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Mission: Impossible Fallout Is the Most Spectacular Action Film in Years

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“Tom Cruise takes the title of his Mission: Impossible franchise as a literal challenge. With each successive installment, Cruise attempts to demonstrate that no classic set piece cant be topped and that, no matter his advancing age (56), he can keep ignoring (if not outright fighting) Father Time to pull off ever-greater acts of stuntman insanity, at crazy risk to his personal safety. Thats never more true than with Fallout, his sixth outing as covert agent Ethan Hunt, which reconfirms that his inspired-by-TV endeavor is still the greatest blockbuster saga around, and that hes Hollywoods premiere action-adventure Peter Pan, an actor whoregardless of his spottier track record as of lateis right at home in this world of spies, masks and self-destructing messages. Determined to perpetually raise the bar for both the series and himself, Cruise again proves, with his latest, that both of those seemingly impossible feats is possible.

Fallout is the best action film since Mad Max: Fury Road, and its unique in the big-screen history of Mission: Impossible, in that its the first episode to be helmed by a return directorChristopher McQuarrie, who spearheaded 2015s stellar Rogue Nation. For an undertaking once defined by its shifting personalitythanks to each entry being a stand-alone effort from a distinctive auteur (Brian De Palma, John Woo, J.J. Abrams, Brad Bird)the decision to reenlist McQuarrie signifies that Cruise has settled on a signature voice for his series. Not only does McQuarrie deliver the same style of grand, vigorous mayhem that he did before, but working as sole screenwriter, he also turns Fallout into a legitimate sequel to its immediate predecessor, continuing the story he began three years agowhile additionally, in one key respect, referencing Abrams Mission: Impossible III.

The decision to go back to McQuarrie does negate the thrill of discovering a new aesthetic and tone, which up until now has been a Mission: Impossible hallmark. Nonetheless, whats gained is far greatera refinement of McQuarries superb action form. Fallout features more astounding set pieces than can be found in the rest of 2018s summer crop combined, all of which escalate with such mounting electricity that its hard to catch ones breath. The directors stunning widescreen visuals (even more impressive in IMAX, whose outsized format is repeatedly exploited) enhance the magnificence of his scripting and staging, in which initially straightforward scenarios become complicated by a raft of unforeseen events, until the tension is almost too much to bear. In terms of providing a pure adrenalized rush, almost no contemporaries are in its league.

That Cruises Hunt routinely responds to surprising situations with Ill figure it out only amplifies the anxious anticipation of…….”

Read more: https://www.thedailybeast.com/mission-impossible-fallout-is-the-most-spectacular-action-film-in-years

New Movie Reviews

Apostle review exhilarating Netflix horror is a wild, gory surprise

Charmaine Blake

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Gareth Evans, director of The Raid, shocks and confounds with an ultra-violent tale of a mad prophet that transforms into something entirely unexpected

“Apostle, director Gareth Evans first feature-length effort since his pair of The Raid action films achieved instant underground infamy, is that rarest of treats: a horror movie that starts out as one thing, and finishes having mutated into another.

Exhilarating to watch and tricky to write about, similar to such films as The Box and the more recent Annihilation, going beyond surprising its audience with mere twists, instead shaking its own constructed reality off its axis. A full shift occurs not just in tone, with suspense boiling over into scalding insanity, but in the narrative mode, as the established set of unspoken rules governing the universe get violently upended. As soon as the viewer believes theyve got a grip on what sort of horror story theyre in for, Evans demonstrates that in the chaotic universe contained within his camera, anything can happen. And just about everything does; Evanss maximalist more-is-more ethic piles on one Grand Guignol spectacle after another, building to an operatic, hallucinatory climax that leaves our puny reason behind for a metaphysical nirvana. Polarizing yet undeniably fascinating, the bait-and-switch horror film lures its viewer into a false sense of terrified security before pouncing in an anything-goes frenzy, and Evanss latest is a prime specimen.

For the first hour, hed like you to believe youve wandered into a particularly reverent Wicker Man homage, and he makes the legwork of setting…………………………..”

Read more: https://www.theguardian.com/film/2018/oct/10/apostle-review-gareth-evans-exhilarating-netflix-horror-is-a-wild-gory-surprise

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Overlord Movie Review

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Overlord makes no bones about what it is – this is an A-list budgeted movie with a B-movie heart. It knows exactly what it wants to do, and takes itself seriously (even when the movie commits to how goofy it can get). One wink or nudge to its audience, and the balloon gets popped, and to its credit, Overlord never once does that, which makes it much more fun and exciting. The movie throws us straight into it from the opening titles, reminiscent of all those great war films of old, and sprints to the finish line for most of its running time.  Overlord also embraces every war movie cliche like a mom to her kids at Thanksgiving, but we don’t mind.  The characters, with few exceptions, are straight out of the playbook for these kinds of things, but the actors are having such a good time that it becomes infectious.

Why does Overlord work as well as it does? For one thing, director Julius Avery shoots this thing like he’s being chased.  The opening action sequence riffs off of every recent war movie from the past twenty years, but Avery keeps it exciting and intense………………..”

Read more at:  http://www.comingsoon.net/movies/features/985975-fantastic-fest-2018-overlord-review#F7U5wpd3gTUti0K8.99

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Ryan Gosling’s ‘First Man’ is an Awe-inspiring Space Spectacle

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Ryan Gosling, Corey Stoll, and Lukas Haas in Damien Chazelle’s First Man.

Image: Warner Bros.

“First Man is a big film about the small things that went into an enormous event.

It’s no spoiler that the climax here is Neil Armstrong’s 1969 walk on the moon. For the first 90 minutes, though, First Man holds back on the inherent drama of that premise.

It follows Neil (Ryan Gosling) as he makes his way through the NASA ranks, and at home as he mourns the death of his young daughter. It spends time on a bunch of promising missions that go nowhere, and on complex questions the engineers will have to solve. There’s some action sprinkled in there, and a few precious moments of euphoria. Mostly, it’s sweating the small stuff.

That choice is puzzling at first, even frustrating: We know the guy gets to the moon, so let’s get on with it already! Why are we wasting time with all this minutiae?

But those tedious concerns and disappointing dead ends are exactly the point. First Man is about work, and more specifically about the enormous amount of work (and luck) that goes into an achievement as momentous as the moon landing. It demands patience, but it gave back what I put into it several times over.

A rocket takes off in First Man.

Image: Warner Bros.

Director Damien Chazelle keeps his eye on the unromantic details that usually get glossed over in retellings of historical events. Literally: Much of this movie is composed of shots of dials, switches, and the top half of Gosling’s face……………………..”

Read more: https://mashable.com/article/first-man-movie-review/

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