With filmmakers as diverse in technique as Brad Bird, JJ Abrams, and Brian De Palma having helmed instalments over the years, and a range of reputable stars from Philip Seymour Hoffman to Simon Pegg having leant their hands to the franchise on the screen, this spy-turned-action series of globe-trotting films has offered fresh, exciting, heart-pounding moments time and time again.

Now one of the most successful spy-action franchises in the history of cinema, Mission: Impossible is undeniably a cultural touchstone. In this edition of Ranked, our mission (which we have chosen to accept) is to compare and contrast each Mission: Impossible movie and judge them in terms of artistry, cultural relevance, genre importance and popular consensus, to decide which franchise entry is the best and (first) which is the worst. These are the Mission Impossible Movies Ranked.

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7. Mission: Impossible III (2006)

Featuring a script from the since maligned Roberto Orci (Transformers) and Alex Kurtzman (The Mummy, 2017) – “Humpty Dumpty sat on a wall” being perhaps the most poorly judged one liner in the franchise’s history – Mission: Impossible III committed perhaps the biggest faux pas of the series: it lacked originality. To get around some of the limitations of screenwriting for a spy thriller, the writers tacked new elements onto lead protagonist Ethan Hunt’s story and conveniently forgot about other aspects in order to establish forced anchors for emotion, though the narrative manipulation wasn’t cleverly disguised enough to be even close to as thrilling as the franchise’s best efforts.

On the screen, director JJ Abrams was unable to capture the urgency of the mystery that Brian De Palma had managed in the original film, nor the velocity of the action that John Woo had (for better or worse) presented in the sequel, while the barely passable script was a pit of expository dialogue and narrative convenience disguised by chopping the timeline up and offering a surprisingly strong action-focused third act. Philip Seymour Hoffman made mountains of gold from dirt here, but even a great screen actor like him was unable to overcome the limitations offered on the page.

Even so, the series’ trademarked high-octane stunt spectaculars remained, and in a number of aesthetically pleasing locations too – Toronto and Shanghai, to name just two. One sequence, involving Tom Cruise base jumping from a skyscraper in the dead of night was one of the franchise’s most memorable moments, and was arguably one of the reasons for Mission: Impossible – Ghost Protocol ever being green lit.

Recommended for you: J.J. Abrams Directed Movies Ranked

Across more than 20 years, directors Brian De Palma, John Woo, J.J. Abrams, Brad Bird and Christopher McQuarrie have collectively worked alongside star and producer Tom Cruise to achieve excellence. In this Movie List from The Film Magazine, we are comparing and contrasting all of their work to judge which sequences the Mission: Impossible franchise can be most proud of. These are the 7 Most Iconic Mission: Impossible Sequences.

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7. The Interrogation – Mission: Impossible III (2006)

For a series so renowned for action, it is actually a moment of dialogue that stands as the third instalment’s most iconic scene: the excruciatingly tense interrogation between Tom Cruise’s Ethan Hunt and Philip Seymour Hoffman’s Owen Davian.

As a cold open, there’s not much in the way of plot details or wider context, but with a script as snappy as this, it isn’t really needed – especially when Cruise and Hoffman are absolutely giving it their all.

Don’t underestimate director J.J Abrams and cinematographer Dan Mindel’s signature camera work though. In the post-Bourne world of 2006, these tight hand-held close ups may have been fairly ubiquitous, but they still work and give the necessary claustrophobic energy to have you instantly on the edge of your seat.

Recommended for you: JJ Abrams Movies Ranked

6. Ethan Catches a Plane – Mission: Impossible – Rogue Nation (2015)

As introductions go, Ethan Hunt clinging to the side of an Airbus A400M Atlas is not bad going. And that’s exactly what we got to kick off the fifth instalment of the Mission: Impossible franchise, Rogue Nation. 

Even by Tom Cruise’s standards, this was audacious, and remains perhaps the barmiest stunt the series has attempted to date. Filmed at RAF Wittering in the UK, the few shots that make up this spectacular sequence took eight flights to finally nail, with Cruise travelling at speeds of up to 260mph whilst held in place by a harness.

Yes, there’s a narrative behind it, with stolen chemical weapons and Belarusian agents, but the details of the plot are largely unimportant. This was essentially a very expensive excuse for director Christopher McQuarrie and his Hollywood A-List lead to try something never done before.

Although this isn’t Rogue Nation’s strongest set piece, it’s hard to deny the feeling of breathlessness that comes with this iconic shot of Ethan clinging to the plane as the runway rapidly falls away.

