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.