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    Movie Review

    Tom Cruise goes all out in Mission: Impossible - The Final Reckoning

    Alex Bentley
    May 22, 2025 | 3:30 pm
    Tom Cruise, Simon Pegg, and Hayley Atwell in Mission: Impossible - The Final Reckoning

    Tom Cruise, Simon Pegg, and Hayley Atwell in Mission: Impossible - The Final Reckoning.

    Photo courtesy of Paramount Pictures

    Over the course of 30 years and eight films, the Mission: Impossible series has proven to be the most reliable of any action movie franchise. Not all of them are equally good, but with Tom Cruise in the lead as Ethan Hunt, they can be counted on for at least a couple of mind-blowing stunt sequences per film, enough to keep fans clamoring for more.

    Mission: Impossible - The Final Reckoning has the feel of being the last film in the series, and not just because the 62-year-old Cruise is getting up there in age. Following up closely on the events of 2023’s Dead Reckoning Part One (Part Two changed to The Final Reckoning for unknown reasons), the film has Hunt trying to stop an A.I. villain known as The Entity from taking over the world’s collective stash of nuclear weapons.

    To do so, Hunt and his cobbled-together team — Luther (Ving Rhames), Benji (Simon Pegg), Grace (Hayley Atwell), and Paris (Pom Klementieff) — must hopscotch around the world, tracking villain Gabriel (Esai Morales) and trying to figure out a way to get The Entity’s source code, which is located on a sunken Russian submarine. Oh, and they also have to evade capture by a disgruntled U.S. government, led by now-President Erika Sloane (Angela Bassett).

    Written and directed by Christopher McQuarrie and co-written by Erik Jendresen, the film might just be the most convoluted one in the series so far. The filmmakers layer on tons of exposition, with lots of flashbacks to previous events in the series to explicate the events of the present, as well as providing unexpected connections to previous films. The plan for stopping The Entity and the references to the past are so dense that the first half of the film is relatively boring.

    Things pick up in the final 90 minutes of the three-hour film, mostly because that’s when the majority of the action takes place. More than other entries in the series, the film considers the geopolitical implications of Hunt’s actions, and he has to negotiate with a variety of high-powered people to do what he deems best. While his efforts are somewhat preposterous, even by the standards of the series, they lead to a bunch of fun sequences that provide levity among the world-changing drama.

    Ultimately, what makes the film succeed are its action scenes. Cruise has done stunts on planes/helicopters before in the series, but what he does during a biplane sequence toward the end of the film is almost beyond belief. Yes, he’s attached to the plane with harnesses that are digitally erased, but he’s still doing it hundreds of feet in the air at great bodily risk considering. While the series has always featured spectacular stunt sequences, this one deserves to be near the top of the list.

    The flashbacks to scenes from throughout the series underscore just how much Cruise has changed in the past 30 years, but also emphasize how amazing it is that he’s still willing to sacrifice his body as much as does to make these films. No other actor goes as far as he does to entertain the masses, and the events of the story even give him opportunities to show off his dramatic acting skills.

    The supporting cast is more packed than usual, and all of them enhance the film. In addition to Hunt’s team, the President has a group of advisers that includes actors like Henry Czerny, Holt McCallany, Nick Offerman, and Janet McTeer. Other recognizable faces like Hannah Waddingham (Ted Lasso), Trammell Tillman (Severance), and Katy O’Brian (Love Lies Bleeding) show up for impactful roles.

    Whether or not this is the last film in the current incarnation of the series, The Final Reckoning has a lot to offer longtime fans, with action set pieces that remains some of the best Hollywood has to offer. The story may be completely baffling, but with Cruise and other appealing actors leading the way, there’s more than enough great entertainment to go around.

    ---

    Mission: Impossible - The Final Reckoning opens in theaters on May 23.

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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