This summer has been a remarkable one for England. Not only have we experienced probably the longest heatwave in decades, following a protracted and savage winter (further suggesting our ecosystem is slowly morphing into that of Westeros from Game of Thrones), World Cup 2018 in Russia has done something none of us who live in the UK expected.
It made us dream again.
Mission Impossible II is a film that remains eternally fascinating to me, particularly as the demonstrable nadir of, otherwise, one of cinema’s most consistently entertaining blockbuster franchises.
The better entries of the Tom Cruise-led modern adaptation of Bruce Geller’s iconic 1960’s espionage TV series are easier to write about, in many respects. You have the Euro-centric, Hitchcockian suspense and classic retro thrills of Brian De Palma’s first 1996 take on the material, and once JJ Abrams and Bad Robot get their hands on the property from 2006’s Mission Impossible III onwards, the franchise becomes a much slicker fusion of all-American spy thrills, combining modern technology, action spectacle and ‘spy-fi’ theatrics. Abrams’ III is an adaptation of his TV series Alias in all but name. John Woo’s II is the clear, harder to define aberration.
In a way, it also remains the most interesting.
The halfway point of the first season of Alias also feels, appropriately, like the point of no return.
The Confession is an episode which essentially concludes the beginning of JJ Abrams’ series. It serves as a marker between two distinct periods, in a different way to how Season 2’s Phase One will mark the show, but in an important manner nonetheless. The Confession marks Alias as being defined as ‘pre’ Sydney knowing the truth about her mother, and ‘post’ Sydney knowing the truth about her mother, because that revelation completely and utterly changes Alias forever. It is the key to Syd’s entire life – her past, her present and her future, and for all of the revelations and twists Alias will deploy over the five years of its existence, Sydney learning her beloved, venerated mother Laura who died when she was a little girl was in fact a KGB double agent, is the most powerful.
It’s the revelation we should have seen coming all along.
Given The First Purge is first and foremost a horror movie, this may seem like a redundant question. Blumhouse Productions naturally want us to be afraid of a picture designed to make audiences jump and scream, but The Purge franchise has never been simply a series of jump-scare horror films. The most recent prequel, depicting how the concept of the Purge came to be, presents a deeper, more existential question which, by the day, seems to grow in power.
Should we be scared that The First Purge could actually, in some form, one day happen?
Last Action Hero is both ahead of its time and perfectly positioned *within* the era it was made, such is the paradox of a forgotten curiosity of 1990’s action cinema and the stratospheric career of Arnold Schwartzenegger.
Here’s my story and why I’m writing about Last Action Hero some twenty five years on from its release. I was 11 years old when Last Action Hero was released in cinemas, in the US one week after Steven Spielberg’s decade-defining Jurassic Park. In theory, I was the perfect age to consume a film which is entirely about the youthful obsession of a similarly-aged child, Austin O’Brien’s Danny Madigan, with action adventure cinema. Jurassic Park I badgered my parents to take me to see three times yet I didn’t go anywhere near Last Action Hero. It didn’t even register with me. It has taken me until age 36 to actually sit down and watch it, and this is after spending at least the last twenty years being an enormous fan of Schwarzenegger’s movies and career. Last Action Hero was always the Arnie film I missed.