With Mission Impossible: Fallout alighting the blockbuster sky with the best Hollywood action since Mad Max: Fury Road, I decided to visit the birthing pains of a franchise that began as something quite a bit different.
Set against the doldrums of 21st century blockbuster cinema, it’s bracingly refreshing how obviously personal the quintessentially ‘90s Mission Impossible is to its director Brian De Palma. Refreshing, sometimes, because there’s little else about the film that truly interrupts the corporate cinematic impulse and casts it adrift in fascinatingly idiosyncratic directions. In other words, Mission Impossible is often more notable for how De Palma-esque it is, not because it is an especially thoughtful De Palma film, blockbuster film, or anything film. Still, it isn’t for lack of trying, and at its best, Mission Impossible is self-evidently marked as an attempt by De Palma to bend the blockbuster machine to his idiom. Or to test Hollywood’s tensile strength and mark it for deletion. Or simply for De Palma to retain what little of his personal and stylistic (in)sanity that he can while selling his soul to the powers that be. For the most part though, Mission Impossible unevenly splits its role as an acid-tongued attempt to draw-and-quarter the action genre, Verhoeven-style, and to more simplistically but not un-valuably spruce up a boilerplate action pic with sprinkles of consummately restless De Palma flavor. Continue reading