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Mission Impossible: Dead Reckoning & Final Reckoning · Citizen Frame

• 0:00
  What exactly is it I'm not supposed to know about? The IMF, Mr.
• 0:03
  Kittredge. The World Bank.
• 0:04
  No, that's the International Monetary Fund. Mr. Kittredge. I mean the other IMF.
• 0:09
  Ours. What does it stand for?
• 0:12
  Impossible Mission Force. You're not serious.
• 0:15
  I'm afraid he is. And what do they do exactly?
• 0:18
  It's just as the name implies. Whatever the rest of us can't.
• 0:22
  And who's in charge? They're not ones to take orders in the traditional sense.
• 0:25
  We more or less leave word.
• 0:28
  Leave. Word, Mr. Kittles. The IMF operates outside the community and answers
• 0:33
  directly to the president.
• 0:35
  So let me get this straight. When there's a mission none of you can handle,
• 0:40
  you just leave word for a nameless man and hope he gets the job done.
• 0:46
  Is that it? Should he choose to accept it?
• 0:50
  Music.
• 1:00
  Thank you.
• 1:15
  We'll be right back.
• 1:30
  Hi everyone, it's time for the finale. That's right, Mission Impossible says goodbye.
• 1:37
  Darn. But, you know, it's been a fun ride.
• 1:42
  As we come to a conclusion, our Mission Impossible retrospective here at Citizen Frame.
• 1:47
  And yes, it's early in the morning on a Saturday. Fuck, I'm tired.
• 1:51
  It's not that early, it's 11 o'clock, sort your shit out.
• 1:54
  Fuck off, man, it's fucking early.
• 1:57
  I was fucking watching the sweet, sweet Hallmark movie. Oh dear, you sad, sad man.
• 2:02
  Lying on the couch, having a cup of coffee, wondering if Kate... Not good.
• 2:09
  ...will leave her big job as the CEO of an investment banker for the local mule
• 2:16
  farmer. Wow, that sounds original.
• 2:18
  It's very powerful. Yeah, it sounds it.
• 2:21
  Almost as good as A Castle for Christmas, which actually has a connection to
• 2:26
  the last two Mission Impossible films.
• 2:30
  Oh, my God. Yeah, Denlinger. Carrie Ewells, as in both. Denlinger. Yeah.
• 2:36
  You didn't even know the character's name. Yes, I did, but I'm talking about
• 2:40
  the actor. He doesn't play the same character in a castle for Christmas. Maybe he does.
• 2:45
  That would have actually made it better. Yeah, but it took something.
• 2:49
  But at the end, she chose the mule guy. Right, there's a shocker.
• 2:53
  You know, powerful stuff. It's very powerful. I actually put it up right up
• 2:59
  there with Shopee's Choice.
• 3:01
  Oh, yeah, definitely. Shawshank Redemption.
• 3:04
  Yeah, Kramer vs. Kramer, maybe. Yeah, The Actricist.
• 3:09
  Well, that's not about relationships. Now you can suggest. The Godfather, maybe.
• 3:15
  Not even close. See, the horse head. You have the horse head.
• 3:18
  Instead of the mule, you have the horse head. Yeah, well, that's what I was talking about.
• 3:21
  All right, so what we're going to do here is that we're going to do double feature.
• 3:27
  Because when I saw Dead Reckoning, part one, well, it's still part one.
• 3:31
  We'll discuss that later.
• 3:33
  But it's just Dead Reckoning. And then we saw the final Reckoning.
• 3:36
  It really does play like one film.
• 3:39
  Yes. And so what better way of doing it is just talking through them both.
• 3:43
  And we can still review them as separate films. But at the end of the day,
• 3:47
  you can't have one without the other.
• 3:48
  No matter how good one is better than first or vice versa, you need both of these.
• 3:53
  So I'm going to treat it as one film. in my final review.
• 3:58
  But this one doubled its budget because of COVID.
• 4:03
  It went from like $180 million to $291 million.
• 4:08
  And when it came out, it wasn't a big hit. They thought it would be.
• 4:11
  They were shocked. I was shocked.
• 4:12
  I got lost in the shuffle of fucking Barbie and fucking, what's that fucking
• 4:16
  movie, Oppenheimer? Yeah.
• 4:17
  Yeah. And I don't get it. It still made money. I mean, 571 worldwide. So it wasn't, you know.
• 4:24
  But because of the increase of COVID. And I don't think it helped that the one
• 4:28
  thing I don't think Mission Impossible does right, they seem to always focus
• 4:33
  on, and don't get me wrong, it's awesome, we all love our Tom Cruise stunts.
• 4:37
  I think with their marketing, they give too much away with the stunts.
• 4:41
  Possibly. And I think they should leave that for, let people go see what stunts
• 4:46
  he's going to do. Well, don't tell him.
• 4:48
  Yeah. Let the audience go see him what he's going to do.
• 4:51
  You know they did that they started doing that with
• 4:54
  rogue nation with the airplane it's on the
• 4:56
  poster it's on the airplane one's on the poster here and they
• 5:00
  kind of they put all the cards on the table well maybe
• 5:03
  maybe with the promotion maybe they
• 5:05
  need to focus on something else altogether i don't know i'm not a promotions
• 5:09
  guy but i think basically audiences aren't really paying too much attention
• 5:15
  to the promotion of it because they know what they're going to get they know
• 5:20
  that they're going to get Tom Cruise crazy stunts, spy, espionage stuff,
• 5:24
  so I don't know I don't know, the series is that's the reason they shouldn't
• 5:29
  do that because they can just say, Tom is back Ethan is back,
• 5:33
  wait to see this stunt, there you go, there's your trailer yeah, you know, but,
• 5:38
  I can understand the other side of the coin you know, just.
• 5:43
  There's a paranoia there in Hollywood and so, and rightfully so,
• 5:46
  you want to get them, you got to grab with something to get
• 5:49
  him in the seats yeah tom jumping off a
• 5:52
  plane he's gonna do it yeah i i would say that um tom and and the cast come
• 5:57
  across very well and enter in interviews and they come across very professional
• 6:01
  and likable which you know sometimes that's not always the case with film promotions
• 6:06
  and their cast so you know full credit to cruise and the gang,
• 6:11
  Yeah, well, he's worked with most of them quite a few times,
• 6:14
  so there's chemistry there for sure, so that helps.
• 6:18
  But, yeah, you don't really hear a lot of bad blood on sets with his movies. Yeah.
• 6:22
  You know, it seems to be a pretty good team. I do know that apparently there
• 6:26
  was an incident, whenever there were Philemon dead reckoning,
• 6:29
  where it was during COVID, and he sort of freaked out at people not wearing masks or stuff.
• 6:34
  He's right. But it could be, yeah. Well, I mean, it could be exaggerated by the press as well,
• 6:38
  because, you know what I mean, during COVID it was basically a slow news day
• 6:41
  every day so they were looking for something to you know jump onto who knows
• 6:46
  I wasn't there who knows you guys are fired if you do this again he's completely
• 6:50
  right yeah well like I said I wasn't there,
• 6:53
  I know but this budget went from over 100 million more in extensive reshoots
• 6:58
  because of COVID you got assholes not obeying the rules of protocol get it haha,
• 7:04
  and they're and he finally goes off and so some asshole.
• 7:09
  Audio taped it so you know
• 7:12
  and puts it out there who cares good for them these fuckers may be paid to do
• 7:16
  their job Tom Cruise gets anything he does anything slightly out of the ordinary
• 7:21
  he gets blackballed I don't fucking get it you know what I mean I don't get
• 7:24
  it but you can have sex with 1500 women beat your children be an alcoholic,
• 7:32
  aww he's a hero he's gonna rehab himself you know what I mean I just don't get
• 7:36
  I don't know. I don't get everything.
• 7:38
  It's the price you pay for being a public figure and onto the spotlight,
• 7:42
  especially someone as big as Cruz.
• 7:45
  And myself. I can't get away with saying stuff like that either because of my... Your superstardom?
• 7:50
  My fame. Yeah. My superstardom. Yeah, right. Yeah.
• 7:56
  All right, let's jump into this one. Again, stellar reviews.
• 8:01
  7.6 IMBD, 90-something percent on Broughton. It's like most of these films get.
• 8:08
  Part one is really well-received. Everyone seems to really enjoy it.
• 8:14
  But let's dig into it. Now, Gabriel, the villain in this one,
• 8:18
  is played by a guy I like, S.A.
• 8:20
  Morales. He's a fun actor.
• 8:23
  But I'll start off by saying I like him I just think the character was kind
• 8:28
  of bland I wanted more of a comic book villain.
• 8:31
  He's nowhere near as good as Sean Harris as Solomon Lane,
• 8:36
  yeah you needed I liked it don't get me wrong he did his job but I'd rather
• 8:41
  have seen crap Kerry Elwes play this part I think could have pulled it off a
• 8:44
  little better but it was originally I bring this up because it was originally
• 8:48
  he was casted ready to go but COVID restrictions he had to drop out but it was Nicholas Holt.
• 8:54
  Right, he had been very good. Yeah they wanted a younger villain and he would
• 8:58
  have been a pretty good part but unfortunately he had to go do shoots for The
• 9:02
  Great or something like that and he couldn't do the film which is too bad because
• 9:06
  I thought that would be a kind of fun take, a younger villain.
• 9:08
  Well it could even be with the writing as well but sort of set him up as a sort of anti Ethan Hunt,
• 9:14
  you know what I mean and he's the guy that killed the woman that Ethan Hunt
• 9:16
  was blamed on and you know he was then forced to become an IMF agent and stuff,
• 9:22
  you know, back, you know, 30 years prior.
• 9:25
  So some good D-agent effects, I would say, you know, on those flashback scenes.
• 9:29
  But yes, to be honest, he's more of a henchman with the big villain being this AI entity thing.
• 9:38
  But yeah, compared to Sean Harris's character in the previous two,
• 9:43
  it is a sort of step down slightly. Again, he's effective, but he's just not
• 9:49
  as good as what we had before.
• 9:52
  Yeah, but again, you've got other key villains, you know, other little,
• 9:57
  you know, you got Kittrick in there and you've got Deliger, you've got,
• 10:03
  you know, you've got other ones peppered in here as well.
• 10:06
  So he doesn't, I guess he doesn't need to really steal the show.
• 10:09
  And technically you got Paris, who's technically still the villain in this one.
