The art of wing walking has been around even before silent films. Long before movies incorporated spoken dialogue, they were already showcasing daredevils who performed death-defying acts, including flying in and atop airplanes. Thus, when producer/actor Tom Cruise and producer/co-writer/director Christopher McQuarrie opted to make the climax of Mission: Impossible – Fallout a remarkable demonstration of wing walking and aerial stunts, it was no random decision. It was a carefully thought-out move intended to uphold the mission of this franchise for over three decades: To offer moviegoers the most exciting Hollywood spectacle on a massive scale, reminiscent of the golden age of cinema.
Giving a poor review to a film like “The Final Reckoning,” with such an impressive climax, feels almost unfair; Tom Cruise’s death-defying stunt on a biplane high above the ground alone justifies the ticket price. However, it’s equally plausible that the rest of the movie is disorganized and falls short, placing “The Final Reckoning” close to the bottom among this series’ lengthy run.
The movie, “The Final Reckoning,” isn’t just hard to follow due to its muddled narrative, but there are deeper issues as well. For instance, it’s perplexing that filmmakers of the caliber of McQuarrie and Cruise failed to provide a clear reason for one of the main characters spending most of his screen time in an underground hospital. Is he ill? Can he be saved? Despite having a running time of 170 minutes, these fundamental questions remain unanswered.
The perplexity surrounding that decision intensifies because the same character seemed perfectly fine in their last appearance in “Mission: Impossible,” specifically in “Dead Reckoning – Part One: The Final Reckoning” released in 2023. This film, a continuation of its central conflict, follows Ethan Hunt (Cruise) battling a rogue AI known as “The Entity.” However, some twists in “The Final Reckoning” seem disjointed from its predecessor, such as the sudden and unexplained illness afflicting a previously healthy hero. It’s almost as if McQuarrie and Cruise abandoned the initial plan for “Dead Reckoning” mid-production and started anew, which, given Ethan Hunt’s character, wouldn’t be entirely unexpected.
Undeniably, Ethan Hunt could have executed that swift and improvised rescue mission effortlessly without showing any signs of strain. In the opening scenes of The Final Reckoning, there’s a sudden shift in narrative that somewhat uncomfortably reintroduces the primary characters, both good and evil. As the Entity expands its influence over the internet by manipulating truth, Ethan is on high alert to save different agents from the malicious messenger Gabriel (Esai Morales) who operates under the control of the computer.
The pattern of events recurs multiple times; Ethan finds himself unconscious in various stylish settings. Gabriel intentionally places Ethan in a situation from which escape is impossible to coerce him into actions he doesn’t want to take. Despite managing to break free, Ethan discovers that Gabriel had a more intricate contingency plan ready for him. (It seems that when you have access to a supercomputer, you’re always prepared for any possible outcome.)
Transition to: Continuous scenes of running, chasing, and unclear alliances among a vast ensemble featuring veterans like Ving Rhames, Simon Pegg, and Henry Czerny, as well as fresh faces such as Hayley Atwell and Pom Klementieff, and newcomers including Hannah Waddingham from Ted Lasso as an Admiral and Nick Offerman from Parks and Recreation as the Secretary of Defense. The rapid changes in location and complex web of character allegiances – some aiming to control or destroy the Entity – became so confusing that I began to question whether Ethan was perhaps stuck within a sophisticated yet somewhat questionable simulation of reality, which he might eventually discern and break free from in classic Mission: Impossible style.
Unfortunately, despite The Final Reckoning delivering impressive action scenes when all its elements are aligned, it unfortunately stumbles with some awkward dialogues – a rarity in the Mission: Impossible series, particularly since McQuarrie assumed writing and directing duties with 2015’s Rogue Nation. This is evident in an excess of self-praising Easter eggs that trace back to the franchise’s history. The references range from multiple montages of clips, unexpected appearances, and explanations that add little to the unresolved Mission plotlines. Even the premiere date of the original Mission: Impossible movie plays a significant role in the storyline.
I adore these films just as much as any person on Earth; I’ve watched each and every one of them in the cinema, with many viewed more than once. Some jokes made me chuckle; others seemed like a film that tries too hard to be smart. Not every detail within every movie needs to link back to everything else.
