Mission: Impossible - Dead Reckoning Part One
SimilarArmageddon (1998), Beverly Hills Cop (1984), Beverly Hills Cop II (1987), Beverly Hills Cop III (1994), Die Hard 2 (1990), Die Hard: With a Vengeance (1995), Godzilla Raids Again (1955),
Jackie Brown (1997) Jaws: The Revenge (1987),
Live and Let Die (1973) Live Free or Die Hard (2007), Ocean's Twelve (2004), Spider-Man 2 (2004), Spider-Man 3 (2007), Superman Returns (2006), The Matrix Reloaded (2003), The Matrix Revolutions (2003),
Watch afterBarbie (2023) Five Nights at Freddy's (2023), Indiana Jones and the Dial of Destiny (2023),
Oppenheimer (2023) The Equalizer 3 (2023), The Flash (2023), The Nun II (2023),
One of Mission: Impossible - Dead Reckoning Part One's earliest pieces of marketing was a trailer-by-way-of-behind-the-scenes featurette. In that clip, Tom Cruise, strapped to a motorcycle, rockets off the edge of a cliff in the Swiss Alps. He lets the bike drop away before popping his parachute and sailing into the horizon. It's one of the most death-defying sequences ever captured on film and, as we now know, it's one Cruise himself did again and again and again. The sequence, even devoid of context, sums up exactly what director Chris McQuarrie and Cruise (the two are also co-producers) hoped to achieve in Dead Reckoning: grade A movie spectacle. Continue Reading →
Confess, Fletch
StarringJon Hamm,
StudioMiramax,
Jon Hamm is a darn good comic actor, and he's a darn good comic actor with range. In Top Gun: Maverick for instance he played Naval Airboss Cyclone's abiding sternness and exasperation with Maverick for solid straight man work. Confess Fletch—which Hamm leads as unlicensed detective Irwin Maurice "Fletch" Fletcher (previously played by Chevy Chase in 1985's Fletch), by contrast, sees the Mad Men star go quietly goofy to strong effect. Even in a film packed with colorful and more openly eccentric weirdos, Hamm's Fletch is an odd man. Continue Reading →
The Portrait of a Lady
Campion followed The Piano with a Henry James adaptation dedicated to the magnificently fraught question of desire or duty.
Artwork: Felipe Sobreiro
In the wake of the critical success of The Piano, Jane Campion’s 1996 adaptation of Henry James’s The Portrait of a Lady barely made a splash at the box office, grossing only a fraction of The Piano’s $140 million US earnings. It too seemed to puzzle critics. Some called it “claustrophobic” and “stifling,” and to be fair–they’re not wrong. The world that James creates in his masterful 600-page novel is at once lush and chilling, thrillingly intimate and so frustratingly tragic that as a whole it’s nearly impossible to quantify. James’s Portrait is not necessarily Campion’s, and vice versa. But few authors have had such a clear-eyed view of the inner lives of women, so it’s fitting that Campion–a director who has always portrayed women as they are, without pretense or romanticization–should be the one to adapt James’s greatest work. Continue Reading →