• 10:12
  All right. So this one now, this is pretty much the birth of the entity,
• 10:18
  which we'll get in the second movie.
• 10:20
  So the entity becomes sentient and goes rogue after deceiving a submarine crew
• 10:25
  into attacking themselves with a torpedo, killing all aboard,
• 10:28
  and sinking the Zewestopol in the Bering Sea in 2012.
• 10:35
  It's now the present, and now the entity has grown more powerful.
• 10:39
  And Ethan needs to get the cruciform key to help control the entities.
• 10:45
  So what we find out this film
• 10:48
  i'll put all my cards on the table here denlinger played
• 10:52
  by carrie elwis deliberately sabotaged this
• 10:56
  russian sub with this ai thing just
• 10:59
  to test it but like like we say don't
• 11:02
  fuck with mother nature he fucks with technology and
• 11:05
  with him doing this the ai takes
• 11:09
  complete control he's created a monster yeah basically
• 11:12
  they are all everyone apart
• 11:14
  from ethan and his gang want to
• 11:18
  control the ai entity to basically
• 11:21
  use it for their own ends but i mean it's
• 11:24
  grown too powerful and it's become you know way
• 11:28
  too intelligent you know so it's out of control essentially and obviously ethan
• 11:35
  and the gang will have to save the day and with the two parts of this cruciform
• 11:39
  key i would say that the series has now verged into science fiction territory with the entity thing.
• 11:47
  Yeah, I got a lot of war games out of this. Yes, yes.
• 11:52
  So where, yeah, the technology we build to help control the technology takes over. Terminator?
• 12:00
  The technology. It's a big one I got from it. Yeah, you got Terminator.
• 12:04
  But I get more war games because the whole nuclear thing isn't real or if it's not.
• 12:09
  Because when they do their settlement, I do like the whole opening scene with
• 12:12
  the the submarine and how they think they're being attacked.
• 12:16
  And it's actually not, it's just the entity playing with them.
• 12:20
  So they ended up shooting, you know, defeating themselves, obviously being sabotaged
• 12:25
  by their own technology.
• 12:26
  It's a great open scene. Actually. I really do enjoy this opening scene and
• 12:31
  it's not Ethan Hunt, not the gang. It's yeah.
• 12:34
  It's just, you know, the Russian guys, the Russian, the Russian,
• 12:37
  the Russian guys, which we'll, we'll get, we'll be revisiting them here near the end of part.
• 12:43
  I do love the whatever we do see, Ethan.
• 12:46
  You know, when he's in there with Kittrich and stuff. Or Kittrich.
• 12:50
  Is it Kittrich or Kittrich?
• 12:52
  Yeah, yeah. Whenever he goes to the meeting. Mark Gatiss is there,
• 12:55
  which I find quite random, as one of the CIA-type guys. Yeah.
• 13:03
  When's that come up? That's not for a while. No, no, no, no.
• 13:06
  Mark Gatiss, that's the guy to carry Ullis and Kittrich and stuff.
• 13:12
  That's just after the submarine scene.
• 13:16
  That's after the submarine. Yeah, so you got... Let's introduce the team here.
• 13:19
  We got Tom Cruise, Simon Pegg, Big Rames, Hayley Atwell, Rebecca Ferguson,
• 13:25
  Carrie Elwes, Henry Searsney, Shane Wiggum, Vanessa Kirby, S.A.
• 13:29
  Morales, Paul McClitton-Teef, Clementeaf, and Craig Davies.
• 13:34
  They all play Ethan, Benji, Luther, Grace, Ilsa, Dinglinger,
• 13:37
  Kittrich, Briggs, White Widow, Gabriel, Paris, and Diggah.
• 13:42
  So, well-rounded cast here. They're all going to go find out what happened to
• 13:47
  our little Russian submarine.
• 13:49
  Yes. And there we go. And now the chase is on. I do love whenever basically Ethan infiltrates.
• 13:55
  I mean, I love no masks in these films.
• 13:57
  He infiltrates, you know, the meeting with Kittrich and Mark Gatiss and Cardiules and stuff.
• 14:03
  And, yeah, and he gasses them all, you know, he doesn't kill them.
• 14:08
  And then he makes off and Kittrich says, how are you going to get away through our security?
• 14:14
  And then he's worried the Kittrich mask. Kittrich goes of course,
• 14:17
  you know, and then it kicks in.
• 14:20
  Really good opening. Yeah, this is where he finds out that they're hunting his
• 14:24
  girl Ilsa and because she has the first part of the ring. Yes.
• 14:29
  The key. The first part of the key. Because the two bodies of the captain and
• 14:35
  the admiral, whoever they were were found floating in the sea,
• 14:39
  and they had the keys around their necks.
• 14:41
  So she's recovered one of them.
• 14:43
  So he's got to find her and stop her from being assassinated.
• 14:47
  That's a cool scene. The whole sandstorm. I like the sandstorm.
• 14:51
  We got one at Ghost Protocol, obviously.
• 14:52
  But I do like the sandstorm and him taking everyone out. She's helping him,
• 14:56
  and it's actually a pretty nice little scene.
• 14:59
  I knew when she was lying on the ground, she wasn't dead. That's pretty obvious.
• 15:04
  But still, I like a good ambush. I like a good sandstorm ambushing like everybody does,
• 15:10
  and of course it's revealed as well that it was actually Kittredge that sent
• 15:14
  the bounty hunters in to kill her and recover the key because he wants the key
• 15:19
  and control of the entity himself of course you know,
• 15:23
  that's why he told you great to see Kittredge back.
• 15:30
  28 minutes 28 minutes into the film and then we get our credits I think that's
• 15:36
  the longest ever for a film.
• 15:40
  No, the next one's not 28. I think it's 15. We'll find out. Yeah. So there you go.
• 15:47
  They got on breaks. They're hired. These guys are going to be kind of,
• 15:50
  they're not bad guys, but they're the henchmen, I guess you could say, of Kittrick's.
• 15:55
  They're hired to go get Ethan and find the buyer so they can get this whole
• 16:00
  thing sorted because Kittrick's is kind of, Kittrick's technically has gone rogue himself. Yeah.
• 16:05
  He's kind of like, he wants complete
• 16:07
  control of the king and he's doing it outside the box. for the CIA.
• 16:13
  And DeGon Briggs is two right-hand men. And they'll have a lot bigger story
• 16:18
  to tell on the next one, those two. But I do like those two characters.
• 16:22
  And they're kind of fun. And what I like about them, they're not over-the-top deucebags.
• 16:28
  They play the parts well. They're not caricatures. No, no, no.
• 16:33
  They're not like pantomime villains or pantomime handsmen.
• 16:36
  They're actually proper written characters and performed.
• 16:40
  Now, I'm going to be controversial here. It's controversial here in time. Go for it. Okay.
• 16:46
  The airport scene. I enjoy it. It's good fun. I've found myself a little long.
• 16:56
  And here's the big one. We're introduced to Grace. She's the thief,
• 17:01
  the professional thief. Yeah, the pickpocket.
• 17:03
  Pickpocketer. I like Haley Antwell. I just didn't get it.
• 17:09
  The character feels contrived and she also feels like she's an obvious setup
• 17:18
  as a replacement for Elsa.
• 17:20
  And I don't think she is anywhere near as good or as interesting a character as Elsa overall.
• 17:26
  She feels shoehorned and not contrived, I think is the word I would use.
• 17:33
  I think this part should have stuck with Elsa. I agree.
• 17:39
  A, she is going to play the love interest, which doesn't make any sense because
• 17:43
  he's still with Ilsa. Yes.
• 17:45
  Technically, they only tell you about the love interest, which I do like about
• 17:48
  the series, but they are playing on it.
• 17:50
  And it's like, well, Ilsa's still around the corner here. Why are you playing with this girl?
• 17:54
  And the tongue-in-cheek banter as they're making quick wits with each other,
• 17:59
  it just didn't suit the fact that they got to go stop a guy from giving the key to cause possible.
• 18:06
  Yeah. could cause a possible nuclear war. And they're having a good playful
• 18:10
  banter time. Like, you guys need to pick it up here.
• 18:13
  Stop playing goofy gimme get your pants time and go get the key.
• 18:16
  Stop flirting and basically save the world.
• 18:18
  But basically, I think it gets even worse whenever they get to Rome and they're
• 18:23
  doing the slapstick stuff in the car, you know, with the wee,
• 18:27
  like, shitty car and stuff.
• 18:29
  I have that. I'm not a fan of that scene.
• 18:32
  I like the choreography of it. You know, I like the stunts and stuff, but it takes me out.
• 18:38
  When you take me out of a cool car chase because you're hating the banter between
• 18:42
  the two people in the car, I have a pride in it. And yes, while you say it does
• 18:46
  look well, I mean, obviously it's in Roman stuff and it's well choreographed.
• 18:49
  I don't think it's a patch on the Paris scenes in the previous film.
• 18:54
  Yeah, Fallout definitely, or even the Bourne films have superior chases.
• 18:58
  It was just like, I expect that car chase that we get in Rome,
• 19:04
  was it in to be in the Indiana Jones film.
• 19:08
  I expect that to be in the Indiana Jones film.
• 19:11
  I feel this kind of action should be an Indiana Jones film, where you expect
• 19:19
  that clever banter and fun wits and having a good laugh at the same time.
• 19:24
  This is a mission of possible.
• 19:25
  You've got to keep a little more ground. Yes, I agree.
• 19:29
  It's too sort of capery, slapsticky, and it does feel forced.
• 19:35
  And yeah, it's just not the same as the sort of,
• 19:39
  you know, I believe the relationship between Ethan and Elsa much more and I'm
• 19:46
  invested much more in it and it actually is a bit of a disappointment don't get me wrong,
• 19:50
  it doesn't ruin the film or anything but it is a bit of a disappointment that
• 19:55
  Elsa has been sacrificed,
• 19:57
  the one thing that the series always got right was the love interest,
• 20:01
  besides two we hated two yes, the thaddy nonsense,
• 20:05
  they keep it at bay they keep it kind of.
• 20:11
  This one I rolled my eyes at and I usually never rolled my eyes in A Mission
• 20:16
  Impossible these two should not have been,
• 20:19
  it should have been played straight let's just move on from that,
• 20:25
  I do like the whole I do like the fact we got Ving Rains back,
• 20:29
  a nice bigger part and Benji and I like those two chemistry you see that a lot
• 20:35
  with this film especially the airport scene where he's trying to the big bomb. Yeah, another bomb.