With that in mind, we here at The Film Magazine are to judge the always referential, always funny and clearly artistic talents of one of mainstream film’s most unique directors. In this latest edition of Ranked, we’re looking to the Cornetto Trilogy and beyond to proffer which films from Edgar Wright’s feature directorial filmography are the best and which are the worst, judging each entry on artistic merit, cultural significance and popular consensus.

Follow @thefilmagazine on Twitter.

7. Last Night in Soho (2021)

Last Night in Soho Review

A love letter to all things 60s, Last Night in Soho’s ambition can get the better of it sometimes, though it remains an ambitious attempt at an out-and-out horror from director Edgar Wright; one anchored by strong performances from Thomasin McKenzie and Anya Taylor-Joy.

The first half is especially effective at capturing swinging 60s Soho, London in its heyday with some fine cinematography from Park Chan-wook regular Chung-hoon Chung.

Last Night in Soho falls towards the lower end of Wright’s filmography, mostly due to its final act which split audiences and critics, though it remains a worthwhile watch due to its loving craftsmanship and knockout 60s soundtrack.

6. Scott Pilgrim vs. the World (2010)

Scott Pilgrim vs. the World Review

This is a fine first foray away from collaboration’s with Simon Pegg and Nick Frost for Edgar Wright, and is a great showcase for his unique blend of action, humour and pathos.

Focusing on down on his luck Scott Pilgrim and his relationship with his area’s newest arrival Ramona, Scott Pilgrim boasts some fantastic set pieces between the titular Scott and a series of Ramona’s exes.

It falls lower in Wright’s filmography as it is perhaps lacking some of the universal appeal of his earlier works, but make no mistake that Scott Pilgrim shows off Wright’s love of comic books and video games, with some scenes acting as clear homages to both forms of entertainment and the film remaining a must-watch for fans of the director’s work.

Recommended for you: James Gunn Directed Movies Ranked

The World’s End (2013)
Director: Edgar Wright
Screenwriters: Simon Pegg, Edgar Wright
Starring: Simon Pegg, Nick Frost, Martin Freeman, Paddy Considine, Eddie Marsan, Rosamund Pike, David Bradley

2013’s The World’s End has been cited by some fans as the most disappointing entry in the Cornetto Trilogy despite a positive reception from critics who welcomed it just as favourably as Shaun of the Dead and Hot Fuzz. Coming 6 years after the trilogy’s middle entry, The World’s End acts as the culmination of the miniature series of Pegg, Frost and Wright collaborations, offering yet more reoccurring gags and winks for fans, with plenty for new new viewers to digest. It recounts a quintet of school friends, led by Simon Pegg’s Gary King, as they attempt to finish a pub crawl known as The Golden Mile they had attempted some twenty-plus years prior, encountering some otherworldly obstacles en-route.

One of the film’s major strengths is the way in which it flips the leading roles of the two previous films on their head. On this occasion Nick Frost plays the uptight, professional and reluctant straight-man to Pegg’s man-child, the latter firmly longing for his adolescent years. This change in roles does little to nullify the chemistry of the two leads who, by this point, are so in tune that they hit every single mark and establish a relateable leading duo even after 6 years apart. Martin Freeman as Oliver is also cast against type as a stone faced estate agent, a far cry from his roles as Bilbo in The Hobbit and Tim in ‘The Office’. The other two members of the central quintet are famed British talent Paddy Considine (who of course featured in Hot Fuzz) and Cornetto newcomer Eddie Marsan (Filth).

As with the two previous entries in the Cornetto Trilogy, there is an assortment of guest stars including standouts Pierce Brosnan, Rosamund Pike and David Bradley, with a further selection of familiar faces strewn across the 12 pubs visited, including (as always) some of the cast of Wright and Pegg’s cult TV sitcom ‘Spaced’.

The 6 year gap between the films, which saw Pegg and Wright establish themselves as some of Hollywood’s go-to filmmakers on the likes of Star Trek and Mission: Impossible (Pegg), and Scott Pilgrim vs. the World (Wright), was one of the major drawbacks for The World’s End at launch as it led expectations to be at a high level amongst fans. It is difficult to note whether the gap (in terms of time and expectation) affected the film’s box office haul, which was just over half of what Hot Fuzz made, but in terms of audience reception there must be some consideration made towards the high levels of expectation the duo brought with them into this film.

