Tag Archives: Brian De Palma

Mission: Impossible – Rogue Nation

by Andrew Brooker (@Brooker411)

rogue nation“Join the IMF.  See the world. On a monitor. In a closet.”

Silly spy stuff; it’s one of my favourite things to watch. Alias, Blacklist, Bond and definitely Mission: Impossible. It’s one of those genres that, when it’s done well, is almost timeless.  Just take a look at the old Mission: Impossible TV show; it’s daft, it’s completely implausible but it’s a shed load of fun to watch. It was also my first experience of thinking “oh god why are they making a film of this?”, it was 1996, I was 14 and I was mortified when they made Jim Phelps (the IMF team’s leader in the TV show) the bad guy. I felt every ounce of the betrayal Tom Cruise did on screen as that bastard Brian De Palma ruined my show! After that, I started to discover films like Hard Target and Face/Off, which led to a long-time adoration of director John Woo and thus the only reason I gave Mission: Impossible 2 the time of day and I loved it (yes, I’m very aware it’s the weakest of the franchise, a testament to how good the others are).

I gave the original another shot, with fresh eyes and a growing respect for films and De Palma; and really enjoyed it.  Even today; OK, four days ago, the original still holds up as a brilliantly made espionage thriller.  A thriller that spawned three sequels; a host of top-shelf actors and directors; and showed the world just how much Tom Cruise is willing to put in to make his films look as good as they possibly can.  Today, almost 20 years since Ethan Hunt’s first outing with the IMF, I sat and watched the fourth sequel in one of the most bankable action franchises ever created.

Mission: Impossible – Rogue Nation, wastes no time in filling your screen with action.  Within a couple of minutes, Hunt and his team are frantically trying to stop a shipment of chemical weapons from falling into the control of someone other than them! Turning to desperate measures to stop what turns out to be VX gas (Remember that? It’s the one that melts faces in The Rock) from being used by a suspiciously invisible terrorist group by throwing it out the back of a plane! Yeah, all that hanging off a plane shit? All in the first few minutes of Rogue Nation.  If ever there was a way to start a film, it’s to put the thing advertised the most, that’s generated a metric tonne of interest because the film’s star is batshit crazy and is really hanging off of a plane as the bloody thing takes off, right at the start of the film! And it’s all go from there.

Heading for a debrief, Cruise’s Ethan Hunt is captured by the shady “Syndicate”, a group of former intelligence agents who are working extremely hard to bring about the end of the world and are, as we all saw in the trailer, “an anti-IMF”, quite possibly the guys to bring Hunt and his group to their knees.  About to be tortured, Ethan gets help escaping from Syndicate hench… Err… Woman? Iisa Faust (Rebecca Ferguson) and sets about getting hold of his colleagues to get him home and debriefed. But as Mr. Cruise is galavanting about in Europe, his friends are being punished for the sins of his past and have been brought to task for the reckless events of the last few M:I films.  Closed down and stopped from operating, the guys have been redeployed in dark little corners of the CIA to be forgotten about while William Brandt (Jeremy Renner) has been forced to help Agency higher-up Alec Baldwin track down and capture the now rogue Ethan Hunt.

And this is all just the first 20 minutes of the film! It’s all go from there as Hunt treks across the world chasing this seemingly all-powerful group that always seems to be one step ahead of him causing untold chaos and getting away clean.  Hunt must battle against increasingly hopeless odds as he fights to prove him and his team aren’t just still relevant, but aren’t the reckless Mavericks, no pun intended, their government is accusing them of being.  You know? With a crap load of car chases, explosions and gunfights!

I’ll be honest, at this point I’m struggling to work out what to say about Mission: Impossible that you don’t know already.  I mean, it’s the fourth sequel in an action/spy franchise. You’ll get thrills, spills and betrayal a plenty. You’ll get action, you’ll get suspense and you’ll get an awesome baddie for the good guys to chase down.  But until the Academy get their shit together and introduce an Oscar for awesome stunt work, M:I isn’t winning any awards. Luckily, that’s not what we watch these films for, is it?  Absolutely not. We came here for the dude hanging off the side of a plane, the breath stealing bike chases and enough hand-to-hand combat to fill a good sized UFC event.

