Ilsa Faust (Rebecca Ferguson), who also appeared in “Rogue Nation.”
IS IT ANY GOOD?
This may well be the best “Mission: Impossible” movie yet. “Mission: Impossible — Fallout” steps up the action — as impossible a mission as that might sound — and the stakes, with the personal screws tightened on Hunt and horrible consequences for failure. Though spy-movie watchers will expect the requisite twists, betrayals, and MacGuffins, writer-director Christopher McQuarrie’s compelling filmmaking grabs your attention and doesn’t let go. “Fallout” delivers the death-defying stunts the series demands. The execution of, for example, the series’ best car chase — really, a car/motorcycle chase — is so expertly done that you’re less aware of the slickness than the jeopardy. “Fallout” also has the best fight of the series thus far (hint: it takes place in a bathroom). It’s exciting and visceral, with real emotional impact. Cruise’s performance is lean and focused, and hopefully Ferguson is now a fixture in the series; she can act and fight. It’s also fun to see Superman (Cavill) brawling like an utter brute.
Rob Hardy’s (“Ex Machina”) cinematography captures everything we need to track the action while also conveying different atmospheres, moods, and textures. Each of the film’s locations — exotic, dingy, or otherwise — is well-served. Eddie Hamilton’s editing is superb; he’s amassing a spectacular resume (“X-Men: First Class,” “Kingsman: The Secret Service”). Lorne Balfe’s versatile score builds on previous entries while recalling Hans Zimmer’s Bat-music and Jóhann Jóhannson’s nerve-rattling “Sicario.” Fight coordinator Wolfgang Stegemann and stunt coordinator Wade Eastwood pull rabbits out of their hats. So does featured fight performer Liang Yang; let’s see more of that guy! Given the deeply ingrained habits of this genre, it’s hard to surprise veteran fans. But McQuarrie and company get fresh reactions with the effective and thrilling “Fallout” by involving us in the dilemmas, making us feel the atmosphere and ticking clock, and hitting every action beat, dead center.
RATING AND CONTENT
Recommended for ages 13 and older
Quality: 4 out of 5
Positive messages: 2 out of 5
Positive role models: 3 out of 5
Violence: 4 out of 5
Sex: 1 out of 5
Language: 3 out of 5
Drinking, drugs, and smoking: 1 out of 5
Consumerism: 1 out of 5
MOVIE DETAILS
In theaters: July 27, 2018
Cast: Tom Cruise, Simon Pegg, Rebecca Ferguson
Director: Christopher McQuarrie
Studio: Paramount Pictures
Genre: Action/Adventure
Run time: 147 minutes
MPAA rating: PG-13
MPAA explanation: Violence and intense sequences of action, and for brief strong language
