Movie Review: Tom Cruise Goes for Broke in ‘Mission: Impossible — The Final Reckoning’

 Tom Cruise attends the "Mission: Impossible - The Final Reckoning" US premiere in New York, US, May 18, 2025. (Reuters)
Tom Cruise attends the "Mission: Impossible - The Final Reckoning" US premiere in New York, US, May 18, 2025. (Reuters)
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Movie Review: Tom Cruise Goes for Broke in ‘Mission: Impossible — The Final Reckoning’

 Tom Cruise attends the "Mission: Impossible - The Final Reckoning" US premiere in New York, US, May 18, 2025. (Reuters)
Tom Cruise attends the "Mission: Impossible - The Final Reckoning" US premiere in New York, US, May 18, 2025. (Reuters)

Tom Cruise’s Ethan Hunt is getting a bit of a god complex. It’s not exactly his fault after defying death and completing impossible missions time and time again. But in “Mission: Impossible – The Final Reckoning,” out Friday, there’s a breathlessness to the naive trust from his growing band of disciples, including the US president (the formerly skeptical Erika Sloane of “Fallout,” played by Angela Bassett ), and Paris (Pom Klementieff), the once delightfully fun maniac assassin who has been reduced to brooding French philosopher. In a series that has often been best when it’s not taking itself too seriously, these dour developments start to feel a little unintentionally silly. And, for at least the first hour, it’s all we have to hang onto.

Perhaps this is part of the point in pitting a human man against a parasitic artificial intelligence set on inciting nuclear extinction, something we’re meant to believe has been brewing in some way since the beginning of the franchise. You can almost see the behind-the-scenes wheels turning: Gravity is kind of a prerequisite when this much is on the line, and when so much pain has been taken to link 30 years and seven movies that were certainly never meant to be connected by anything other than Ethan Hunt.

But we don’t come to “Mission: Impossible” movies for the bigger picture, and definitely not to learn what the rabbit’s foot was in the third movie. We come to be awed by the thrills and Cruise’s execution, whether he’s speeding through Paris on a motorbike, driving one-handed through Rome in a tiny old Fiat, or hanging on the outside of an airbus, or bullet train, or helicopter, or the Burj Khalifa.

And unlike, say, the “Fast & Furious” movies, which long ago jumped the shark, the “Mission” stunts have always felt grounded in some reality and playfulness. It’s not just Cruise’s willingness to tether himself to all forms of high-speed transportation for our enjoyment. His reactions — surprise, panic, doubt — are unparalleled. Ethan Hunt is never too cool to look unsure.

“Final Reckoning,” Christopher McQuarrie’s fourth “Mission” movie in the director’s chair, does deliver two truly unforgettable sequences. One is in a long-defunct submarine at the bottom of the sea that will have you squirming; another involves two classic biplanes careening at 170 miles per hour (274 kilometers per hour) over lush South African landscapes. Though they may induce vertigo on IMAX, these are the things that make the trip to the theater worth it. But be warned: It takes a good long while of labored exposition, manic flashbacks and Oscar broadcast-ready greatest-hits montages to get there.

McQuarrie, who co-wrote the script with Erik Jendresen, might have learned the wrong lessons from the past decade of overly interconnected franchise filmmaking. Or perhaps it still seemed like the right call when this two-part finale was put into motion seven years ago. Not only does realizing one previously enjoyable character is related to and motivated by a character from the past do little to raise the stakes, it also bogs everything down.

“Final Reckoning” also overstuffs the cast with faces that are almost distracting (like Hannah Waddingham as a US Navy officer, though her American accent is quite good). Maybe it’s overcompensating for the movie’s flesh-and-bone villain Gabriel (Esai Morales), who seems to be there because Ethan needs someone to chase.

There are some fun additions to the lot: “Severance’s” Tramell Tillman as a submarine captain, as well as Lucy Tulugarjuk and Rolf Saxon, for anyone wondering what became of the poor guy in the Langley vault.

Simon Pegg, as the capably flustered tech wiz Benji, is still great, Ving Rhames gets to flex emotionally, and Bassett really makes you believe she’s chosen a US city to destroy as an offering to “The Entity.” But many get lost in the unnatural, one-size-fits-all dialogue, which is especially true in the bizarrely sweaty Situation Room where everyone is always finishing each other’s sentences.

Maybe when you have a larger-than-life movie star, you need larger-than-life character actors. Besides, everyone knows they’re there as side players supporting the Cruise show — no one more so than Hayley Atwell as Grace, the once inscrutable pickpocket turned wide-eyed Madonna supporting and tending to Ethan. The loss of Rebecca Ferguson is acutely felt here.

The “Mission: Impossible” movies, even when they’re mediocre, remain some of the most effortlessly enjoyable cinematic experiences out there, a pure expression of “let's put on a show.” There’s nothing else quite like it and maybe they’ve earned this self-important victory lap, though it seems to have gone to the characters' heads.

Saving the showstopper for last will certainly leave audiences exiting the theater on a happy high note. But it’s hard to shake the feeling that in attempting to tie everything together, “Mission: Impossible” lost the plot.