• 20:40
  Another nuclear bomb. Yeah. You know. Yeah.
• 20:44
  And I do like the cat and mouse between Briggs, and he's trying to find him,
• 20:48
  but he's got that AI. The AI, we find out... It's playing with him. ...frames. Yeah.
• 20:52
  It's playing with him. Luther's putting, you know, the digital...
• 20:56
  What do you call it when they change your face?
• 21:00
  Yes, when Luther is basically deepfake type stuff.
• 21:04
  Deepfake. That's what I'm thinking about. Deepfake. Fuck, I don't know all this IT shit. Yeah.
• 21:09
  You wouldn't make a very good Luther, so you wouldn't... I would say... I'd be fucking...
• 21:13
  I'd be fucking... I'm Ethan Hunt. Right.
• 21:16
  I've got to think of a word that rhymes with Ethan Hunt, but I'll not go with
• 21:19
  her. Fuck yourself. Go fuck yourself, man.
• 21:23
  You know, you could be a guy. You'd be.
• 21:25
  I know who you'd be. You'd be the first guy you get shot. No chance. In the corner.
• 21:31
  No, no, I'd be brilliant. I'd be a great secret agent.
• 21:34
  I'd be Tom Cruise's right-hand man.
• 21:37
  Apart from the stunts where it's to do with heights, then it would be shit.
• 21:42
  Which is pretty much every fucking stunt. yeah well this is
• 21:45
  it they'd have to get a stunt double in for me
• 21:47
  but that's okay they'd have to get tom um cruise you
• 21:51
  know on platform shoes and then a
• 21:54
  sort of dirty fur gray wig but anyway
• 21:57
  i digress i would say that as this film progresses we see less of luther and
• 22:04
  he isn't too much and as much as i would like to see him in the next one the
• 22:08
  final one i just am a bit worried that i think possibly there may be health
• 22:13
  issues with Vang Reams. I hope not.
• 22:16
  He addressed that. He said, there wasn't. I'm dying in the movie. Right.
• 22:20
  You had to kill one of them. You have to. Oh, spoiler. Yeah,
• 22:24
  well, there's people...
• 22:26
  Spoiler. There's people... There's big characters killed in each one.
• 22:30
  We'll get to them at times when we talk about it.
• 22:34
  But, yeah, the only thing I didn't like about Grace,
• 22:38
  is I didn't like her and the
• 22:40
  reason I didn't like her she kept fucking over Ethan Hunt every time and I was
• 22:46
  like how many times I know he needs to get her but at some point he's way too
• 22:50
  cuddly nice with this girl at some point you're gonna I mean she literally handcuffs
• 22:55
  him to the fucking car in a subway yeah while the train's coming,
• 23:00
  while the train's coming yeah I found that a bit sort of yeah,
• 23:05
  yes I have to set up a bit of conflict between the two characters and
• 23:08
  you know it's a whole double agency type thing but
• 23:11
  yes it does they do drag it out a little
• 23:14
  bit too much i would say tom cruise obviously
• 23:17
  really likes his sort of brunettes because
• 23:21
  i mean every sort of leading lady within this series has been quite similar
• 23:26
  looking you know but that's okay well that's okay at least he's being continuity
• 23:31
  you know he's yeah he's kicking what the character likes yeah uh big boobies yeah what.
• 23:40
  It means me and Ethan Hunt have the same take. Right, right,
• 23:43
  right. Only he's not stalking Rebecca Ferguson, and you are.
• 23:49
  I got her back here. She's cool. Right, yeah, yeah. Honey, give me a couple coffees.
• 23:57
  From a dungeon in your basement. Yeah. Yeah, speaking of her,
• 24:02
  we have the worst scene ever coming up.
• 24:04
  All right. Yeah, so the whole Rome thing I didn't like. I did like the gunfight
• 24:10
  on the bridge when he's got to get her.
• 24:12
  Again, I really would have went with this more if he was at the point where
• 24:18
  he's just pissed off at her now because she's fucking him over.
• 24:21
  And he's now being more aggressive. Yeah. Like, you're on your own now.
• 24:26
  Yeah. Well, fuck yourself. Good luck.
• 24:28
  And then she needs help. Because at the end of the day, this girl says,
• 24:31
  now we find out she's been tricked. She's been hired by the AI.
• 24:35
  The entity hired her. but also by the White Widow Was she hired by the White Widow?
• 24:41
  No, she was hired by the White Widow, yes Was the AI hired?
• 24:45
  No, no, no, no She was hired by the White Widow to get the key because the White
• 24:51
  Widow and her gang are, you know, her dipshit brother and stuff I like his moustache, by the way,
• 24:56
  No, but no, no As far as I'm aware Grace was hired in secret by the White Widow
• 25:04
  to get the key because obviously the White Widows look in the quay.
• 25:07
  That's why we'll have the whole White Widow on the Orient Express and stuff later on.
• 25:12
  But the White Widow is a middleman.
• 25:17
  She's an arm stealer. She says that. She's a dealer. She's the middleman.
• 25:21
  So she gets the point, you know, she's the B in the A and C.
• 25:25
  So the C, I thought was the entity. Or is it Gabriel?
• 25:29
  I mean, they're all playing off against each other. But as far as I'm aware,
• 25:33
  they are all out for themselves too.
• 25:35
  Such as Gabriel and the White Widow and stuff. But I mean, I could be wrong.
• 25:39
  But as far as I'm aware, I understood it.
• 25:43
  The white widow had employed grace without grace's knowledge to get the key
• 25:47
  for her and then pay her a large amount of money for it.
• 25:51
  The one half of the key, I would say as well, there's two halves of the key.
• 25:56
  Yeah. Yeah. Yeah. As I mentioned in the beginning, you jerk, right?
• 26:01
  More passive aggressiveness.
• 26:04
  So not even passive. It's just out there. Fuck off.
• 26:10
  Now this, I do like the chase scene. Again, the rave scene, as I'm thinking
• 26:17
  about this, the rave scene where they're all together.
• 26:19
  Yes. At the same time, you got Briggs and Degas.
• 26:23
  What's his name? Degas. I can't remember. Degas.
• 26:26
  They're tracking them down, and then they have this rave scene where everybody's there. Yes.
• 26:31
  Ilsa, White Widow, Grace, Hunt, Gabriel.
• 26:35
  I just thought, how are they going to get out of this?
• 26:38
  And I just I thought it was kind of long winded the conversations they're having
• 26:43
  okay we get the point let's move it's the first time watching a Mission Impossible
• 26:47
  film where some some points not all of them I was actually looking at my watch
• 26:52
  yeah well I do find it with these final two entries in the series both of them,
• 26:59
  do suffer from being overblown and overlong.
• 27:03
  I thought that was the second one. Yeah.
• 27:07
  But I'm reversing it. Okay. I think the second one, you needed it.
• 27:09
  Okay. This one, you didn't. And I felt this was the bloated one.
• 27:13
  I'll give you an example. Oh, my God. Perfect example. Perfect example timed by Kieran. Go for it.
• 27:19
  The movie is close enough to three hours. Okay? Close enough, let's say.
• 27:24
  This podcast has been on for 28 minutes. Tell all the shit.
• 27:29
  It's been up for a minute right my point
• 27:33
  is we're almost done with this review yeah as
• 27:36
  a three-hour film my so what how
• 27:40
  much of this do they really need and at some point i also think if you're not
• 27:46
  gonna have a villain who's gonna steal the scenes like sean harris or jack nicholson
• 27:50
  or or heath ledger or somebody you know what i mean yes who's eating up the
• 27:55
  scenery and you want to see more of him, don't put him in that much.
• 27:59
  Gabriel's more of a reserved kind of character.
• 28:02
  And he's got his henchmen, who I do like his henchmen, definitely Paris.
• 28:07
  And so leave him out of it. When he's in every scene with Ethan,
• 28:12
  you kind of take away the mystery.
• 28:13
  And you take away the action scene that we're about to get.
• 28:16
  I think it feels to me like they basically,
• 28:21
  because obviously you don't see the entity, AI thing,
• 28:25
  so they needed a human villain as well and
• 28:28
  somebody to go up against Ethan you know in terms of man to man type thing but
• 28:33
  I just yeah I think it's a combination between again I'm not dissing the actor
• 28:41
  but I think it's a combination between maybe slightly weak writing and also a performance,
• 28:47
  yeah I think it's,
• 28:50
  the recasting it's what's happened here I think the character was written as
• 28:55
  a young eccentric like a Lex Luthor which is ironically what Nicholas Holt's
• 29:00
  next role is and I can see a younger IT nerd playing this part who's kind of an eccentric.
• 29:06
  Loony and that's why and that's why,
• 29:11
  there's more parts what they should have done was scale down the Gabriel role
• 29:16
  if Nicholas Holt wasn't going to do it and make it more accessible more like what S.A.
• 29:22
  Morales wouldn't actually give
• 29:23
  us I don't blame Messi Morales for this at all. I like the guy. But...
• 29:28
  He needed to be rewritten to fit S.A. Morales. Gabriel feels like a henchman
• 29:32
  as opposed to a big, bad, badass villain.
• 29:36
  He kind of is. The entity technically. Exactly. Yeah.
• 29:40
  But I do like the whole fight scene where he saves Paris. That will come back
• 29:43
  to help him in the next one. With Ethan Spares, he's not going to kill her. Yes.
• 29:47
  But this is where Elsa gets it by helping Grace out. On the bridge.
• 29:52
  Yeah, this whole Gabriel's backstory where he killed my girls.
• 29:56
  I was like this is kind of stupid we didn't
• 29:59
  need that we could have had something different it's a bit of a cliche as well
• 30:02
  it goes back to the whole this time it's personal you
• 30:05
  know sort of trope and cliche which is fair enough you know especially you know
• 30:10
  in this type of sort of action thriller spy film but the thing is it doesn't
• 30:16
  feel properly fleshed out or developed despite this being a long enough film
• 30:20
  to actually properly flesh it out you know so it does
• 30:24
  It does guard a little, to say the least.
• 30:27
  And then, yeah, you've got scenes that you're elongating, which are too long.
• 30:32
  And yet you've got Ilsa, who's been in the past few films, and we like her.
• 30:36
  Of course, I like her. Yeah.
• 30:37
  And she has a cool, you know, good knife fight.
