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25,000 feet. That's how Tom Cruise was up for a HALO jump from a C-17 military plane. 25,000 feet for a jump, he played 94 times after a year of planning. The result? Three usable shots and a nearly five minute scene that is one of the most beautiful pieces of all time, deliciously dizzying to be filmed. It's a scene that, if you're lucky enough to experiment in a crowded theater, will provoke puffing on the part of the audience before you feel that the air of the theater changes as the breaths are held collectively. This is the beauty of the cinematic experience, something that is not made to look for the first time on a TV or a computer screen, alone, but on the biggest screen possible, in the dark, surrounded by strangers as conscious as they all hope
The mission of Christopher McQuarrie : Impossible – Fallout the sixth work of the series started in 1996 , is hailed as the best to date, a realization in the history of action – movie film. Superlatives and hyperbolas are often tossed, but with Fallout that is true. McQuarrie went to new heights, literally, and emerged a director on a whole new level. It's not just the cascades that make Fallout what it is – although the cascades are glorious. It's the emotional exchange between these characters that stems from a narrative appreciation and recognition from a franchise of several decades that allowed his characters to evolve, not to as concepts, but as people. Fallout does not work as a single entry, but throughout the franchise, relying on the above rather than offering software restart concepts. It is these aspects that not only distinguish Mission: Impossible but also make it our greatest franchise of action.
Action movie franchises have never been as well done as they are in our current decade. Nostalgia can make some of us regret the days when Stallone, Schwarzenegger and Van Damme were able to tear armies, muscles sparkling with oil and sweat, and not a line that would not make it difficult for us to get away from it. was full of masculine bravado did not come out of their mouths. But our action movies have evolved from pure strength feats, body numbers, and non-stop ads to gym memberships. Well, only a little on this last point.
They also took a certain vulnerability – not just in the romantic sense but in the idea that an individual is not an army, and that every individual is not the best for all jobs. Take for example Mad Max: Fury Road (2015) for example, a movie that many, myself included, would label the greatest single action movie ever made without any qualms. Max, played by Tom Hardy, is not only silent for most of the film, but he is a lower warrior than Charlize Theron's Imperator Furiosa. The scene in which Max, recognizing Furiosa as a better sniper, offers him the gun and allows himself to be used as an accessory to stabilize his arm is the defining scene in the film in terms of its relevance . It's a small moment, separate from the spectacular stunts chases, but it's equally important to watch the evolution of George Miller as a filmmaker as Max's characterization.
We began to see examples of Fury Road The impact of in other action movies, not only because women, like Rebecca's Ilsa Faust Ferguson, are happily used in these movies as more than romantic and badual interests, but because our heroes are beginning to adapt, to use as tools instead of blunt instruments. The delimitation between the two is paramount in Fallout as we see the difference between Cruise's Ethan Hunt and Henry Cavill's August Walker. Hunt is a team player, who uses himself, at the point of physical and emotional torment, as a tracker, a shield, a mask, in order to reach a goal. Walker, on the other hand, is a lone wolf, egocentric and direct, with all the abilities of spying a tank. The relationship we see between Hunt and Walker in Fallout is the distinction between our best 80s action heroes and our best today.
There is something interesting that happens with franchises over the decades. that the films released from each other, as Bourne and John Wick do not allow it. These long franchise films, and their main characters, have the opportunity to grow in themselves, to reach their legendary status that pop-culture has attributed to them, usually at the beginning of their creative cycle. There are some, like Rambo, who are moving away from the impulse of the original films. The wounded Vietnam veterinarian destined for a tragic end becomes mounted on a turret, fixed in a position of incitement rather than reaction. The current status of Rambo, born of pop culture, is so far removed from its original conception as the man we see in First Blood (1982) and the one we see in Rambo (2008) only feel connected on the peripheral basis of names and music theme.
Or take John McClane for example. Die Hard (1988) exists as a blue-collar action film, in which an NYPD cop travels to Los Angeles to reconcile with his wife and eventually defeats the terrorists. This is not a spy or a member of the special forces, but an American who is not even a cop. But with each episode of Die Hard the series moved away from the core of what was working the first until McClane was no longer a man vulnerable to injury or grief, but an empty pinata for filmmakers. then look at the floor as if they were expecting a different result. Rambo and John McClane, while everyone had entertaining follow-up entries to their early films, are characters who have been consumed by public perception rather than being improved by it. They are beaten in the realization of impossibilities of which we do not feel anything, because there is nothing behind all this muscular meat.