Fans Criticize Beyoncé for Shirt Calling Native Americans 'the Enemies of Peace'

Beyonce, center, attends the men's Louis Vuitton Spring-Summer 2026 collection, that was presented in Paris, Tuesday, June 24, 2025. (AP Photo/Michel Euler)
Beyonce, center, attends the men's Louis Vuitton Spring-Summer 2026 collection, that was presented in Paris, Tuesday, June 24, 2025. (AP Photo/Michel Euler)
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Fans Criticize Beyoncé for Shirt Calling Native Americans 'the Enemies of Peace'

Beyonce, center, attends the men's Louis Vuitton Spring-Summer 2026 collection, that was presented in Paris, Tuesday, June 24, 2025. (AP Photo/Michel Euler)
Beyonce, center, attends the men's Louis Vuitton Spring-Summer 2026 collection, that was presented in Paris, Tuesday, June 24, 2025. (AP Photo/Michel Euler)

A T-shirt worn by Beyoncé during a Juneteenth performance on her “Cowboy Carter” tour has sparked a discussion over how Americans frame their history and caused a wave of criticism for the Houston-born superstar.

The T-shirt worn during a concert in Paris featured images of the Buffalo Soldiers, who belonged to Black US Army units active during the late 1800s and early 1900s. On the back was a lengthy description of the soldiers that included

“Their antagonists were the enemies of peace, order and settlement: warring Indians, bandits, cattle thieves, murderous gunmen, bootleggers, trespassers, and Mexican revolutionaries.”

Images of the shirt and videos of the performance are also featured on Beyoncé’s website, The Associated Press reported.

As she prepares to return to the US for performances in her hometown this weekend, fans and Indigenous influencers took to social media to criticize Beyoncé for framing Native Americans and Mexican revolutionaries as anything but the victims of American imperialism and promoting anti-Indigenous language.

A publicist for Beyoncé did not respond to requests for comment.

Who were the Buffalo Soldiers? The Buffalo Soldiers served in six military units created after the Civil War in 1866. They were comprised formerly enslaved men, freemen, and Black Civil War soldiers and fought in hundreds of conflicts — including in the Spanish-American War, World War I, and World War II — until they were disbanded in 1951.

As the quote on Beyoncé’s shirt notes, they also fought numerous battles against Indigenous peoples as part of the US Army's campaign of violence and land theft during the country's westward expansion.

Some historians say the moniker “Buffalo Soldiers” was bestowed by the tribes who admired the bravery and tenacity of the fighters, but that might be more legend than fact. “At the end of the day, we really don’t have that kind of information,” said Cale Carter, director of exhibitions at the Buffalo Soldiers National Museum in Houston.

Carter and other museum staff said that, only in the past few years, the museum made broader efforts to include more of the complexities of the battles the Buffalo Soldiers fought against Native Americans and Mexican revolutionaries and the role they played in the subjugation of Indigenous peoples. They, much like many other museums across the country, are hoping to add more nuance to the framing of American history and be more respectful of the ways they have caused harm to Indigenous communities.

“We romanticize the Western frontier,” he said. “The early stories that talked about the Buffalo Soldiers were impacted by a lot of those factors. So you really didn’t see a changing in that narrative until recently.”

There has often been a lack of diverse voices discussing the way Buffalo Soldiers history is framed, said Michelle Tovar, the museum's director of education. The current political climate has put enormous pressure on schools, including those in Texas, to avoid honest discussions about American history, she said.

“Right now, in this area, we are getting push back from a lot of school districts in which we can’t go and teach this history," Tovar said. "We are a museum where we can at least be a hub, where we can invite the community regardless of what districts say, invite them to learn it and do what we can do the outreach to continue to teach honest history.”

Historians scrutinize reclamation motive Beyoncé's recent album “Act II: Cowboy Carter” has played on a kind of American iconography, which many see as her way of subverting the country music genre's adjacency to whiteness and reclaiming the cowboy aesthetic for Black Americans. Last year, she became the first Black woman ever to top Billboard's country music chart, and “Cowboy Carter” won her the top prize at the 2025 Grammy Awards, album of the year.

“The Buffalo Soldiers play this major role in the Black ownership of the American West,” said Tad Stoermer, a historian and professor at Johns Hopkins University. “In my view, (Beyoncé is) well aware of the role that these images play. This is the ‘Cowboy Carter’ tour for crying out loud. The entire tour, the entire album, the entire piece is situated in this layered narrative.”

But Stoermer also points out that the Buffalo Soldier have been framed in the American story in a way that also plays into the myths of American nationalism.

As Beyoncé’s use of Buffalo Soldiers imagery implies, Black Americans also use their story to claim agency over their role in the creation of the country, said Alaina E. Roberts, a historian, author and professor at Pittsburgh University who studies the intersection of Black and Native American life from the Civil War to present day.

“That’s the category in which she thought maybe she was coming into this conversation, but the Buffalo Soldiers are even a step above that because they were literally involved in not just the settlement of the West but of genocide in a sense,” she said.

Online backlash builds ahead of Houston shows Several Native influencers, performers, and academics took to social media this week to criticize Beyoncé or call the language on her shirt anti-Indigenous. “Do you think Beyoncé will apologize (or acknowledge) the shirt,” indigenous.tv, an Indigenous news and culture Instagram account with more than 130,000, asked in a post Thursday.
Many of her critics, as well as fans, agree. A flood of social media posts called out the pop star for the historic framing on the shirt.

“The Buffalo Soldiers are an interesting historical moment to look at. But we have to be honest about what they did, especially in their operations against Indigenous Americans and Mexicans,” said Chisom Okorafor, who posts on TikTok under the handle @confirmedsomaya.

Okorafor said there is no “progressive” way to reclaim America's history of empire building in the West, and that Beyoncé’s use of Western symbolism sends a problematic message.

“Which is that Black people too can engage in American nationalism," she said. "Black people too can profit from the atrocities of American empire. It is a message that tells you to abandon immigrants, Indigenous people, and people who live outside of the United States. It is a message that tells you not only is it a virtue to have been born in this country but the longer your line extends in this country the more virtuous you are.”