In the climactic scenes of The Final Reckoning, there are four crucial, make-or-break missions unfolding all at once during its last moments. Although I acknowledge Tom Cruise’s dedication to these films and his endeavor to surpass every prior life-saving feat is commendable, I couldn’t help but feel a tinge of disappointment each time Christopher McQuarrie switched focus from Cruise hanging precariously from that biplane. The other characters fail to heighten the suspense; instead, they divert attention away from the main spectacle. The pioneers of early movie stunts, whom Cruise and McQuarrie seem to admire greatly, understood that sometimes keeping things straightforward could be more effective.
Additional Thoughts:
Throughout the film “Dead Reckoning“, brief glimpses of past events reveal that Gabriel was involved in a perplexing incident which caused Ethan to join the IMF. During these flashbacks, Esai Morales was portrayed as a young man, possibly thanks to digital de-aging. Regrettably, “The Final Reckoning” fails to fully develop this side story (one more instance of an unresolved thread from the previous movie). In the instances where it is addressed in “The Final Reckoning“, Tom Cruise’s face remains hidden; only the “young” Ethan Hunt can be seen from behind or shrouded in darkness. Given that this film centers on Ethan Hunt attempting to dismantle a computer capable of rewriting truth, it seems significant that his youthful image is kept obscured.
Ethan Hunt aims to take down the Entity, but since the Entity is present everywhere online, it could mean that Tom Cruise might need to eliminate the entire internet in the process.
RATING: 6/10
Guilty Pleasure Movies From the ’90s
Guilty as Sin (1993)
In the world of filmmaking, two seemingly contrasting directors, Sidney Lumet, renowned for his gritty New York crime dramas and socially conscious works, and Larry Cohen, master of exploitation films, came together surprisingly well in the movie “Guilty as Sin.” Larry Cohen crafted an intriguing concept, a reverse version of “Basic Instinct” where a female lawyer becomes smitten with the prime suspect in a murder case, while Lumet mostly kept things straightforward and allowed his actors to shine. The film essentially became a platform for Don Johnson to showcase his comedic talents as one of cinema’s most irritable characters ever. (In one scene, a woman offers to buy him a drink at a bar. He declines, instead making her pay for the drink he was already consuming, then promptly leaving her with an empty glass and the bill.) The ’90s era of erotic thrillers didn’t receive much critical acclaim, often for valid reasons. However, “Guilty as Sin” is a delightfully wicked gem.
Escape From L.A. (1996)
Johnny Mnemonic (1995)
In its initial release, Roger Ebert described “Johnny Mnemonic” as possessing an “idiotically grandiose charm” that almost justifies it. This quality is what we often find appealing in our secret indulgences. Despite the fact that the movie’s portrayal of the internet in 2021 isn’t entirely accurate, it resonates more with reality than you might think. The film depicts a world ruled by massive, merciless corporations, populated by people wearing surgical masks, where a handful of skeptics voice concerns about the devastation wrought by unchecked technology. While some of the technology in the movie (like Johnny’s VR visor and licorice-like gloves) may seem absurd, there’s a certain pleasure derived from outdated, quirky “future” gadgets that only enhance our guilty pleasures.
Disclosure (1994)
Title Rating: 2.8
The intriguing plot of “Disclosure” – with Michael Douglas as the victim of sexual harassment – hints at guilty pleasure from the start. However, what truly sets “Disclosure” apart and makes it a must-watch is its mind-boggling finale, set in a virtual reality world so outlandish that it surpasses the cheesiness of “Johnny Mnemonic.” In fact, this film embodies the peak of ’90s cheese.
I’ve attempted to maintain the original tone and style while making the text more readable and natural.
Dracula: Dead and Loving It (1995)
The movie “Dracula: Dead and Loving It,” directed by Mel Brooks, received an average rating of 2.8 on Letterboxd. This might lead one to think that the film was a flop due to being Brooks’ last work and its underperformance. However, it’s important to remember that a lower position in his filmography doesn’t necessarily equate to a failure. For instance, it ranks below classics like “The Producers,” “Blazing Saddles,” “Young Frankenstein,” “Silent Movie,” “High Anxiety,” and “Spaceballs.” Despite this, the movie showcases one of Brooks’ collaborations with comedy legend Leslie Nielsen and features several of his most hilarious scenes. One such scene involves Steven Weber trying to drive a stake through a sleeping vampire who then bursts forth a cartoonishly large geyser of blood while Mel Brooks’ Dr. Van Helsing cheers him on from a dry, safe distance (“She’s almost dead!”).
