Paramount Pictures’ Mission: Impossible franchise is a rare phenomenon. Few film series based on properties as old as it is have retained such relevance in the modern movie market and few take as long a break in between installments making each new entry a highly anticipated event. Such is the case with Ghost Protocol the fourth in fifteen years starring Tom Cruise as super-agent Ethan Hunt. Adding to the hoopla surrounding the holiday release is the fact that it marks the live-action directorial debut of Brad Bird the Pixar wunderkind responsible for Oscar-winning hits The Incredibles and Ratatouille. Unfortunately I feel that the animation auteur had too much to prove in his first physical outing and tried a bit too hard to thrill resulting in a film that plays more like John Woo’s over-the-top M:I:II than Brian de Palma’s suspenseful original.
The plot essentially kicks off when a bomb blasts a hole the size of a football field in the Kremlin (Russia’s most important government facility) while Hunt and his team of IMF agents (Paula Patton and Simon Pegg) attempt to extract a nuclear detonation device from the fortress before a mysterious figure known only as Cobalt can get to it first. The problem: Cobalt has gotten to it first and frames Hunt and company for the bombing causing the U.S. President to enact "Ghost Protocol " which disbands the IMF and disavows its soldiers. Knowing that the theft of the device and a batch of codes that enable it to be used prior to this event means that Cobalt surely intends to start World War III the agents go rogue to retrieve the components and bring the terrorist to justice.
Like the fore mentioned bomb blast Josh Appelbaum and Andre Nemec’s script is devastating leaving scattered pieces of information all over the place and making it hard for the story to truly find its footing. Expository plot points are dropped in way after they’re needed or wanted messing with the pace of the movie on more than one occasion. Perhaps their biggest crime is crafting a lame villain with little presence in the picture. After the intensity that Phillip Seymour Hoffman brought to his antagonist in M:I:III Michael Nyqvist’s quiet and composed Hendricks just isn’t convincing enough as a true threat. On the other hand Bird’s direction is anything but composed.
While his use of IMAX cameras is quite breathtaking when filming the much-publicized Burj Khalifa climb and other notable set pieces as stated before his approach to the material seemed to be “let’s make every action sequence as ludicrous as we can.” I realize that MIGP is a holiday blockbuster designed to get audiences blood pumping but I’ve always found that action films work best when they operate (mostly) within the confines of reality. That’s clearly not the case here where Hunt drives perfectly through a blinding sandstorm without causing much collateral damage and nosedives a Volkswagen off of a 30-foot drop and lives to save the day.
Still it’s all in the name of fun and he does manage to create an entertaining dynamic between his IMF agents. Patton is totally passable as Jane Carter an agent seeking revenge for the murder of her cohort and apparent beau Hanaway (Josh Holloway) while Pegg returning as Benji the tech-geek from the preceding film has been promoted to field agent and is without question the movie’s saving grace. Though his comic relief is relied heavily upon it’s absolutely welcomed. The biggest surprise is Jeremy Renner who was supposedly brought in to take the reigns of the franchise but is pretty stale as Brandt. He never elevates his character to the level of coolness that Cruise has maintained throughout the years and doesn’t provide anything significant other than assistance. Given the talent that we all know he possesses his negligible contribution was a bigger let down than the film itself.
“Extraordinary rendition” is the very real practice of transporting terrorist suspects to a foreign country where they can be interrogated or held for the purpose of gathering intelligence or to face trial. In other words it’s a way to torture someone into confessing terrorist connections. And as the CIA’s head of terrorism Corrine Whitman (Meryl Streep) explains rendition is a necessary evil in catching the bad guys. But what happens when they nab someone who truly is innocent? Such is the case with Anwar El-Ibrahimi (Omar Metwally) an Egyptian-American chemical engineer who is taken while on his way home from a business trip in South Africa and then shipped off to an undisclosed North African city for interrogation. His pregnant American wife Isabella (Reese Witherspoon) is frantically trying to find him even asking an old college flame (Peter Sarsgaard) now an aide to a U.S. senator for help. Meanwhile Douglas Freeman (Jake Gyllenhaal)--a CIA field officer who happens to be in the location of the latest terrorist attack Anwar is accused of being a part of—is sent in to observe Anwar’s “questioning” by the local police captain Abasi Fawal (Yagal Nior). Douglas doesn’t really care for the job—and eventually does something about it. The Arab actors far outshine their American counterparts in Rendition—save for perhaps Meryl Streep who could read the Yellow Pages and make it intriguing. Her tough-as-nails bureaucrat is utterly convinced what she is doing is the right thing—and the actress plays it with complete resolve. Metwally (Munich) has the unenviable task of being filthy and naked not to mention tortured throughout most of the movie but manages to bring humility to the role. Nior too commands the screen whenever he is on it. But the other American actors bring Rendition down. Witherspoon is required to play her thankless role without her usual pep and we miss it. Not even her Oscar moment in which she screams at Streep’s Whitman demanding to know the whereabouts of her husband can invoke much emotion. Gyllenhaal is also fairly lackluster as the very green CIA agent who witnesses the horror of torture tactics. When he finally springs into action it’s almost too late for us to care about his character. Sarsgaard is entirely wasted merely the conduit to explain “rendition” to the audience and Alan Arkin as the U.S. senator simply barks a lot. Although South African director Gavin Hood gave us the searing Oscar-winning foreign film Tsotsi he may not yet have enough experience to handle something on a grander scale. Visually Hood knows what he is doing. The camera is fluid and the shots well framed but Rendition fails to inspire in its message. It moves slowly manipulatively—even the torture scenes albeit always hard to watch are almost rudimentary. Plus why see a movie about something you can either read about in the papers or watch on the news? The only time Rendition truly shines is in screenwriter Kelley Sane’s far more interesting subplot revolving around Fawal and his defiant daughter Fatima played with exquisite beauty by newcomer Zineb Oukach. The traditional Fawal is unwavering in his disciples so much so that he has driven his daughter into the arms of a mysterious young man who offers excitement and the promise of freedom. It’s obvious Hood feels more comfortable framing the more intimate small details. In fact had this plotline been the focus Rendition would have soared. The title would have had to change though.
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.