All that great on-screen action wouldn’t be worth the paper your cinema ticket is printed on though, if the guys in front of the camera weren’t doing a good job and as always, Mission: Impossible brings out the best from everyone involved. Ethan gets to spend more time with Ving Rhames’ charismatic techno-wiz Luther Sticklle and Simon Pegg’s geeky field agent Benji Dunn as they chase Syndicate leader Soloman Lane (not a typo, honest) in an amazing turn from Sean Harris. I’ve been wanting to see Harris, one of my favourite homegrown talents that hardly anyone knows, get himself a role that he can sink his teeth into.  Since his turn as Micheletto in The Borgias, I’ve been a huge fan and to see him get a bad guy roll like this and run with it was simply outstanding.  In my opinion, the only casting misstep was with Rebecca Ferguson.  I’m not taking anything away from her performance, not at all.  In fact, I thought she was fantastic. Ferguson done a splendid job in her preparation and those endless hours of stunt and fight training definitely paid off. But every time she was on the screen, I couldn’t help but think that maybe the role should have gone to Gina Carano. I’m certain it would have pushed her 100% into the limelight, something that Haywire and Fast and Furious 6 inexplicably couldn’t do. She would have been perfect, in my humble opinion.

Here’s the thing;  Mission: Impossible – Rogue Nation is another one of those films that you already know if you’re going to enjoy it. You liked the other four? You’ll like this one. You didn’t? Why are you bothering? Essentially, my job is to tell you that Tom Cruise is still Tom Cruise and hasn’t turned into Tropic Thunder‘s Les Grossman; Rhames is still amazing and Renner is still quite brilliant. The action is top notch and the direction superb.

To say that Mission: Impossible is a great movie to sit in front of and disengage your brain for a couple of hours, while pretty accurate, does the film, and indeed the entire franchise, a bit of a disservice. But if you’re looking for smartly written, well directed, adrenaline fuelled escapism, Rogue Nation is best in show and well worth your time.

A Decade In Film: The Eighties – 1983

A continuing series where Failed Critics contributors look back on a particular decade in the world of cinema and choose their favourite films from each year of that decade. Matt Lambourne has lucked out with arguably the most entertaining, balls-to-the-wall decade of all. This week he takes us through his choices for 1983

. 5. Superman III

Superman3“Well I hope you don’t expect me to save you, ’cause I don’t do that anymore.”

Often disregarded by fans of the ‘Reeve Quadrilogy’, Superman III is in fact my favourite of the series. At the heart of the story is computer programmer, Gus (Richard Pryor) who is taken under the wing of Lex Luthor stand-in, Ross Webster (Robert Vaughn) who is keen to utilise Gus’ more unscrupulous computer skills for financial world domination.

To do so, Gus hacks into a US weather satellite to create storms in Colombia to destroy their coffee crop, however this is thwarted by Superman early in proceedings. Webster, realising he must remove Superman from the equation, instructs Gus to create a synthetic Kryptonite using computer analysis of its core elements.

The movie deals with some darker themes not seen previously in the series. The synthetic Kyrptonite not only weakens Superman but, due to its corrupt Earthly ingredients, makes Superman become evil. Christopher Reeve is excellent at playing the ‘Dark Superman’ and the film features a particularly violent battle between the Dark Superman and Clark Kent who is attempting to break the harmful grip the Kryptonite has on our hero.

The film is most memorable for the climatic battle where the villains hide out in a base at the Grand Canyon, armed to the teeth with missile defenses and a powerful computer designed by Gus that has taken on a mind of its own. The machine takes captive one of the villains and forcibly entangles her in metal and wire creating a powerful cyborg adversary for Superman, a very graphic and shocking scene for a family movie and one that certainly leaves a lasting impression, even if she does look like a zombie Dot-Matrix from Spaceballs!

Pryor doesn’t get to unleash the more effective adult nature of his comedic genius, but he does provide suitable comic relief to the movie. Reeve shows some diversity in the role by being able to portray a sinister side to his nature as the Dark Superman in a very enjoyable performance. A much grittier rendition of the classic Superman adventure, this is a more than sufficient warm-up for the fanboys awaiting this summer’s ‘Man of Steel’.

