This was fun. Bad guy Sean Harris is back from part five, Henry Cavill is a traitorous team member, Rebecca Ferguson is a badass, Vanessa Kirby (TV’s The Crown) an arms dealer, Angela Bassett the new boss when Alec Baldwin gets killed. Ends with some more impressive-looking helicopter stunts than in part one, a clifftop battle, and nuclear weapons set to destroy a significant chunk of the world’s population beginning with Ethan’s wife Michelle Monaghan.

Rewatched for the first time since theaters (?) in prep for M:I:6:Fallout, and it was much fun. I remembered Emilio Estevez’s elevator death, but not that it happens in the opening sequence and that he dies along with the entire team of Kristin Scott Thomas, Emmanuelle Béart (not really dead) and her husband and team leader Jon Voight (also not dead, and the secret double-agent mole who planned the whole thing to frame Tom Cruise and make off with the secret documents or whatever). On the side of evil Voight are Jean Reno, who dies in the preposterous helicopter-in-the-train-tunnel finale, and Vanessa Redgrave, who is just quietly arrested. I was impressed by the rubber-masks game, recalling the advanced digital trickery in M:I:4:Ghost:Protocol, and then happily, part six featured just as many rubber masks.

Dramatic camera angles, first-person shots and entire subjective scenes which play differently in flashback, because it’s still De Palma.

Team 1: Estevez (his last appearance in a theatrical film that he didn’t direct), Cruise (same year as Jerry Maguire), Béart (right between her two major Rivette films), and Burnt by the Sun star Ingeborga Dapkunaite:

Cruise and K.S.T., lurking:

Neither of us could recall what happened in any previous Mission: Impossible movie, but it didn’t seem that important. Confusing exposition scenes – afterwards we wondered why the secret accounts stored in the data vault protected by the underwater red box coded by the prime minister’s biometrics had continued to accumulate massive funds for the hypothetical secret project, when the PM thought the project had been cancelled, and if someone was routing that money counter to the PM’s wishes, why he wouldn’t have stored it somewhere more accessible. But the rest of the movie is fab action scenes and Simon Pegg quips, and that’s what we came for.

Evil Simon Pegg:

McQuarrie also cowrote Edge of Tomorrow, directed Jack Reacher. It’s a less distinctive-looking movie than the others, and less ecstatically wonderful than part four. Whichever film critic said this was equal to Mad Max: Fury Road was high. Action scenes could’ve been more coherent looking. Gripes aside, a solid movie with good shootouts and motorcycle chases, an intense-as-ever Cruise and his great comic sidekick Pegg. Jeremy Renner is reduced to a talking head, Ving Rhames is barely in the movie, and Alec Baldwin plays their boss. Swedish newcomer Rebecca Ferguson (Queen Elizabeth in a recent British miniseries) is the latest in a string of interchangeable M:I women, working for three different sides and looking stylish doing it. Simon McBurney is a slimy head of british intelligence and our evil mastermind is Sean Harris, the punk rock geologist in Prometheus, who looks upsettingly similar to Simon Pegg. Katy was annoyed that they keep referring to the IMF (“Impossible Mission Force”) and also mention the World Bank (related to the real IMF).

Definite proof that Pegg and Harris are different people:

M. D’Angelo: “[McQuarrie] found, in Rebecca Ferguson, the first woman to make a real impression in this boys’ club. Every time she removes her shoes, look out.”

AKA Live.Rinse.Repeat. I didn’t recognise a mustachioed Bill Paxton in charge of the fighting unit which disgraced PR guy Tom Cruise gets sent to. After Tom’s gruesome melty death from the acid blood of a rare alien beast, he gains its power to re-live a day over and over again, retaining memories from previous iterations. So it’s a less romantic Groundhog Day, but instead of the occasional comic death scene, it’s constant death scenes, Cruise having to get every single detail exactly right or else die, often at the hands of lesser aliens, or shot by teammate Emily Blunt (Looper), who built a super-soldier reputation because she once had the same Groundhog Day alien-blood power.

Liman made Swingers and Jumper. Based on a novel, adapted by Chris McQuarrie (Jack Reacher, The Usual Suspects) and the Butterworths (James Brown bio Get On Up).

