Mission Impossible: Fallout defied the two defining trends of 2018 at the films. It exceeded the wildest expectations anyone had for the sixth film in a 22-year-old series, and it managed to be the poster child for how franchises can be amazing in a year when franchise fatigue seemed to reach a new level of punishing. Not only is Fallout the best MI film, but it’s also arguably the best film of last year and the best action film since at least Mad Max: Fury Road. The film manages to weave a coherent and compelling plot around a series of action set pieces that play like a compelling audition tape for the creation of a Best Stunt Work Oscar category. No matter what kind of action scene is your personal favorite (skydive; gunfight; fist fight; crashes; explosions; and chases by foot, helicopter, motorcycle, and car) Fallout does them and does them as well as any film ever has.
Picking one of those set pieces to elevate over the others is a tough call. The HALO jump is astonishing. Cruise and Cavill’s restroom rumble is fantastic. My favorite sequence of the film though is the extraction of the film’s villain, Solomon Lane, from custody and the ensuing madness in Paris. Director Christopher McQuarrie, who also wrote the film, crafted a masterful action sequence in which an improvising Ethan Hunt has to figure out a way to break his nemesis out of a moving armored convoy while minimizing any collateral damage intended by his allies of the moment. The sequence, which also highlights the film’s gorgeous cinematography and score by Lorne Balfe, typifies what I think is Fallout’s best move: humanizing Ethan Hunt. There’s more characterization for Ethan in this film than in the previous five combined and, with a few exceptions, most of is done in the beats between actions. He’s tired in this film. Always so cocksure and calculated, Hunt spends a lot of Fallout looking out-of-breath and in overt exasperated disbelief at some of the things he still has to do to keep the world safe. Tom Cruise, at age 56, finally lets his character look his age, and I think he’s a more interesting protagonist for it. Fallout a bar for quality that’s going to be a near (brace for it) impossible standard for future installments of the franchise to follow. If there’s a flaw in the film, I can’t find it.