• 30:41
  Then she gets stabbed, and she's dead. Not even, like, he can't run up to her
• 30:45
  and still be alive, but maybe die.
• 30:47
  Give her a decent death. Let her die in his arms or something.
• 30:50
  Let her have some last words. Do you know what I mean?
• 30:54
  He runs over the bridge she's dead oh okay she's out
• 30:57
  okay Grace you're next if I was Rebecca Ferguson I would be pissed off at the
• 31:02
  treatment of her character and also the fact she's I get that you know they
• 31:05
  change these things up we have re-film and they change the team up but if I
• 31:10
  was Rebecca Ferguson I would be pissed off at the treatment of her character.
• 31:16
  Because she's a great character she is and then there's no scene where,
• 31:25
  Where they're talking, and this is the saving grace of the film.
• 31:28
  This entire, entire train sequence is- It's fantastic.
• 31:31
  It's incredible. I mean, this is why this film is- Reviews, he's got this film,
• 31:37
  this whole- This played like the original Mission Impossible.
• 31:40
  Yes, intentionally so. But before the scene happens, he's talking to Grace,
• 31:46
  and she said, you got to be the white widow. You know, put the mask on and shit. Great scene.
• 31:50
  And she's really nervous doing it, unrightfully so. there needs to be a point
• 31:55
  where he's going to finally go off on her and finally lose it.
• 31:58
  Ethan Hunt at some point is taken, is too relaxed.
• 32:03
  Yeah. And it's like, at some point, you'd be taking your punches. She's the cause of this.
• 32:08
  You need to, you know, call her out. The character of Grace in this film jumps
• 32:12
  between being either duplicitous or a dipshit, or sometimes both.
• 32:18
  And it's irritating to watch as an audience member.
• 32:21
  But Ethan, who is supposed to be this super spy, and I mean he set up in the
• 32:26
  next film as basically the Messiah and saviour of the world,
• 32:29
  I mean he saved the world several times so he wouldn't take,
• 32:33
  why would he take any nonsense like this, you know.
• 32:36
  Instead of character yeah, I mean come on, at the end of the day I mean there's a great scene,
• 32:44
  in the first Mission Impossible where you're introduced to Kittrick's in the
• 32:48
  restaurant, brilliant And he's one of the best scenes, and all it is is dialogue.
• 32:53
  With a chewing gum? Yeah.
• 32:55
  But you see, as Kittress is telling him, you're the mole, you're the one,
• 33:00
  we're going to take you down.
• 33:01
  And you see the anger in Tom Cruise's face.
• 33:06
  And you see, as Kittress is telling him this, and you see him fuming,
• 33:09
  but he doesn't overdo it. We don't even get that here.
• 33:12
  And that's what we needed. We needed him to break. I get that Hayley Adwell
• 33:15
  is hot, but like, you know, you know, this is unprofessional by Ethan.
• 33:21
  We demand more from our Ethan Hunt, you know.
• 33:24
  I know, you just lost Ilsa, and you seem like you're in pretty good spirits. Yeah.
• 33:30
  On to the next. It's like, yeah, well, yeah, finally getting rid of Ilsa,
• 33:33
  so let's move on to the next hot brunette, you know.
• 33:38
  I mean, I would be heartbroken. Yeah, well, you know. If I lost Ilsa.
• 33:44
  You will be when she escapes, you know, or is rescued.
• 33:52
  Yeah, yeah, yeah, yeah. So let's get to the train scene here.
• 33:57
  This scene is, it's Mission Impossible 1.
• 34:00
  You got the action scenes on top. You got all the action going on with Ethan
• 34:05
  on the bike and Benji trying to guide him, which I love that whole.
• 34:09
  Yes. I love those two dynamics.
• 34:11
  And then you've got the fight on top of the train. Then you've got the little
• 34:14
  espionage, you know, spy game going on in the train, in the caboose area.
• 34:20
  And so you have all these three elements that make a good thriller in one scene. Yeah.
• 34:24
  And then it just goes batshit crazy with an incredible, the train.
• 34:29
  I could see him as a film, actually.
• 34:31
  I does see it in the film, by far, and his stunt jumping off that thing is wonderful.
• 34:37
  I do see it, when I see it again, I'm just nitpicking. I don't like nitpicking because I love the film.
• 34:42
  I mean, I love this action scene, but when he comes crashing through that train, he'd be dead.
• 34:48
  Oh, well, yeah, I mean, obviously, it's a Mission Impossible film.
• 34:51
  There has to be a suspension of disbelief, you know, So, you know,
• 34:54
  so I, yes, you sort of, it's, you're in on the joke, you know, as an audience member.
• 34:59
  So I could buy that, you know, in terms of the context, it's a Mission Impossible film.
• 35:03
  So I have no problem with that. You expect that sort of batshit craziness. So you do.
• 35:10
  What I really liked about the film, you could tell that the writers worked hard
• 35:14
  and they didn't just go, oh, we got a second one coming.
• 35:18
  They already wrote the second one. You can tell because they plant the seeds,
• 35:22
  especially for Briggs and Degas.
• 35:24
  Degas even has a conversation with Briggs saying, Ethan's not a bad guy. What are we doing here?
• 35:31
  Because he becomes part of Ethan's team. That's right. It's set up. And they set it up nice.
• 35:38
  And same thing with the Briggs because even in the second one,
• 35:41
  you see Briggs starting to see Kittrick's.
• 35:44
  See, I love those two dynamics, the Kittrick's and Briggs character.
• 35:47
  People go, I don't think see it.
• 35:48
  Yeah. It's where you can see Briggs looking at, Kittredge's going,
• 35:51
  wait a minute, something's not right here. Yes.
• 35:53
  And so they plant those seeds really well. And again, with Paris. Yeah.
• 35:58
  You know, when she gets betrayed by Gabriel. And stopped. And she's dying.
• 36:03
  Yeah. And she technically does die. I'm glad that they bring her back because
• 36:07
  I think she has a great character.
• 36:09
  I think she is more memorable as a character than Gabriel himself.
• 36:15
  And she barely says anything. Yeah, and I like whenever, you know,
• 36:18
  just come back a bit, you know, to the room scenes where she's got this,
• 36:21
  like, police armored car thing and chasing them and you can see her laughing with glee and stuff.
• 36:26
  I think she's definitely a more memorable and better character than actually
• 36:29
  Gabriel himself. And she's the henchwoman.
• 36:33
  You know? There's a nice scene, finally, we get with the... Like,
• 36:38
  this whole train sequence gives all these actors something to do. Yeah. Finally.
• 36:42
  And it's nice because it's so that they know their craft.
• 36:46
  For instance, Vanessa Kirby, where she is.
• 36:53
  The conf... We talked about this in her last film, where she's cocky,
• 36:58
  but she didn't pull it off as much as her mom did in Vanessa Redgrave.
• 37:04
  But now we find out Kittrick's is using her because she... Kittrick's did a plea deal with Max.
• 37:13
  Yes. that's how he knows the widow
• 37:16
  and but there's a scene where she's just
• 37:20
  being you know talking to her brother she's all confident blah blah she gets
• 37:23
  she gets herself and she's in her little uh
• 37:26
  carriage or her quarters on the train and she's nervous so she's she's holding
• 37:32
  her stomach she's she's like she's tying knots so her cockiness and confidence
• 37:38
  that we saw in the last film and in this most of this film it shows that she's not as the badass,
• 37:45
  she's vulnerable she's vulnerable and there's also a lot of her sort of cockiness
• 37:49
  and arrogance is bravado essentially yeah,
• 37:52
  now, which I like to see that. So I like, like I said, I'll actually throw out
• 37:58
  this entire retrospective.
• 37:59
  The Mission of Possible is the one big thing they get, right,
• 38:02
  is all the characters, what by death, or even a simple move like this,
• 38:07
  gives them a little arc. And the flawed.
• 38:12
  Yeah, and once the widow's gone, we won't see her again, we don't need to. Yeah.
• 38:18
  Because her story's been told. Yes. And that's what I like about the Mission of hospitals.
• 38:23
  They're all, I mean, even Ethan, who is basically spied Jesus,
• 38:27
  essentially, by the time we get to the end of it, he's over the series,
• 38:30
  the course of the series, he's made mistakes as well. You know?
• 38:34
  We'll find out what's next month, Miss Impossible 3. Yes. He's the cause of the entity.
• 38:40
  But, so, and there's another one with Grace.
• 38:43
  Not a big fan of the characters we talked about, but there's a scene where Kittress
• 38:47
  is about to transfer her 100 million,
• 38:49
  into an account, so you put your digits in, and I said transfer,
• 38:53
  transfer, transfer and she sells it really well Haley Atwell where oh god like
• 38:58
  licking her lips do I take this money do I betray Ethan again cause you know
• 39:02
  she's been fucking him the whole time pardon the pun but you know.
• 39:08
  But and now she's tormented do I betray him again and take this money and run,
• 39:14
  or do I fulfill my obligation with Ethan and she takes the higher role she also
• 39:19
  does go on the journey within this film as well to eventually becoming an IMF agent.
• 39:27
  Exactly. And again, going back to Full Arts. Yeah.
• 39:31
  They're given something. They're there for a purpose. So kind of the elongated
• 39:36
  scenes we've been talking about and the misdirects of her fucking him over and
• 39:40
  whatever, blah, blah, blah.
• 39:41
  And Vanessa Kirby kind of trying to play a badass. It all kind of comes full
• 39:46
  circle here on this train. Every single character.
• 39:49
  And we start seeing it with Briggs and Degas and that eventually carries over into the next one. Yes.
• 39:54
  It's great writing. It's fucking great writing. Well, McQuarrie's a great writer anyway, you know?
• 39:59
  So, yeah, I do feel that maybe with the Grace character, it was,
• 40:05
  you know, it was maybe a studio note or maybe a Tom Cruise note. I don't know. Who knows?
• 40:10
  But, yeah, in general terms, McQuarrie knows how to write a movie script.
• 40:16
  Yeah, and then once Tom Cruise flies, that stunts.
• 40:21
  He's fucking batshit crazy. I love it. And then he crashes into the train,
• 40:25
  and then all the way to the fight scene on top of the train.
• 40:29
  I know Gabriel keeps looking at his watch. He's like, what the fuck is he looking
• 40:32
  at his watch for? It's a rescue team.
• 40:35
  Yeah, he knows exactly when to jump off the train. The train crashed itself, and they're hanging on.