As was the case with the previous Cornetto movies, The World’s End once again treated us to some inventive action sequences, including the trademarked pub fight. The standout here was perhaps the brawl in the pub toilet, which proved to be imaginative and enthralling, and nicely contrasted the style of action seen in Hot Fuzz.

Thematically, The World’s End has plenty to say and is without question the most sobering of the Cornetto films. It offers commentary on the “Starbucking” of UK towns as many of Newton Haven’s pubs have been bought out by chains and have lost their unique qualities, with a recurring comment being whether it is our quintet or their childhood town that has changed the most. Another of the main themes is letting go of the past and any disappointment one might feel about how life has turned out, Gary commenting that his life was never as good as the night they first attempted the Golden Mile. The film also offers insight into life in a small town and the nature of a lads’ night out. Meanwhile, the surprising addition of an alien invasion thread proves to be satisfying and gives the premise a welcome breath of fresh air.

A great soundtrack is one of the hallmarks of the whole trilogy and music plays arguably its most prominent role in its finale. A particular emphasis is placed on 90s Britpop which reflects the group’s at-the-time burgeoning adulthood with tracks from the likes of The Stone Roses, Pulp and The Happy Mondays. In keeping with the pub crawl theme, several of the tracks including The Doors’ “Alabama Song (Whiskey Bar)” and The Housemartins’ “Happy Hour” are nods to the film’s alcohol-fueled plot-line.

The World’s End does, overall, round the trilogy off in fine fashion. It is more of a slow burner than its two predecessors, building suspense and a sense that something is not quite right with the residents of Newton Haven, the audience and characters alike being teased for longer than before, and the slow build isn’t to everyone’s taste, but the contrasts to the previous entries tonally and character- wise bring added depth and ensure the film never feels formulaic or repetitive. In The World’s End, we are offered more of a varied glimpse at the acting chops of Simon Pegg and Nick Frost as well as some strong support from the core cast. Perhaps the film will be viewed in a more positive light in the years to come and step out of the shadow of its two siblings to take on a life of its own, but for now it remains an underappreciated entry into the canon of the Cornetto films and Edgar Wright’s wider filmography.

Score: 17/24

Hot Fuzz (2007)
Director: Edgar Wright
Screenwriters: Edgar Wright, Simon Pegg
Starring: Simon Pegg, Nick Frost, Bill Bailey, Lucy Punch, Olivia Colman, Jim Broadbent, Alice Lowe, Timothy Dalton

2007’s Hot Fuzz forms the middle entry in the standalone Cornetto Trilogy, which began with 2004’s Shaun of the Dead and concluded with 2013’s The World’s End. As with the other two entries in the series, the film was co-written by director Edgar Wright and leading man Simon Pegg, and co-starred fellow ‘Spaced’ collaborator Nick Frost.

Hot Fuzz has been labelled by some as the best of the trio’s three films and was the most financially successful at the box office by some distance, receiving critical praise in both its native UK and the United States. As is the case with Shaun of the Dead, Hot Fuzz featured on Empire Magazine’s list of the greatest British films of all time and it has been labelled as one of the finest action comedies ever made.

Given the links in cast and crew to Shaun of the Dead and ‘Spaced’, there may have been some worry of overkill in the Frost-Pegg partnership, but there are no signs of that in Hot Fuzz. In fact, familiarity with the pair works in the film’s favour as the chemistry between the two leads is arguably the best it has ever been, the pair bouncing off one another with any number of clever quips and jibes. Here, Pegg plays the uptight and consummately professional Sgt Angel who has been transferred from hustle and bustle of London to the sleepy country village of Sandford in Gloucestershire, while Frost plays his Police colleague Danny, a man who is precisely Angel’s opposite as the rural cop searching for the big time of a London lifestyle while still coming to grips with how to act as a grown up in a professional manner.

As ever in the Cornetto films, the supporting cast brings plenty to the table. Particular standouts are Jim Broadbent as Sandford’s head of police and Timothy Dalton as mysterious supermarket owner Simon Skinner, but other notable inclusions are Oscar-winner Olivia Coleman in the small role of PC Doris and The Wicker Man (1973) star Edward Woodward, the latter of whom brings particular attention to the film’s sleepy English village setting and indicates a darker underbelly reminiscent of the 70s classic. In keeping with the in-joke present in Shaun of the Dead, Hot Fuzz features a cameo by a ‘Spaced’ cast member too, this time that of Julia Deakin who played Stella Tulley. There are also numerous cameos for fans of British cinema and television, including appearances by Martin Freeman, Steve Coogan and Bill Nighy.

