碟中谍5：神秘国度
Mission: Impossible - Rogue Nation
Regie:
Christopher McQuarrieDrehbuch:
Christopher McQuarrieKamera:
Robert ElswitMusik:
Joe KraemerBesetzung:
Tom Cruise, Simon Pegg, Rebecca Ferguson, Jeremy Renner, Ving Rhames, Alec Baldwin, Sean Harris, America Olivo, Simon McBurney, Jingchu Zhang (mehr)Streaming (5)
Inhalte(1)
Agent Ethan Hunt muss untertauchen, sein Team vom IMF wird indes von CIA-Direktor Hunley aufgelöst. Das Syndikat baut gerade einen Schurkenstaat auf, um eine neue Weltordnung zu schaffen. Totgeglaubte Agenten diverser Geheimdienste gehen dabei skrupellos ans Werk. Die Suche nach dem Drahtzieher führt Hunt in die Wiener Staatsoper, wo er auf die geheimnisvolle Doppelagentin Ilsa Faust trifft. Schon einmal hat sie ihn vor den Schergen des Syndikats gerettet - kann ihr Hunt vertrauen? (ORF)
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“Good luck!” Self-aware in a post-modern way, Rogue Nation is a high-octane action/spy flick with by far the best action scenes, an enthralling narrative, a very unpleasant bad guy, a very pleasant female character (in terms of both looks and behaviour), and plenty of nostalgic allusions to the series (where the Syndicate first appeared) and the preceding films (Moscow, the rabbit’s foot, motorcycles, the mention of infiltrating CIA headquarters). Viewers who considered any of the previous four M:I movies to be the best of the franchise should thus theoretically be satisfied. ___ Despite its more or less episodic structure, the film is cohesive not only on the level of smaller plot segments, but also thanks to their interconnection. McQuarrie constantly repeats crucial information and places it in new contexts for greater clarity, without losing sight of the central theme of fatefulness and chance, thanks to which some of Hunt and Loan’s decisions are justifiable (it’s easier to forgive numerous coincidences in a film that thematises the randomness of fate), and he doesn’t forget that he is filming a team event, not a solo performance. The relationships between the team members, the losing and gaining of trust between them, replaces the usual romantic relationship storyline, which the film managed to avoid entirely, much to my delight. (Surrendering to Hunt’s magnetic charisma would only detract from the believability of the fearless female double/triple agent.) Almost all of the action scenes are given dynamics by cutting between multiple characters, and Hunt repeatedly finds himself in situations from which he would not have safely escaped without outside help. The unification of the team roughly halfway through the film, when all four of them sit at the same table for the first time, is a key turning point. There is a shift in genre from “exotic” action adventure towards spy thriller, which also corresponds to the change of colour tone (warm colours are replaced with cool ones). The film continues to focus mainly on gathering and assessing information, but not in such adrenaline-fuelled ways. ___ McQuarrie’s concept of the action also adds pleasing variety to the torrent of loud action scenes with quick cuts. The scenes are relatively well arranged and, thanks to the “live” shooting, they are also very physical and evoke a strong feeling of danger (with its intensity, the diving scene is comparable to certain moments in Gravity), and they also work superbly with the alternation of longer and shorter shots, noise and silence. In addition to that, each of the action sequences has its own developmental formula while also advancing the main narrative (the IMF’s reputation, the capture by Lane). ___ In addition to serving as a warmup, the delightfully escalated pre-title action serves as the final nail in the IMF’s coffin. The next two major events are first presented separately, like episodes of a series (the sound of classical music as Benji plays on an Xbox foreshadows the scene at the opera, Ilsa’s diving in the pool foreshadows Hunt’s underwater mission), and each is riveting thanks to the different approaches to distributing information. In the first case, we know just as little as the protagonists and we are subsequently just as surprised as they are. Conversely, in the second case, the plan is laid out in detail in advance and we wait anxiously to see when and how badly it will go wrong. A third striking example of clever work with audience expectations and an unreliable narrative (or rather a narrative that doesn’t tell us everything) is the action that takes place in London, suggesting to us that we know more than some of the characters (Brandt’s telephone call), but it immediately turns out that we were in fact led down a blind alley. From the humorous scene in Cuba, which is only half of Cuba, we are led to approach what we see, what we hear and what we infer from our knowledge of classic narrative norms with a degree of circumspection. ___ We can see a significant part of the plot as one big MacGuffin, which tempts the characters off of the path leading straight to the objective. But like the third instalment, Rogue Nation is an action movie about action movies, as the film itself draws attention to the structure that carries its action scenes. It knows that we know. It knows the rules of the game just as well as the viewers do, and it therefore bends those rules to suit its own needs and it isn’t afraid to significantly deviate from them (the slowing of the pace and the “multiplication” of the villains in the second half). What is important for us, however, as in the case of Hitchcock’s films (with comparably implausible plots), is how entertaining and thrilling this messing around with the rules is. Speaking for myself, I can say that it is maximally entertaining and thrilling. Appendix: A quarter of a star is given for the director’s (cinematographer’s?) fetish for women’s feet and shoes. 90%
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I don't remember a spy blockbuster that was ever this tight. I was fascinated by the way in which McQuarrie primarily tells the story and works with the characters, keeping the action more incidental, as a means to move the plot along and not the purpose. At a time when all explosions and chases are compulsory attractions, Ethan Hunt's world ends up as a pulsating but not frantic action movie, which will probably be blamed for being boring and long-winded. However, the light "low-profile" fits it perfectly, even if it is crafted with bravura (the Turandot editing) or technically imaginative (the shooting down of two motorbikes by a car). Yet here, it's all about the protagonists, the minimally portrayed villain (compare to the underused Nyqvist from last time), the perfectly written and superbly acted female lead (I admit that the ambiguity kept me tense until the final denouement), and last but not least, Hunt himself, who has parked himself as an ordinary member of the team with a trio of chattering sidekicks on hand. I was excited right after the screening, but I didn't really know why. In hindsight, I see this as an outrageously complex and thoughtful film that will be hard to compete with this season, and if it scores at the box office, Cruise will definitely pull a distinct persona into the film world. I hope he succeeds.
