Priscilla is a disturbing and uncomfortable movie to watch
My stomach is tied up in knots as I struggle to absorb Sofia Coppola’s new film. Priscilla portrays Elvis (The King of Rock and Roll,) as a predator, groomer and all around creep. If you love Elvis’ music and appreciate him as an artist you will find this film brutal.
Priscilla is based on the 1985 memoir Elvis and Me by Priscilla Presley. At 14 years of age we witness Priscilla being introduced to Elvis Presley who was 24. At 17 years old Priscilla was living with Elvis at Graceland without her parents. What I found most unsettling were images of Elvis giving an underage Priscilla pills while abusing her both physically and mentally. Such manipulation is something I’ve never associated with Elvis, and it was gut-wrenching.
Priscilla is a story about adolescence and isolation, themes Director Sofia Coppola captured successfully in her breakout feature The Virgin Suicides (1999.) Coppola’s directorial style revolves upon a narrative reflective of Pricilla’s experience. Consequently, Elvis’ glitzy lifestyle is replaced beautifully with simple sets, purposeful imagery and slow storytelling. The soundtrack reiterates this by substituting Elvis’ songs with Dolly Parton and new wave and post punk sounds. While Coppola artistically wants Priscilla to control her own story Cailee Spaeny, as Priscilla, never takes her character to the next level. Throughout the entire movie (minus a quick karate class,) Spaeny can only emote naivety. Sadly we never see any evidence of a transformation or tangible quest to regain self worth.
With two very different Elvis movies in the span of two years it’s hard to know which one is accurate. 2022’s Elvis, the critically acclaimed biopic, maintained Elvis was used and controlled by those around him. Austin Butler as Elvis added credibility through his mannerisms which were so effective that at moments you were unsure if you are watching archival footage or Butler himself. In Priscilla, Elvis is presented as the clear villain and Jacob Elordi’s poor acting makes you hate him even more. Elordi brings little confidence to the role and there were moments while he was delivering his lines that the audience began to laugh. In the end, we will never know what really happened between Priscilla and Elvis because the latter is not here to tell his side of the story. Does Priscilla have a hidden agenda or is it full of authentic reflections? I just don’t know and that is worrying.
Priscilla is directed artfully by Sofia Coppola but suffers from content adapted from a tell- all book. I admire films that assert female independence but I question Priscilla Presley motives after decades of profiting directly from Elvis’ estate. What you will take from this movie are the warning signs of unhealthy relationships, a message that is well timed and significant.
Sick is perfectly executed from start to finish
I have often found myself on my couch in my pyjamas watching a “trending” movie only to be disappointed. However, its been a year since I began going to the movie theatre once a week, ordering a Combo #1 and sinking into a comfy stadium seat. After seeing a commercial for Sick (2022) I was persuaded to change my routine. Sick is a slasher film (now available to rent) set during Covid. I wondered is it too soon to revisit a period that was so unusual and isolated? The answer is NO, Sick intelligently creates fear out of the relatable.
The nineties were typified by smart teenage-led horror films that included Scream (‘96) and I Know What You Did Last Summer ‘(97.) Serving as writer on both was Kevin Williamson, the co-writer of Sick. The opening scene of Sick begins with visuals that have come to define 2020. From the arrow lines on grocery store floors to the hoarding of toilet paper, every moment is accurately shown. Immediately I could feel my pandemic uneasiness return and I welcomed it. I can still recall Drew Barrymore in the opening sequence of Scream and how quickly I was on the edge of my seat. That same energy was prevalent during the first few minutes of Sick. Similar to Scream, Sick makes you feel anxious even before the first stab occurs. Moreover, ill sneezes and subtle coughing brilliantly compliment an abundant supply of blood and guts.