Edgar Wright’s films are known for their eclectic soundtracks, and in Hot Fuzz the director makes moves to bring his chosen songs in on the joke, the likes of Supergrass (get it?) and Dire Straits being featured prominently, with a particular focus on The Kinks’ iconic album Village Green Preservation Society.

By the same token, Hot Fuzz wears its influences on its sleeve and with a sly grin on its face, the film making multiple references to the movies of Tony Scott, Shane Black and Kathryn Bigelow in particular; Bigelow’s Point Break (1991) being the subject of a few of the film’s most referential moments of comedy. These references and homages don’t feel out of place in Hot Fuzz, but are instead more indicative of Wright’s immense respect for those who inspired his own directorial and written work. Wright himself would of course go on to write and direct Baby Driver, one of the finest action films in recent years, the fingerprints of his coming mastery of the genre being played out to great effect in small town chases and shoot outs that not only bring thrills but absurd moments of comedy too.

Along with predecessor Shaun of the Dead, Hot Fuzz is a fantastic showcase for the collective talents of Simon Pegg, Nick Frost and Edgar Wright. It is without question the most quotable of the three Cornetto films and arguably the most iconic. The ensemble cast are clearly having an absolute blast throughout, and the humour blends immaculately with the film’s darker moments and inventive action sequences. Far from being a copy of previous collaborations between the cast and crew, Hot Fuzz feels tonally distinct; a new adventure from hugely talented filmmakers who at this point were offering some of their best ever work.

18/24

Written by Christopher Connor

You can support Christopher Connor in the following places:

Twitter – @chrisconnor96

Shaun of the Dead (2004)
Director: Edgar Wright
Screenwriters: Simon Pegg, Edgar Wright
Starring: Simon Pegg, Nick Frost, Kate Ashfield, Lucy Davis, Dylan Moran, Peter Serafinowicz, Rafe Spall, Bill Nighy

16 years after its release, Shaun of the Dead remains one of the best loved British comedies of the contemporary era; a release that, alongside its fellow Cornetto Trilogy entries Hot Fuzz and The World’s End, has had a profound effect on the British cinematic landscape.

The much loved sitcom ‘Spaced’ (1999-2001) launched the careers of its stars Simon Pegg and Nick Frost, as well as director Edgar Wright. Over the past two decades, the trio have all come to have considerable success on both sides of the Atlantic, with Pegg finding major roles in both the Mission: Impossible & Star Trek franchises, Frost starring in hits like Fighting with My Family, and Wright going on to direct cult favourites like Scott Pilgrim Vs. the World and 2017’s hugely successful Baby Driver.

Rewatching Shaun of the Dead following the success later achieved by those involved is fascinating as it offers glimpses behind the success of the aforementioned trio. The film focuses on Shaun (Pegg) and Ed (Frost), a pair of unhappy late 20s flatmates struggling to get by in London – there is also heavy focus on the struggling relationship between Shaun and his girlfriend Liz (Kate Ashfield). The early parts of the film play out almost like a buddy film, or a rom-com, such is the blend of laddish humour and focus given to Shaun and Liz’s relationship.

Coming fresh off the heels of ‘Spaced’ there are clear comparisons to be drawn, and Edgar Wright and Simon Pegg have mentioned how the show had a heavy influence on the film in many interviews over the years since, but much rather than it being a carbon copy of the cult favourite TV sitcom, these influences are minimal and help to provide the film with a degree of familiarity to those in-the-know, while never being overwhelming to those who aren’t – Pegg’s ‘Spaced’ co-star Jessica Hynes (then Stevenson) appears in a recurring cameo role for example, an element of Shaun of the Dead that is both in tribute to the filmmakers’ days on television but also unique to the film.

In addition, Shaun of the Dead is clearly made as a tribute to zombie and horror films, particularly those of horror icon George A. Romero – most obviously Dawn of the Dead (where this film got its name), itself a second entry into Romero’s own zombie movie series following Night of the Living Dead.

There are frequent examples underlining why Wright is seen as one of the most talented British directors of his generation in Shaun of the Dead. An extended tracking shot in the opening sequence following Shaun from his flat to the local shop is a fantastic piece of cinematography, and the choice to mirror this with the same shot later in the film once the world has been turned upside down by zombies is one that is both intelligently cinematic and truly funny. The misdirects early in the film are of the highest comedic sensibility too, with the use of imagery to evoke the pending zombie arrival providing some fantastic sight gags.

