More an acting exercise than a fully developed movie, Pieces of a Woman is a punishing experience for the audience as much as the actors onscreen. The entire first 30 minutes is comprised of watching a home birth in an extended long take, which doesn’t so much immerse you in the situation as beg the question of, “How’d they do that?” The sequence concludes with a rushed delivery and an asphyxiated child, and then we cut to the title screen. From there, it’s 90 minutes of what agonizing grief does to this family. Vanessa Kirby (The Crown) plays the mother and she doesn’t want to let go but also feels uncomfortable that their flustered midwife is being charged with negligent homicide. Her boyfriend (Shia LaBeouf) is struggling to maintain their relationship and move past their shared tragedy. Her mother (Ellen Burstyn) is a domineering presence and wants the boyfriend gone and the midwife in jail. It’s all very well acted and Kirby does a fine job dredging up pure emotional devastation. The problem is that Pieces of a Woman has seemed to confuse drama with plot. There are many dramatic moments that occur but they don’t really provide greater insight into the main characters who are, at their core from that half-hour mark onward, broken people coming to terms with their response to the unimaginable. It seems paradoxical because the concept of a grieving family, angry and looking to blame someone, a relationship splintered where each party is potentially having an affair to feel something diverting, mother-daughter head-butting, it all seems like foundational elements of compelling drama. The problem is that we don’t ever get progression with the characters and their emotional states from these very dramatic events. They’re suffering, they’re unhappy, they’re numb to the pain yet carrying on, but are they interesting? Are we getting more of a sense over who they are or how they’ve changed? I would argue no. The movie feels locked into stagnation. I think a major stumbling block was spending so much time establishing a realistic birthing sequence opening, aided by a roving and unblinking camera, when the same information could have been covered in the first ten minutes and not first 30. It’s excessive and repetitive, but then so are the 90 minutes that follow that wallow in unchecked misery. It’s an approach that can take some of the devastation out of the horrific. Pieces of a Woman will be available on Netflix streaming starting tomorrow and despite its artistic merits and good acting I can’t exactly argue that it’s worth enduring the pain over.
Nate’s Grade: C+
It took nine movies but we can now put the Fast and Furious franchise to rest, and that’s because we now have Hobbs & Shaw, the spinoff that took the best parts of the franchise and ran away. What started as a film about underground street racing in 2001 has morphed into an over-the-top superhero spectacle where their superhuman power is being really good with cars, as well as not adhering to any laws of physics. Now they’ve cordoned off The Rock and Jason Statham, attached the director of Atomic Blonde and give me Idris Elba as the villain, who openly proclaims himself to be “black Superman.” Why do we ever need to go back to Vin Diesel and his pit crew ever again? Hobbs & Shaw is a big blast of action overkill fun. It’s not without its flaws and limitations but it’s exactly what it set out to be.
Agent Hobbs (Dwayne Johnson) is trying to enjoy some rest and relaxation with his daughter but the world isn’t going to be save itself. He’s recruited to team up with the wily Deckard Shaw (Statham) to recover a missing sample of a super virus that can be programmed to kill anyone on the planet. The key is finding MIA MI6 agent Hattie (Vanessa Kirby), accused of killing her team and absconding with the virus. She also happens to be Shaw’s estranged sister. The real villain is a super mercenary Brixton (Elba) who is engineered to be a superior killing machine. His mysterious employer wants to recruit Hobbs and Shaw to the cause, but in the event of their refusal, death is always an option. The Shaw family reunion makes the majority of the movie a three-person chase film that ultimately pushes Hobbs to go back home to the Samoan family he left behind decades ago and they haven’t forgotten their prodigal son.
