Mission: Impossible 7 - Dead Reckoning Teil Eins
-
Mission: Impossible 7 - Dead Reckoning Teil Eins
(mehr)
Regie:
Christopher McQuarrieKamera:
Fraser TaggartMusik:
Lorne BalfeBesetzung:
Tom Cruise, Hayley Atwell, Simon Pegg, Ving Rhames, Rebecca Ferguson, Vanessa Kirby, Esai Morales, Pom Klementieff, Henry Czerny, Shea Whigham (mehr)Streaming (5)
Inhalte(1)
In Mission: Impossible - Dead Reckoning Teil Eins starten Ethan Hunt (Tom Cruise) und sein IMF-Team ihre bisher gefährlichste Mission: Sie sollen eine furchterregende neuartige Waffe, die die gesamte Menschheit bedroht, aufspüren, bevor sie in die falschen Hände gerät. Während die Zukunft und das Schicksal der Welt auf dem Spiel stehen und die dunklen Mächte aus Ethans Vergangenheit ihn wieder einzuholen drohen, beginnt ein tödlicher Wettlauf um den gesamten Globus. Konfrontiert mit einem mysteriösen, allmächtigen Feind muss Ethan erkennen, dass nichts wichtiger sein kann als seine Mission – nicht einmal das Leben derer, die ihm am meisten am Herzen liegen. (Paramount Pictures Germany)
(mehr)Kritiken (12)
Auf den ersten Blick ist es ein unterernährter Teil der Serie, der paradoxerweise mit der längsten Laufzeit die Hälfte der Attraktionen der besten vorigen Teile bietet. Die Autoverfolgungsjagd in Rom ist nichts Besonderes und die Szene mit dem Zug ist eine Wiederholung aus dem ersten Film Mission: Impossible plus ein Upgrade der spannendsten Szene aus Vergessene Welt: Jurassic Park. ABER! Als ich mir Mission: Impossible 7 - Dead Reckoning Teil Eins zum zweiten Mal angeschaut habe, hat mir im Vergleich zu den anderen Teilen die Handlung am meisten Spaß gemacht. Ein perfektes Timing des Themas mit der gefährlichen künstlichen Intelligenz; die Konstellation der Figuren aus den vorigen Teilen einschließlich Kittridge aus dem ersten Film; der neue ultimative Schuft Gabriel (Ethan Hunt hat gleich zwei Gründe, warum er für ihn die meistgehasste Person auf der Welt ist); die rührende Szene auf der Brücke Conzafelzi in Venedig; die schöne Hayley Atwell und die perfekte Chemie zwischen ihr und Tom Cruise; viele witzige und einfallsreiche Details, die man in den Szenen findet, welche auf den ersten Blick nicht besonders innovativ sind – der Flughafen, die Verfolgungsjagd in Rom, die Kombination des bekannten Motorradsprungs und der Zug-Szene oder das orgastische Finale für Cinephile, das die erwähnte Szene aus Vergessene Welt: Jurassic Park durch eine absolute Blockbuster-Aufregung vervielfacht. Und das ist nur die Hälfte des Films. Cruise und McQuarrie wissen, dass Mission: Impossible 8 - Dead Reckoning Teil Zwei eine ordentliche Steigerung haben muss. Wenn es ihnen gelingt, wird Dead Reckoning ein Alpha-Werk der Reihe. Vielleicht wird er auch eine neue Richtung der mehrteiligen Dosierung von weiteren impossible Missionen von Ethan Hunt bestimmen. Die Nachricht, dass Tom plant, bis zu seinem 80. Lebensjahr zu drehen, hat meinen Tag gerettet.
()
HE’S RUNNING AGAIN, at a nice heroic pace, knees right up (yeah, right Tom, we know you're an eternal youngster, you don't have to keep reassuring us so blatantly). The film itself is a succession of good action sequences, glued onto a stupid skeleton that seems to have fallen out of a spy movie from the 60s, the ones that were so beautifully parodied later. I found the concept of the Entity utterly ridiculous.