Sick captures the youth experience by focusing on attitudes and actions that transcend. Consequently, we witness the dangers of social media, the natural desire to break the rules and the prominence of athleisure in a teenage closet. Bringing these concepts to life is a young cast comprised of relative newcomers. The acting is believable and you feel that these young adults could be your friends or acquaintances. Meanwhile, every scream and fight is executed perfectly. The overhead shot on the lake as Parker (Gideon Adlon) moves to avoid the killer plays out like a sinister dance. As Parker begs a woman for help and is rejected because she’s not wearing a mask you can’t help but laugh apprehensively. Lastly, the close up of a nasal swab being pushed too deep is just the right amount of disturbing that will leave you wanting more.
Sick is successful because it takes the thriller genre and transplants it into a terrifying moment in history. I still recall seeing the streets empty and sitting at home for months restlessly. During that time streaming movies became commonplace due to both necessity and ease. That is why I find myself eager to head outside my home to be entertained. The simple act of dressing up for my weekly movie trips keeps me grounded, productive and excited to write reviews about what I love….movies.
Till next time, The Mademoiselle
The Exorcist: Believer is an entertaining Halloween treat
I could spend this review dissecting The Exorcist: Believer ad nauseam or comparing it to its original but that wouldn’t be fair. Instead my critique this week will be based solely on its enjoyability and squirm factor.
Every October I find myself watching the classics such as House of Wax (‘53,) Cape Fear (‘62) and Poltergeist (‘82.) Durning the pandemic the majority of Hollywood movies released on Home Premiere were scary movies. As a result, Blumhouse Productions became synonymous with modern terror Some of those movies were great, while some were iffy, but they were always shocking in their ability to keep me on edge. When I saw the trailer for The Exorcist: Believer I knew I had to see it on the big screen.
The Exorcist: Believer begins with two girls who go missing. The cast is superb and I was impressed how each actor’s portrayal contributed equally. Both Lidya Jewett and Olivia O’Neill as the girls do a fine job at being possessed, but are a little too reminiscent of Linda Blair both in mannerisms and facial prosthetics. Leslie Odom Jr. as the father is exceptional. His face as he descends from joy to confusion and subsequent sadness was realistic and convincing. Meanwhile Ellen Burstyn’s reprisal as Chris MacNeil didn’t miss a beat. At 90 years old she is just so cute that I was left praying no harm would come to her. Moreover, Burstyn’s final scene is designed perfectly for die hard fans.
Although not extremely horrific I did catch myself twisting about in my seat repeatedly. I have studied subliminal advertising, and even been hypnotized by The Amazing Kreskin, so I have confidence in the power of suggestion. It is well documented that The Exorcist (‘73) used subliminal photography to scare viewers but it was 1952’s My World Dies and a Date With Death that applied the technology first. The Exorcist: Believer once again uses flashing images to manipulate viewer perceptions. Although, the flashing was noticeable to the naked eye their were numerous instances where I saw a flicker but was unsure about the content. I think I saw some landscape perhaps a boy upside down…but without the ability to hit the rewind button I know my sleep tonight would be the determiner of its influence.
I have found it difficult watching children in horror movies. Perhaps it’s movies such as Alice, Sweet Alice (‘76) and Burnt Offerings (‘76) that still haunt me. Nevertheless, the supernatural and children have historically proven to be a winning combination. The Exorcist: Believer combines great acting, a scary build up an all the horror tropes that one would expect. Add some subliminal stimulation into the mix, and you have a movie that will pierce straight into your subconscious.
The Creator fails to manufacture any energy or heart
When I saw the commercial for The Creator touting it as the “best science fiction film in the last decade,” I was intrigued. Then I started to think about the sci-fi movies that were released in the last 10 years. There was Gravity, Blade Runner: 2049 and The Martian, all enjoyable. Eagerly I purchased a ScreenX ticket for The Creator anticipating a thrilling journey but instead was thrust into an oblivion.