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If I leave aside the story, which is unnecessarily complicated and the only thing it seems to be saying it that Tom Cruise needs to be running somewhere constantly, I still have to admit that I haven’t seen a better action movie yet this year. And to be honest, I don’t know whether I will see a better one ever. The scenes in Vienna and in Morocco were absolutely great. The opera tune Nessun Dorma and bucketloads of suspense actually created one of the most emotional action scenes in the past few years. Simply put, it was a hell of a scene that made me stop breathing, coughing and blinking. On top of that, the crew that Tom put together to help him with his trouble lifts your mood any time it can. Especially Simon Pegg, who was literally on a roll in the first half of the movie. Jeremy Renner and Ving Rhames certainly didn’t disappoint either and that’s despite the fact they got a lot less screen time than they would have deserved. What else can I add… This year’s best action movie sure was fun to watch. If you think about the wannabe artists who keep knocking the camera left and right to add three cheap effects, you have to admit that such clear shots must satisfy even somebody who can’t speak.
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Mission: Impossible - Rogue Nation in einem Glaswürfel: der beste Bösewicht in der Geschichte dieser Serie, die beste Autoverfolgungsjagd seit dem dritten Bourne, der historisch gefährlichste James Bond mit Absätzen, Hightech und Retro, langsam und tobend, brillant minimalistisches Finale und Tommy Boy in Hochform. Am Ende brüllte ich vor Glückseligkeit wie ein Tur(andot). Etwas anderes als der architektonisch gesehen aufgeputschte Vierer, jedoch immer noch der Hammer. Gerade aus diesem Grund geht man sich Filme auf einer unsinnig großen Leinwand anschauen. Spectre wird es verdammt schwer haben.
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I cannot deny that I really enjoyed Rebecca Ferguson and all that neatly shot, imaginative and various actions scenes without overt-the-top CGI (especially the motorcycle scene is simply perfect), but what is the best thing about it (apart from Rebecca Ferguson, of course) is the final minimalist personal London third, when it definitely turns into a classic British-style spy film, where the well-written characters (not only in terms of action blockbuster) mess with each other using dialogs "I know that you know and you know that I know" at the airport, in the room or on the restaurant terrace, and it completely does without any action. And it works, because it's not silly at all, while respecting the principles of the genre, and McQuarrie makes you forget that twenty years ago, in terms of script, he was able to do with one room and unfortunate narrator. As you can clearly see from this, he was mainly concerned about the characters and the plot and the action and tinsel were sidelined; which is an unprecedented thing for a summer popcorn movie, which in fact it is not.
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It's as if I were seeing on the screen my first spies, my first car chase, my first badass fight scene. As if Christopher McQuarrie were in a room I know well, using Ethan Hunt's hand to open a door that has been carefully hidden. And as if beyond it, a game is afoot from the old school, where there is room for London fog, surprising paraphrases of Casablanca, and in the spirit of the series, even truly impossible missions, above all with a water tank where I was almost holding my breath for the main hero at the end. Before viewing, I didn't have much hope for stepping in the same river a fifth time, so getting up from this ever more appealing team is getting tougher and tougher. Welcome to the IMF.
