Mission: Impossible - Ghost Protocol

Mission Impossible is and always has been a great series of great action shots. I’ve always been more interested in them than the story itself, which was never exactly perfect but it managed to captivate my interest. In this instalment, I was more interested in the huge list of interesting actors. Cool Tom Cruise is a classic, but Simon Pegg also amused me a lot. On the other hand, it is a pity that Michael Nyqvist did not have a more remarkable part and that you can’t even tell that some scenes were shot in the Czech Republic. The important thing is that the director of animated movies was able to make one of the best action films that I have seen in the last few years. And I think that when I give it a go again, I might increase my rating to five stars, because some scenes here were really at the level of an action orgasm and I couldn’t get enough of them. Tom Cruise is really a champ, considering what I heard about how well he treated ordinary people on the set in Mladá Boleslav, and especially the fact that he shot all the action scenes himself. I bow down before him. (09/01/2013)

Mission: Accomplished. I fought with Bird's perspective for some time, but his qualities are especially highlighted in the tightly repeated saga. The pace is occasionally almost frenetic, balanced by the surprising cadence of lines, an excellent passage in Dubai, and a playfully espionage mood, cleverly combined with Abrams' established trends. Fans of various neighboring series can also enjoy it, because in gloomy moments, Ethan resembles Jack Bauer, and in the final battle, he is like James Bond. And it is precisely this cross-section of genres and moods that ultimately elevates Ghost Protocol to the position of a strong player. (16/12/2011)

It is true that the MI franchise is one of the few where each episode has a completely different directorial style. The first was the most spy-driven ride, the second had an action-packed poetic feel (which many did not appreciate), the third focused on physicality and kinetic action, it is interesting to see which direction the next episode will take. Or in other words, it was a great challenge for Brad Bird to figure out how he actually wants to play this game. The fourth episode bears the closest resemblance to the third, but I’m not convinced that it reaches its quality. Cruise is insane, his stunts are over the top. The action is perfectly shot, especially the adrenaline-filled finale in Dubai and the car chase scene (both briefly shown in the trailer). There’s plenty of physicality as well, but unlike the third film, it’s more focused on details and moments. I didn’t feel immersed in the whole film, and that is a bit disappointing, but, Abrams is Abrams. The emphasis here is on the team (excellent cast and chemistry) and that is good. Facing the world alone for the fourth time would not be the same. The cameos are okay (Sawyer from Lost and Ving Rhames at the end really hit the mark). It's a ride, probably the fastest action film of the year, with Tom at his finest. Perhaps a bit too mainstream (BMW, iPhone), but that's something you have to take into account in today's marketing era. I would go to the cinema again. It's not as “real” as the previous episode, but it stands up well. Ethan Hunt on this wave – that's totally fine. PS: The sequence in Dubai is possibly the most captivating stunt scene ever. (26/12/2011)

The most compelling evidence for why we should adore Abrams. This Scientology production tinsel may have inherited most of its predecessor's hallmarks, such as adrenaline-pumping action and plenty of teasing of past films, but it neglected to add at least a drop of itself to it. Neither the BMW prototype nor the protagonist's breasts stay in your head longer than the legendary opening countdown lasts; there’s zero work with the villain, the plot isn’t very catchy, and the premature climax of everything that was already done in Dubai is Bird's sole responsibility. (22/12/2011)

How peculiar that a director who had previously worked in the field of animation brought a necessary breath of fresh air to the action genre, which had become dependent on the post-Bourne chaos cinema style. Bird’s Pixar movies abound with astonishing action sequences built on the clarity of the scene, long shots and the interconnection of the action with the setting and its elements. Bird brings the same qualities to Ghost Protocol. Replacing animation with live action enhances the strengths of the medium, thus bringing back the attraction of physical action. At a time when blockbusters are rather cartoonish CGI mess with the deepfaked faces of live actors, Bird had Tom Cruise climb the façade of the world’s tallest building. Similarly, the brilliantly designed and always spatially uncluttered chase through a sandstorm is an expressive counterpoint to the cluttered mess of scenes composed of tremendously brief shaky-cam shots that have inundated big-budget action productions in recent years. In comparison with the dark, tense and sophisticated nature of the competition, particularly movies based on comic books, Ghost Protocol also offers a big, longed-for dose of exaggeration and light-heartedness. In addition to that, Bird manages to combine all of the aforementioned elements into brilliant sequences abounding with inventiveness, charming humour, physical action, playful interactions between the actors and a surreal upgrade of the technological gadgets. If what remained of the third Mission: Impossible in the audience’s memory was the playing with expectations and building of suspense with no action sequences, the fourth instalment does not rely on its twists and turns, as its action passages (not only the Burj Dubai and the robotic parking lot, but also the sequences in the prison and the corridor in the Kremlin) rank among the absolute best of the genre. (27/08/2015)