Sunday, July 29, 2018

Mission: Impossible - Fallout

When Bruce Geller created the television series Mission Impossible, he could not have imagined that, beyond his cathodic success, his artifact would become the saga of action that best defines the cinema of 21st century attractions, because, what if it is not? franchise starring the daredevil Tom Cruise? The story of spies who was reborn in 1999 with Brian de Palma as conductor has been eliminating masks and at the same time growing in numbers of action, acrobatic drum rolls and challenges to death in a kind of tour de force that is best not to try at home . And what can we expect from Mission: Impossible - Fallout, the sixth installment of the film series, with a Cruise surpassing the fiftieth and with a previous exercise, a Secret Nation, bordering on perfection? It seemed impossible -value redundancy-, but Christopher McQuarrie and Cruise have returned to surpass themselves, because Fallout is a hilarious circus acrobatic (or a roller coaster, according to taste) designed for those who understand cinema as a short experience the breathing.



Not only the tandem formed by the filmmaker and the star works perfectly, but the actor's understanding with the rest of his classmates gives a unique luster to this last episode of the saga, even though his story is more a narrative extension of the previous film that a story of its own. The spectators and the spectators who enjoyed Ilsa Faust (Rebecca Ferguson) and Solomon Lane (Sean Harris) are in luck, because both characters return here to try to answer some questions that seem not to be concluded in the past. To these returns are added the great character played by Henry Cavill (and his vaunted mustache), in addition to the IMF colleagues Benji (Simon Pegg) and Luther (Ving Rhames), more great (too) than ever. It's not trivial, because the fact that the characters have a bow and an entity of their own help Ethan Hunt / Cruise shine even brighter. His are the best action sets (it could not be otherwise) and, as it has been the brand of the house, the most risky and always bareback.

It is literally a pleasure to see how much Cruise is exposed in Fallout, who in a luck of contemporary emulation of Buster Keaton is not afraid to give his whole body in favor of the show.
The concomitancias with the creator of the machinist of the general (1925) do not end there, and if you have to find a reference without doubt the most advisable is to look at the silent film a century ago. Seeing Cruise skidding on a motorbike in Paris, chased by I-don't-how many police vehicles (without a spoiler, that Parisian set piece is the best of Mission: Impossible - Fallout), is to feel the shocking vertigo that could have felt in its day those spectators of the crazy cinema of the origins. Of course, unlike silent film films, Fallout is a triple somersault in the era of digital imaging and blockbuster CGI, something that gives, if possible, more scope and value. Surely, we are facing the most superlative movie in the saga.


Friday, July 20, 2018

Ocean’s 8

First it was the 60s, and La cuadrilla de los once, with Frank Sinatra and his colleagues from the "Rat Pack" (Dean Martin, Sammy Davis Jr, Peter Lawford, Joey Bishop ...). Then it was the turn of George Clooney, born to be the leader of the most stylish band of Hollywood thieves of the new century (Brad Pitt, Matt Damon, Don Cheadle, Cassey Affleck, Scott Caan, Elliott Gould ...), and with the that would give up to three punches on orders from Steven Soderbergh. The formula was clear: to bring together the group of the coolest stars in the world of entertainment and to spoil them with the softness with which we imagine that Sinatra prepared a mimosa at breakfast time. 'Cool' types, elegant types, funny types. It was about following the adventures of some thieves with so much class that one would say that they do not commit crimes, if not the opposite: the hedonistic spirit behind their scams is based on a certain poetic justice; They steal because, simply, they are not willing to give up any of the pleasures of life. In other words, they robbed the dark vaults of the capitalist system to reinvest it in beauty (travel, food, clothing, art ...). And all without losing your composure.



How to collect the witness in 2018, once the Clooney stage is closed? No doubt about it: it's the girls' turn. The boy band of the Nespresso ambassador gives way to the buddies of Sandra Bullock: Cate Blanchett, Helena Bonham Carter, Rihanna, Sarah Paulson ... Thus to form a group of eight actresses with disparate charisma and diverse characters in pursuit of inclusion. Bullock puts on the skin of Debbie Ocean, sister of the Danny Ocean that interpreted its companion of fatigues in Gravity. And as such, he comes to us: out of jail on parole, with a plan in his head and a team to recruit. The Ocean genetics. At his side, an electric Cate Blanchett assumes the role that Pitt played in his day, the right hand of the leader. Owner of a bar (discarding presentation), with a pimp point that the sophisticated Australian fits with obvious enjoyment and lends to all emulate Kristen Stewart in the last edition of the Cannes Festival. And if before the goal was the casinos, now it will be a Cartier pendant valued at 150 million dollars, one of the jewels of the most chic and exclusive event of the North American fashion, the Gala MET. An object of desire with which the character incarnated by a fabulous Anne Hathaway, who parodies her diva image ends up taking the film as who does not want the thing, in what constitutes without a doubt the most satisfactory theft of all the footage.

All the elements that made the saga famous are in front of the screen. But by the time Bullock puts into practice an ingenious method to sneak into luxury hotels we will realize that something is definitely missing, and that absence must be sought behind the cameras: the direction of Gary Ross is flat where Steven Soderbergh was all garbo . The functional classicism of the director of The Hunger Games finds its natural place in productions - notables - like Seabiscuit or Jones' free men, but in Ocean's 8 it shows a certainty that we already had learned when comparing the Clooney trilogy with the Sinatra original : Beyond the costumes, the locations and their stars, it was the Soderbergh factor that managed to turn a fetishistic nonsense into a sly escapism game of assumed frivolity that seduced the viewer constantly. A bubbling montage, a grainy photograph of beautiful old school colors, seventies zooms, fun with framing, the dreamy soundtrack of David Holmes ... A sparkling gift that is left out of the equation here and leaves the seams of a Costly suit dress without conviction. In a moment of Ocean's 8, through a funny trick orchestrated by Bullock and Blanchett, the dressmaker played by Bonham Carter will go from being "outdated" to being "iconic". It is, therefore, about putting value. In this case, staging.

The vaunted genre subversion that so many characters have spilled on the internet is also worth highlighting. There is no doubt that the strategy is, above all, of a commercial nature; the industrial machinery of Hollywood trying again to monetize everything that crosses him in front. And according to the blockbuster that already accumulates in the United States, the play has gone well. But even the revenue that capitalism tries to get out of the feminist 'zeitgeist' we can get something positive: the mere questioning of twisted fang with which on the Internet is received female reboots like the Ghostbusters of Kristen Wiig and justifies its own existence. The pity is that Ross is too shy when it comes to playing with a certain idea of ​​"the feminine", as Soderbergh did with Clooney's gang and "the masculine", always with one foot in self-parody. A failed opportunity, because it will be, precisely, when you take advantage of the particularities of having a story starring a cast of women where we find the most refreshing of this Ocean's 8. Perhaps, these female reboots would have to start hiring a director.