Tom Cruise face-melt:

So, in the straightforward ending, pre-crime dept. head Max Von Sydow murdered precog Samantha Morton’s inconvenient mother and good cop Colin Farrell, while Cruise’s ex-wife springs him from The Attic to bring justice and a happy ending. But an article Katy found says the ending is too idyllic and perhaps Cruise never awoke from The Attic, but actually dreams the last half hour Brazil-style. I love that the movie works either way.

Highlights: creepy doctor Peter Stormare and the following scene with retina-scanning spiders invading his apartment complex, Cruise escaping via auto assembly line, Morton’s freaked-out performance, the still-exciting technology and how most of it is becoming real. Katy is hung up on the mismatched architecture/design styles of all the interiors.

March 2077: I’ll be on an airplane, so I grab the dumbest-looking movie I can find at work to watch through a dramamine haze. A Tom Cruise actioner from last year that I already have no recollection of: that’ll do nicely. I’m playing a feature-length game of “spot the reference,” as it seems to have been concocted from scraps of sci-fi thrillers past. It’s all a bit silly, but undeniably strong-looking, and its sleek production design (and the face of To The Wonder’s Olga Kurylenko) lingered in my mind afterwards.

Cruise plays a Wall-E type named Jack Reacher, left behind to clean up earth after everyone else has moved into space. But he’s also a Moon type, since it turns out Cruise is thousands of clones of himself (maybe that’s more Galactica), and it turns out humanity survives underground and the “people” in space are evil aliens (who blew up the moon in an obvious Mr. Show reference) using fake video images of Melissa Leo to interact with their clone slaves. But Cruise is not a slave, likes to read classic literature and builds a rustic nature shack and nurtures a potted plant and watches Hello Dolly on a creaky old tube TV. No he doesn’t, but it’s funny how the human stuff Cruise salvages for his shack is already old now – classic rock LPs and antique-looking refrigerators.

Clone Cruise has a Clone Wife (Andrea Riseborough of Happy-Go-Lucky) but dreams of Olga, and when she crash-lands after being in orbit for however-many years, they team up with the undergrounders (led by Morgan Freeman) to nuke the mothership, threatened by spherical alien drones with great bassy doom-growl voices (clearly the presence of flying death orbs in a film called OblIVion is a shout to the fourth Phantasm movie).

“Copy 4-0-9, tasking 1-8-5 to grid 2-2.” The movie likes saying numbers aloud, and its mix of all-knowing and easily-fooled technology is nearly plot-hole-worthy – for instance, after Cruise goes for a walk the robots can track his DNA from the air at speed, a light-up trail tracing his exact path, but they always take ten seconds of him yelling his name at them before they stop threatening him with guns. And the planet seems to be all mapped into robot-patrolled grids within alien-drawn neighborhoods, each manned by a Tom Cruise, but his entire Walden shack goes unnoticed for years, and when he follows a homing beacon all the way from base, he doesn’t even know what kind of structure the signal is coming from until he walks right up to it. So they’ve gotten both better and worse than google maps. But I like the all-white Apple-like alien tech with its triangular motif, and the effects are cool and the M83 music pretty great.

We have the technology. The time is now. Science can wait no longer. Children are our future. America can, should, must and WILL blow up the moon! And we’ll be doing it during a full moon, so we make sure we get it all.

Thinking about this movie again thanks to Room 237. It’s nice to sit down with a “proper film” like Wolf of Wall Street, an austere classic like Winter Light, an idiosyncratic puzzle like Upstream Color, but in some ways, Kubrick knocks them all on their asses. From the start it has a commanding power and grace that seems unreal. It’s a motherfucker of a movie.

At a party, Dr. Bill meets his med school friend (Pianist Nick) and two hot babes, but he escapes upstairs to help save host Sydney Pollack’s prostitute from an overdose, while Bill’s wife Alice (for once, seemingly not a Lewis Carroll reference) dances drunkenly all night with a suave Hungarian.

That night, Alice accuses Bill of infidelity, mocks his total confidence in her by confessing an infatuation with a naval officer last year.

