McQuarrie handles both writing and directing duties, with a production team that once again delivers an assured, frequently breathlessly kinetic entry which bounds from set-piece to set-piece with fluid motion and blockbuster spectacle, whilst paying keen tribute to previous entries, familiar faces and series (film and TV) trademarks.Īnd with Cruise, already 53 at the time, delivering a whole array of jaw-dropping stunts that require him to drive, hold his breath and just hold on for dear life – in some of the most truly insane scenarios that you’ve ever seen – it’s easy to forget that this is the fifth time out for this crew, and that this is undoubtedly the best ( Fast Five coming close) fifth entry in any franchise. Undoubtedly the best fifth entry in any franchise.
It also establishes the franchise’s strongest female presence in Rebecca Ferguson’s kick-ass, mysterious, and undeniably gorgeous double – or maybe even triple – agent. Right from the classic tune over the production credits to that jaw-dropping, aerial pre-credits sequence to the magical signature credits themselves we got the instant feeling that this entry, perhaps more so than any other before it, was intent upon paying tribute to not only the best moments of the previous instalments but also of the classic TV series, with the best credits sequence in the series thus far, and the toughest opponents too (although Mission: Impossible III's Phillip Seymour Hoffman was the best villain, here The Syndicate are a much bigger and more pervasive outfit).įans will already know that The Syndicate is taken straight from the TV series, and that they are the Mission: Impossible equivalent to Bond’s SPECTRE (only, as it turns out, infinitely more threatening than the latter), and the film establishes the franchise’s strongest opposing force, complete with hordes of disposable gun-wielding assassins (most spectacularly on a fleet of motorcycles) and a viciously ruthless villain at the head of the table. And it's great news, because, after Rogue Nation, everybody wanted more. The continuation here, though, is not just in terms of director and likely style, but also narrative. Although Fallout will mark the first time that a director has returned to do a second film in the franchise, it's not the first time they tried to make it happen, with both the third and fourth instalments originally set to be directed by J.J.
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