4. WarGames

MSDWARG EC001“How about a nice game of chess?”

Continuing with the theme of mis-use of computers, WarGames is a tale of a curious teenager whose skills in computing lead him into big, big trouble with the US government and the potential launch of World War III.

The main protagonist is David (Matthew Broderick), the one and only person who knew how use command-based operating systems to do anything remotely interesting back in the early 80’s. In fact he’s clearly a genius, as we see him hacking his high school network to alter his grades and book flights to Paris to show-off his skills to love-interest, Jennifer (Ally Sheedy).

Unfortunately David’s curiosity leads him to unwittingly dial into an anonymous computer offering him the opportunity to play games such as Black Jack and Poker, but David naturally is more interested in the option for ‘Global Thermonuclear War’ and assumes the role of the Soviet Union. After being summoned by his parents to do some chores he exits the game, however when he awakes the next day he is startled to see that the US military responding to an actual threat of nuclear attack from the USSR.

Where this film really shines, particularly in hindsight, is that it was way ahead of its time. The movie prominently features hacking, phreaking and dial-up remote access; all subject matters that few would have believed would have existed in 1983. I can imagine seeing WarGames as an 80’s kid it must have seemed incredibly far-fetched, yet time has proven that the techniques used in the movie were entirely legitimate and have become incredibly common-place.

Yep, the antics in WarGames would be an InfoSec worker’s worst nightmare. It’s easy to see how this has influenced films that have come after it, particular 1995’s ‘Hackers‘ and 2001’s Swordfish but it does so in such a manner that it will appeal to a family audience, not just those who are fascinated by the technology. Broderick presents the cool persona that he later repeats as Ferris Bueller and is a wholly likable lead for the film. How did someone with so much 80’s cool end up marrying SJP?

The film spawned a low-budget sequel, yet it’s the modern reboot continually hinted at that will garner the most interest in the legacy left by this excellent thriller.

3. Return of the Jedi

ReturnoftheJedi“You cannot escape your destiny. You must face Darth Vader again.”

Following along nicely from my 1980 movie of the year, ‘The Empire Strikes Back’, ROTJ is the final piece of the original trilogy, as the all-star cast return to stop the Empire’s construction of an all new Death Star.

Originally titled as ‘Revenge of the Jedi’ the film deals with much darker tone than the previous 2 movies. This is best illustrated by Mark Hammill, returning as the now fully trained and qualified Jedi, ‘Luke Skywalker’. He is entirely confident, almost somewhat arrogant in his abilities and manipulation of ‘The Force’.

His personality is somewhat chilled following his first encounter with Darth Vader; the loss of his hand and Vader’s revelation have removed some of the positive aura that surrounded the hero. He seems more steely, colder, calculating and I think this makes him a much more believable handler in the art of death than he has ever depicted at any point during the trilogy.

However, ‘Jedi’ is probably often most criticised for its use of (often annoyingly) peripheral characters, such as the Ewoks which was a clear warning shot from George Lucas for what we’d see in the modern prequel trilogy.

That said, all the ingredients that make the previous movies so successful feature again here. There are some more sinister cords in the score from John Williams, particularly whenever the Emperor is on screen, that are used to dramatic effect.

The action set-pieces are fantastic, the battle between the rebellion and Imperial forces on Endor is highly satisfying, particular when that Ewok is crying over his dead comrade!

Jedi wraps up the trilogy in fine fashion, it’s not the strongest part of the series but it does feature the most appealing incarnation of Luke Skywalker. However it is a great shame that Mark Hammill was never able to shrug off the shadow of this character for the rest of his career.

2. The Fourth Man

The Fourth Man“The essence of my writing is, I lie the truth”

The inner circle behind Failed Critics are all too aware of my admiration for the direction of Paul Verhoeven. ‘The Fourth Man’ is Verhoeven’s final piece made for Dutch cinema before venturing off to Hollywood and my goodness it is some piece to sign off with.

The film starts off as it means to go on. The main protagonist, Gerard, awakes with his hands shaking due to the effects of his alcoholism. He stands up, wearing only a t-shirt to greet the audience to a full frontal male-nudity scene. You could be forgiven for thinking this is a little unnecessary and distasteful. It’s merely a means for Verhoeven to inform the audience of what they are letting themselves in for; a fully adult-orientated psychological experience.

