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Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on DVDs. Mission Impossible: Ghost Protocol

Mission Impossible: Ghost Protocol (Two Disc Blu-ray/DVD Combo) (Three and a Half Stars)
U.S.: Brad Bird, 2011 (Paramount)
If you have even a little fear of heights — as I do myself — there’s a scene in Mission Impossible: Ghost Protocol, that should leave you breathless. Producer-star Tom Cruise, playing the Mission Impossible series’ head impossibler, Ethan Hunt, has to sneak from one room to another in Dubai’s Burj Khalifa, a skyscraper in the United Arab Emirate. That’s the building that’s currently the world‘s tallest: 160 stories or 2,723 feet high. (Compared to Burj Khalifa, The Empire State Builiding (102 floors) and the old World Trade Center (110 floors) would be somewhere way down there.)
Deciding to do things the hard way, Ethan knocks out a window in the Mission Impossible crew‘s apartment, which is, oh, about 123 stories up. (Yikes!) A whole empty wall is now facing Cruise (we‘ll call him Cruise from now on), and he swings outside, with a climbing harness and wires, and suction gloves that stick to the buildings side. (Ai Yi Ai….) All Mission Impossibled up, he goes climbing up the side of the Burj. And, because this scene was shot in deep-deep-deep-focus IMAX, and is being shown on both regular and IMAX screens (I saw it in IMAX) and because cinematographer Robert Elswit and company are very good with cameras, we seem to be able to see all the way down to the ground, or at least to the tops of those other little smidgens of skyscrapers, way, way down there. The effect of being really up there is astonishing, terrifying. (Yow! Yow! Yow!).
Anyway Cruise keeps climbing up. He has that intense, focused Tom Cruise look on his face. But since we’re 123 stories up, it must be a little windy. And — wouldn‘t you now it? — his equipment starts to show some bugs. Specifically, one of the suction gloves starts to peel off the wall, and he has to throw it away. Cruise…has…to…take…off…the…glove…and…throw…it…away. While he’s up there, 123 floors high. And with assassins who want to kill them still in the building. (Ay-yay-yikes!)
I’m not going to tell you the rest. You’ll have to see it yourself — and when you do, see it in IMAX. There’s a big difference. I still think, even after Scorsese’s Hugo, that 3D is a gimmick I can take or leave, but I love IMAX. All I have to say more about “The Scene” — in a movie for which Cruise is reported to have insisted on doing his own stunts — is that if he really did do all of it, without CGI, and without a net, and without fakery of some kind, I think he deserves a special Oscar for the  most totally crazy performance by a star movie actor in 2011 who has succeeded in scaring the living hell out of his audience. He has no competition.
That scene alone though is worth the price of the ticket, especially if you see it in IMAX. And the movie has four or five more that, if not quite as nail-biting (parts of which are obviously faked), are still pretty spectacular, and are better and scarier than what you’ll see in most any other action blockbuster around. This is the fourth of the MI movies, which started in 1995, with the original show directed by Brian De Palma (and the next two by John Woo and J.J. Abrams, who co-produced this one). In the movie, Cruise and a thrown-together supporting crew — tough gal Jane Carter (Paula Patton), wise cracking techno-whiz Benji Dunn (Simon Pegg, a holdover from MI3) and moody agent William Brandt (Jeremy Renner) — get together on a ghost mission (they have no support, no visibility, no deniability and no help) to foil an insane nuclear terrorist who wants to blow up the world: Michael Nyqvist as Hendricks.
This was the best big-budget action movie out last year not just because it has the best action, but because the characters are interesting too: everyone we‘ve mentioned, plus the uncredited Tom Wilkinson as a spy boss, Lea Seydoux as a cold-blooded knockout killer, and Anil Kapoor (of Slumdog Millionaire) as a fashion plate baddie. Bird, who directed those modern animated feature gems, The Iron Giant, The Incredibles and Ratatouille — has a clean, clear, expert-looking filmmaking technique full of visual gusto and visual wit. His other showpiece sequences here include a terrific prison break, a bizarre gadgety break-in capped by the explosion of the Kremlin, a terrific car-chase and, the second best scene, a fight over a briefcase with the nuclear button, in an indoor garage, with hero and villain battling on independently rising and lowering parking spots.
But that Burj Khalifa Tom Cruise climb sequence: that’s pretty amazing. Not as funny as Harold Lloyd’s human fly routine in Safety Last, but definitely the scariest thing I’ve seem or hope to see in a movie, this year. Tower Heist, eat your heart out. By the way, the Burj Khalifa has a low occupancy rate, due to the world’s economic woes, but they do have somebody up on the 16oth floor. I just hope it isn’t Philippe Petit, the daredevil acrobat French  guy who walked on a high wire between the Twin Towers in Man on Wire, with a guerilla filmmaking crew shooting it. And if it is Petit, I hope he didn’t sneak in a camera and a camera guy. Or Tom Cruise.

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Wilmington

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“Last night’s Oscar bizarreness was not just bizarre but bizarre in a way that is typical of this entirely bizarre time. The rhythm of the yes-they-won-oh-my-God-no-they-didn’t event, with La La Land replaced by Moonlight as Best Picture, was weirdly like that of… Election Night. First, a more or less expected, if “safe,” result was on its way—though Hillary Clinton never got all the way to the stage, so to speak, the result did seem safely in hand at 7pm., according to the polling—and the expected and safe people were ready to deliver their touching but obviously polished pieces. Then the sudden confusion and visible near-panic of people running around in the backgroun, with the same slightly horrified spirit that one felt on Election Night as shocking results began emerging from exurban counties in Florida. Then, yes—can this be happening?—the revised and unexpected result.

“In this case, obviously, the result was positive to all but the poor La La Land producers, with their earnest and spouse-approved speeches already delivered. Moonlight was no Donald Trump of cinema, and obviously a popular favorite. But the rhythm of the night was disconcertingly the same, and the sheer improbability of the happenstance scarily alike. Nothing like this has remotely happened before. This wasn’t just a minor kerfuffle. This was a major malfunction. Trump cannot be President. People don’t say “Grab ’em by the pussy” and get elected President. Can’t happen. In the same way, while there have been Oscar controversies before—tie votes and rejected trophies—never before has there been an occasion when the entirely wrong movie was given the award, the speeches delivered, and then another movie put in its place. That doesn’t happen. Ever.

“And so both of these bizarre events put one in mind of a simple but arresting thesis: that we are living in the Matrix, and something has gone wrong with the controllers. This idea was, I’m told, put forward first and most forcibly by the NYU philosopher David Chalmers: what is happening lately, he says, is proof that we are living in a computer simulation and that something has recently gone haywire within it. The people or machines or aliens who are supposed to be running our lives are having some kind of breakdown. There’s a glitch, and we are in it. There may be not merely a glitch in the Matrix. There may be a Loki, a prankster, suddenly running it.”
~ Adam Gopnik

“I think they were focused so hard on politics that they didn’t get the act together at the end,” President Trump said. “It was a little sad. It took away from the glamour of the Oscars. It didn’t feel like a very glamorous evening. I’ve been to the Oscars. There was something very special missing, and then to end that way was sad.”
~ Trump Offers Breitbart Exclusive On His Thinking About Oscar