The Creator takes place in a not so distant future where Artificial Intelligence has run rampant. The movie begins with Joshua’s (John David Washington) quest to find the ultimate threat and destroy it. His job becomes increasingly harder when he learns that the weapon he seeks comes in the form of a young AI child, complete with supernatural powers. Upon seeing the adorable 9 year old Alfie (Madeleine Yuna Voyles,) I immediately thought of Firestarter and Stranger Things. Similar to those young female protagonists, Alfie steals the screen with her wide eyes and beautiful line delivery. Nevertheless, her talent is wasted on a one dimensional character whose role as a deity is never even explained.
The emotional core of the The Creator revolves upon a brief romantic backstory and repeated flashbacks. John David Washington’s portrayal throughout these “pivotal” scenes is weak. His stoic acting and complete indifference is frustrating to watch. Washington allows the few moments of brevity to fall flat while stripping away any tenderness between Joshua and Alfie. During the climatic finale as Joshua and Alfie exchange “I love you’s” it was difficult to believe these two even cared for each other. Although my disappointment is palpable in this review, it is important to note that the overall theme surrounding The Creator is smart. Discussions of whether we can trust AI, will it make humans obsolete and how do we stop the chaos that will ensue, are all very valid. The Creator however fails in its inability to address any of these points, leaving questions unanswered and a feeling of emptiness after the credits have rolled.
Where the plot falters the visuals do little to better the experience. I saw The Creator in ScreenX prepared to be fully immersed. ScreenX is a format in which the screen is not only in front of you but also beside you in order to place you directly in the action. Sadly, the world presented was visually depressing while the ScreenX format was fully utilized at the end of the film. The landscape was bleak while the robots and CGI looked unpolished. I sat in the theatre for 2 hours and 15 minutes and there was no fear, joy, wonder or sadness. In the end my only thought was how cool it would be to see Aliens or The Terminator in ScreenX. Amazing science fiction is so hard to find these days…
A Haunting In Venice Proves That Even The “World’s Greatest Detective” Can Get “Rusty”
Whether you read Agatha Christie as a teenager, or revisited her work as an adult, her stories have always been able to engage us with there dialogue and memorable plot twists. A Haunting In Venice is very loosely based on Christie’s story the Halllowe’en Party, thus serving as a Coles Notes version of her collective writings rather than a true reflection of her genius.
In A Haunting In Venice, Kenneth Branagh returns for his 3rd run as Hercule Poirot. The movie begins with Poirot having regrown his “immense” moustache and now retired in Venice. Poirot’s seclusion is cut short by a new mystery to solve. Kenneth Branagh is no stranger to portraying literary characters, from Henry the V to most spectacularly Hamlet in 1996. His mastery of Shakespearean dialogue and his ability to make it easy to comprehend is his true gift. In stark contrast, Branagh’s portrayal of Poirot comes off as exaggerated and silly, leading me to question why Branagh has become so invested in continuing the franchise. Although both Murder on the Orient Express and Death on the Nile were of quality, there was nothing groundbreaking about these films.
A Haunting In Venice uses a famous cast of players and beautiful sets. While the story is formulaic, nothing is given away and you will be left wondering “whodunit” until the very end. The variety of actors from Tina Fey to Camille Cottin to Jamie Dornan to Ricardo Scamarcio is welcome. Witnessing actors of different styles and capabilities engaging each other on film harks back to the Studio System, and I must say I really loved it. Most notably Kyle Allen stood out as one to watch in the future, while Jude Hill (Belfast) gave another strong performance. As Branagh does double duty as both actor and director, we observe postcard-like views of Venice that are very pretty. I was disappointed however with the duplicated shots of the rainstorm which was both boring and empty filler. In comparison to other thriller aficionados such as Alfred Hitchcock and M. Night Shyamalan, Branagh’s technique is less stylized and does not move forward the genre.