()
More graphically than the previous instalments of the M:I franchise, Mission: Impossible – Dead Reckoning Part One raises concerns associated with the future of humanity and of Hollywood. The film, whose main villain is an extraordinarily powerful artificial intelligence, was released to cinemas during the dual strike of Hollywood actors and writers, who in addition to fair compensation also demanded a guarantee that they would not be replaced by modern technologies. The computer-generated illusions in the film threaten the approach to truth and relativise the ethical categories of good and evil. Ethan Hunt/Tom Cruise is naturally the only safeguard against machines taking over the world, the last link holding human society together (this is literally true in the final action scene, when his partner uses him as a ladder). What awaits him is a confrontation with the most powerful adversary he has faced yet, which collects our best-hidden secrets, reshapes reality and is everywhere and nowhere. In other words, he will have to take on a (false) god, whose interests are represented by a villain with the biblical name of Gabriel, and the key to controlling it is in the shape of a cross. ___ Though few people in Hollywood today are able to so effectively evoke the dizzying feeling of forward motion as a running Tom Cruise, Dead Reckoning is to a significant extent a film of reversions, to the old faces and analogue technology of the Cold War period, to the protagonist’s past and to the skewed angles of De Palma’s paranoid first Mission: Impossible. And even deeper into the past. To The General, Hitchcock’s comedy spy thrillers and related 1970s caper comedies like What’s Up, Doc? McQuarrie combines the structural principles of the cinema of attractions and classic Hollywood, but he intensifies the situations and takes them to such an extreme that even the characters sometimes laugh resignedly over their impossibility. Tension arises between the (unseen) classic and (self-reflexive) post-modern approach to style and narrative when the film alternately fulfils and defies our expectations, as it is playfully ironic at times and tragically romantic at other time. Similarly to the way Hunt defies the algorithm and how the protagonists are aided by disguises and advanced surveillance technologies, which fail repeatedly, however. In the end, they can rely only on human bodies, ingenuity and teamwork. ___ The characters’ distrust and suspicion toward what they see and hear is expressed in the dialogue scenes by the tilted camera shooting from up close and in decentred compositions of the actors’ faces. Sometimes without establishing shots, which, together with the hasty editing (including cross-axis jumps), intensifies the feeling of disorientation and the impossibility of determining what is true and who is running the show. At other times, usually while the next course of action is being planned, the camera uneasily circles the characters. Thanks to this, even the chatty explanatory sequences are thrilling and there are practically no statics moment in the film. The almost cubist composition of the picture occurs roughly at the midpoint of the narrative during the meeting of most of the key players at a party at Doge’s Palace in Venice. The characters’ dialogue as they try to figure out their adversaries’ motivations is edited in the rhythm of the diegetic background music. Their verbal shootout is reminiscent of a dance performance, as every camera movement is synchronized with the soundtrack. Also in other scenes, though not as conspicuously, the information conveyed is of comparable importance as the aesthetic pleasure of the interplay of shapes and lines. For example, during the chase through the narrow and dark streets and canals of Venice, the order of shots is not determined only by the continuity of the ongoing action, but also by the rhythmic alternation of contrasting and complementary angles and movements. ___ The episodically structured film traditionally comprises several massive action sequences, each of which having its own objective, obstacles and course of development. At the same time, they are firmly interlinked. Each one prepares us for what will happen next (which doesn’t always go according to the presented plan) and sets in motion another notional cog in the flawlessly tuned mechanism. The chosen locations also complement each other, as they give the characters less and less room to manoeuvre (from an expansive multi-level airport to a closed train). Almost every sequence works with a tight deadline and the necessity of precise timing, both across the given sequence and in its constituent parts (for example, the necessity of escaping from the car before it gets destroyed by an oncoming metro train at the end of the Rome sequence). ___ Unlike in blockbuster comic book adaptations and the high-octane, progressively dumber Fast & Furious movies, the human element is never overshadowed by the shootouts and explosions in Dead Reckoning. On the contrary, they are doubly suspenseful thanks to the chemistry between the believable characters. Their characterisation, which is carried out without pauses in the action or during their preparations for the next task, is skilfully connected with certain recurring motifs and props (e.g. Hunt’s lighter, the passing around of which among the characters reflects the development of the relationship between Grace and the protagonist). That’s what the franchise is about, as Cruise doesn’t hesitate to risk his own life again and again with maniacal determination in order to convince us that an intelligent machine can never do anything as spectacular as a human (or a team of humans) can do. In the latest instalment of the M:I franchise, which is the most narratively harmonious and stylistically experimental of the lot, he does this for the first time not only in the subtext, but in the foreground. The time for subtlety has passed. 95%
()
(weniger)
(mehr)
Some brilliantly overblown action sequences in a generally problematic film for me. MI may look deadly serious, fateful, whatever, but I'm afraid we're already on the level of the Fast and Furious franchise in terms of plot intelligence. The whole AI stampede is utterly ludicrously contrived, the plot still has to be explained verbatim by one of the characters to get the viewer to at least frame it, but it doesn't help much. If we forget about the craftsmanship and just think about the plot itself... I don't believe it makes sense to anyone. For example the dialogue exchange at the Venetian party, WTF? We spend over two and a half hours looking for a key, next thing we know we're diving towards a submarine for over two and a half hours, then Cruise shoves the key up the AI's ass and it goes nuts or something. 83 percent and 620th best movie, My God.