The humour is a huge part of what makes the film work and much of this comes down to the chemistry between Pegg and Frost. We are introduced to several recurring motifs from the rest of the Cornetto Trilogy with gags about shops, fence hurdling and pub fights all reappearing in some shape or form in Hot Fuzz and The World’s End. In spite of this, the screenplay of Wright and Pegg manages to blend more serious moments with its outright comedy, realising a surprising amount depth and character development for a film of its genre.

The use of music is crucial to many of Wright’s films, particularly Baby Driver, and Shaun of the Dead is no exception. Music is used to incredible effect, opening to The Specials’ “Ghost Town” and featuring multiple Queen tracks, “Don’t Stop Me Now” taking on a life of its own as the now iconic soundtrack to the pub brawl in the final act. In keeping with this marrying of music and film, one of the film’s best gags revolves around which of Shaun’s vinyl collection should be used as weapons against the Zombies, he and Ed having a back and forth regarding the importance of certain records as they fight off one of their slow but seemingly unstoppable foes.

Shaun of the Dead has amassed legions of fans in the 16 years since its release, with Empire Magazine placing it 6th in its list of Top 100 British Films and horror icon Stephen King dubbing it “10 on the fun meter and destined to be a cult classic”. It’s clear to see why this opening Cornetto Trilogy film has come to be so beloved and influential amongst comedy filmmakers, the first cinematic collaboration between Simon Pegg, Nick Frost and Edgar Wright being a superbly written and acted film that lays an outstanding platform from which the trio have reached to great heights; one of the earliest examples of Wright’s unique brilliance at blending humour and pathos.

19/24

Written by Christopher Connor

You can support Christopher Connor in the following places:

Twitter – @chrisconnor96

Mission: Impossible – Fallout (2018)
Director: Christopher McQuarrie
Screenwriter: Christopher McQuarrie
Starring: Tom Cruise, Henry Cavill, Rebecca Ferguson, Sean Harris, Simon Pegg, Ving Rhames, Angela Bassett, Vanessa Kirby, Michelle Monaghan

The regular music plays. The most famous action star on planet Earth looks ponderously into the middle distance. An explosive opener is closely followed by the introduction of the mystery that is to come. The mission, should you choose to accept it: another top notch action film from the Mission: Impossible franchise. Tom Cruise has still got it…

The 6th instalment in the insanely popular spy-action Mission: Impossible franchise promised a culmination of all that had come before it, and in Fallout this has well and truly been delivered. An action film with little comparison by the way of creative action set pieces that is on the level of the Russo Brothers’ Marvel movies in terms of brutality portrayed through stunt fighting, Mission: Impossible – Fallout’s biggest surprise is that its screenplay not only lived up to the exciting, twist-laden standards of its predecessors, but it also managed to gift many of the franchise’s central characters story arcs worthy of their importance to the audience, all the while making room for thrilling chase after thrilling chase, new ideas after re-purposed old ideas, and a whole heap of edge-of-your-seat fun.

As always, the action is driven forward by the insanely brave and arguably dangerously extreme Tom Cruise whose persisting efforts to pull off as many of his own stunts as possible way into his 50s continues to gift the franchise a unique authenticity not equalled in the genre despite the franchise’s outrageous concepts. According to reports, Cruise not only broke an ankle jumping between buildings as a part of a roof top chase sequence, but he also learned how to fly a Helicopter in order to ensure said authenticity; an example of his dedication and passion for his character that truly brings home the Gold for this persisting mega-franchise.

Interestingly, Fallout does follow the same trajectory away from Cruise that McQuarrie’s predecessor Rogue Nation (2015) did, with side characters being given more important roles as the universe of characters expands beyond Hunt’s group and the villains he’s chasing into a landscape of altogether more involved characters, each of whom have their own motivations and therefore a reason to be questioned as a part of the movie’s more mysterious elements. This shift, which like Rogue Nation helps to elevate Rebecca Ferguson’s Ilsa the most – making her arguably the franchise’s 2nd most interesting character behind Hunt himself – is a welcomed distraction from the plight of Cruise’s character, the story of which is far from finished but needs to be shelved from time to time in order to keep interest high in both he and the story as a whole. It’s clever writing matched with effective direction and exceptional editing that brings this to the fore and ultimately elevates McQuarrie’s MI movies to the upper echelon of the franchise’s overall output.