One of my favourite shows of all time was Columbo, a modernized version of Christie’s Poirot. Comparable to the recent Poirot incarnations, each Columbo episode was filled with high profile stars and an intriguing dissection of a murder. The big difference was that Colombo was on TV and a Haunting In Venice is a big budget film. I expect more when I sit in the cinema and that doubles if the story is based on a famous authors work. Although A Haunting In Venice is good it does not break the mold. Perhaps I expect too much. Nevertheless, Agatha Christie was the “Queen of Crime,” and if your going to pay homage to her work you need a well structured script and a trailblazer mentality.
TIFF 2023 spoiler alert: The only STARS you will see this year are in the SKY
The Toronto International Film Festival is different this year. While the street festival was in full swing this past weekend with its free Pizza Nova slices, L’Oréal cosmetics and Nickelback concert, something felt off. Without the glitzy parties, jam packed press junkets and Hollywood stars, it’s easy to wonder what’s the point? Since the spotlight has shifted in the past 15 years from a celebration for pure movie lovers to a red carpet extravaganza, you can feel the loss.
I first learned about TIFF in the late 90’s early 00’s when I saw an ad in the newspaper asking for volunteers. No resumes necessary, all you needed to do was show up at Roy Thompson Hall, stand in a line of 20 people and fill out a form. You were immediately given a beautiful TIFF x Roots shirt and you were good to go. My theatre was the Uptown (RIP) on Yonge Street which had a secret back entrance for timid celebs, and for us volunteers, an endless supply of free popcorn. With each shift my goal was to get as close as possible to my favourite stars, and it was easy. I stood beside Hilary Swank as she rode the escalator to her screening of Boys Don’t Cry (her short hair looked amazing.) I was asked by a very chiseled and handsome Guy Pearce to direct him to the restroom. I played security guard for Randy Quaid’s film reels until he arrived. I sat 2 seats away from Ethan Hawke as he squirmed through his own film. The entire culture was different, celebrities arrived in t-shirt’s and jeans (Jake Gyllenhaal) and sat beside movie goers for the entire film without any arrogance (Maggie Gyllenhaal.) As you walked in Yorkville you were surrounded by the likes of Liev Schreiber, Gerald Butler and Denzel Washington as they popped into the shops, and it felt special.
As TIFF has become a festival juggernaut the mood surrounding it has transformed. Where in the past you might rub shoulders with Michelle Rodriguez and Carrie-Anne Moss in line at the concession stand, fans now find themselves pushed behind barriers, black suburbans, and swarms of personal assistants. This year’s drought of star power almost feels like a sign that perhaps it’s time for a reboot. TIFF was once real, fun and accessible. Let’s find a way to get back to that, so stars don’t merely fly into Toronto for a quick advertisement. Instead enjoying the atmosphere of our city and its pure fandom.
I celebrated National Cinema Day at the theatre for 6 hours.
What I watched and whether it was worth $4
Blue Beetle
I have adored Xolo Mariduena from the moment I saw him as a kid on TV’s Parenthood. His sweetness and inherent goodness is one of the reasons that Cobra Kai is such a success. To sum it up Xolo has that “It Factor,” and now he proves it on the big screen as DC’s newest crusader. The Blue Beetle at first glance is a B superhero. His superpowers are not particularly mind blowing and consist of gadgets that pale in comparison to Batman’s arsenal. Moreover, the “Bug Ship was so silly that I half expected an Orkin truck to be following it from behind. Nevertheless, what Blue Beetle lacks in tech it more than makes up in heart. Blue Beetle is an immigrant story rooted in familial love. Never white washing the characters, everything is seen from a Mexican perspective. Mispronounced names are corrected, subtitles are prevalent and the soundtrack vibrates with a Latino flavour. Moreover, the comedy is hilarious and George Lopez must be commended for his dead pan delivery and quips. Blue Beetle breaks down an array of stereotypes from what it means to be a true hero to the belief that the DC universe is only comprised of dark unflinching characters. For the first time we witness a superhero movie in which the protagonist’s true superpower is the strength of his family and their ability to work together to fight injustice. This movie has an excellent cast, the dialogue is funny and the presentation is fresh. Definitely worth a full price admission.