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The strength of the Mission: Impossible franchise has always been the combination of clear constants and creative deviations between individual instalments. Iconic elements had already been established by the original television series (the disguises, assignment of missions with messages that self-destruct, the burning fuse), and the movies use these original attractions as identifying elements that can be altered or simply set aside. The individual films place greater emphasis on the distinctiveness of style and inventive action sequences, both of which are provided by the fluctuation of the directors. In this respect, the fifth film of the franchise is precisely crafted but, at first glance, it is seemingly the least distinctive of the M:I movies. Judging from his work as screenwriter, Christopher McQuarrie gets along very well with Tom Cruise and has precise command of the filmmaking craft, but he is not a filmmaker with a distinctive formalistic signature or a clear concept of action sequences. With the precise spatial arrangement of the action scenes and the inventive interconnection of those scenes with attractive settings, McQuarrie’s Mission: Impossible picks up where Brad Bird left off. However, the distinctiveness of Rogue Nation and thus the benefit of having the screenwriter in the director’s chair are reflected in the dialogue, as well as in the interaction of the characters and their motivations. More than in the previous instalments, this time the story relies more on teamwork and thus loyalty, friendship and professional ethics, which form the foundation of the key narrative twists and are embodied in the fascinating, ambiguous character of Ilsa Faust. Ilsa draws attention to herself not only due to the charisma of the actress portraying her, Rebecca Ferguson, but also as the prototype of a new action heroine. Not only is she equal to the main protagonist in terms of ability and tenacity, thus forming a perfect professional team with him, but she also doesn’t slip into any traditional clichés and takes on some key privileges of her male colleagues (rescuing the hero, the final fight). In fact, she superbly balances between charm, toughness, exaggeration and fatefulness, flawlessly epitomising the entire film and its personality. ____ P.S. Who would have thought that an ambitious character actor would become the Hollywood equivalent of Jackie Chan (from the golden era of Hong Kong cinema)? And, what’s more, in an era when American cinema does not have any action stars, at least not the kind whose name is synonymous with or guarantees a certain type of attraction. Starting with the fourth Mission: Impossible, interviews with Cruise and making-of videos absolutely evoke Jackie Chan’s ethos. Like Chan, Cruise emphasises that the breakneck sequences and the permanent exposure of himself to real danger are done for the viewers and their sense of amazement. From Ghost Protocol to Rogue Nation, Cruise’s passion, determination and fanatical hard work deserve all the more recognition for forcing the competition to also back away from deceiving audiences with computer-generated sequences and camera flourishes, thus making Mission: Impossible the vanguard of a new era of spectacular action films.
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Clever, schnell, schön gedreht und dazu noch Science-Fiction. Cruise's Hunt war immer schon ein cooler Kerl, der sogar einen Atomexplosion überleben würde, aber hier legt er wirklich los. Unter Wasser und ohne Sauerstoff fühlt er sich wie ein Amphibie, aus zwei Metern Entfernung kann ihn nicht einmal ein professioneller Killer mit einer Maschinenpistole treffen, und er kann mit voller Geschwindigkeit auf einem Motorrad fahren, ohne auch nur einen Kratzer zu bekommen. Chuck Norris wäre neidisch, Mann! Aber wir, von Hollywood verdorbene Zuschauer, sind daran gewöhnt. Uns bleibt jedoch eine unterhaltsame Fahrt durch den Spion-Lunapark, wo verrückte Verfolgungsjagden zu sehen sind (besonders cool sind die mit den Motorrädern), "Aufreizende" oder wer mehr Witz zeigt, ein echter Bösewicht und nicht zuletzt auch ein würdiges Hunt-Girl. Für mich persönlich besser als die vierte, an die ich mich kaum erinnere.
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An elemental blockbuster mixing old style with modern, where every blow hurts a lot and gives out a good meaty slap. The shots of Rebecca Ferguson are an ode to legs and Tom may be getting old, but he’s getting harder with age in action scenes (because it looks better), and he knows how to make fun of himself. McQuarrie’s screenplay is a really classic British school spy chase movie that often goes against the standard procedures for the series. The action is first-rate, the editing is a joy to watch (the opera) and my teeth were chattering from the antics in Morocco. I look forward to watching it again. If you managed to read to the end of it, this review will self destruct in 5 seconds...
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Although it is proper and solid filmmaking, the fifth installment is the only one in the entire series that is not innovative in any way, but safely recycles old and proven spy schemes and winks at both old classics from the 1970s and the first installment of this saga – back to basics accurately describes it. McQuarrie confirms his firm directorial control and his sense for dosing humor, action, and screenplay material. This entry probably features the most complex character of an action heroine in recent years (maybe since Sarah Connor in Terminator 2), equally fragile and determined, and going after what she wants, and she also looks very good – overall, she reminds me a lot of another legend, Bond Girl Carey Lowell from Licence to Kill. Maybe it lacks the overwhelming action from the third film, or the high-tech feeling from fourth, but as a whole, it works okay. The director knew well that that would not impress the audience today, after all those superhero movies, Bay films, and other digital garbage, and he didn’t attempt to do so, they simply went in a different direction. It's a shame about the low rating. I also had the feeling of slightly forced idolization of a legend, which I felt, for example, in Skyfall or the recent Batman movies, but I don't it think worked out that well here.