Most people visit a Mission: Impossible movie for the action however, and in Fallout there is certainly no shortage. The MI franchise has seemed to have taken the responsibility of “never before seen” action sequences upon itself in the absence of original, awe-inspiring work in much of the rest of the genre, and it simply never lets up. In Ghost Protocol we were treated to Cruise hanging from the Burj Khalifa in never-before-seen scenes, in Rogue Nation we saw him hanging from an airplane as it took off, and in Fallout we see him jumping from rooftop to rooftop of the London skyline, driving trucks and motorbikes at break-neck speeds past iconic Parisian landmarks and we even see him hang from a cliff edge… again! It’s insane, but you can’t look away. Every instalment of this franchise continues to inspire awe at its stunt work, organisation, creativity and technical achievements and Fallout is the latest in the line.

So see this film if you’re a fan of the franchise or want a few hours of pulsating escapism – you’re guaranteed to get all you’ll ever want from an action movie and you’ll see things you’ve never seen before. Mission: Impossible – Fallout is hardly your high-brow awards season movie and it does run a little bit long in places, but as far as action goes, Fallout has it all.

17/24

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Ready Player One (2018)
Director: Steven Spielberg
Screenwriters: Ernest Cline, Zac Penn
Starring: Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Lena Waithe, T.J. Miller, Simon Pegg, Mark Rylance, Philip Zhao, Win Morisaki, Hannah John-Kamen
Plot: When the creator of a virtual reality world called the OASIS dies, he releases a video in which he challenges all OASIS users to find his Easter Egg, which will give the finder his fortune.

Spielberg has gone back to the future to reintroduce contemporary audiences to the magic and glowing enthusiasm of 80s coming of age movies with Ready Player One – his blockbuster adaptation of Ernest Cline’s pop culture inspired video game adventure novel – and he’s made sure to include a lot more than just a reminder of all the intellectual properties he could get his hands on, he’s made potentially the best original teenage adventure film in the past 20 years.

This fun and at times moving yet always uplifting outing comes together to present its nostalgia trips with such a degree of respect that they are rarely distracting and never work towards diminishing the overall enjoyment of the visual spectacle and the film’s positive narrative of coming together to overcome tyrannical rule, instead offering moment after moment for further exploration in an Easter Egg filled movie reminiscent of the great video games that inspired many of its story beats.

Ready Player One is the perfect fist-raising, cinema-worshipping, video-game-celebrating movie for the whole family to enjoy, and is the most avid reminder of just how much we all need a little Steven Spielberg in our lives. Positive to a fault and featuring some of that all-encompassing faith in humanity that only Spielberg can present in such a way, Ready Player One is wish fulfilment 101 for modern teenagers and more importantly an instant family classic.

The master has struck again.

20/24

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After the resounding disappointment that was Star Trek Into Darkness (2013) combined with the mass anticipation for the Star Trek Golden Anniversary, Trekkies turned inside out from sheer excitement when Beyond was released. My goodness, it wasn’t a disappointment either; which is awesome because of how so many of Hollywood’s big franchise Blockbusters as of late have been leaving audiences all over the world underwhelmed. Perhaps just as importantly, it was a such a fitting tribute to the enterprising sci-fi series as it reaches its huge milestone.

The movie zooms three years into the Enterprise’s five-year mission: Kirk is no longer a reckless juvenile delinquent, but has sobered into a steely young captain, commanding the fleet’s flagship. However, it’s instantly noticeable that in his apparent maturity, his zest and mischievousness from the previous movies has disappeared. He has become weary of deep space exploration and he is left wondering why he got into the job in the first place. Kirk is in the midst of an existential crisis which is made worse by his impending birthday which makes him a year older than his father was when he died; a factor he considers his original inspiration for joining Starfleet in the first place. After another not-so-successful diplomatic mission, James T. is contemplating fading into the background of Starfleet bureaucracy at the Federation’s newest, shiniest Space Station: Yorktown.

Side Note: Dear Mr. Studio bosses, I know I complained that Captain Kirk was a reckless man-whore in the first two reboot movies … but that didn’t mean I wanted you to murder his soul!

Kirk inevitably gets a good boot up the arse when he volunteers himself for one last mission into uncharted space in response to a distress call which turns out to be… a trap!

With the third movie of the new series, this whole action thing in space was in danger of becoming shagged out. Therefore, the writers must be commended for getting us all to cluck in sympathy at a downtrodden Kirk and then immediately made us reel in our seats as we watch our heroes become separated and dumped all over some godforsaken planet patrolled by ruthless killers – talk about keeping it fresh!

