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
Every July weekend at San Diego Comic Con, the biggest geek showcase on the planet where all the major studios and productions roll up to drop exclusives and surprises, you always get one announcement which courts a level of controversy and/or deep analysis. This year it wasn’t even the debut of a trailer for the Jodie Whittaker-fronted, Chris Chibnall-era new series of Doctor Who—which is going to almost certainly lead to a Star Wars-esque online tirade from grown man children at the idea of a woman playing the Doctor. 2018 had another major female figure from popular culture waiting in the wings get people talking: Buffy, she of the vampire slaying.
More specifically, the fact that Joss Whedon is overseeing, though likely not directly show running, a modern reboot of his legendary 20th Century Fox series which remains one of the bastions of 90’s pop culture, female empowerment, and genre storytelling. Note the word here that is crucial: reboot. Not revival. Not continuation. A reboot.
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.
Nostalgia seems to be a double edged sword right now in Hollywood. What on the surface appears to be a comforting guaranteed winner in terms of audience satisfaction and cinematic box office is becoming something of a poisoned creative chalice. The lacklustre critical (if not box-office) responses to pictures such as Jurassic World: Fallen Kingdom or Ocean’s Eight, sequels to long-standing, well-regarded franchises; or Lucasfilm’s decision to put a hold on more A Star Wars Story anthology movies after the tepid box office (by Star Wars terms) of Solo, seemingly putting immediately paid to rumoured Boba Fett & Obi-Wan Kenobi-centric films. There is a nostalgia blowback in progress, the ripple effect of which we are only beginning to understand.
Is this a ripple effect that, like the Nexus in Generations, threatens to engulf the future of the Star Trek franchise?
The continuing evolution of Alias across its first season is increasingly paralleled, as it should be, by the evolution and development of protagonist Sydney Bristow, as Color-Blind again returns to the central theme of not understanding or knowing who you truly are, growing lost within yourself deep inside a world with no clear delineation of black and white, or right and wrong. What Roberto Orci & Alex Kurtzman’s second script for the series does, and Alias does for the first time, is frame Sydney’s character journey through that of a guest character.
One of the difficulties in serialised storytelling to the degree Alias has deployed thus far is that it does not particularly encourage the use of the main guest character. TV shows of old, traditional series which tell a contained episodic story and move on, often framed a one-off character as key to the story being told that week. Murder mystery series, such as Murder, She Wrote or Diagnosis Murder, cop shows such as Law & Order or CSI, even science-fiction series such as the Star Trek spin-offs of the 1990’s and shows such as The X-Files, all of them frequently utilised a major guest character to weave a narrative around. With a serialised show telling an ongoing tale, it becomes a lot harder to stop and anchor a story around someone the audience doesn’t care about, and who’ll be gone next week.
Martin Shepard, who we briefly saw played by John Hannah in Reckoning previously, does not entirely anchor everything in Color-Blind but this is unquestionably the first episode of Alias to give a character who is not one of the main cast ensemble an arc of some fashion; in this case, Shepard being reminded of his tragic past as a brainwashed assassin who ended up killing Syd’s fiancee on the programmed order of SD-6, and his journey toward finding some escape and peace from that. The reason it works, and Alias is able to do it, is precisely because it factors into Syd’s psychology along the way. Shepard is a character in his own right but his existence is designed to sketch in more aspects of who Syd is, and her own journey in accepting Danny’s death.
There has been an interesting response to the dominant Avengers: Infinity War this weekend as it romped home to a record-beating opening weekend in the States, and a remarkable $600 million plus global take home. Aside from the legion of critics, professional and amateur, who have all lined up on either side of whether the film is good or bad (and most reactions seem positive), the issue again seems to concern fandom. In this instance, whether Infinity War is for anyone who isn’t already a fan of the Marvel Cinematic Universe.
A piece in The New Yorker has been widely circulated, with people criticising and defending an article which suggests Infinity War suffers for the fact it does nothing to ‘introduce’ the myriad amount of Marvel players to new audiences. Some are suggesting that it doesn’t have to, given its place as the first part of a finale to an ongoing saga—which I discuss more in my review—but some have on the other side of the fence suggested this kind of storytelling by Marvel Studios, and how the fandom have responded to it, is yet another form of ‘gatekeeping’.
That fandom are, once again, erecting a big ‘KEEP OUT’ sign and planting it firmly in the entrance of every cinema from Middlesbrough to Manhattan.