()
The echo of the 90s, sending postcards about villainous AI through a time machine, sometimes appears to have the upper hand over the audience, but do not be lulled by the admitted stupidity, because the running scout Cruise and McQuarrie send it uncompromisingly into the present. It's not about WHAT, but HOW. Seeing a film that layers action scenes with stunt attractions, as well as plot twists of "good guys vs. bad guys vs. (other) bad guys," is an absolute delight for the audience. If Fallout is an amusement park of action entertainment, Dead Reckoning is the top form of creative concentration. Venice may be an early peak, but the climax of the episode with the trains, when the appreciation of the second part of the game "Uncharted" is realized, ultimately closes it off as the peak of this year's popcorn entertainment and easily parks this part of the film series behind the unattainable Rogue Nation.
()
I don't really get the blockbusters this year, I admit that, but with Mission: Impossible I was sure it just had to work out. Well, it didn't. I had that fundamental problem from the very beginning. The story looks like out of movies that were made twenty years ago. The whole plot with the artificial intelligence that knows everything and can predict everything reminded me of Eagle Eyes in its better moments, and Next with Nicolas Cage in its worse ones. And as the main villain, he comes across as somewhat out of place and not the least bit scary, which unfortunately also applies to Esai Morales. The plot didn't grab me because it felt sort of old-fashioned. It's as if the script was written by someone who still has a push-button phone, has recently read something about artificial intelligence, and calls his grandchildren when Yahoo crashes, telling them that the internet is down... only there's more to it than that. Aside from crappy bad guys with zero charisma and questionable motivations, there are also the occasional oddly edited action sequences, which are often unnecessarily long on top of that. The chemistry between Tom Cruise and Hayley Atwell is virtually non-existent, and the film literally doesn't bother to work with emotion, stopping to let the characters and the audience enjoy and savour even the very major twists. After the bloated fifth and sixth episodes, Cruise and Christopher McQuarrie have simply served up some damn good Hollywood craftsmanship, but compared to the previous installments, it runs out of steam quite often and fails to offer any downright memorable scenes. But unfortunately, along with that comes a really stupid story, which leaves me a little afraid of what's to come in the grand finale.
()
Der beste Brosnan-Film der 90er Jahre, der aus Versehen im Jahr 2023 gedreht wurde. Wenn ich mir die technophobische WTF-Grundlage und die damit zusammenhängenden leicht chaotischen Beweggründe und Verbindungen wegdenke, ist es eine königliche Portion einer großartig aufgebauten und charismatischen Action, in der das Finale mit dem Zug dominiert. Ungefähr so würde ein James-Bond-Film von Nolan aussehen. Mir reicht es. Ich freue mich auf den zweiten Teil aka die Jagd auf Roter Oktober.
()
The collaboration of the McQuarrie-Cruise duo is a well-established brand promising a modern take on old-school action in an edgy, thrilling and adrenaline-fuelled setting, and that is absolutely true this time as well. Many things could be praised, but the best way to describe it is that even though we've seen chases through ancient buildings in a small car or action in an out-of-control train countless times, the way it is paced, plotted and delivered here is both breathtaking and riveting in a way that will make you sweat your shirt off from the sheer dodging and clenching of fists. A genre film that defines (though does not redefine) the genre to the core. Too bad about the apparent lack of closure and the bland villain. Hats off and pure enthusiastic curiosity about where they want to take it in the finale.
()
From the 4th episode, Mission Impossible is one of the great spy action series, where every new episode is a big action feast, and I was expecting Reckoning to be one of the movies of the year. Even though it's a great show, I thought it was a bit slower compared to Fallout and Rogue Nation, which I think are a level above. Tom Cruise is still in great form and there's one amazing stunt, the craftsmanship is again of a high standard, and the film is definitely a lot of fun, but there are a few little things that slightly detracted from the absolute experience. I don't find the AI theme all that dazzling or interesting, and I'm a little bothered that it will continue into the finale, but I'll probably have to put up with it. Gabriel is a weaker villain than the previous ones the franchise had and doesn't even have much scope, I felt like there were fewer high tech gadgets and there were definitely fewer contact fights (the bathroom fight with Henry Cavill still resonates in my head, no such satisfaction here). The chase in Rome is cool and thanks to Fiat it's very fresh and original (it doesn't have the same feel as the motorbike chase), but the finale on the train is excellent (the scene where Cruise has to change from carriage to carriage is one of the best sequences of the whole series, that was a really cool eye candy moment), so even though I have a few minor reservations, it's still a great blockbuster that's worth seeing in the cinema, but when I compare it to this year's action movies, both John Wick 4 and Extraction 2 were surprisingly more satisfying. 8/10.