Trial and Error (1997)
Title Rating: 2.7
The ’90s sitcom stars often struggled in movies, both critically and financially. However, this era produced an endearing anomaly – a legal spinoff of sorts reminiscent of “Kindergarten Cop,” starring Michael Richards from “Seinfeld.” The plot revolves around his character who steps into the shoes of a lawyer when his friend (Jeff Daniels) is unable to attend a hearing due to inebriation following his bachelor party. This film represents a rare breed of high-concept, screwball comedy that we seldom encounter today and also features one of Charlize Theron’s early cinematic appearances.
Alien Resurrection (1997)
Title Rating: 2.6
This movie, with its chaotic storyline, seems quite disorganized. However, when it comes to Xenomorphs, isn’t a bit of disorder expected? Jean-Pierre Jeunet infused the usually somber Alien saga with a playful humor; this is the one Alien film where you can witness a mad scientist engaging in a mock kiss with a Xenomorph through Plexiglass. The portrayal of Ripley in this movie is quite extraordinary – technically, she’s a half-alien, half-human clone, complete with black and green manicured nails reminiscent of the Xenomorph. Despite being a bizarre character, Sigourney Weaver’s performance in this role might be her best in the entire series. The story revolves around a group of mercenaries struggling to survive on an outpost overrun by facehugging creatures, but it’s not particularly memorable. However, Jeunet’s unique perspective and Weaver’s acting choices make this film better than its reputation suggests.
The Phantom (1996)
The Average Rating of “The Phantom” – 2.6
In simple terms, the movie titled “The Phantom,” based on a popular comic strip, was likely destined to be a delightful indulgence rather than a critical masterpiece. And indeed, that’s exactly how things unfolded for this superhero film featuring Billy Zane astride horses and brandishing weapons in a snug purple suit.
Zane proves quite endearing in his lead role, and the movie boasts an entertainingly flamboyant performance by Treat Williams as the villain. Moreover, Catherine Zeta-Jones makes an early appearance in a supporting role, adding to the film’s charm. The Phantom himself is accompanied by a horse and a wolf as loyal sidekicks, and in one scene, they manage to communicate through barks and growls – quite a spectacle! (A nod to the dog-lovers out there.)
Congo (1995)
The film “Congo,” which aims to recapture the success of “Jurassic Park” by adapting another Michael Crichton novel, features intelligent apes instead of dinosaurs. John Patrick Shanley’s screenplay maintains a light-hearted approach, resulting in a movie that is intentionally absurd (with a scene centered around a frightening hippo attack) and at times, genuinely emotional. (Even Tim Curry can’t help but be moved when he gazes upon the Lost City of Zinj…) “Congo” is nothing but B-movie schlock, yet it’s also unapologetic schlock.
Junior (1994)
As a seasoned movie critic, I must confess that my initial expectations for “Junior,” the supposed spiritual successor to the blockbuster comedy “Twins” directed by Ivan Reitman, were not met. Regrettably, this film failed to deliver the laughs I had hoped for, making it a disappointing watch at least from a comedic standpoint. Yet, “Junier” is such an eccentric piece that it’s challenging to dismiss entirely.
Arnold Schwarzenegger stars as a fertility specialist who inexplicably impregnates himself as part of a cunning plot to get a drug approved by the FDA—and this is just one of the many bizarre elements that make up the film’s narrative. Scholars and cultural critics with an affinity for dissecting gender politics in ’90s rom-coms should undoubtedly give “Junior” a watch, as it’s bound to leave them utterly amazed.
Super Mario Bros. (1993)
Batman & Robin (1997)
Title Rating: 1.9
I find it hard to rate this movie with stars. It’s undeniably awful, but there’s a strange charm about it that keeps me coming back. The sheer amount of resources wasted on a project so blatantly (and perhaps intentionally) dumb brings a certain warmth to my heart.
George Clooney smirks his way through a fight against the slinky Poison Ivy (Uma Thurman) and the icy Mr. Freeze (Arnold Schwarzenegger), who seems unable to speak more than two sentences without making a pun about ice or coldness. I wouldn’t want an entire Batman franchise based on movies like Batman & Robin, as that would quickly become monotonous. However, after 20 years of ultra-serious Batman movies, I can appreciate the fun and quirkiness of Batman & Robin. Dare I say it, this movie and I… have a cool connection.
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2025-05-14 23:26