Called away because friend Marion’s father has just died, she confesses her love for Dr. Bill just before her boyfriend arrives.

After being pushed aside by rowdy homophobes, Bill allows himself to be taken inside with prostitute Domino (Vinessa Shaw of The Hill Have Eyes Remake), who has masks on her walls, foreshadowing many masks to come, but after a call from his wife he leaves.

Bill comes across the bar where his pianist friend (Todd Field of The Haunting Remake) plays, and wrestles the details of Nick’s next engagement out of him.

Fully flowing wherever this weird evening will take him, Bill goes to a costume shop to get a mask and cloak, awakens the proprietor (Rade Serbedzija, Boris the Blade in Snatch) who discovers his young daughter fooling around with a pair of Japanese men in wigs.

To the masked ball, where it turns out Bill is immediately suspected for having arrived via taxi. Much nudity, an actually-pretty-tame orgy, and taunting masks everywhere as Bill gets caught and kicked out.

The next morning things aren’t going too well for people Bill met last night. Nick has disappeared (according to hotel clerk Alan Cumming), the costume shop man has reached an “arrangement” with the wig men and offers to rent out his daughter to Bill, Domino got news that she’s HIV positive, and Pollack’s prostitute (who Bill suspects was his rescuer at the masked ball) has turned up dead.

Pollack has Bill over to talk him down, and Bill arrives home to see his wife has found the mask, so he tells Alice everything.

The next day they go toy shopping with their daughter. Alice: “Maybe I think we should be grateful – grateful that we’ve managed to survive through all of our adventures, whether they were real or only a dream.”

Cruise plays so overconfident that his character seems on the verge of being a huge asshole, flashing his doctor’s license all over town like a cop, but he also plays unhappiness and remorse so well that it’s hard to judge. Kidman spends too much of her screen time drunk or stoned, moving and speaking very slowly, but nails the last few scenes.

I enjoyed Rosenbaum’s article, and a detailed analysis of symbols on Vigilant Citizen. I knew I’d easily find such a thing, based on the level of Kubrick analysis/lunacy displayed in Room 237.

From an amazing article by Tim Kreider in Film Comment (although note that he buys into the Room 237 theory of The Shining being about the massacre of the Native Americans):

The real pornography in this film is in its lingering, overlit depiction of the shameless, naked wealth of end-of-the-millennium Manhattan, and of the obscene effect of that wealth on the human soul, and on society. National reviewers’ myopic focus on sex and the shallow psychologies of the film’s central couple, the Harfords, at the expense of every other element in the film – the trappings of stupendous wealth, the references to fin-de-siecle Europe and other imperial periods, the Christmastime setting, or even the sum spent by Dr. Harford on a single illicit night out – suggests more about the blindness of the elites to their own surroundings than it does about Stanley Kubrick’s inadequacies as a pornographer. … Kubrick’s films are never only about individuals. (Sometimes, as in the case of 2001, they hardly even contain any.) They are always about civilization, about human history.

The Sorcerer’s Apprentice (2010, Jon Turteltaub)
Our brash teen hero is driving around anxiously. But elsewhere – Alfred Molina/Nicholas Cage wizard battle! That’s what I came here for. The CGI flies as dark sorceress Monica Bellucci unleashes ancient evils. Cage inhales her face, Mummy Returns-style, but gets possessed by dark powers. Then our teen hero discovers the power was within him all along. From the director of the National Treasure series and the first 3 Ninjas.

Austin Powers in Goldmember (2002, Jay Roach)
Instead of the last ten minutes, I enjoyed the Tom Cruise / Gwynyth Paltrow / Kevin Spacey / Danny Devito / Steven Spielberg open and the Britney Spears / Quincy Jones credits sequence. If I hadn’t read the reviews when this came out, I’d gladly sit through the rest of this. While Myers has kept busy voicing cartoons lately, Roach made a Ben Stiller and a Steve Carell comedy, neither of which looks good.

