Mission: Impossible - Ghost Protocol
Tom Cruise spy sequel released to much fanfare – but is it any good? 1 Reviews
In its towering scope and ambition, it resembles Dubai’s Burj Khalifa, the world’s tallest building, from which star Tom Cruise famously abseiled during filming. But the fourth instalment of the Mission: Impossible franchise gets so tangled in its toddlers’ jigsaw puzzle of a plot that it barely scales the heights of a small skyscraper.
The film begins with a parody-like assassination scene in Budapest, before cutting to Ethan Hunt (Cruise) being broken out of a maximum-security Russian prison. ‘Things must be bad out here, to get me out of there,’ he quips.
Bad they are; his mission, should he choose to accept it, involves breaking into Moscow’s Kremlin to steal, well, something, before a suspected terrorist gets there first. When it goes awry and the Russian fortress is blown up, Cruise’s IMF team is blamed, forcing them to go awol to complete their (virtually) impossible mission. While the Bond saga is hopelessly trying to impersonate the gritty realism Bourne trilogy, in it’s fanatical stylings M:I is now playing catch-up to Bond, specifically Pierce Brosnan’s Bond – this movie’s ensuing shambles of a storyline about a nuclear satellite (recalling Goldeneye) and a fanatic’s inexplicable desire to cause the next apocalypse (Tomorrow Never Dies).
The spaghetti-hooped plot might befit the audience of director Brad Bird’s previous work – kids’ movies Ratatouille and The Incredibles – but here it’s little more than a cursory device to move from one thrilling set piece to another. It’s exhilarating to watch an increasingly-weathered Cruise dangling from a heavily-CGI’d Burj, but no one’s really sure why he had to climb out of the window in the first place. How he ended up moments later in the midst of an impenetrable sandstorm in Satwa is little more convincing.
Perhaps sensing the self-parody it’s in danger of becoming, the ‘humour’ is ramped up this time around. Brit funnyman Simon Pegg is promoted from a bit part role in the last movie to a grating movie-long script of aching one-liners and cringey comic-book facial expressions. Meanwhile, a barely necessary sub-plot about the death of Hunt’s wife and introduction of new team member Brandt (Jeremy Renner) is dealt with in clown-like clumsiness. The finale in Mumbai – a chauvinistic nod to the original TV series which sees Paula Patton’s Jane seducing an Indian playboy before some blatant BMW product placement – sadly lacks the knockout punch of the second and third films.
Any franchise that reaches its fourth instalment has lost its ability to fire on all four cylinders, but as a popcorn-munching rollercoaster ride this entertains enough, just. The film’s open ending worryingly points towards a fifth film that just may not.By Rob Garratt
Time Out Abu Dhabi,