![]() ![]() Abrams’ entry in the series (as well as his first feature film) attempts to ground Ethan Hunt’s covert operations in a realm of recognizable human stakes. Realism isn’t a word normally associated with “Mission: Impossible,” but J.J. (It also has one of the funniest depictions of early internet usage I’ve ever seen.) Like many De Palma films, it could be considered a self-conscious movie about movies, but it’s less interested in subversiveness than suspense. The Langley break-in (with Cruise suspended by a thin wire in a highly sensitive CIA vault) is a work of impeccable choreography – the rare action movie sequence defined by silence and stillness as much as movement – and the climactic helicopter-in-a-train-tunnel chase is a marvel of classical technique. It’s an elegant, precisely engineered heist thriller, suffused with post-Cold War intrigue, that orients itself around a handful of unforgettable set pieces. The series’ brand of sophistication and silliness was first established by director Brian De Palma, who introduces the IMF squad as a confident, fully-formed entity, and then kills off half the team (including Emilio Estevez and Kristin Scott Thomas) during a failed mission in Prague in the first half-hour. ![]()
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