MISSION: IMPOSSIBLE – THE FINAL RECKONING

Director
Christopher McQuarrie

Starring
Tom Cruise

Following the events of Mission: Impossible – Dead Reckoning, Ethan [Cruise] is in possession of both parts of the cruciform key MacGuffin and has spent two months in hiding. Learning the truth behind the key’s purpose, Ethan is tasked with stopping the malevolent AI known as the Entity by deep-diving to a long-sunken submarine, retrieving the original source code, and luring the Entity into a trap. All while protecting his friends, circumventing adversary Gabriel [Esai Morales], and staving off the collapse of civilisation as we know it. Just a normal day at the office for IMF agent Ethan Hunt.

No matter how dumb these films can get, the crafting of the stunts is singular and remains commendable cinema. There are countless practical elements and considerations that ensure each and every instalment is an unmatchable thrill-ride. What’s more, the score work is always strong and standout, with Lorne Balfe returning for a third time to dazzle and impress. But that is genuinely where the positive praise ends. Because in the same way it’s baffling that Sam Mendes directed both Skyfall and Spectre, it’s mad that McQuarrie directed Fallout (arguably the best Mission: Impossible film) and this; with its horrible pacing, heavy-handed cutaways, cliché dialogue, predictable developments, and the most overblown saviour complex. Not to mention so many out of place iris transitions.

In truth, The Final Reckoning feels like another Rise of Skywalker or Jurassic World Dominion. There’s such a desperation to make this series of disparate, semi-connected movies retroactively matter and intersect. Most notably in the incredibly egregious opening montage which pulls on nostalgia before handbrake turning to try and remind the audience what the plot of the previous instalment was actually about. What’s more, this incredibly bloated film could have been a lot less lengthy if they didn’t feel the need to show so many clips from the previous 7 movies. Cameos, flashbacks, call-backs, montages, references, they’re all here as fan service to clog the gears, confuse the plot, and completely upend suspension of disbelief.

Admittedly, when you have a franchise of films that have been structured around the planning of outlandish stunts, rather than a meaningful story, it’s hardly surprising. And while each respective outing has its highs and lows but ultimately lands on its feet, trying to patch it all together requires much stronger and nuanced writing. But even if we were to shed all of the franchise baggage and simply take the central narrative as is, it’s such an ungodly mess. Because while there are plenty of good stories about the threat of AI, in order to tell them you sort of have to understand it… and understand people. Whereas, this movie is populated solely with tropes, conveniences, and platitudes, to the degree that the heightened escalation feels laughably absurd.

So, let’s pivot to the cast, because one of the clear franchise mainstays is Ethan’s love for his team. He would jeopardise any sort of personal safety to ensure they are protected at all costs. And with such a heavy focus on these relationships, you’d assume the chemistry would be unparalleled. But in reality, every supporting role is either a dyed in the wool sycophant, or adversary to be pummelled. You’ve got regulars such as Ving Rhames and Simon Pegg, newcomers like Pom Klementieff, and a string of cameos spanning nearly 30 years. Although, admittedly, it’s the individuals that don’t return which end up more of an interesting talking point. After all, we are actively told Ethan would do anything for his beloved team.. at least, this iteration, at this moment. And then there’s Grace [Hayley Atwell], the latest in a long line of brunettes who go from minor inclusion to super spy in no time.

But heroes aside, the biggest mystery carrying over from the last film, and continues to scratch heads, is Gabriel. In Dead Reckoning, this man was setup as Ethan’s ultimate nemesis. The one who started him on his journey and would be there at the end for his greatest challenge. Except none of that is earned. Gabriel continues to be a phenomenally under-baked villain; insanely dedicated to his mania and yet disposed of so gracelessly. Over the course of two films, we never really get the sense of who this man is, what drives him, and how he and Ethan are supposedly two halves of the same coin. More so than when we first saw him, he has devolved into a cackling, monologuing, random-bomb-placing comic book villain.

Which brings us to the man himself, Ethan Hunt. With a collective runtime of over 18 hours, you sort of know what to expect from these movies. This is a chance for Tom Cruise to play a character loved by all and called upon to save the day, while doing the most insane stunt-work. Because only he can. It’s a prime example of art reflecting ego. And while this laughable saviour complex usually gets a pass in action films because everything else is so heightened and farcical, there comes a time when the altar of disbelief buckles under the weight of excess. And with exchanges like “Who in the world would you trust with that much power?” “Well you, of course. Only you.” the contract between viewer and storyteller collapses, and chuckles start to spread through the audience. And again when Cruise is reduced to his underwear a few too many times to illustrate that he’s in peak physical condition, we hear sighs and feel the rolling of eyes. And yet again when his character bounces off a speeding submarine and brushes it off, the urge to mutter “Oh fuck off” is palpable. Even the almighty Entity, with access to every nuclear weapon on the planet, is afraid of Ethan yet requires his help – invoking the Star Trek quote of “What does God need with a starship? Seriously, what does the ultimate AI need with a Tom Cruise? What makes this man so special? Sure, the stakes are always high and they’re sort of supposed to be in these features, but here, the sheer intensification is preposterous to the point of vacuousness.

And yet, in the face of what is a very mediocre movie, with a mind-numbing script, and admittedly jaw-dropping visuals, people will argue these films were always like this. But that couldn’t be further from the truth. The Final Reckoning is the longest, most egregious mission yet, and relies so heavily on good will and the power of nostalgia, that it immediately plummets to the depths of the entire franchise. Congratulations Mission: Impossible 2, you’re no longer the worst MI film. Not by a long shot.

Release Date:
23 May 2025

The Scene To Look Out For:
In stark contrast with the unparalleled skill and dedication of Ethan Hunt, it should be noted that he isn’t actually very good at adapting. In fact, he’s incredibly bad at making plans because he can’t imagine a universe where he doesn’t personally save the day. Case in point, having been captured during the cold open (which is actually more of a messy montage than a coherent opener), Hunt gets away and finds the machine Gabriel uses to communicate with the Entity. Against advice and reason, Hunt climbs in, is bombarded with imagery and manages to give away their plan and any advantage. Sure, it’s an opportunity to see a Terminator/Skynet end of the world sequence with waving flags, flying nukes, and exploding cities, but it just highlights how haphazardly bad Hunt is at his job. And that’s in the first half an hour.

Notable Characters:
**Spoiler but an admittedly inconsequential one**
Introduced in Dead Reckoning, Shea Whigham plays the tenacious US Intelligence agent, Jasper Briggs. His sole purpose is to be just behind Ethan and outwitted at the last minute before grimacing to the camera. But, in an attempt to give every aspect of this movie meaning, we learn through a clumsy exchange that he is in fact the son of Jon Voight’s character from the first Mission: Impossible movie. And yes, there are countless plot devices, characters and inclusions that sully the events of better movies – Rabbit’s Foot reveal, I’m looking squarely at you – but this is one of the most pointless. It is referenced twice, dismissed in a heartbeat and has absolutely no bearing on the plot or Brigg’s characterisation. Honestly, it’s such a bizarre, uncalled for shoehorn.

Highlighted Quote:
“You were always the best of men in the worst of times.”

In A Few Words:
“An utterly exhausting, self aggrandising end to a very hit-and-miss franchise.”

Total Score: 2/5