Pushing the crew well out of their comfort zone created opportunities that were never taken in this movie’s two predecessors. In Star Trek and Into Darkness it was pretty much the Kirk and Spock dude-bro show with the occasional appearance of the almost exceptionally badly used Uhura. Now, I can’t deny the dynamic between Kirk and Spock from ever since the Original Series is iconic and I cannot even begin to articulate the effect it has had on pop culture. However, in the attempt to make the Star Trek movie franchise a near straight-up action series, the writing for Pine’s and Quinto’s Spock and Kirk will never be as emotive, tender or brave as The Original Series, and as such simply becomes dull in comparison. It was absolutely infuriating just how lacking in attention some of the most popular secondary characters were, with some being relegated to reductive and simplistic comic relief. But, after watching Beyond, I could have kissed the ground in thanks for such a wonderful, character-driven narrative. As an anorak-wearing die-hard Trekkie, that is just what I wanted to see!

In Beyond each of these wonderful, widely adored secondary characters were given their own world and story, with new and striking crises added to their already long established back stories and portrayals. Sulu really showed his mettle and bravery as a commanding officer in the field, doing everything he can to keep the crew safe; despite the prospect of never seeing his young family again looming over each of his decisions. Spock and Uhura are left at odds as Spock’s survivor’s guilt catches up with him – I mean how do you go forward in a relationship when your boyfriend is wanting to make little Vulcans and not with you? And Spock being the logical and most physically strong, he is wonderfully full of such raw emotion (in still a distinctly Spock way) as he is left facing death on all fronts.

These character arcs are just the tip of the iceberg of the rich yarns that intertwine to create this tale which keeps you on edge from start to finish. Each individual character’s stakes and personal demons drives this story which is aided by unrelenting action that doesn’t bore or fade into background noise. The special effects featured in Beyond don’t dazzle you as much with this being the third movie of the current series, but this being a more heart-felt narrative, I thought it was more effective at leaving your heart in your mouth. And, even though they are perhaps less impressive, the craft of them was perhaps more appreciated: Justin Lin’s Yorktown complete with its gravitational cross-streams was unique and innovative, and a nice little nod to Space Odyssey. In fact, I am just going to outright produce it: Simon Pegg and Justin Lin (the pair of fanboys they are) made this movie a success. Their love for the Star Trek series makes Beyond the truest of the Reboots to the show’s hopeful ethics and campy heart. The Enterprise crew’s counterattack to Krall’s forces descending on Yorktown, and Jim’s final encounter with Krall were one of the most warming and human moments in modern blockbuster sci-fi cinema. Humanity must strive for peace, forgiveness and self-betterment. Oh, and Bees hate rock music.

What really helped make the action and drama so tangible was Idris Elba’s alien and ferocious performance as Krall. His genesis provides a stark allegory of the spirit of man being consumed by hatred and the want for vengeance. Despite this, Krall’s part in the story was the movie’s greatest weakness. His villainy was a cliché: a troubled soul with a chip on his shoulder was already written for the previous two movies. This lack of originality even detracted from the surprising twist in Krall’s tale, and his brief conflict with Kirk at the end was the most underwhelming of all of the action scenes.

Amongst all this brilliant action and drama, what fully won over audiences were the little nods to the series in honour of the anniversary. I am surprised that everyone involved managed to reign in their ‘trekkiness’ and not let the film be drowned in homage and tribute [something I would have likely done had I been in charge] but decided to use very small moments. Very small moments that were so damned effective! The cinema was filled with gasps and some barely contained screams, and I confess that my own eyes got suspiciously damp.

I feel like I may be massively biased, as I was excited for this movie for two whole years, so I’ll try my best to wrap this all up with a balanced paragraph or so. Star Trek Beyond was not the most gut-wrenching or poignant movies of the year, but it surely was one of the most enjoyable. In comparison to some of the bombs of this year’s blockbuster calendar, it was surely a standout in every positive aspect. It also has a solid footing in the realm of “Good Trek Movies” and will certainly be a cheeky favourite of mine from the series. In fact I think this movie has the potential to entice audiences into discovering Star Trek from its auspicious beginnings, and just in time for the anniversary and the rebooted television series.