• 40:40
  It's very Drake Uncharted, very Drake's Fortune. It's a video game.
• 40:45
  There, I felt, it almost felt like an Indiana Jones film here,
• 40:48
  which I was okay with. It almost felt like a non-Indiana Jones a little bit.
• 40:53
  Or Keith Solomon's Mines. I just really fucking.
• 40:56
  Oh, yeah. Shard of stone. Yeah. No.
• 41:00
  And what a wonderful way to end it, where Paris pretty much,
• 41:04
  you know, dies. Well, he thinks he dies.
• 41:08
  And he paraglides to his next mission is to get to the submarine.
• 41:13
  Yeah, sets it up on a sort of whale for the next one.
• 41:17
  And that brings us to.
• 41:21
  Miss Impossible, The Final Reckoning. Now, it was going to be called,
• 41:25
  obviously, Dead Reckoning Part 2, but the studio felt because the,
• 41:30
  box office of the last film, they didn't want to relate to it for some reason.
• 41:36
  Well, it's probably because they wanted to appeal to more people in terms of
• 41:42
  people who would randomly go and see it or would maybe be turned off feeling
• 41:46
  that you would have to see the previous film to go and see it
• 41:51
  was basically more for general audience members that were trying to appeal to
• 41:54
  where they were they're setting it up as like a standalone as well as a sequel if that makes sense.
• 42:00
  Yeah no I get what you're saying because most Mission Impossible do play like
• 42:03
  standalones yeah but this one is a direct I mean you have to see the first one so I think,
• 42:09
  I think they should have kept it the way it should have been part two because,
• 42:13
  A you'll get more people wanting to see the first one more revenue
• 42:17
  new and then you know well i don't
• 42:21
  think assholes like me it's just annoying you know that retains the dm you know
• 42:26
  before released like that but you know whatever yeah i know but yeah it took
• 42:33
  years get this one off finishing it up this was definitely a long haul for the entire team,
• 42:38
  this is chris mccrory says this is goodbye this is it they say did they pull
• 42:44
  it out of the park pull it out of the park, hit it out of the park.
• 42:47
  Where the fuck did I get that from? I need my coffee. Yeah, you think you knew
• 42:50
  your baseball terms? You know?
• 42:54
  Got my coffee out of there. There we go. Back on form. All right.
• 42:59
  So pretty much we're copying and pasting the entire team. Tom Cruise,
• 43:02
  Tom Apeg, Vig Rames, Hilly Atwell, Henry's Jersey, Shea Wigelm,
• 43:06
  Ashley Morales, Pom Clemente,
• 43:10
  Greg Davies, Angela Bassett, Holt, McConnelly, McCallum B, who I like to see.
• 43:16
  Janet McTeer, Nick Offerman, and then we got William Dunlowe.
• 43:21
  No, Mark Gatiss. Rose Saxon.
• 43:24
  Are you blowing this guy? Who's Mark Gatiss?
• 43:29
  You keep interrupting for Mark Gatiss. Anyone listening to this goes,
• 43:34
  oh my god, it's Mark Gatiss. Who the fuck is that?
• 43:36
  He's probably best known for being both a writer and actor on Doctor Who. I kid you not.
• 43:41
  Oh fuck me You have a
• 43:45
  heart on for this man I'm just winding you up I don't And I'm just winding you
• 43:49
  up Because I wanted to get in A Doctor Who reference Just to wind you up But
• 43:53
  he's more better known For other things Like the League of Gentlemen And loads
• 43:57
  of stuff over the years But yeah I just thought I would get that in there You know.
• 44:03
  So, besides the regular team, we've got, it's nice to see Ezra Batsis back.
• 44:08
  Last time you saw her, she was head of CIA. President? Now she's the president.
• 44:12
  President Sloan. We got Holt McAllen-Avey, who I like to see.
• 44:16
  He's been around for years.
• 44:17
  He's awesome in, what do you call it? Is it Mindhunter?
• 44:21
  Manhunter? I haven't seen that, but I don't know what you're talking about.
• 44:25
  Great show. He plays Serling.
• 44:27
  Yeah, I like Walters. See, Walters, Serling, President Sloan, General Sidney.
• 44:33
  The guy you're blowing they're all they're
• 44:37
  all i love how this is done and this is why it's
• 44:40
  long you have pretty much two sets of
• 44:43
  teams here okay you've got the action team
• 44:46
  which is the cruise team and then you've got angela bass's team so you've got
• 44:50
  the war room team and you've got the people out in the in the in the field yes
• 44:54
  and you can't cut this film you can't do it i i watched it a couple times and people do too long.
• 45:04
  Last one you could have cut.
• 45:07
  But this movie you can't. This movie is so dialogue driven. What about the first half?
• 45:13
  Do you think it could have been maybe cut back a bit? I was about to jump in there.
• 45:18
  If you guys haven't seen this yet, but you want to listen to the podcast first,
• 45:22
  I get it because I'm very talented. And humble.
• 45:26
  Yep. And humble. But the first hour can drag a bit.
• 45:30
  I'm not going to lie to you there. But you can't edit it, guys. You can't do it.
• 45:35
  There's not a lot of action in this film. I know people are going,
• 45:38
  what? When it's there, it is on fire.
• 45:42
  The action of this is stellar.
• 45:44
  But there's very little of it. It's very dialogue-driven. But it's intense.
• 45:50
  The war room, no action. It's just words and emotions.
• 45:56
  Making a call to start a war or what not take the weapons offline it is so good
• 46:05
  and when the Mission Apostles do right it's smart writing but you don't have
• 46:11
  to be a rocket scientist to get it,
• 46:13
  it does the in terms of the writing and the espionage stuff yes it
• 46:19
  is clever but at the same time yeah
• 46:22
  it's quite accessible at the same time it's a good Macquarie strikes a very
• 46:27
  good balance and the writers of the previous films to be fair you know yeah
• 46:31
  alright let's jump into it okay the IMF team race against time to find the entity
• 46:37
  a rogue artificial intelligence that can destroy mankind,
• 46:40
  I should do movie trailers no please don't Definitely don't. Yeah.
• 46:46
  Originally developed by China. Yes. Damn China. That was our listeners. Right.
• 46:52
  The project remained unfinished. After Ethan stole it from Shanghai, the U.S.
• 46:58
  Government refined it and completed it. Way to go, Ethan.
• 47:01
  You guys don't know. That's the device he stole. He thought it was a liquid goo.
• 47:05
  It was not. It was codes he stole from China in Mission Impossible Part 3. The Robert's Furt.
• 47:12
  The rabbit's foot, you got it. In 2012, Dendlinger tested an early version of
• 47:17
  the AI on the submarine Zyvastopol.
• 47:21
  Zyvastopol. Attending only to disable the submarine's stealth systems.
• 47:25
  But things backfired, and it self-destructed.
• 47:29
  There you go. Yeah. It is a bit of a retcon of Mission Impossible 3,
• 47:33
  but that's okay. It sort of ties in. That's okay.
• 47:37
  Oh! Why would it be? You never know what's in the rabbit's foot?
• 47:41
  I know that though, but I think at the time when Mission Impossible 3 was released,
• 47:45
  they were not thinking that it was going to be the end that I'd be very surprised if they were.
• 47:50
  Oh, I can tell you, I can agree with that, but there's no retconning.
• 47:53
  It's kind of like the glow in the suitcase of Pulp Fiction. They get away with it.
• 48:00
  Well, no, he's no retconning. You got to use that word a lot. It's not a retcon.
• 48:03
  It has to be established that it wasn't an entity for it to be retconned.
• 48:07
  They never established what was in that.
• 48:09
  Yeah, but my point is, I just don't think that they were thinking of the entity
• 48:14
  whenever they were writing Mission Impossible 3.
• 48:17
  You're too busy giving hummers to Mark Gatiss to really see what was going on.
• 48:20
  I thought him later and asked him.
• 48:22
  So, well, no problem. Wow. Wow. You're going to go over later?
• 48:26
  Okay. That's cool. Mom.
• 48:30
  I just wanted to get a Doctor Who reference in just to piss you off, you know what I mean?
• 48:35
  You piss me off. Yeah, it's not easy to do. I love when the president contacts
• 48:42
  Ethan and it's through VHS. Yes.
• 48:47
  I think that was fun because, as you know, the entity's taking over pretty much
• 48:51
  a lot of the technology, so they're scared to use any kind of IT.
• 48:54
  They have to use analog. Exactly.
• 48:56
  Here's what I never get in the Mission Impossible films. Hear me out. This is kind of fun.
• 49:01
  He's always hiding. He's always on the run. Yada, yada, yada,
• 49:04
  right? How come they know where to find him?
• 49:07
  Well, that's IMF know where to find him. If you know what I mean.
• 49:11
  That's who he's employed by.
• 49:14
  So, yeah, I mean, it is a bit bullshitty. And they eventually. No, no.
• 49:18
  They're always like, Ethan, we got to find you. Well, he's going to send me
• 49:21
  the tape. He's in a safe house in Belfast. Well, it's not that fucking safe because they found him.
• 49:27
  Well, here's what I don't care.
• 49:31
  It's three months later? Yes, I think it is. At the end of Reckoning, he paraglides away.
• 49:38
  Yeah. He's got to get the next key.
• 49:41
  Next time we see him, he's hiding. Well, shouldn't we have opened up with him trying to get the key?
• 49:47
  I think that's a fair point. I mean, he always seems to be in hiding anyway.
• 49:51
  Who knows? I mean, that's just maybe the life he leads. but yes I thought it
• 49:56
  would have been a direct continuation of basically Ethan you know from the end
• 50:03
  of dead reckoning so yeah fair point.
• 50:07
  He agrees obviously or he was maybe he was just waiting to reach out because
• 50:13
  he needs more intel before he can move,
• 50:15
  but he gets I do like this opening scene where Paris is back I was like what then you see her stomach,
• 50:22
  obviously got a scar there So she obviously survived the train sequence But
• 50:26
  it's nice I like this scene It threw me off I didn't see it coming I just saw
• 50:30
  Paris being escorted By a couple people from Austrian prison A couple guards
• 50:34
  And there we see our boys Yes,
• 50:38
  Briggs and Gus and we find out that the prison guards are actually Simon Pegg
• 50:46
  and Ethan Hunt. In the mask. I like that. I just see that one coming. Yeah.
• 50:49
  Yeah, the mask. I like that. Yeah, no, no. It's well done.
