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He does mention in another interview how he saw another big action movie doing exposition in the middle of an action sequence and how it killed both: I suspect he was talking about the car chase in Spectre, and I think everyone agrees that sequence doesn't really work, so he has a point! :)
It works just fine for me on several sides including comic relief.
As a huge Michael Mann fan, I took this insult very personally! ;)
For me it’s a very damp squib of an action scene and isn’t anywhere near any action scene from the last three M:I films.
Same here, there's not one moment from that entire sequence that felt Mann-esque to me. I suppose it's subjective, though, but I don't see it. At least someone enjoyed that sequence and it wasn't a complete waste.
Always nice to hear somebody enjoyed something from a sequence that is generally less regarded. I'm like that with a lot of Mann's more recent films, funnily enough!
Anyway, I watched Rogue Nation again last night and, in view of the directors comments, it is remarkable how standalone the action sequences are (the PTS easily could have been the finale) and how with new editing and dialogue, they could be swapped around to create variations on the plot.n Also remarkable how thin the plot is but McQ on the record that plot not that important. RN aging very well IMHO
Wait, it can't can't be 2 years since Fallout?
Are you counting time in Tom Cruise years? He hasn't aged a single day since Ghost Protocol in 2011, so I understand the confusion when using this counting method. ;-)
Ah, an original twist on a boring and overused soundbite!
It's hard to believe, isn't it? Time has flown by since then.
Yeah it's very clever: especially when you have something like the big climax which is so tense (because of the stakes and the plot). Or even the skydive, which is hugely exciting but really makes not all that much sense (why would they have to do a HALO jump to get to Paris? You're allowed into Paris! :) ).
I noticed the other day with that scene that the IMAX ratio is preserved on home video, so when Ethan walks up to the back of the open plane to look at the storm below, the black bars on the screen slowly open up- very nice!
One fun thing to look for: when Benji puts his mask on to pretend to be Lane his leather jacket suddenly changes colour between shots! And then it changes back again as soon as he takes it off :D
A "race against time" from a city centre to the airbase to save the nerve gas from being dumped/atomised over a city would have been a very decent climax IMHO. McQ keeps his options open.
It goes to show how smart McQuarrie is, considering he can and has written some very plot heavy films. He knows what makes these Mission films work.
If they do kill off Luther in the next one, I hope they give Ving Rhames a flashback sequence of sorts in M:I:8. It wouldn't sit well with me to have an M:I film without him.
I wonder if we'll get a reference to Brandt.
Apparently they did intend the plane stunt to be a big main setpiece, much like the Burj Kalifa climb in the previous one, but they couldn't find a place for it in the plot so just used it in the beginning (some of the thinking was also that the audience would have seen it in the publicity and would be hanging on to see it, so may as well just give it to them straight away!). They cheekily use it in the end credits again anyway so get their mileage out of it!
I guess it's possibly the most straightforwardly Bond-like the series has ever been: doing a big pre-titles stunt like that.
It's true. I was watching the early ones recently and the first film got a lot of flak for not being Mission: Impossible because it supposedly turns into the Cruise show, but I don't think that's fair in fact. M:I the TV show was about tricking baddies: it's basically a succession of cons- like 'Hustle' but with spies. And the '96 film has Hunt, at the end, pull a con on Jon Voight: he tricks him and his accomplice to flush them out on the train and arranges for Kitteridge to be there so he can clear his own name too (plus Luther ensures that Max's side of the plot is taken care of so there is a team dynamic to a small extent). And I think that's the key difference between M:I and Bond (as long as you've got a bit of team too): Hunt should trick the baddies. He does it again to some extent at the end of MI2 (surprisingly!) when he dresses Richard Roxburgh up as himself, but MI3 doesn't have any of that and I think it rather falls apart at the end as a result- it's just a fight in an old shop, really. Ghost Protocol ends in a big trick but weirdly we see their plan fail completely (you could chop out all of the stuff with the party in India and Jeremy Renner floating because it all comes to nothing), and then Rogue ends with pretty much the best and most satisfying trick of all of them.
Fallout's climax has no con/trick element at all but gets away with it because it's basically the most thrilling climax to an action movie in decades. I'd certainly like to see it return though- these are heist movies spliced with action movies and it's a combo I really like.
Yeah he's so savvy about that sort of thing. He knows exactly what's satisfying to an audience, and I think that's key. I wish the Bond writers could get some of that magic sprinkled on them.
Yeah certainly. I actually thought they were going to kill Benji at the end of Fallout when I saw it for the first time: it was genuinely tense. And as you say: that's an advantage of the team setup because you feel that one of the leads actually could die (whereas in a Bond film we know Bond can't of course).
Ving is looking a little out of shape recently (not to be uncharitable) so it does feel like he is one who could exit.
I will disagree about Fallout's climax. It's really just a repeat of other films with the ticking bomb countdown and Hunt getting the hell knocked out of him to stop it as the seconds tick down. I'm still not entirely sold on Fallout being as great as others do.
Never mind 2011, he has barely aged since 1996! Meanwhile, i'm over here, 34 and allready going grey. No, i'm not the least bit bitter towards Tom Cruise. ;)
And I definitely think Elfman did the best version of the theme music: yet to be topped!
It, like GoldenEye did for Bond at the time, also had a Cold War hangover in terms of atmosphere and style. It was very much a film with one eye looking backwards. We haven't really had a sequence of "pure spy" intrigue in the M:I films since that first film.