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.
Sucker Punch a sprawling and convoluted action sci-fi fantasy is director Zack Snyder’s first “original” film in that it’s based on a script Snyder co-wrote (along with Steve Shibuya) and not a graphic novel or a previous movie. But to anyone who has seen Snyder’s two previous live-action films 300 and Watchmen it will feel awfully familiar: His now-trademark flourishes – gorgeous visuals elaborate action sequences a desaturated color palette a CGI-airbrushed “heightened reality ” abundant slo-mo and fatal self-seriousness – are all conspicuously on display.
It’s all there in fact in Sucker Punch’s opening sequence: a very intense and ultra-dramatic montage set to a haunting cover of the Eurythmics’ "Sweet Dreams" and slowed down to a crawl so that we may better admire every super-stylized detail of Snyder’s exquisite handiwork. It depicts a series of wrenching domestic tragedies that result in the film’s teenage heroine Babydoll (Emily Browning) being shipped off to an all-girls mental hospital by her malevolent stepfather (Gerard Plunkett) properly setting the stage for the ensuing melodrama.
To ensure Babydoll doesn’t act up again evil stepdaddy bribes a corrupt orderly (Oscar Isaac) into having the traumatized but otherwise mentally competent girl lobotomized without the required consent of the facility’s resident psychiatrist Dr. Gorski (Carla Gugino). The year is 1967 and lobotomies though still legal are exceedingly rare; as such they must wait five days for the local lobotomizing physician (Jon Hamm) to come and turn Babydoll into a very pretty vegetable. Which is more than enough time for her to retreat into a dreamworld and concoct a vivid fantasy in which she and four scantily clad mates – Rocket (Jena Malone) Sweat Pea (Abbie Cornish) Blondie (Vanessa Hudgens) Amber (Jamie Chung) – conspire to escape the brothel in which they’re imprisoned.
The meat of the escape plan calls for a series of quests in which Babydoll and the gang battle giant samurais World War I zombie troopers futuristic alien robots dragons et al – all while dressed in sleek variants of the archetypal hot chick Halloween costumes (sexy nurse sexy schoolgirl sexy sanitation worker etc.). The sequences are well-choreographed and visually stimulating but have very little connection to the plot – they’re more like beautiful and disposable diversions grandiose music videos in which Snyder is able to cram elements from a broad spectrum of pop culture influences from Hong Kong cinema and anime to Moulin Rouge and Heavy Metal without any apparent rules or logic to bind his fertile imagination.
All of which wouldn’t be so bad – honestly it wouldn’t – if Sucker Punch weren’t so punishingly maudlin. Nary a scene goes by in which some poor girl isn’t threatened or smacked or nearly raped. (All the women in the film are victims; the men with the exception of Scott Glenn's imaginary character monsters.) A movie with hot chicks and guns and orcs and robots and zombies should at the very least be fun. But Snyder’s film is dour and pretentious to the point of pain an overstuffed emo tragedy bracketed by ponderous voiceover about demons and monsters and how all of us have the weapons within us to defeat them. Or something like that. Sucker Punch is such a molten-hot mess that whatever Important Message it's supposed to convey ends up hopelessly garbled by the time the end credits roll.
The tragic opera tells the story of a disfigured musical genius (Gerald Butler) who haunts the catacombs beneath the Paris Opera waging a reign of terror over its occupants [cue the organ music]. Think The Elephant Man meets The Hunchback of Notre Dame--except this particular "monster" has some serious sex appeal. I mean honestly his only "disfigurement" is some scarring on one side of his face which he covers with a rather classy mask. No big whoop. But I digress. When he falls desperately in love with the lovely ingénue Christine (Emmy Rossum) who has lived in the opera house for most of her life the Phantom devotes himself to molding the young soprano into a star exerting a strange sense of control over her as he nurtures her extraordinary talents. But when Christine falls for the dashing Raoul (Patrick Wilson) all hell breaks loose as the Phantom's growing jealousies threatens to tear everyone apart [OK now it's really time to cue the organ music].
Fans will no doubt be happy their favorite musical has finally made it to the big screen but the musical's original stars Michael Crawford and Sarah Brightman have been replaced in the movie version by hot young actors. This is a very wise decision considering the film's rather longwinded nature. In other words even though the Phantom performers keep singing and singing and then sing some more at least they are appealing to watch (and they did do all their own singing). Butler (Lara Croft Tomb Raider: The Cradle of Life) is particularly effective as the Phantom all brooding mysterious and far more intriguing a suitor than pretty boy Raoul played blandly by Wilson (HBO's Angels in America). With her alabaster skin and long luscious locks Rossum (The Day After Tomorrow) also does a nice job as Christine. But she is unfortunately limited to only a few range of emotions--either all doe-eyed and somber over her Phantom doe-eyed and gushy over Raoul or just plain doe-eyed. As for the supporting players Minnie Driver nearly steals the show as the Italian soprano diva La Carlotta. As the only breath of fresh air in the musty opera house you definitely crave more of her.
It's taken about 15 years to bring Webber's smash hit to the big screen. Apparently after winning every known theater award for Phantom the legendary producer-composer approached director Joel Schumacher in 1988 to do the movie after being impressed by Schumacher's work on The Lost Boys. Hmmm The Lost Boys to Phantom of the Opera--I'm still trying to tie that one together. Anyway Webber had to postpone production for personal reasons and then Schumacher was busy doing such films as Tigerland and Phone Booth. Finally the time was ripe to make Phantom coming on the heels of the musical movie boom started by Moulin Rouge and Chicago. Schumacher certainly incorporates all the right elements from the young and talented cast to the opulent sets and magnificent costumes. The problem is the material: Phantom really isn't all that compelling of a story. Sure the stage production was and still is a theatrical event especially as the Phantom moves on catwalks all over the theater and the impressive chandelier comes crashing down on the stage. But for the film adaptation there needs to be something more than just grand posturing set pieces and operatic music. Maybe a little more dialogue? A sex scene? Anything?