()
Hunt vs Hall 9000 round one. Basically a tie between the sheer technical brilliance and perfection of each action sequence with a dated and clunky script that is perhaps supposed to be a homage to the old (Roger Moore) Bond films or something. The golden rule is, stick to what you know and what you're good at, and Christopher McQuarrie overestimated himself this time and showed that he doesn't understand computers at all, otherwise he wouldn't have written such a piece of garbage. I'm not saying it doesn't work for the average person, it's just that for IT people it will be like scraping your fingernails on a blackboard in places. He can still salvage a few things in a sequel, but no one can take away his English-speaking Russian submariners and theatrical speeches about deleting oneself in cyberspace. He can still move and offer an interesting twist, but it's as if he's started to care about the Tom crap instead of the story. Otherwise, everything we're used to works. The actresses are fine. Hayley Atwell clicked with Cruise whether she's stuck on him in Rome or when they're talking on the train. Beautiful locations and beautiful shots. Tom is starting to look old though. One more episode and then it would be nice to kick off the Extreme Old Man series.
()
Everything Tom Cruise has his fingers in is entertaining and most of what Christopher McQuarrie has his fingers in is not. At least that is my first impression after watching MI7. In Tom's case, you can see extreme commitment, diligence, and an effort to do everything to entertain the viewer, not to mention the stunts, including the now legendary cliff jump. But the film is not fun in terms of content. A plot like from the 1990s, dialogue wadding and most of the characters are poorly drawn and therefore emotionally flat, including the main big villain, whose fateful moment in history we learn about through a five-second flashback, which is repeated about three times in the course of the film. The extremely swollen running time is hard to justify with the feeling of a film like Tomorrow Never Dies. There is some physical action, but Cruise is hardly a match for Daniel Craig or Chris Hemsworth, he doesn't have the age and especially the physical parameters. The much-discussed train finale is satisfying, but certainly not the best MI has ever offered. The sixth film, which is a similarly styled formal spy romp, is better. And those thunderous "Dar Knight" synths like something out of Hans Zimmer's workshop help just a little and rip off a lot.
()
Die vorigen Missionen unter der Aufsicht von Christopher McQuarrie haben mir besser gefallen. Der Film war für mich aber keine große Enttäuschung. Ich habe z. B. kein Problem damit, dass in dem Film viel passiert. Das, was mich ein bisschen gestört hat, war die Länge der Dinge, die passiert sind. Über manche Dinge, die mit der Entität verbunden sind, würde man sich z. B. in Fast & Furious sofort lustig machen. Der Schuft aus Hunts Vergangenheit hat mir nicht gefallen. Er kam aus dem Nichts und hat sich dann auch so verhalten – ein bisschen anders. Der Film ist aber unglaublich unterhaltsam, die Action ist ausgezeichnet (auf dem Zug und im Zug passieren Dinge wie in einem Slapstick von Buster Keaton), der Humor natürlich… Diesen Film habe ich so ähnlich wie Indiana Jones und das Rad des Schicksals genossen. Es gibt nur einen Unterschied – ich werde nicht noch einmal ins Kino gehen.
()
Verwandte News
Oscar-Nominierungen veröffentlicht
Am Dienstag, dem 23. Januar 2024, wurde im Samuel Goldwyn Theater in Beverly Hills von den Schauspielern Jack Quaid und Zazie Beetz die vollständige Liste der Nominierungen für die 96. Oscar… (mehr)
Die besten Filme und Serien nach dem Filmbooster-Ranking
Das Jahr neigt sich seinem Ende entgegen, und es ist wieder an der Zeit, Bilanz zu ziehen, welche Filme und Serien aus der diesjährigen Produktion in der Filmbooster-Rangliste am besten abgeschnitten… (mehr)
Frohe Feiertage und viel Glück für 2024!
Wäre Dune: Part Two nicht auf das Frühjahr 2024 verschoben worden, wäre das vergangene Filmjahr außergewöhnlich gewesen. Aber es war trotzdem ein großartiges Jahr, voller filmischer Überraschungen.… (mehr)
Mission: Impossible 7 verschreckte Joe Biden
Der siebte Teil der beliebten Action-Serie Mission: Impossible mit dem Untertitel Dead Reckoning Teil Eins unter der Regie von Christopher McQuarrie erhielt zwar in diesem Jahr von Publikum und… (mehr)