Once again, the main draw of a Fast and Furious movie are the eye-popping action set pieces, and Hobbs & Shaw has its fair share of excitement and satisfaction. There are a couple standouts, notably a climactic helicopter face-off involving a chain of racing vehicles and the concept of lift, but really none of the action will displace the top moments from this increasingly insane franchise. Director David Leitch (Deadpool 2) doesn’t have any signature moments that stun like that extended, fatigued fight sequence in Atomic Blonde, but he definitely taps into the moment-to-moment fun and absurdity. A chase down the side of a building is not remotely realistic, but with Leitch there’s an added sense of comedy by making it another contest between Hobbs and Shaw. That macho posturing can liven up an already enjoyable scene and give it a personal edge that ties into the charisma of the stars. So even when the action is cooking at a lower level, focusing on that charisma elevates the sequence. The action pumps at a constant pace with plenty of explosions, tumbles, and powerful fists. The movie follows the latter Fast and Furious mold by not even trying to resemble reality. When Brixton’s super hands-free motorcycle acts more like a living Transformer, it doesn’t matter because the movie isn’t building a reality where something like that would seem like an exaggeration. I laughed more at moments like that and smiled rather than scoffing at its disconnect from crafting some kind of baseline sense of reality.
I will say the action beats could be shaved down, especially as the movie teeters to 135 minutes long. It’s not exactly the kind of action cinema like Mission: Impossible where the set pieces are so brilliantly constructed with organic complications. These aren’t quite at the level of spectacle or immersion of a Fury Road or even the Justin Lin-era of Furious land. There are few sequences that couldn’t be pared down because often the beats are the same beats just with more of them. I wished there had been a greater variety of action sequences or at least an interesting series of complications, the lifeblood of great action movies. There are a few standout moments with larger-than-life imagery but mostly the action has a very same-y quality that can feel repetitive. That’s where the comedic perspectives can help. A hallway fight is enjoyable but lacks impressive fight choreography, but what saves the scene is the comedic exasperation at the end for Shaw and again tying it to the ongoing competition with Hobbs.
Beyond the explosive action, the real draw is the cast and they are overloaded with charisma. There’s a reason somebody at Universal decided to slice off these two characters because they are clearly the only characters many people ever cared about, because both actors have an innate charm that pops off the screen. Watching the two of them butt heads and trade insults and glares is an ongoing pleasure. It reminds one how big personalities can effortlessly carry big Hollywood action movies when you have the right stars together. They do form their own sort of combative bond and understanding by the end, but one wonders if their banter will get old if it doesn’t evolve over the inevitably commissioned assembly of sequels. The Rock and Statham get some big laughs and hearty entertainment squaring off and working together for even bigger destructive power.
Kirby (Mission: Impossible – Fallout) is a terrific addition as a strong-willed, kickass heroine first and a potential love interest for Hobbs second, which amusingly upsets Shaw. Kirby has an above-it-all air to her that makes her seem like a natural match as a sister to Statham. Elba (Molly’s Game) is settling into a groove as a go-to heavy (Star Trek Beyond, The Jungle Book) and even while threatening a global pandemic he can’t help but be smooth and charming. This is the best cast ever assembled for a Fast and Furious movie, and you throw in unexpected comedy cameos, Helen Mirren, and an extended Samoan family, and the movie begins to stake out its own claims on a world separate from Diesel’s boring “family.”
Hobbs & Shaw is a combination of 80s action movie attitude, 90s bombast, and 2010s outrageous set pieces, lead by two of the more charming men Hollywood has at its punching-kicking disposal. That’s actually a pretty good word, “disposal,” because the movie is designed as nothing more than a breezy two hours at the movies with your biggest tub of popcorn. Of course the studio has larger plans and envisions it as a way to keep the Fast and Furious franchise alive and diversified. Hobbs & Shaw has little more on its mind than giving its audience a good time, and it easily achieves that aim. I may not feel the need to watch Fast and Furious movies again like I do other action franchises that provide more emotional investment, practical stuntwork, and structural brilliance, but that doesn’t mean I won’t happily consume the next entry. As long as The Rock and Statham are in place and feeling good, so too will the eventual audience.
