Diminishing returns
The arms race of big-budget action movies is on full display in this Tom Cruise production (yes, he gets a possessive credit for the movie in the opening credits, which don't show up on screen until 28 minutes into the overlong film). I found the derring-do scenes exciting to watch but was not thrilled by the pointlessness in toto.
Of course, an action movie requires action, though even here there are several intrinsically dull and static scenes of the actors carefully and deliberately reciting the dialogue exposition establishing the basic details of an AI-themed end of the world (unless Cruise can save the day) scenario. Especially with the feature climaxing on a train, I would vastly prefer a less pretentious, suspense/thriller with more small-scale issues, as in the classic "The Narrow Margin" by Richard Fleischer or its remake by Peter Hyams.
I had trouble recognizing Hayley Atwell, the dexterous leading lady, who I had admired in more full-figured (even her face is different) form in "The Duchess" and "Agent Carter". The more emotional scenes between friends and dire enemies are the highlight, as all of Tom's running, flying, biking and fighting are merely a given. Outdoing everyone else's stunts and one's own time after time is a pointless exercise.
The lavish Italian party segment only reminded me of a better (and more visceral) sequence from one of the John Wick movies, and the hokey final perils on the falling train cars was merely the same kind of showing off that made the recent "Uncharted" film so silly.
Around 1970 (after "Easy Rider' was such a hit) movie budgets were capped and the resulting films were all the better for it. If the comic-strip movies were reduced to Saturday matinee level and scale, and the ridiculous spending in the hundreds of millions ceased, I think overall storytelling and quality films could make a comeback.
Of course, an action movie requires action, though even here there are several intrinsically dull and static scenes of the actors carefully and deliberately reciting the dialogue exposition establishing the basic details of an AI-themed end of the world (unless Cruise can save the day) scenario. Especially with the feature climaxing on a train, I would vastly prefer a less pretentious, suspense/thriller with more small-scale issues, as in the classic "The Narrow Margin" by Richard Fleischer or its remake by Peter Hyams.
I had trouble recognizing Hayley Atwell, the dexterous leading lady, who I had admired in more full-figured (even her face is different) form in "The Duchess" and "Agent Carter". The more emotional scenes between friends and dire enemies are the highlight, as all of Tom's running, flying, biking and fighting are merely a given. Outdoing everyone else's stunts and one's own time after time is a pointless exercise.
The lavish Italian party segment only reminded me of a better (and more visceral) sequence from one of the John Wick movies, and the hokey final perils on the falling train cars was merely the same kind of showing off that made the recent "Uncharted" film so silly.
Around 1970 (after "Easy Rider' was such a hit) movie budgets were capped and the resulting films were all the better for it. If the comic-strip movies were reduced to Saturday matinee level and scale, and the ridiculous spending in the hundreds of millions ceased, I think overall storytelling and quality films could make a comeback.
- lor_
- Aug 21, 2024