This is why I love Verhoeven films, he makes films strictly for adults, there is rarely a silver lining or any inkling of morality in his movies. Gerard is an alcoholic, bi-sexual and a writer. Everywhere he goes he sees metaphors for death. He constantly battles against those which are meant for him and those that are meant for others but he struggles to interpret what he is seeing and what it truly means.

Gerard travels by train to host a lecture on his writing and meets a handsome young man at the station, whom he is instantly attracted to. He is frustrated at not being able to talk to this man as he watches him depart on a train to Cologne. Gerard travels to his destination where he meets the beautiful Christine, a widow who is a fan of his writing, and they spend the night together.

At Christine’s home, Gerard discovers a picture of Hermann, the man he saw at the train station, and realises he is Christine’s lover. He plots a means to bring the three of them together so he can seduce him for himself, but in doing so discovers that Christine is actually a three-time widow and that she is offing each of her husbands. Gerard struggles to find the meaning of the premonitions he has been seeing of late and how they relate to this bizarre love triangle and if it is he, or Hermann, who is intended to be Christine’s ‘Fourth Man’.

Jeroen Krabbé is sensational as Gerard, he is as charming and playful in character as he is sadistic and desperate for that which he desires. Renée Soutendijk plays the simply luscious Christine and I’m regretful to see that she has done little outside of Dutch Cinema, other than a little known Sci-Fi film ‘Eve of Destruction‘ which I remember seeing on Sky Movies a very very long time ago.

The film is classic Verhoeven and much of it is repackaged for Hollywood in 1992’s ‘Basic Instinct‘. It’s humorous, it’s intelligent, and sexy. Yet, its perverse undertones will seriously challenge the comfort zone of most mainstream cinema goers, this is very much one for the serious world cinema fan.

Speaking of which, the film ranks in Empire magazine’s top 100 films of World Cinema, and earned the 1983 International Critics’ Award at the Toronto Film Festival as well as the 1984 Los Angeles Film Critics Association award for Best Foreign Language film.

I wanted so very badly to put this as my number 1 movie for 1983, however there is a very special film to top it… barely. The Fourth Man is a diamond of a movie that will sit anonymously on your DVD shelf, a dirty little secret for yourself to enjoy that has escaped the attention of the masses for 30 years. The fact it has done this makes it all the little bit more special.

1. Scarface

Scarface“In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the women”

I did say it would be a very special movie to top ‘The Fourth Man’, I do hope I did not disappoint. Brian De Palma’s Scarface is a remake of a 1932 gangster movie, re-badged and re-packaged for the 80’s in spectacular style.

It follows the exploits of Tony Montana (Al Pacino), a Cuban refugee who struggles to make a life for himself in America, cleaning restaurants and committing petty crime until his big mouth earns him the attention of some local big-time gangsters. From petty criminal to the king of the drug trade in Miami, Tony’s rise to the top is as violent and brash as it is meteoric, but it is only a matter of time before Tony’s greed and constant yearning for more power results in his undoing.

Beautifully shot with constant contrast between 80’s Neon and the bleak reality of life on the street and the criminal sub-culture, Scarface is not only highly decadent entertainment but it lives on with a strong legacy on modern pop-culture. This is most notably evident in the Urban/Rap music culture, whereby the movie is often used as a source of inspiration for those trying to escape their mundane lives, and often those seeking to ruin it.

Pacino is remarkable as Tony, the maniacal underdog that you know you shouldn’t root for, but cant help getting attached to. It is no doubt equal to his most famous role of Michael Corleone in its grandeur. It also features some excellent supporting roles from Michelle Pfeiffer and Mary Elizabeth Mastrantonio to provide some female balance to what is otherwise a very male dominated movie.

The film is primarily driven by male characteristics, love, lust, money, greed, power, betrayal, and they all feature in abundance. Scarface sets the template for the popular anti-hero and any crime epic that has followed it.

One of my very favourite films and featuring at a very respectable number 128 in the IMDB Top 250, Scarface is a must see for all film-fans, and my movie of 1983.