Nate’s Grade: B
Coming down from the surging adrenaline rush, I was trying to determine when was the last time an action movie made me feel the immersive, delirious highs that Mission: Impossible – Fallout offers in spades, and what I came up with 2015’s Mad Max: Fury Road. Simply put, this is the best straightforward action movie in three years. It’s the best Mission: Impossible movie in the series, which, if it hadn’t already, has assumed the peak position of the most consistent, most entertaining, and best action franchise in Hollywood. Allow me to explain how returning writer/director Christopher McQuarrie (Jack Reacher) makes an action movie that demolishes the competition.
Ethan Hunt (Tom Cruise) has been pulled back into spy action thanks to the lingering fallout (eh, eh?) of the capture of Solomon Lane (Sean Harris), whose followers, nicknamed The Apostles, have stolen three plutonium cores. It’s Ethan Hunt’s fault the nuclear cores got loose, and so he and his team, Luther (Ving Rhames) and Benji (Simon Pegg), must clean up after their mess. The CIA sends its own asset, the burly August Walker (Henry Cavill), to help oversee the mission and specifically Ethan Hunt, who must pose as a shadowy terrorist broker to maintain appearances with important figures in the criminal underworld. In order to get the nuclear parts, Ethan Hunt has to retrieve Solomon Lane and release him back into the open. Complicating matters further is Ilsa Faust (Rebecca Ferguson) who needs Solomon dead to clear her own spy debts.
Every action movie lives or dies depending upon its unique set pieces, often the first thing constructed by a studio and then the plot mechanics are ladled on merely as the barest of connecting tissue. They need to have stakes, they need to have purpose, they need to be memorable, and they need to be understood and develop organically. Mission: Impossible – Fallout could be taught in filmmaking schools about how to properly build action set pieces. They are brilliant. McQuarrie finds interesting ways to set them up, complicate them, and just keep the escalation going in a manner that still maintains the believability of the moment. Take for instance a foot chase where Ethan Hunt is trying to nab a bad guy through downtown London. Where McQuarrie pushes into the extraordinary is by having that foot chase on a multi-level terrain. Ethan Hunt has to chase after his target but multiple stories above the ground, and so he’s leaping out windows, jumping over rooftops simply to keep up. It’s a simple twist that takes what we’re familiar with and, literally, elevates it to new heights. Or take for instance the mission in Paris to capture Solomon Lane. At first it’s capture, then it’s flee police, then it’s flee another assassin. There are multiple stages to this sequence, each with a new goal, each with new complications, and each with new eye-popping stunts and escapes. The action finds natural points to progress, making smart use of the geography, and keeping different elements at play to come in and out to add more problems. This is how you do action right. As soon as the half-hour mark settles in with the arrival of Walker, the movie is practically nonstop in its set pieces until the very end. At a steep 147 minutes, this is the longest Mission: Impossible movie yet but it’s breathless in its execution.
Amazing set pieces that are cleverly designed is one aspect of a great action movie, but if you can’t tell what’s going on, what’s the point of all that cleverness? Fortunately, McQuarrie understands this and adheres to a visceral depiction of the action that creates gloriously immersive and pulse-pounding sequences. The set pieces are terrific, so it stands to reason the stuntwork should be terrific, and to make sure you appreciate the stuntwork, McQuarrie makes sure the photography highlights the verisimilitude. It’s a symbiotic (or as the Venom trailer tells me, “sym-BI-oat-ic”) relationship but when done correctly, as evidenced in this film, it’s the key to truly kinetic action sequences. Take for instance a parachute jump that marks the start of the second act. McQuarrie films it as a sustained long take, and as the camera plummets to the ground chasing after the two men, our brains can tell us that there is some special effects trickery to mitigate the dangers, but our senses are overwhelmed with the sustained illusion of tension. The fight choreography is equally up to the challenge. A bathroom brawl with Ethan Hunt and Walker and another man becomes a lesson in how many things can be smashed and what can be used as a weapon. A high-speed motorcycle chase through Parisian streets gets even more frantic when Ethan Hunt drives against traffic, and the scene becomes even more exciting when McQuarrie’s lens allows us to see the danger in all its glory.
