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.



‘Superman’ Aims to Save Flagging Film Franchise, Not Just Humanity

 David Corenswet, left, and Rachel Brosnahan participate in the ceremonial lighting of the Empire State Building on Wednesday, July 9, 2025, in New York. (Photo by CJ Rivera/Invision/AP)
David Corenswet, left, and Rachel Brosnahan participate in the ceremonial lighting of the Empire State Building on Wednesday, July 9, 2025, in New York. (Photo by CJ Rivera/Invision/AP)
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‘Superman’ Aims to Save Flagging Film Franchise, Not Just Humanity

 David Corenswet, left, and Rachel Brosnahan participate in the ceremonial lighting of the Empire State Building on Wednesday, July 9, 2025, in New York. (Photo by CJ Rivera/Invision/AP)
David Corenswet, left, and Rachel Brosnahan participate in the ceremonial lighting of the Empire State Building on Wednesday, July 9, 2025, in New York. (Photo by CJ Rivera/Invision/AP)

Superman is often called upon to save the world from evildoers, but in his latest big-screen incarnation, he's also being asked to swoop in and save a franchise.

James Gunn's "Superman," which opened in theaters worldwide this week, is a reboot aimed at relaunching the so-called DC Universe of comic book-based superhero movies, which also features Wonder Woman and Batman.

The celluloid efforts of Warner Bros. and DC Studios have been widely eclipsed by Disney's Marvel Cinematic Universe -- the world of Iron Man, Thor, Black Panther and the Fantastic Four, who are getting their own reboot later this month.

"Warner Bros. has invested a lot of energy and money in trying to refocus and renew DC Studios, and this is going to be the big release from that," analyst David A. Gross from Franchise Entertainment Research told AFP.

The heavy task falls on the shoulders of Gunn, the writer-director who won praise from fans of the genre with Marvel's "Guardians of the Galaxy" trilogy.

The movie's rollout has already encountered several headwinds, including a right-wing backlash to Gunn's comments on Superman's role as an immigrant, and skepticism from fans of the previous Superman films helmed by director Zack Snyder.

Gunn has shrugged off the high stakes surrounding the movie's box office success.

"Is there something riding on it? Yeah, but it's not as big as people make it out to be," he told GQ Magazine.

"They hear these numbers that the movie's only going to be successful if it makes $700 million or something and it's just complete and utter nonsense."

The hype around the movie is real -- the White House even superimposed President Donald Trump onto one of the movie's official posters with the caption "THE SYMBOL OF HOPE. TRUTH. JUSTICE. THE AMERICAN WAY. SUPERMAN TRUMP."

- 'A diminished genre' -

Warner Bros. hopes the DC Universe can catch up with Marvel which -- after years of huge successes with the "Avengers" movies -- has seen more muted box office returns with the recent "Thunderbolts" and "Captain America: Brave New World."

Gross explained that superhero films hit a peak right before the Covid-19 pandemic, with box office earnings and audience enthusiasm waning ever since that time.

"It's really a diminished genre," Gross said.

However, the analyst said early buzz for "Superman" was "really good."

The film stars up-and-comer David Corenswet as the new Superman/Clark Kent, with "The Marvelous Mrs. Maisel" star Rachel Brosnahan playing love interest Lois Lane and Nicholas Hoult as arch-villain Lex Luthor.

The story follows the Man of Steel coming to terms with his alien identity as he finds his place in the human world.

The supporting cast boasts a selection of other DC Comics characters, from the peacekeeping Green Lantern (Nathan Fillion) -- who is scheduled to reprise the role in upcoming TV series "Lanterns" -- to the mace-wielding Hawkgirl.

Gross noted that July "is the top moviegoing month of the year," leading tracking estimates to forecast a total of more than $100 million for the film's opening weekend in North America.

- 'The story of America' -

DC Studios however must shake off a reputation for producing mediocre films that did not score well with audiences.

The last round of "DC Extended Universe" films included the well-liked "Wonder Woman" (2017) starring Gal Gadot -- but also box office flops like "Shazam! Fury of the Gods" (2023) and the under-performing "Aquaman" sequel with Jason Momoa.

"The success was mixed, and they were spending a lot of money on some of the new spinoff characters who were not working particularly well," Gross said, pointing at 2021's "The Suicide Squad" -- directed by Gunn -- as an example.

The last films featuring Superman, starring Henry Cavill and directed by Snyder, were relatively successful for Warner Bros. until "Justice League" -- DC's effort at recreating the "Avengers" vibe -- which lost millions of dollars.

Fans of Snyder have stirred up negative buzz for the new "Superman" movie, voicing hope online that the reboot fails out of a sense of loyalty to the previous films.

The backlash was further widened after right-wing pundits groaned about Superman's specific characterization as an immigrant, lamenting the superhero had become "woke."

Gunn addressed the criticism, telling The Times newspaper that "Superman is the story of America," with the character reflecting those who "came from other places and populated the country."

"I'm telling a story about a guy who is uniquely good, and that feels needed now," he added.

Ultimately, time will soon tell if Corenswet's chiseled looks and Gunn's directorial vision will be the superpowers that DC Studios need -- or prove to be its Kryptonite.