• 50:53
  I do have as much as I liked her character Paris' character in the previous
• 50:58
  one, I do have a slight issue.
• 51:01
  I think she's just sort of excess baggage in this one and she doesn't really have an arc in this one.
• 51:07
  She sort of set up that she's going to be the one that's going to kill Gabriel.
• 51:10
  Spoiler alert. But she doesn't. You know, we soon find out. But I think that
• 51:15
  would have been better for her character to be the one to get her vengeance on Gabriel.
• 51:19
  Well, I think she already has it. Once she became IMF to help him, that was her art. Yeah.
• 51:27
  And there's a great line. She has a great joke later on. I can't remember. Yeah.
• 51:33
  Like, oh yeah, when Benji gets shot and he goes, Anybody have a medical experience? How about you?
• 51:40
  I kill people. Close enough. Yeah.
• 51:43
  No, I kill people? Yeah.
• 51:46
  Yeah. It's actually the best joke on the floor. But no, and I'll say right now,
• 51:49
  I love, I do like her and Benji's scenes together.
• 51:54
  They were, and even Grace, who I didn't like in the last one.
• 51:58
  Grace has more to do here, finally.
• 52:00
  So, and I do like her better. She has better hair?
• 52:04
  Yeah. But that whole jealousy, it kind of, it was just, it was just good fun.
• 52:08
  It kind of reminded me of Terminator 2 for some reason. Well,
• 52:10
  it's a similar sort of corridor type thing.
• 52:13
  And there's, you know, with the guards not being quite who they are type thing.
• 52:18
  They're actually, what do you call them? They're actually Robert Patrick as the T-1000.
• 52:23
  So he finds out he's got to go to Luther. Yes.
• 52:26
  And get this, the virus that he has created to kill the entity.
• 52:33
  And yeah, this is our swan song for the boy who's been in all of them. Very sad, yep.
• 52:39
  Very sad, but he's dying.
• 52:42
  They don't say the word, but it's probably cancer or something,
• 52:44
  but he's terminal and perfect way for him to go out.
• 52:50
  Saving the world, well, saving London anyway. You know, we talked about how
• 52:55
  Ethan doesn't lose it in the last one, especially when he talks,
• 52:59
  when he's pretty much been fucked over by grace.
• 53:04
  And this one where Gabriel locks that bomb in with Luther,
• 53:10
  and there's nothing he can't get out, there's nothing he can do and Ethan knows
• 53:14
  this and you can see Tom Cruise is very good at selling emotion just with his eyes and he's shaking,
• 53:20
  he's getting flustered and he's tearing up because he knows there's nothing
• 53:25
  the one time, there's nothing he can do,
• 53:27
  he's powerless against it It's very well played by both Reims and Cruz.
• 53:33
  And then when you see him running out of the tunnels and the imploding happening,
• 53:37
  just the residue and the dust and all flying.
• 53:41
  And he's all covered in all this residue of the CIA gravel. Yes.
• 53:45
  To talk to him. And yeah, it's a good scene.
• 53:50
  It's a good way for one of the main guys to go. Yeah, well, he's a hero's exit, you know.
• 53:56
  And yeah, a great character. and up there with Ethan as probably the best character
• 54:02
  in the entire series. He's been in every one.
• 54:06
  I gotta go Elsa. Well, that's obvious. You always were a stalker.
• 54:14
  I would like to pick something up. I've just noticed that in the last few podcasts,
• 54:18
  I say the phrase, you know, a lot. I'm starting to become a word.
• 54:23
  No, you say it a lot. Yeah, I'm going to have to sort of watch that because it is irritating to me.
• 54:31
  I've noticed it now, so I'm going to have to watch that, you know?
• 54:35
  You know? Yeah. You know?
• 54:37
  And if you can master that, and if you can just throw away Doctor Who, you've got something.
• 54:45
  Hey, by the way, see the guy who plays, the Mark Gatiss plays?
• 54:51
  Did you know Mark Gatiss was a Doctor Who writer? I'm only joking. Go ahead.
• 54:55
  Oh my gosh. So we get introduced to a couple new characters and that the president
• 55:03
  calls in a favor, I guess you can say. Yeah.
• 55:07
  And that's Captain Blatsoe and Admiral Neely. Now, there are smaller parts,
• 55:11
  but they're really well played.
• 55:14
  And we obviously all know Admiral Neely from, I believe she's in Ted Blatsoe.
• 55:20
  I haven't seen that. Yeah.
• 55:22
  Yeah, she's the owner. She's very good at it. But these are two characters I actually really enjoy.
• 55:28
  Despite them having a small screen presence, they, they make a,
• 55:31
  they make a big splash. Get it? Boom, boom. Because they're in the ocean. Yeah. Yeah.
• 55:36
  That was a watered down joke. Yeah. Well, that was terrible.
• 55:40
  That was, you just ruined a good joke.
• 55:43
  I do like the scene where he's in the chopper and he's trying to get to the ship.
• 55:48
  And, and the cops said, we're going, we're going to Russian borders. We can't go any further.
• 55:53
  You've got one minute to get these guys to grab you. So he just jumps out of
• 55:57
  the helicopter and then he's like freezing to death in this wild,
• 56:01
  there's a storm going on in the ocean.
• 56:03
  And then it's going to creep me out. And within a half a second,
• 56:06
  you got these seals, these frogmen in their suits, taking them.
• 56:10
  I do like that. Even though it's a small little sweet, I do like how they grab
• 56:13
  them and bring them onto the sub. Yeah.
• 56:17
  I do like the captain here. The captain of the sub. The American captain. Yeah.
• 56:23
  Yeah. When he goes, when Tyus goes, listen, we got to do this.
• 56:26
  This will be unnecessary.
• 56:28
  We have to break some rules, some protocol. We got to do this and this.
• 56:31
  And he goes, yeah, no problem. He's like, cool. Because he's bored.
• 56:34
  He wants to stake things up.
• 56:37
  I do like that. Usually you get those movies where you'll get the guy who's
• 56:41
  the average. Oh, I can't do this.
• 56:42
  We've been breaking the rules. And he jumps a board straight away.
• 56:46
  Yeah. He said, yeah. What do you do? Yeah. Let's get this done.
• 56:49
  Yeah. I do like the fact that he gets into a fight with one of the men that saves him.
• 56:55
  Surely he's one of the soldiers that saved him. But here's what I don't get.
• 57:00
  He attacks Ethan in the sub.
• 57:02
  Now, people don't want him to go after this thing. Is that why he's being attacked? I think so.
• 57:09
  I don't think it's really explicitly stated, but there is a suggestion that
• 57:15
  this guy is a double agent, working for Gabriel or some other body,
• 57:21
  because there's a lot of different bodies out to get.
• 57:25
  Basically, control of the entity.
• 57:27
  So, yeah, I would have to watch it again. I've only watched this once, I would say.
• 57:32
  Just from the offset. So what I'm talking about here is based on just one viewing at the cinema.
• 57:37
  But yeah, I think my impression was that this guy's a double agent. Okay.
• 57:43
  And then you get the one character, which I like, Kodiak, the other soldier
• 57:47
  who knocks out Shirley to get him off Ethan.
• 57:50
  But I did like him because Ethan was like, dude, you got to stop doing this. Don't do this, man.
• 57:53
  I'm here to help. So I know he wasn't a bad guy, Shirley. He was just,
• 57:58
  thought he was doing the right thing to stop Ethan from getting this.
• 58:02
  You know, the key, not the key, but the boxes that the key opens.
• 58:07
  Yeah this this this this whole sequence of events
• 58:10
  and then you've got the flip side where
• 58:13
  you have the other team grace the arctic paris at the arctic site which this
• 58:20
  this is a fun scene as well but and it brings back an old character yeah from
• 58:26
  the first film which which you i i i didn't see it coming,
• 58:31
  because you just don't think about him. I know, yeah.
• 58:35
  And he was a one and done kind of character.
• 58:39
  But to bring him back, and not in a small role, he plays a massive pivotal character. Yeah, yeah.
• 58:47
  It's a fully fleshed out role. And also it ties in well, I think,
• 58:51
  after, you know, the famous scene in the original, you know,
• 58:54
  with Tom Cruise hanging on the harness, you know, to get the sort of,
• 58:58
  you know, to get the file to do with the nut coat.
• 59:00
  But So basically, after this guy, sorry, what do you call the character again?
• 59:04
  Willem Dunbar. Yeah, yeah, that's right. Yeah. So basically,
• 59:08
  in the first one, it's Kittredge actually says to him that because of his fuck-up.
• 59:13
  You're going to be sort of, you're going to be working on the North Pole by the end of the day.
• 59:17
  And there are words to that effect. And he literally is.
• 59:20
  So it follows through. And it also, as well, proves that Kittredge is actually a badass.
• 59:28
  And he'll take no shit unlike Tom Cruise in the last one Ethan Hunt with Grace
• 59:34
  yeah he tells him he's going to,
• 59:38
  what to do with Dunlop and Mission Apostles he goes send him to an island away
• 59:43
  up, he ends up sending him to St.
• 59:45
  Matthew Island in Alaska and that's where,
• 59:48
  he is, the border where we almost, you know, way up the tip,
• 59:53
  where we're almost neck and neck end of the world basically And that's where
• 59:58
  he does end up sending them. So the continuity is certainly there.
• 1:00:01
  But it's nice to have him back. And especially when he even says it,
• 1:00:07
  I mean, I screwed you over.
• 1:00:09
  And you didn't deserve that. And then he makes the comment, no,
• 1:00:13
  you didn't screw me over. You helped me.
• 1:00:15
  I would have been in that little room my entire life.
• 1:00:20
  And I probably wouldn't have enjoyed it. And then he met his wife as well.
• 1:00:24
  Yeah, Tapisa. Yeah, Tapisa.
• 1:00:27
  So he thanks him. That's a nice little scene. And for a character you didn't
• 1:00:31
  even think about until now.
• 1:00:34
  And he's an actual very good at it, too.
• 1:00:39
  Like I said there's a lot of meat on the bone no no it's probably fleshed out
• 1:00:43
  even more so than maybe Paris and Benji here you know he's one of the main,
• 1:00:50
  characters in terms of helping Ethan and Ethan's team,
• 1:00:54
  along with his wife who doesn't speak English and she's lovable yeah although
• 1:00:58
  she's kind of too silly for me and it's a bit like quirky sort of character
• 1:01:03
  thrown in for the sake of it but just yeah I mean she doesn't ruin the film
• 1:01:06
  or anything it's just quite likeable It's because he's an Eskimo. What?
