As I stated in the first group of five in my Top 10 listing of films, 2018 has been a slim year for me in what I’ve been able to see. While I imagine some of these would still end up on a best of list, would they be top 5? I’m not sure. It’ll be an ever-evolving list.
I’d love to hear your Top 5’s though. I have a litany of recommended pictures I’ll work through in time but there could well be pictures I haven’t seen that are worth recommendation, so do point me in the direction of them.
Okay then, for better or worse, here are my Top 5 Films of 2018…
This was an exceedingly hard list to put together, harder than either the main TV or movie selections. 2018 has an absolute cavalcade of great film music to choose from, so selecting a top 5 was hugely subjective. There are plenty of other albums that could have made it.
As a result, I’ve added below a Spotify link to 40 different film tracks from 40 different movies, many of which didn’t make my personal top 5. Hopefully you may pick out some more film music treats from that expanded list.
Anyway, here we go with my Top 5 film score tracks of 2018…
Given the direction the Mission Impossible franchise has taken over the last twenty two years, all the way through to the most recent sixth outing Fallout, it is easy to forget Brian De Palma’s original but also to underestimate quite how well it launched one of Hollywood’s most impressively consistent franchises.
Mission Impossible happened just before cinema began to change. It happened just before the post-modernist transformation of Hollywood into a self-referential field of franchises that would go on to metaphorically eat themselves, in the wake of Wes Craven’s Scream and a thousand imitators. It happened in advance of the rise of the blockbuster which did not rely on the tentpole, marquee name to keep afloat, as The Matrix sequels gave way to the first flourish of the comic-book movie rise across the 2000’s. It happened in the midst of the trend of classic properties being revisited, updated and ‘reimagined’, which began dominating the landscape, coming in the wake of successes such as The Fugitive. Mission Impossible, quite remarkably for a picture which is now two decades old, feels as a result both uniquely rooted in the 1990’s and decidedly out of time. Continue reading
Given the stature and prowess of the Mission Impossible franchise, the sixth movie is not likely to bring the curtain down on this series, but were Fallout to be the swansong for Tom Cruise as Ethan Hunt, it would quite honestly be a perfect way to bow out.
Everything about Fallout has the sense of an ending. Christopher McQuarrie’s second film as writer/director does numerous things. It fully transforms Mission Impossible, in its twilight years, into his personal baby, on which he stamps his mark in a way not seen since Brian De Palma’s original 1996 adaptation of the 1960’s original TV show. Fallout is not just a direct sequel to Rogue Nation, despite being the first Mission Impossible film to pick up where the previous one left off, but it also works to tie together from a storytelling perspective every film from Mission Impossible III onwards, while thematically reaching back to John Woo’s derided Mission Impossible II. It teaches a film like James Bond movie Spectre, which retroactively attempted to link Daniel Craig’s 007 into a string of continuity, how it’s done.
Mission Impossible: Fallout might just also boast some of the most intense, robust and powerful sequences of the entire franchise. This is doubly surprising given just how much of it doesn’t even feel like a Mission Impossible film at all.
If Mission Impossible: Rogue Nation confirms anything, it’s that the Tom Cruise-fronted franchise has spent almost two decades trying to work its way back to Brian De Palma and back to the roots of where the series began.
In some of my previous pieces on the earlier films in the Mission Impossible franchise, one fact that remains true is how the series consistently reinvents itself every few years in order to stay vibrant and relevant, but oddly enough Rogue Nation on reflection is not as bold a reinvention after 2011’s Ghost Protocol as you might remember. There is greater filmmaking skill involved, with Christopher McQuarrie imbuing more heft into his set pieces than Brad Bird managed in the previous film, while McQuarrie’s script (revised after efforts by Will Staples and before that Drew Pearce, with whom he shares a story credit) certainly has more depth to the storytelling. Beyond that, there is a consistency framing itself between this and Ghost Protocol, one which may well carry through into the next film, Fallout.
Rogue Nation is consistent in how it stylistically reaches back to the first film in the franchise while further mythologising Cruise and his character Ethan Hunt.
If you ran a poll asking the average film goer, and indeed the average film critic, which of the Mission Impossible films they considered to be the strongest outing in the franchise, you would have a significant amount point to Ghost Protocol. On the face of it, you can see why. Once you scratch deeper, those reasons become more opaque.
Mission Impossible III may not be the strongest outing in the franchise, but it may be the most human.
Surprisingly, this works as both a strength and to the film’s detriment in the eyes of many. For everyone who considers Mission Impossible II the weakest episode of the saga, which you can find my thoughts on here, not far behind will be a detractor of JJ Abrams’ sequel to John Woo’s own take on Bruce Geller’s kitsch 1960’s series. This, to me, is hard to fathom, and not simply as a big fan of Abrams and the dominance his works have achieved on pop culture, both in television and cinema.
The reason this revisionist disdain for MI:3 is strange to me is because Abrams’ movie arguably saved the franchise, and allowed Tom Cruise to not just reinvent his character Ethan Hunt but position Mission Impossible as a series which blended fantasy escapism with a relatable heart and soul.