Mercury Rising (1998, Harold Becker)
One of those generic-looking action thrillers from the late 90’s with a forgettable nonsense title. Alec Baldin is the government baddie, and after watching four seasons of 30 Rock I cannot deal with him in a straight role anymore. I thought Bruce Willis was doing pretty well in the 90’s – what would make him agree to something like this? The two stars are fighting on a greenscreen roof until Bruce saves the autistic kid who cracked some kinda government code according to the plot description, sending Alec to a gruesome death plummet. Becker also made other action thrillers with generic names like Sea of Love, Malice, City Hall and Domestic Disturbance.

Starship Troopers 3 (2008, Edward Neumeier)
Two women are praying, and a giant beastie made of dodgy CGI is arising from a volcano, until Casper Van Dien’s dodgy-CGI power suit comes and rescues them. Looks like the worst movie ever, and practically a cartoon with all the poorly-rendered graphics. Neumeier wrote the original Starship Troopers and Robocop, so he can’t be all bad, but he also wrote all their shameful sequels, so maybe he is.

The Funhouse (1981, Tobe Hooper)
Looks like our heroine (who played Mozart’s wife in Amadeus) has finally reached the breaking point into psychosis when presented with the dead body of her (husband? brother? best friend?) by a robot clown. After a long suspenseful chase sequence, a dude in a drooling latex mask catches up with her, but gets electrocuted and chewed up in some gears while she screams uselessly. Some heroine. A forgotten feature made by Tobe between Salem’s Lot and Poltergeist, from the writer of that gag 1990 Captain America movie.

Blood Creek (2009, Joel Schumacher)
The man once in charge of the Batman franchise is now making direct-to-video nazi zombie flicks? Apparently his career was destroyed not by his derided comic movies or his despicable follow-up 8mm, but by the 2004 Phantom of the Opera. Some people are running from the nazi, and some from the zombie, who has a wormie in his forehead just like Jeffrey Combs in From Beyond. Anyway, this looks no good, but at least the effects are better than the above three movies combined. From the “writer” of a whole bunch of remakes.

Stone (2010, John Curran)
Robert De Niro’s house is on fire! He rescues his wife, who gripes some religion at him. Flash forward, Rob is retiring, and is an asshole. Then he finds, and does not kill Ed Norton, who steps back into the shadows. Some stuff about redemption and god’s will, oh and here’s Milla Jehovavich finally, in a bar. The sound mixer thinks he’s all that. Was a time I wouldn’t have missed a De Niro/Norton movie, but that time was about a year before The Score came out. From director of The Painted Veil and writer of Junebug – weird combination.

War of the Worlds (2005, David Latt)
Another one of those quickie direct-to-video titles designed to confuse Blockbuster patrons looking for the Tom Cruise version. C. Thomas Howell plays substitute Tom Cruise here (he’s also sub-Jennifer Connelly in The Day The Earth Stopped and sub-Will Ferrell in The Land That Time Forgot). Some guy informs us D.C. is gone (budget filmmaker’s motto: tell, don’t show) and the rebellion is hiding out in the Blue Ridge mountains, and oh here’s Jake Busey as an authoritarian dick army man, cool. But Howell makes it to D.C., gazes at some CG backgrounds, crosses a bridge that crumbled in a totally believable way (destroyed but for a convenient walking path down the center), chats with a dying alien tripod (err, 4 or 5-pod) and is reunited with his family in the last minute. Just like the Spielberg version, except not any good. From the writer of The Da Vinci Treasure, AVH: Alien vs. Hunter and Allan Quatermain and the Temple of Skulls.

Putting aside all the Tom Cruisey shenanigans and South Park sketches, he’s a really good actor for this type of movie. Fun fake faces, costumes, cars and brain bombs. The action scenes make my eyes hurt, and it’s all action scenes.

Billy Crudup, looking not so familiar, was the inside man and Phil Hoffman was an endearing psycho killer. Everyone else did whatever, and probably did a fine job of it. I was all caught up in the tension of the thing and the wild missions… thrilling. Took exception to the happy-sappy final scene, where all survivors (TC, wife, three teammates, commander L Fishburne and the comic-relief tech guy) laugh and cheer, the camera taking turns showing them smile in close-up. But later read a fine explanation of how Cruise maybe got brain-bombed or never woke up from eating a live electric cord, and the ending is a dying fantasy. Katy had a point in the action scenes having way too many cuts, but that’s nothing new.