18/24

It’s Summer blockbuster season which can mean only one thing… Tom Cruise is back. For 2015, so is Mission: Impossible, this time in the shape and form of Christopher McQuarrie’s Rogue Nation, the fifth installment in the franchise’s 19 year history.

Walking into the cinema this past weekend, I had serious reservations about MI5 simply because it’s a Christopher McQuarrie movie. The writer-director of this year’s Mission: Impossible was the man behind 2012’s awful action-movie adaptation Jack Reacher, also starring Tom Cruise. The 2012 movie had an awful tone, a plot that was too simple and lacking all character investment, and most importantly it was void of excitement. Rogue Nation, however, was the exact opposite of that. I am happy to report that I was pleasantly surprised by Rogue Nation because MI5 was a fantastic spy-action movie.

I’ve always been a fan of the Mission: Impossible franchise because of how it offers something never before seen in each and every installment, something I feel is a key concept of the action movie genre that producers often seem to forget about when developing different franchises and one-offs for the Summer market. With each picture being led by a different director, we’re also guaranteed fresh and different approaches to the now iconic Ethan Hunt character and his Impossible Mission Force (IMF); and McQuarrie certainly stood his own against the super talents of Brad Bird and JJ Abrams in this regard. Mission: Impossible Rogue Nation was exciting, demanded real investment from the audience regarding our usual heroes and even the newly introduced characters (something other action franchises could certainly learn from), and seemingly accelerated from the moment it began to produce not only a feast for the eyes but a solid story filled with the sorts of ups and downs you’d usually find in a fight scene. Sure, it was full of pomp and circumstance but it happily embraced this with Alec Baldwin’s character Alan Humley even going as far as to call the IMF out on it in a meeting to shut the agency down. To say that it was super realistic would be a stretch too, but this is Mission: Impossible not Tinker Taylor Soldier Spy.

Undoubtedly one of the biggest assets MI5 had at its disposal was its great cast. Obviously Tom Cruise was, well… Tom Cruise. But, that’s not to say that he didn’t bring it. The actor seemed far more engaged than he has in a number of recent ventures, something that’s been seen as significant given the brutal portrayal of his public persona in HBO’s “Going Clear” Scientology documentary. Beyond him there were useful performances from Jeremy Renner, Alec Baldwin and, of course, Ving Rhames. Simon Pegg was, perhaps, a stand out for his larger role in this movie, too. The usually comedic actor was used as more than comic relief and really pushed home a lot of the risk involved for Hunt in this movie, only with a more brisk and hard jawed take than in previous pictures, something I wasn’t sure Pegg had in him until I saw this movie. However, the real star of the show was undoubtedly Rebecca Ferguson who played double agent Ilsa Faust of British Intelligence.

Ferguson was, in my opinion at least, a revelation. She was introduced to the film as if the typical action movie female ready to ‘look sexy’ (as seems to be the way in Hollywood), and within seconds had killed numerous hired body guards with nothing more than her hands and feet. Instantly the character was presented as capable of brutality above and beyond that of even the beloved Ethan Hunt, and was displayed excellently by Ferguson who not only pulled these moments off with real confidence and gusto, but also sank back into herself when her character was caught in moments of contemplation, fear or regret. The character was one of the more riveting parts of the movie with a story arc worth investing in to support that, and Rebecca Ferguson delivered, making for more than the usually one dimensional action hero story arc we’ve become accustomed to.

On the contrary to Ferguson’s impressive performance, Sean Harris really failed to captivate as the movie’s villainous Solomon Lane, an ex British Intelligence agent gone rogue. The problem here was that Harris was trying to go for the same sort of quiet psychopathic villain as has become popular in recent years (Bardem in Skyfall, D’Onofrio in Netflix’s Daredevil), a character that I feel is nearly impossible to play scary enough to be believable. Harris failed to be scary enough here, and while it wasn’t necessarily of huge detriment to the movie, this resulted in his character not seeming worthy of taking down the IMF, Ethan Hunt, or even any of the secondary characters which was, in retrospect, worth a negative note but was easily set to the back of the mind while engaged with the story during the viewing experience.

Mission: Impossible – Rogue Nation is without a doubt one of the better action movies released this year and stands right beside rest of the franchise as a good representation of a spy-action movie. Tom Cruise doesn’t miss a step and Rebecca Ferguson steals the show in a film that has enough laughs, explosions, fighting, and impossible missions to not only be worth your money going to see at the cinema, but also the money spent purchasing the DVD/BR to watch this one over and over again.

Endlessly fun, Mission: Impossible is…

17/24