Gran Turismo
I will just come out and say it, was this movie necessary? I know it sounds rough but I left the theatre wondering who demanded to have this “true story” told? Firstly, I’ll start with the good: David Harbour is amazing. He steals each scene with conviction and even makes receiving a Sony Digital Walkman in the movie a moment of great emotion, (in direct contrast to the great disappointment any other person would feel.) His talent is wasted and I recommend Violent Night and Stranger Things: Season 4 for a fun Harbour-centric experience. The Bad: Orlando Bloom. When did Bloom lose his ability to act because his performance is based solely on a variety of bizarre facial expressions and over the top shouting. (I miss Legolas.) Plot wise the story is haphazardly glued together with foreign locales and various difficulty stages with few electrifying moments in between. However, it is worth noting that when the movie reached its climactic finish line the entire audience began to clap very loudly. Did I miss something? Have I lost touch with my first generation PlayStation? Or maybe it’s that fact that at its core Gran Turismo is an underdog story, and who doesn’t love seeing someone overcome the odds. Gran Turismo is worth the $4 admission, but gives off a strong straight to streaming vibe.
Summer 2023 Snack-Sized Movie Reviews
The Little Mermaid
Without the 1989 cartoon for comparison, The Little Mermaid is adequate. Chloe Bailey is an ideal combination of vulnerability and cuteness that is best showcased through her singing. However, I was disappointed by how much of the storyline had to be tweaked to satisfy Woke Disney, most specifically the change of lyrics in the song Part of Your World, the absence of Chef Louis and the introduction of her high-minded family. Disney Studios is clearly terrified to put forward an idea that may be perceived as outdated, so why not focus on new, original content instead?
The Flash
The Flash is one of the better superheroes movies to date and will keep you engaged from start to finish. Granted, actor Ezra Miller’s real life is an ugly mess and James Gunn has completely destroyed the Snyderverse. Nevertheless, the story is multifaceted, the acting is entertaining and seeing Michael Keaton don The Batman cape once again is pure comic book magic. I can’t forget to mention my most favourite part which was the introduction of Supergirl who is just the right amount of moody, sexy and modern… a complete revelation.
Indian Jones and the Dial of Destiny
Mocked by many for having an octogenarian in the title role, Harrison Ford proves he is perennially cool. Saying this movie caters only to seniors is doing it a great disservice. Instead, if you’re a fan of the first two installments in this franchise you will enjoy Dial of Destiny. The CGI in the opening sequence is well done except for the failure to de-age Ford’s voice. The story has a Spielberg/Lucas quality while the understated celebrity cast enhances its retro vibe. Like many classic 80’s blockbusters Dial of Destiny is packed full of stunts, exotic locales and sci/fi surprise.
Mission Impossible: Dead Reckoning
To be blunt, this movie is alright, but the story has been sacrificed for outrageous stunts that don’t measure up to it’s predecessors. Let’s get real with regards to the “Big Stunt,” there is no way Tom Cruise parachuted from a full speed motorcycle cliff dive. Cruise is not Evil Knievel and the visual is overhead without even a glimpse of Cruise’s face. We are aware that Hollywood magic is at the forefront of every blockbuster, but as a movie lover I don’t appreciate being treated as a gullible viewer. It is worth noting that Pom Klementieff’s portrayal as Paris serves as the perfect balance of homicidal maniac and vulnerable ingenue, think Jaws in The Spy Who Loved Me, but better.
Barbie
For years Barbie has been portrayed as a bad influence on little girls but Barbie: The Movie changes that. The sets are spot on from Barbie’s dream house to her pink corvette, while the plywood beach waves and waterless pools create a masterful simplicity. Margot Robbie breathes life into an inanimate toy with every mannerism, regardless of her new found flat feet and cute cellulite, while Ryan Gosling must be praised for his plastic Ken physique. Never preachy, the poignant messages are both visual and emotional and unlike anything you have ever experienced before. A must watch for everyone.