• 1:01:12
  Racism. Shit. Racism. Wow. I apologize to all the Eskimo listeners. Yeah.
• 1:01:19
  All zero of them. Yeah. No, I mean, the two-shadowed up is a bit of a sort of
• 1:01:23
  quirky, cute character.
• 1:01:24
  What sort of? I was okay with that. I usually don't, but I do like it.
• 1:01:30
  And she's smart because she ones up the rushing guys when they have to get out
• 1:01:37
  of there to go fight Ethan. because they have to track Ethan.
• 1:01:42
  That's how they get him they have to track him so they have to start
• 1:01:44
  going now and to find him
• 1:01:47
  once he gets the the box from the
• 1:01:50
  sub and so i do like the dynamic between him and her i mean her her and her
• 1:01:56
  to be saying and and grace and then how she's smart enough to out with the russians
• 1:02:01
  so she's a smart woman just because you know and just because she doesn't speak
• 1:02:05
  english we kind of assume that She's kind of like,
• 1:02:07
  what you said, stupid. No, no, no, no, no, no.
• 1:02:11
  They set her up as a quirky, lovable, silly character out of her depth with
• 1:02:18
  the guys here. No, that's my point. She's not.
• 1:02:21
  I know she's not. She's the one who takes control. But she's still set up like
• 1:02:24
  that. She's the one who gets her to find evil. Yes.
• 1:02:26
  See? God, just because you don't like Eskimos. Right, right.
• 1:02:29
  That's news to me. I don't know any Eskimos. Wow.
• 1:02:32
  Wow. Well, we got for me. You know an Eskimo, right? They live too far away. You know?
• 1:02:37
  I wish to fuck you. We could fucking set up to the fucking North Pole of the Arctic.
• 1:02:43
  That would be a rave up there. I'm sure it would be. Not with you there.
• 1:02:49
  Now, this whole underwater submarine thing is fantastic.
• 1:02:56
  It's so good. And it's not, guys, it's not really an action scene. No, it's not.
• 1:03:01
  It's more like an escape room. Yeah. I would say, While it is very well done,
• 1:03:07
  I do think, again, it is a little over long.
• 1:03:09
  But that was just my impression.
• 1:03:13
  Well, they wanted to try to do it in real time is what they were trying to do.
• 1:03:18
  And the whole thing, because you know how the sounds are muffled underwater?
• 1:03:22
  It's kind of like what Gravity did for space. There's no sound. Clustrophobia as well.
• 1:03:27
  Yeah, you do the claustrophobia. The sound is very muffled. But what they use
• 1:03:31
  with sound, they use instruments.
• 1:03:33
  Yeah. to kind of, you know, the orchestra, the score on this is wonderful.
• 1:03:36
  It's by two gentlemen who don't have their names in front of me,
• 1:03:38
  but it's a really good score, like all the Mission Apostles are.
• 1:03:41
  But the score plays sound effects for what's going on just to enhance it a little bit.
• 1:03:47
  But it's still muffled enough where you feel like you're there with him.
• 1:03:51
  And it's just wonderful. It is. It's an escape room because anytime he tries
• 1:03:54
  to get to a door, that door gets blocked by a missile or something.
• 1:03:58
  It's the same time it's on a cliff and the thing's about to roll.
• 1:04:02
  So the submarine's rolling and he's rolling with the water.
• 1:04:05
  It's played very well in terms of tense and the claustrophobia and stuff like
• 1:04:09
  that but just for me on this sort of viewing I did find it maybe a little long
• 1:04:14
  and it could have been sort of it is excellently done,
• 1:04:18
  and again like you said it's not an action sequence it's more just a sort of tense,
• 1:04:24
  thrillery type sequence and it does work very well it is the sort of centrepiece of it.
• 1:04:30
  It is i think it's the best scene in the film is the submarine scene even over
• 1:04:36
  the airplane i prefer the airplane
• 1:04:38
  and i take the submarine scene i just loved i like i like the fact,
• 1:04:43
  the real the the realization of it and and i just uh and then when he when he
• 1:04:50
  finally gets the key to i get the box and he gets like you said he finally gets
• 1:04:58
  the key gets the box yeah just key He got to get open,
• 1:05:00
  get the box, and he can't get out.
• 1:05:03
  His entrance is blocked. The ship's now starting to drop, so he has to go into
• 1:05:06
  the machine, the missile turret, whatever, and to Peter Hall,
• 1:05:11
  but he can't get his whole gear in.
• 1:05:12
  He's got to take his gear off underneath the water, pull that in with him,
• 1:05:16
  and hopefully the pressure of the water pulls him out of the missile.
• 1:05:20
  I mean, it's so fucking good, and it's done like a silent film almost,
• 1:05:24
  and you're still – I just love it.
• 1:05:26
  And then he loses his gear because he gets stuck to the submarine,
• 1:05:29
  that's going down now, miles and miles into the ocean, and he's got to let it
• 1:05:33
  go. It's very well directed by McQuarrie.
• 1:05:36
  It's beautifully directed. The stunt coordinator, who did all the assistant
• 1:05:40
  directing work, was wonderful.
• 1:05:42
  The entire team, I mean, it's amazing what they accomplished,
• 1:05:46
  and this was done in the studio, this part, and just wonderful.
• 1:05:50
  And then obviously he gets saved. You think he drowned, but the girls found
• 1:05:53
  him because he had the tracker.
• 1:05:54
  And he gets the thing that can also basically defeat the entity.
• 1:06:00
  All right, so in the last film, he needed to get both matches of the cruciform key.
• 1:06:07
  This one, he's got to use that key, get to the sub, open up the safe,
• 1:06:13
  and get the box. Yeah. That controls everything.
• 1:06:16
  So what they now need to do, it's called the box code box thingy. We'll call that. Right.
• 1:06:22
  He's got to get the, okay, now how do you do this? The box they have is the
• 1:06:30
  box that will connect to the entity. Yeah.
• 1:06:34
  He now has to go to Gabriel and get the other box where he's going to put Luther's
• 1:06:39
  key, USB stick, and it's a virus that will kill that box.
• 1:06:43
  But they also have to then drop the entity and- No, no, no, no,
• 1:06:48
  no. You have to be finished.
• 1:06:49
  I know, but you're dropped. You got to finish. Let me finish.
• 1:06:53
  So when he puts that USB stick in the box, Benji and the team will see the green,
• 1:07:03
  the box go green on their end.
• 1:07:05
  Once that box goes green, they have a millisecond to trap the virus,
• 1:07:10
  the entity, in a little USB crystal stick that Grace has got to grab because
• 1:07:15
  she's got hands like a thief.
• 1:07:16
  Finally, her thing comes in handy.
• 1:07:18
  Sleight of hand helps, I guess they said. and she's got, once that highlights,
• 1:07:23
  she's got to grab it within a second.
• 1:07:25
  Yeah, yeah, basically yes.
• 1:07:29
  So yeah, it's Luther's virus to kill the entity, but then they want to take
• 1:07:34
  the entity out and trap it in this little sort of cube thing.
• 1:07:38
  But they have, I know that they usually, you know, have these things down to
• 1:07:42
  the last second in the Mission Impossible films, but here it's like a sort of
• 1:07:47
  a millisecond, essentially.
• 1:07:49
  So it's even it's even tighter than usual but,
• 1:07:53
  Now, as this is going down, let's go back to the war room.
• 1:07:59
  And it's such smart writing. With the president and the, what's his name,
• 1:08:09
  the admiral? Yeah, her pain.
• 1:08:10
  Yeah, General Sidney, played by Nick Offerman, he and the other team are trying
• 1:08:17
  to tell her, and you need to launch a nuclear strike on ourselves,
• 1:08:24
  why are they going to do that? I forgot.
• 1:08:27
  I didn't understand why. My impression was because if the entity launched nuclear
• 1:08:34
  strikes on the other countries say like China, the UK India,
• 1:08:39
  Pakistan and stuff Russia and then America
• 1:08:42
  was protected it would look like America
• 1:08:45
  had done the basically sent the nuclear bombs to all these countries so they
• 1:08:51
  then had to do a strike on themselves to make it look less bad because the other
• 1:08:59
  countries would just annihilate America completely it's like damage limitation do you know what I mean?
• 1:09:05
  Yeah sacrifice I think he said sacrifice 10 million over 200 million if the
• 1:09:11
  other countries who had nuclear bombs and nuclear armaments basically,
• 1:09:16
  felt that it was America who had sent the bombs to them and then retaliated
• 1:09:20
  they would completely wipe America off the map so they wanted to make it look,
• 1:09:26
  even though it wasn't America it's the entity,
• 1:09:28
  they wanted to make it look as though it was basically they were also attacked and it wasn't them,
• 1:09:34
  it wasn't America so by doing that they would have to launch an attack on their
• 1:09:38
  own people, damage limitation I could be wrong but that's what I got.
• 1:09:46
  So it's either they're going to do the attack on themselves or they shut down.
• 1:09:51
  They take the nukes offline.
• 1:09:54
  So the problem with taking the nukes offline, yes, they're safe from the entity,
• 1:09:57
  launching them, but then they're vulnerable to the other countries.
• 1:10:00
  Yeah, yeah, exactly. Because they won't have any weapons.
• 1:10:02
  But I actually understand both sides completely.
• 1:10:07
  And that's what I like about it. And I do like the fact you got the general
• 1:10:11
  here, Sidney, who's not a douche.
• 1:10:13
  He's not like gung-ho we gotta kill people which you usually get in films like
• 1:10:17
  this you usually get yeah the character of that type of character in films like
• 1:10:22
  this is usually like that you know let's kick some fucking ass type thing you
• 1:10:26
  know yeah you know and there's a misdirect which I fucking love I don't think people caught it,
• 1:10:33
  It's when the general gets out of the war room and he takes a breather.
• 1:10:37
  And he sees one of his guardsmen.
• 1:10:39
  And he tells the guardsmen, give me a gun.
• 1:10:42
  And the guard says, what, sir? Why am I doing? Just give me your gun.
• 1:10:46
  Soldier, give me your gun. Because you can't have weapons in the war room. Ironically.
• 1:10:51
  But strange love. He takes the gun.