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Ein Kompromiss zwischen De Palmas erstem und Abrams’ drittem Werk. Aber Vorsicht, das Wort Kompromiss ist diesmal nicht abfällig gemeint. Auf gar keinen Fall. Christopher McQuarrie hat Talent. Nach Jack Reacher hat es sich gezeigt, dass er nicht nur ein ausgezeichneter Drehbuchautor, sondern auch ein großartiger Regisseur ist. Mission: Impossible - Rogue Nation hat eine sehr einfallsreiche und solide Action (allein der atemberaubende Teil in der Oper ist besser als der ganze Film Mission: Impossible 4 - Phantom Protokoll), eine super Oldschool-Spionagegeschichte voller Wendungen aller Art und toll geschriebene Figuren (aus Simon Peggs Benji ist endlich ein vollwertiges Teammitglied geworden – er ist nicht nur eine Witzfigur; Ilsa, gespielt von Rebecca Fergusson, mag man einfach, obwohl man absolut keine Ahnung hat, was sie vorhat). Tom Cruise in der Hauptrolle muss man bewundern. Aber wissen Sie, wer mich am meisten überrascht hat? Jeremy Renner! Er war noch nie so sympathisch. Und dabei spielt er hier einen gewöhnlichen Bürohengst. Ja, ja, das ist wieder dem Drehbuch zu verdanken. Von meiner Seite kommt also Lob und ich würde mich darüber freuen, wenn sich um die unmögliche Mission Nr. 6 dasselbe Team kümmern würde.
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The fifth and the best. One amazingly directed scene after another, but the individual attractions never overwhelm the development of the story and especially the characters, whose interactions reach the peak of the series and surpasses even the triumphant third part. And it's mainly thanks to the perfect Rebecca Ferguson, who delivers a femme fatale of the juiciest quality. But the greatest praise goes to Christopher McQuarrie, who managed to present the mix of James Bond and Jason Bourne with the incredible ease of a master storyteller and craftsman – the development is unpredictable and perfectly punctuated at the level of individual scenes and the whole, the good and bad guys have understandable, or swiftly changeable motivations, the action sequences impress with their physicality and authenticity (again, hats off to Cruise, who has so far successfully tested 150 ways to kill oneself on set), and I downright enjoyed the elaborate symbiosis of music and image (and the opera scene based largely on it, which had me literally drooling with delight). It is perhaps a pity that the film slows down considerably in the last act and becomes stylistically stale, but on the other hand it continues to keep the curiosity alive and puts on an intelligent conversational face. More spy films in that vein, even Bond could subtly wink and take a cue.
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Mission: Impossible ist meine Lieblingsserie, auf den fünften Teil habe ich mich sehr gefreut, und bis zum letzten Moment wollte ich gespannt bleiben, wovon er wohl handeln würde. Der Untertitel Rogue Nation erschien mir sehr anziehend. Leider habe ich einen Trailer im Kino gesehen, der mich nicht sonderlich angesprochen hat. Eine umso angenehmere Überraschung war dann der Film selbst. Er weist zahlreiche Positiva auf, Tom Cruise wird Ethan wohl noch spielen, wenn er siebzig ist, und dann wird er die Rolle immer noch meistern. Simon Pegg hat mich erneut angesprochen, wie er mir in verrückten Komödien nicht gefällt, so habe ich mich in dieser Serie in ihn verliebt, Paula Patton klärt wohl noch Probleme mit Big Dock Robin Thick, und so dreht sie nicht, Rebecca Ferguson war ein würdiger Ersatz, mehr noch, eine toll aufgefasste Figur. Schade ist es um Jeremy Renner - von ihm habe ich persönlich mehr verlangt als den Vermittler zwischen Ethan und dem unerträglichen "Wichser“ in der traditionell tollen Darstellung von Alec Baldwin zu spielen. Vom Drehbuch her war ich begeistert, der Wechsel der Metropolen war gut und hervorragend gewählt, als absoluten Höhepunkt sehe ich die Sache bei Turandot in der Wiener Oper und den stylischen Schluss. Vielleicht ein einziges Minus - es tut mir leid, dass die Handlungslinie mit Keri Russell irgendwie untergegangen ist, oder sparen sich das die Macher für einen sechsten Teil auf?
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This series continues to surprise me, and I feel like it's aging like wine. With each new episode, it gets better and better or at least it keeps entertaining me more and more and surprises me that it can still be imaginative after such a long time. Tom Cruise, whom I didn't really like, is entertaining me as he gets older, and here he has great partners with whom you want to experience the story.
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