This is a spoiler-free review.

MANILA, Philippines – At one point, Luther advises Ethan Hunt, the near-mythical hero of the Mission Impossible franchise, that to overcome the villain in this installment, he must be “cold,” “logical,” and entirely “rational.” Upon hearing this, Ethan gazes into the distance. He realizes that the one thing he has always resisted might now be the only way to save the world.

Ethan has always been defined by his disregard for common sense and what can and can’t be considered “possible.” (It’s literally in the title.) Need to get on a plane even though it’s already about to take off? He’ll ride on the side of it. Need to infiltrate a secure server room inside the tallest building in the world? He’ll climb outside the windows. 

Translated into the real world, Tom Cruise, who personifies these films, faces a similar dilemma with his character. He could choose the “rational” method, using a green screen for his motorcycle stunts and adding a cliff in post-production. But Cruise understands that such a cold and calculated method is just plain boring.

This trait sets Mission Impossible apart from other contemporary action blockbusters. The franchise’s refreshing approach to the authenticity of its dangerous stunts are done not just because they’re cool, but because Tom Cruise and director Christopher McQuarrie respect their audience. So far, they’ve accomplished this task with flying colors, innovating ways to thrill viewers since 1996 and reaching new heights with 2018’s Fallout, which remains my favorite to date.

While Mission Impossible: Dead Reckoning Part One is exceptional for action movie standards, it’s frustratingly middling for Mission Impossible standards. While it’s not a bad film by any measure, it doesn’t deliver the substantial improvement we’ve come to anticipate with each new installment in the franchise. 

Bigger stakes

Let’s get the elephant out of the room first – this is the first part of a two-part saga that acts as a send-off to Ethan Hunt (or not?). That means bigger stakes, a full-on exploration of Ethan’s backstory, and a villain so powerful that it’s designed to be practically impossible to beat. In sum, Ethan Hunt fights God – or in real life terms, Tom Cruise fights AI. 

This intriguing face-off becomes even more relevant in a world that’s now aware of the potential of AI tools like ChatGPT to replace jobs and disseminate knowledge. Likewise, its parallels to the ongoing Hollywood strikes aren’t lost as AI becomes increasingly prominent in an industry that still needs protection against studio greed and manipulation.

Known as “The Entity,” this AI infiltrates governments and intelligence networks. Alongside its human liaison, Gabriel (Esai Morales), they cause chaos worldwide, eluding capture as the computer’s ultimate source remains a mystery to all. Joined by his old team and a new member – the inexperienced and mysterious burglar Grace (Hayley Atwell) – Ethan must avert disaster against an enemy he can’t see, strike, or predict.

The villain instantly provides a compelling adversary for Ethan who at this point in his life is a legend amongst IMF agents and worldwide syndicates. Ethan is defined by his emotionality and his stubbornness. He wouldn’t hesitate to save Benji or Luther, even if it meant losing a nuclear bomb in the process. On the other hand, the AI is depicted as ruthless and strategic, never leaving any room for error. 

Conceptually, this is fascinating stuff, but in terms of execution, the film left so much to be desired that it felt unfinished, filmmaking-wise, at certain junctures. The 2 hour and 43 minute runtime is mostly bogged down by exposition dumps about AI that ultimately lead to nowhere. It doesn’t help that some of these scenes are weirdly edited and feel out of place. They bring the pace of several scenes way down and end up being futile to the larger story at hand.

The most glaring issue occurs during a train sequence where Ethan is frantically trying to catch up on a motorcycle. The film abruptly slows down as it shifts between three different groups of characters, who are all spoon-feeding information to the audience. These segments could have been significantly shortened. Let’s get back to Ethan on his motorcycle – that’s what we paid for tickets to see!

It’s frustrating since the action here is absolutely breathtaking. There’s a thrilling airport escape in Abu Dhabi, a Rome car chase reminiscent of Fallout but with delightful physical comedy, and a heart-stopping cliff jump performed in the unique style that only Tom Cruise can deliver. However, the film crumbles under the weight of its many characters and its messy script. The film leaves out far too much for Part Two to resolve, especially regarding the vague backstories of its key players. 

Despite this, Hayley Atwell remains magnetic and her turn as a relatable and grounded thief is remarkable. Her arc is arguably the best in the film and it’s satisfying to see her transformation in the end. Pom Klementieff (who was #hilarious in this interview) was downright iconic, sporting outfits that range from a black leather jacket paired with a chic blouse to a striking red velvet military jacket. However, she was severely underutilized in this film, as was Ilsa Faust (Rebecca Ferguson), who deserved much more engagement with the rest of the team

The first act is also the most compelling part of the film, as it takes its time to introduce the McGuffin that everyone will chase after: two halves of a key that will grant unbridled power to its possessor. But as the film progresses, it just repeats information we already know and introduces even more at stake that further complicates things. The tension in these scenes is reduced because the film intentionally provides only vague hints, reserving key information for Part Two.

Unlike other first parts, such as Infinity War or last month’s Across the Spider-Verse, all the backstories, dilemmas, and crucial world-building have already been established. It leaves the second film with the task of tying up loose ends and focusing more on the decisions characters must make based on the problems already introduced in the previous film.

In here, I’m still left questioning, what’s the Entity’s endgame? Who really is Grace? And what is up with Ethan’s IMF backstory? These are key questions that propel the action (there’s even a scene where, before Ethan performs a major stunt, we see flashbacks of characters we still know little about), but instead of fostering intrigue, Dead Reckoning’s script only dulls its edge.

Dead Reckoning Part Two will likely address these issues, but it’s unfortunate that many of the more mesmerizing set pieces appear to be reserved for that installment rather than being featured in this one. Such is the woe and sickness of part ones. – Rappler.com

Mission: Impossible Dead Reckoning Part One is now showing in Philippine cinemas.