Oppenheimer
If you want to survive Barbenheimer 2023 this is a movie that must be experienced on the big screen. In typical Christopher Nolan fashion striking sounds and stark imagery is utilized to amp up the Atomic experience. Moreover, you will be blown away by how many great actors are in this movie. Although the science was above my Grade 9 capabilities it didn’t matter because the the themes are straightforward. Perseverance, bullying and miscalculations are things we have all faced, therefore making Oppenheimer’s explosive journey relatable and never boring.
Barbie: The Movie proves that Hollywood can still think Outside The Box
2023 has been a frustrating summer at movie theatres. As successful franchises and spinoffs promised greatness, and then preceded to crumble at the hands of viewer disinterest, my faith in the summer blockbuster was lost. That is until the release of Greta Gerwig’s superb Barbie: The Movie. Barbie: The Movie uses playfulness to exhilarate a script that is both intelligent and purposeful.
When Margot Robbie began attending movie premieres dressed as Solo in the Spotlight Barbie, Enchanted Evening Barbie and Totally Hair Barbie (all popular dolls in Mattel history) I was mystified. I will admit it worried me that Robbie’s commitment to a real life Barbie makeover was merely to bolster a terrible movie, but I was wrong. As the the movie begins Barbie Land is portrayed as if through the eyes of a child. The sets are spot on from Barbie’s dream house to her pink corvette, while the plywood beach waves and waterless pools create a masterful simplicity. My only criticism would be Barbie wearing Chanel throughout the movie. Although the fashion doll has collaborated with the likes of Burberry and Oscar de la Renta on collector editions, seeing the interlocking C’s on “stereotypical” Barbie’s purse and necklace was excessive. Nevertheless, the pink infused world thrives on it’s ability to capture how we engage with Barbie and the role accessories have on the experience.
Greta Gerwig as both Co-Writer and Director expertly uses vibrant imagery to convey dual meanings. Robbie looks exactly like a Barbie doll regardless of her new found flat feet and cute cellulite. Moreover, Robbie moves like a Barbie as she floats in the air, runs stiffly from Mattel executives and flings herself uncomfortably onto the grass. Such rigidity serves as an antithesis to future impassioned revelations. Ryan Gosling’s portrayal of Ken is the perfect counterpart as he suffers his own crisis. Gosling looks amazing and must be praised for his plastic Ken physique, which is showcased in an array of bold outfits. Moreover, Gosling’s acting is exceptional. Ken’s simple and cheerful face carefully conceals his pain and confusion. As Gosling’s Ken navigates the real world trying to get a job we laugh at the delivery of his one liners but understand his demoralization. The Ken War and Ken Dance scenes are equally important as they depict a clear transformation. The Ken War showcases slow and unsteady movements from all the men as they attack each other with silly weapons. Meanwhile, the Ken Dance allows all the Kens of Barbie Land the opportunity to cavort (a la west side story,) bend and jump free from restrictions. Consequently, each inflexible gesture is carefully crafted and executed by Robbie and Gosling to perfection.
Barbie: The Movie is a must watch regardless of age or gender. With a plot line heavily steeped in secrecy I was unsure what to expect as I sat down in the cinema. As a lifelong Barbie fan I played with her long after my friends had lost interest. With her own car, house, extensive wardrobe and can-do spirit, Barbie exemplified accomplishment to me. Like Barbie herself, this live action movie is fresh and unlike anything you have ever seen. The entire cast must be praised for their ability to breathe life into an inanimate toy while touching a variety of people both visually and emotionally. A great example of this is a scene when Barbie enters a box and feels the grip of the plastic twist ties on her wrists. A child watching this will see the all too familiar Mattel packaging while an adult viewer knows the existential dilemma that Barbie is facing. Moreover, America Ferrera as Gloria gives a wonderfully impassioned pep talk. In it she discusses what it means to be a modern woman and it is an unfiltered representation of the reality we live in. Lastly, through Ken’s macho transformation both women and men alike can relate, whether it be a needy ex-boyfriend or the pressures placed on perceived manliness. Never preachy, Greata Gerwig uses creativity and wit to guide us through poignant messages and an unexpected ending. I’m a perpetual Barbie Girl and this movie has only heightened my love for this ambitious doll.