• 1:10:56
  And that is left at that. But you're supposed to believe that if she's going
• 1:11:00
  to take the weapons online, he's going to sabotage her. He's going to kill her. Yeah.
• 1:11:04
  But it's completely reversed I love it because what happens is somebody in the
• 1:11:10
  war, she decides she's going to take these weapons offline everyone in the room
• 1:11:13
  was panicking, some were crying.
• 1:11:17
  Even the guy you're blowing is all really good in it you need to get this obsession
• 1:11:22
  with the one and all sorts and Rebecca Ferguson, it's weird you know what I mean,
• 1:11:31
  I thought it was funny I thought it was funny.
• 1:11:33
  But no, it's almost like you've got these higher caliber actors in this war room.
• 1:11:38
  That's because you do. Because they are high caliber actors. Yeah.
• 1:11:42
  And so with the tensions, finally, someone in the war room takes a shot at her
• 1:11:48
  so she can't take the weapons offline.
• 1:11:50
  And you find out he gets gunned down and it's Sidney, General Sidney, who shot him.
• 1:11:57
  He wasn't taking the gun to shoot her if she makes this decision.
• 1:12:01
  He was to protect and I love that fucking scene it's a good misdirect and it's
• 1:12:06
  not what you expect in this type of film generally.
• 1:12:11
  Exactly, it's so good I mean, this is where the film I finally tiered it,
• 1:12:17
  I think is far superior than the first part in terms of human and emotional
• 1:12:22
  drama it is much better than the previous film definitely,
• 1:12:26
  yeah I would agree with that.
• 1:12:29
  And then we've got the big finale, the big, the big plane sequence. Pretty fun. Oh yeah.
• 1:12:35
  Well, I mean, it wouldn't be a Mission Impossible film without sort of,
• 1:12:38
  you know, the big sort of spectacle stunts and Tom Cruise being nuts, essentially.
• 1:12:44
  Yeah. He looks like he's in pain up there. He said it was painful being up there.
• 1:12:48
  He says the wind would knock your head off.
• 1:12:50
  And yeah, it's just, just, just a fun fucking scene.
• 1:12:55
  Now we always like to have this, you know, big fight scene with Gabriel.
• 1:12:59
  Well, we kind of already had that with the train sequence in the last film.
• 1:13:03
  So you don't really need a big one-up fight scene in this one. But I do love his death.
• 1:13:07
  That's good. Because the character is so, he's so smug and so arrogant and so cocky.
• 1:13:13
  And then he looks at him and goes, ha-ha, there's only one parachute. He said, ha-ha-ha.
• 1:13:18
  And he forgets about the tail and whacks him at the back of the plane.
• 1:13:22
  And, yeah, and you see his fucking
• 1:13:24
  blood just cracks his skull between the rudder. Is it called the rudder?
• 1:13:29
  I don't know what it is. But anyways, ah, it was, I remember seeing the theater,
• 1:13:34
  you were there, the first one of the showings.
• 1:13:36
  I remember the bolster showings, people were laughing. Oh yeah.
• 1:13:39
  He gets his comeuppance. Not the greatest villain in the world,
• 1:13:43
  and more of a henchman to me, but he does have a good send off.
• 1:13:48
  Ah, that was good. Now I do, another thing I really liked in this one,
• 1:13:53
  I talk about Briggs, and how Briggs has a nice little twist.
• 1:13:57
  We find out that Jim Phelps, the baddie from the original is his father and
• 1:14:04
  there's a and during this whole film he's not understanding what kittrick's
• 1:14:08
  is doing here he's starting to win sad i'm like what the whoa what,
• 1:14:12
  and at the end when when he finally you know puts the virus in the box and then
• 1:14:18
  see grace sees the light and she gets today saves today griggs walks up to him
• 1:14:24
  he looks like he's gonna take out his gun,
• 1:14:27
  but he just moves the gun from his other hand and he reaches out to shake his hand.
• 1:14:30
  Over the two films, he learned to respect Ethan,
• 1:14:35
  and despite their past, you know, the past with his father, but also not just
• 1:14:40
  respect Ethan and get on Ethan's side, but also realize that Kittreitz is actually
• 1:14:46
  a bit of a selfie shit, to say the least.
• 1:14:48
  Yeah. I can't be trusted.
• 1:14:52
  I like Kittreitz. I love Kittreitz and I was so happy that he returned,
• 1:14:57
  that scene is iconic in the first one with Kittrich and Ethan Hunt that head to head,
• 1:15:05
  brilliantly directed by De Palma with the chewing gum and Tom Cruise jumping
• 1:15:09
  through the window yeah that whole scene and he's got that voice he sounds like
• 1:15:14
  a bureaucratic a bureaucratic asshole who would double cross you no problem,
• 1:15:20
  he just plays the character great,
• 1:15:23
  Of all the movies, he's done a lot of movies. This Henry series.
• 1:15:26
  And he's always, I guarantee you, I once just can call him Kittredge for the
• 1:15:30
  rest of his life. Yeah, well, that's his sort of iconic role.
• 1:15:33
  He's very much a character actor. He's Canadian.
• 1:15:35
  But that would be his biggest role, I would imagine. It's always, yeah.
• 1:15:42
  And, ah, we'll save the day. We don't say goodbye. We have a final monologue from Luther as well.
• 1:15:49
  Yeah. After, I do like it. I do like the fact, because, you know,
• 1:15:54
  he does die, but they kind of give him the last words in the film, which I like.
• 1:15:59
  I mean, he's the one, this message will self-destruct in three seconds,
• 1:16:02
  and he just pretty much says goodbye to the woman. It is.
• 1:16:08
  He's talking about what you do for others, even those you haven't met and stuff.
• 1:16:11
  It's about, you know, working for the greater good and all this sort of thing.
• 1:16:15
  It's a very nice way to end it.
• 1:16:17
  Yes, Tom Cruise, Ethan Hunt is sort of, basically, spy Jesus within this film,
• 1:16:24
  but it's actually Luther who really saves the day more than once.
• 1:16:29
  Well, yeah. He saves the day, period.
• 1:16:31
  Because it's his virus that kills it. But even earlier on, whenever he sacrifices
• 1:16:35
  himself in London, you know? Yeah.
• 1:16:40
  There you go. Mission Impossibles.
• 1:16:43
  He says he probably won't go back. He's doing Days of Thunder 2 now.
• 1:16:47
  He's doing Top Gun 3, and he's doing a supernatural horror thriller,
• 1:16:52
  which I'm very excited. Yeah, that could be interesting.
• 1:16:55
  Yeah, he hasn't done horror unless you count, well, I guess he'll be in the back. The mummy?
• 1:17:00
  I said horror, not horrible.
• 1:17:05
  But yeah, let's end this one with ranking them.
• 1:17:10
  What do you got? Ranking them? Okay. I would say I
• 1:17:13
  would say joint
• 1:17:17
  top for me would be Fallout
• 1:17:20
  and the original obviously I would then it would probably be maybe Rogue Nation
• 1:17:29
  then Reckoning maybe then the final Reckoning then 3 and then there's,
• 1:17:40
  Protocol as well you think Ghost Protocol it would be around the middle it would be around the middle,
• 1:17:47
  along with three, but I would say two would probably be the weakest.
• 1:17:51
  There is some stuff with two I like, but the top two for me would be,
• 1:17:56
  obviously, the original and Fallout. Yeah.
• 1:18:01
  Let's see, what do I got here? It's tough. The great thing, well, they're all good.
• 1:18:06
  Too shit. But the stuff... It's more like if Michael Bay did a Mission Impossible film.
• 1:18:12
  That's exactly what Mission Impossible 2 is. If it wasn't a Mission Impossible
• 1:18:17
  film, I'd probably fucking love it. It has a good villain.
• 1:18:19
  But if you put Mission Impossible's name in it, it's not a Mission Impossible. Yeah.
• 1:18:26
  It's an action film. Okay, but guys, I'm going to go with Fallout's my favorite,
• 1:18:33
  Mission Impossible the original.
• 1:18:37
  Rogue Nation, Post Protocol, Final Reckoning, Dead Reckoning, three and two.
• 1:18:46
  So you pretty much copied me. Give or take.
• 1:18:51
  No. I put Ghostbusters all months off there. Well, yeah. But similar lists. But they're all good.
• 1:18:57
  Even two has stuff I like about it. Yeah. Two have that great scene at the end. Yes.
• 1:19:05
  But way too many fucking doves. But that's John Woo for you. That's John Woo. I know.
• 1:19:12
  Actually, you guys, if you want to listen to our first part of the retrospective
• 1:19:15
  a few years about a year or two ago you should uh listen
• 1:19:17
  to the mission impossible 2 one it's pretty funny we rip
• 1:19:20
  on it pretty good but it's warranted trust me it's crap but yeah so there you
• 1:19:27
  go guys thanks for joining us the mission of possibles had been fantastic for
• 1:19:30
  us i guys hope you go out and see the new one i want to give it all the money
• 1:19:34
  it's due give cinema it's due give tom's due go see it it's definitely worth
• 1:19:39
  seeing in the cinema Yeah.
• 1:19:40
  Right? With that being said, we have Shark Month coming up. Oh, yeah.
• 1:19:46
  It's theme month time. It's Shark Month. We are going to pepper in two films
• 1:19:50
  before we do Shark Month, just to unwind from the retrospective for a while.
• 1:19:56
  And we thought, what better way to end the retrospective? Oh, I know. Horror.
• 1:20:02
  For a change. So we're going to tackle two horror films, one you probably never
• 1:20:07
  heard of, and it's shit, But I guarantee you, our boy here is going to love
• 1:20:11
  it because it's shit. Yes.
• 1:20:13
  So we're going to argue that one. It's called Possum. The reason we brought
• 1:20:16
  this one up is because it's got our boy Sean Harrison, who we really enjoyed,
• 1:20:21
  who I think almost wish he was in all the Mission Impossible.
• 1:20:24
  He would have been nice to see them and more of them.
• 1:20:26
  And then we're going to talk the big, massive, massive, and I mean massive horror hit, Sinners.
• 1:20:36
  I'm looking forward to watching this. I'm going to go see it and get my popcorn.
• 1:20:41
  And I heard it's like from Dusk Till Dawn meets Django Unchained so good mix
• 1:20:47
  good mix should be interesting and that's all we have for you we're closing
• 1:20:53
  this one out hope you enjoyed it,
• 1:20:56
  we're out take care of you bye.
• 1:21:00
  Music.