Film Review: Mission: Impossible - Ghost Protocol (2011)

The decline of film stars is one of the most intriguing, yet least discussed trends in 21st century Hollywood. Everyone, except the most die-hard fans, understands that the poster face today represents an increasingly insignificant reason why cinemas fill up. It is easy to imagine how ??Harry Potter would have been a hit even without Daniel Radcliffe, Twilight without Kristen Stewart, and Avatar without Sam Worthington. In some cases, the poster face can do more harm than good; Mission: Impossible III is often cited as an example, its relative commercial failure frequently attributed to Tom Cruise’s off-screen missteps, despite him previously being the undisputed face of the popular franchise. Cruise appears to have learned something from this, or at least that is the impression one can glean from the next instalment, Mission: Impossible – Ghost Protocol.

At the very beginning of the film, Ethan Hunt (Cruise), the top operative of America’s super-secret IMF agency, languishes in a Moscow prison. He is rescued through a risky operation by two colleagues—the formidable Jane Carter (Pual Patton) and technician Benji Dunn (Simon Pegg). Hunt is freed solely because he alone can execute a dangerous intelligence-gathering mission within the Kremlin itself. However, this endeavour ends in catastrophic failure, culminating in a spectacular explosion for which the IMF team is blamed. To avoid nuclear war, the American government initiates the so-called “Ghost Protocol,” disavowing the IMF entirely. Hunt and his team, now joined by intelligence analyst Brandt (Jeremy Renner) through circumstance, strive to survive, unmask the villains who set them up, and prevent nuclear apocalypse.

Cruise, who served as producer on the franchise, concluded alongside his colleague J. J. Abrams that the fourth instalment required changes—ones that would both adapt to modern times and return to the roots, or rather the formula, of the original 1960s television series. The most intriguing and potentially risky move in this regard was hiring Brad Bird as director, a filmmaker who had built an enviable reputation but exclusively within the realm of animated films. His live-action debut, however, proves the risk was worthwhile; the action flows smoothly, and exotic locations are skilfully used to create a series of striking scenes.

The second, far more significant change compared to earlier films is that, as in the series, the IMF operates as a team rather than a “one-man show.” This means Cruise is nearly on equal footing with the rest of the cast, whether it be the formidable female agent Paula Patton, comedian Simon Pegg, or Jeremy Renner (who many speculate could eventually succeed Cruise as the franchise lead). The screenplay by André Nemec and Josh Applebaum also effectively utilises contemporary events to make the plot timely and certain scenes convincing. Furthermore, a strong balance is achieved between action, humour, and “serious” content, as well as between human characters and the various “cool” gadgets that could also be considered protagonists.

Where +Ghost Protocol+_ falters is in its insufficiently defined, or rather entirely characterless, villain. Swedish actor Michael Nyqvist, known to the wider public as the journalist in the original screen adaptation of Larsson’s Millennium trilogy, is utterly bland and unconvincing as the mastermind behind the diabolical plot. French model Lea Seydoux, despite the one-dimensionality and coldness of her role, proves somewhat more effective as a hired assassin. The best impression, however, is left by Indian actor Anil Kapoor (the TV host in Slumdog Millionaire) in a comedic role as a wealthy playboy.

Although Ghost Protocol is, at its core, merely a competently made Hollywood action film, in this era when the average quality of American films is constantly declining, this is more than sufficient. It can therefore be recommended even to those who are completely indifferent towards its star.

RATING: 6/10 (++)

(Note: The text in the original Croatian version is available here.)

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