“Mr. Cruise, It’s getting harder and harder to accept these missions”
When the first Mission Impossible movie came out in 1996 I saw it in theatres, and I must admit I didn’t understand it. It wasn’t till I revisited it on television 15 years later that the plot clicked. The cast was excellent, (notably Henry Czerny,) the stunts were fun (an exploding aquarium restaurant) and Tom Cruise was stunning in his black v-neck sweaters. Fast forward 27 years, and 6 movies later, and Cruise is saving the world again as IMF agent Ethan Hunt in Mission Impossible: Dead Reckoning. To be blunt, this movie is okay, but the story has been sacrificed for stunts that don’t measure up to it’s more equally balanced predecessors.
As the Mission Impossible world has evolved so has the calibre of it’s actresses. Notably, Pom Klementieff’s portrayal as Paris serves as the perfect balance of homicidal maniac and vulnerable ingenue. You can’t take your eyes off of her during the car chase scene as she grins and laughs while pursuing Hunt. Watching her performance is reminiscent of Jaws in The Spy Who Loved Me. This platinum blonde immediately commands your attention and holds onto it. Within the constraints of limited dialogue and a one dimensional character, Klementieff is able to invoke a fear that is palpable long after the film has ended.
With each new instalment, the story has had to play catch up as a means of moving the events forward. Dead Reckoning begins with a CGI’d flashback sequence. While Cruise’s Rain Man hairdo (circa 1988) looks excellent, the narrative falls flat. Instead of explaining why this new villain has been haunting Hunt’s memories for decades, the scene is rushed making the victim’s demise trivial. Clearly the setup is to introduce a new bad guy, but without a back story there is no emotional payoff. This apathetic storytelling continues into the Venice party scene as Esai Morales explains the all knowing Entity The casting of Morales is a welcome addition, but is quickly wasted by giving him confusing dialogue to recite and a messy script. It becomes clear that Dead Reckoning is all about the action while muddled exposition is used as a means to pivot from one stunt into the next.
There was a Mission Impossible Dead Reckoning preview on CBS on July 5th. The 30 minute special promised a behind the scenes look at the movie. What struck me during the special was Cruise’s instance that he had been imagining the climactic cliff since he was a child. Instead of being intrigued by that statement I was confused. When exactly did Cruise become Evil Knievel? Cruise has superior acting capabilities without a doubt. Born On The 4th of July, A Few Good Men, Cruise has been giving multi-faceted performances for years. But let’s get real, there is no way he parachuted from a full speed motorcycle cliff dive, least of all 6 times as he stated during the special. The transformation from actor to full blown stuntman came to fruition in Mission Impossible: Ghost Protocol. In that film Cruise’s exceptional physique is clearly on display. While we know that Cruise was fully harnessed on the Burj Khalifa, watching him running along the outside of the building was completely thrilling. When viewing the cliff dive in Dead Reckoning you only see an overhead shot of Cruise. If he really did such an outrageous stunt why did Director Christopher McQuarrie not position cameras and drones from every angle to at least catch a glimpse of Cruise’s face? We are aware that Hollywood magic is at the forefront of every summer blockbuster, but as an avid movie lover I don’t appreciate being treated as a naive, gullible viewer.
With a variety of characters and stylish destinations the Mission Impossible franchise has expanded. While the emphasis has shifted towards nonstop action no particular stunt really sticks in your mind. Consequently, the notable decline in the plot has hurt the integrity of the franchise, even begging the question is the franchise nearing it’s end? Perhaps it’s time to get back to basics and let Cruise’s acting capabilities drive a movie forward instead of an excess amount of outrageous sequences.