In what may be one of the biggest lights of the franchise of all time, the The Fast and Furious franchise has developed and it has transformed its camaraderie and his relationship with fans in a multi-billion dollar property. What began as a loose remake of Point Break on street runners stealing DVD players, has become a global vehicle espionage franchise. If it sounds stupid, it's because it's absurdly. But the reason these films work and have become global ticketing phenomena is that the main characters have not only remained consistent, unable to be replicated, or remade, but they have evolved. The movies starring Vin Diesel, Dwayne Johnson and Jason Statham could so easily abandon the principles of modern action movies and return to the 80's testosterone pool, all the more so as every man has made his share. But the movies F & F do not do it. The franchise relies on the integration of each entry, these stories being a team effort where the support players have as much emotional weight as the leads, and where the stakes increase but the characters are not lost in the growth. There are many jokes that have been and have been made about the overuse of the "family" by the Fast and Furious franchise . But when Gisele or Han die, or when Brian makes his last turn, the fans feel it, because it's a rarity for movies built on explosions, deaths and demolitions, to stay invested in the fate of each character movie by movie. Of all the major franchises of action, Fast and Furious is the closest to the recognition and administration of the same sense of follow-up that continues Mission: Impossible . to reach the link of all this. The most iconic action hero of all time, in one of the oldest franchises, James Bond is, on paper, most similar to Mission: Impossible . Bond is iconic, legendary well before 21 st century, but it is also replaceable, as is its supporting cast. James Bond will always come back to another entry, just like M, Q and Moneypenny. They make different appear, and some of them may have a brief hiatus in terms of frequency of occurrence, but they are eternal. For this reason, we are never made to take care of the long haul. Of course, we care about Bond as a concept and if we are lucky, we even care about his well-being in entries like On His Majesty's Secret Service (1969), Casino Royale (2006) or Skyfall (2012). But despite the popularity of the franchise, and a personal love for her, her characters and even some of her entries are expendable. The Bond franchise did not just become like that; it was still there. Take Bond Quarrel's sidekick is the first Bond movie, Dr. No (1962). Killed and later replaced by Quarrel Jr. in the eighth film Live and Let Die (1973) without distinction. Bond's interest centers change from movie to movie, as her allies do most often. Bond as a character has remained true to form, but as a franchise, he is one in whom public perception has created a trust on the tropes that more often than not, people do not count out their position as what conceptual entities to maintain
Mission: Impossible – Fallout where Alan Hunley, Alec Baldwin's IMF secretary, explains to Ethan Hunt (Cruise) why he believes that the force of impossible mission is necessary, why he believes that Hunt is necessary, it is because he will always make the difficult choice to save the life of a person at the potential cost of millions. Hunley's involvement in this scene is not that Hunt or his team will let millions die to save one, but that they will save one and do everything in their power, and at the same time to save millions – to reach the impossible because they want it.
This conversation recalls a line from the previous movie, Mission: Impossible – Rogue Nation (2015), where Hunley describes Hunt as the living manifestation of fate. On the one hand, it is prose flowery, a little comical to the statement, but on the other, there is an attribution of myth to Ethan Hunt. You see, Ethan Hunt, in his execution through the film franchise Mission: Impossible is given a deified status attributed to many heroes of action, the one who sees the hero colliding and surrounded by the writing, theology, and religious symbolism again and again. Yet, despite this, or perhaps because of this, Hunt consistently rejects this glorified stance, recalling his humanity through his relationships with his teammates Luther (Ving Rhames) and Benji (Simon Pegg) whom he sees as friends , and a woman, Julia (Michelle Monoghan) to whom he remains faithful. They are people whom he considers irreplaceable and who base him on his humanity.
During the third act of the movie, as Hunt struggled to fly a helicopter out of control, he thought, "You can do it, Ethan. Come on, you can do hers. "He's scared, he's vulnerable, and despite all the recordings of him realizing the seemingly implausible, or wanting his fate, there's no greater testament that Ethan Hunt has remained constant at through each entry, and the necessary hero for our era, that his ability to maintain hope in the face of the impossible
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