The Mission: Impossible franchise has been notable for its insane stuntwork but also, chiefly after the second installment, its edict to practical effects and maintaining the believability of its reality. It’s still movie spy shenanigans and globetrotting adventures, yes, but the moment-to-moment thrills feel like they’re really happening. The Fast and Furious franchise has gained great acclaim for the bombast of its physics-defying spectacle, and the Mission: Impossible franchise seems to have gone purposely in the opposite direction. It’s real Tom Cruise jumping off that building, it’s real Tom Cruise riding through traffic on a motorcycle, and it’s real Tom Cruise falling and climbing up a speeding helicopter during the thrilling finale. Cruise has had a death wish when it comes to throwing himself into the high-wire stunts of his franchise, but even at 56 years old he’s still at it, essentially trying to commit suicide on film for all of our amusement. Cruise is one of the few remaining movie stars and his commitment is without question.
This is also the first Mission: Impossible film that feels like the characters matter. It’s a direct continuation from the previous film, 2015’s Rogue Nation, bringing back the (somewhat lackluster) villain, the newest spy counterpart/potential love interest, the CIA and IMF brass, and the essential supporting team members from prior engagements. Because of this it feels more like what happened previously was establishment for a new story building upon that foundation. Rather than starting all over, the characters find ways to deepen their relationships, and the film opens up Ethan Hunt as a character and the toll his duty takes on those closest to him. There are some nice quiet moments that examine these characters as actual people. Several complications are as a direct result of personal character decisions, some good and some bad. I was joking with my pal Ben Bailey beforehand about wondering whether they’d find a way for Ving Rhames to matter, since he hasn’t been much more than “a guy in the van” for four movies, and by God they make him matter. They make each team member matter, finding moments to give them, mini-goals they’re entrusted with. During the dizzying helicopter chase in the finale, supporting players are left with their own task. Luther has to defuse a bomb but doesn’t have enough hands. Benji has to find something valuable in a very needle-haystack situation designed to torment and waste precious time. Ilsa is at cross-purposes for most of the film, not wanting to harm her fellow allies but also being given her own orders to prove her loyalty and protect her future. All of this comes to a head and it makes the parts feel as important as the whole. That’s great storytelling.
Let’s talk about that million-dollar mustache of Cavill’s. It was a year ago that Justice League re-shoots required Cavill and the Mission: Impossible team refused to allow their actor to shave his mustache, thus leading to that unsettling fake baby lip Superman was sporting in a majority of his scenes in the haphazard Justice League film. I just read an AV Club interview with McQuarrie where he for the first time discusses the whole mustache brouhaha and apparently Paramount estimated that it would have cost them three million for the effects to uphold Cavill’s upper lip continuity. Warner Brothers refused to pay up and so went down that ill-fated CGI mustache-removing route. It was shortly afterwards that Cruise shattered his ankle in a roof-leaping stunt (that is in the finished film and advertisements) and the production had to shut down for a month. If only Warner Brothers had waited, perhaps we all could have avoided this mustache mess.
Mission: Impossible – Fallout is a new highpoint for the best action franchise going in movies today (I’m still waiting for a third Raid film, Gareth Evans). The set pieces are memorable and unique, leading from one into the next with exquisite precision and thought. The action sequences are stunning and shot with stunning photography, highlighting the stunning stuntwork by the best death-defying professionals. It’s the first Mission: Impossible movie that doesn’t climax at its middle; in fact there’s a pretty obvious reveal that feels like it was going to be a late Act Three twist, but McQuarrie recognizes the audience thinking ahead, and there’s like a whole other exciting 45 minutes after. The stakes are better felt because the characters matter and are integrated in meaningful ways. This is the most I’ve enjoyed Henry Cavill in a movie (with possible exception of another spy movie, Man From U.N.C.L.E.), and you know what, his mustache works too. While the vertigo-inducing Burj Khalifa sequence is the best set piece in the franchise, Fallout has everything else beat at every level. Mission: Impossible – Fallout is a reminder that there are few things in the world of cinema better than a properly orchestrated, properly filmed, and properly developed action movie operating at full throttle. This is one of the reasons why we go to the movies, folks. See it in IMAX if possible. Soak it up.
Nate’s Grade: A