Vanessa Kirby

Hobbs & Shaw (2019, David Leitch)

Hobbs & Shaw is a tad too aware of how little it needs to try to succeed. Like it knows it doesn't just have Dwayne “The Rock” Johnson, it's got him giving a downright good performance in an energy drink version of a James Bond movie. Sure, Jason Statham–Shaw to Johnson’s Hobbs—doesn’t really work out, but Vanessa Kirby makes up for him as his fugitive secret agent sister. Rounding out the leads is Idris Elba as the villain. He’s basically a Bond henchman but well-acted (one wonders how Elba kept a straight face during some of the exposition); he’s got an unseen boss with an electronically disguised voice so they can wait for the sequel to cast him. So Elba’s stuff when he’s talking to the unseen Big Bad is silly but Elba still keeps it going. If Statham were better and the script weren’t insipid, the movie might have more of a chance. And if the second act weren’t such a slog.

But the first act and the third are really solid, mostly because of Kirby in the third and Johnson in the first. Despite being a Fast and Furious spin-off, the movie’s got no attachment to its parent franchise other than Johnson, Statham, Johnson having a kid (Eliana Sua), and Statham having a criminal Helen Mirren for a mum. Mirren’s got a fine cameo, but given how much she’s holding Statham up for it, it should’ve been a sign he was going to run out of energy. But he actually never gets it. Kirby’s got it, Johnson’s got it, Elba’s got it. But not Statham. He never does anything wrong in a scene, but he never tries either. The scenes where he and Johnson banter back and forth, Johnson’s carrying Statham and the scene. Same goes for Kirby. Maybe they cut out Statham’s subplot because the movie’s already two hours and seventeen minutes and it’s incredibly bloated in the second act.

Or maybe Statham just isn’t enthusiastic enough for the movie. Hobbs & Shaw, in general, confuses bombast for enthusiasm. Statham has neither. Johnson’s got enough to share, so it works out.

There are also the silly cameos, which are funnier than they ought to be because their inclusion is so desperate. Because the biggest one is for Johnson, who doesn’t need the help; unless the Helen Mirren scene with Statham is supposed to count but it doesn’t. For a movie with endless exposition, somehow Hobbs & Shaw is always missing the right exposition. Instead it’s nonsense about cyborg supermen, human evolution, and programmable viruses. It’s cartoon blather but the film knows it doesn’t have to do better because Johnson’s charming and is about to have a decent action sequence—albeit one with lousy digital background composites, a problem plaguing the film and its action—so it doesn’t try. It doesn’t make Statham do better, it doesn’t worry about the messy second act.

It’s not wrong about it’s ability to land the proverbial plane despite the turbulence. The film finds a way to get sillier but also more human, becoming cartoonish in a good way, and the third act is good. The sequel set up is obnoxious but as long as Kirby’s back, it’d be worth it.

Also perfectly good in the supporting cast are Eddie Marsan and Cliff Curtis. Marsan’s a little rocky at the start, but he finds the film’s rhythm. Curtis is so sturdy you wish he’d had a bigger part.

Hobbs & Shaw is stupid, fun, and funny. The soundtrack is loud and omnipresent—including a full song montage presumably for the artist placement—and never seems like the track complimenting the action is as important as the track getting used. The film’s also big on production placement, McLaren underwrites Statham’s garage of sports cars while Elba’s cybernetically-linked (it’s a cartoon, just go with it) Triumph motorcycles gets a lot of screen time.

It ought to be better, it’s not as good as it should be, but it makes clear it could’ve been worse. Johnson, Elba, and especially Kirby make it work.

1/4

CREDITS

Directed by David Leitch; screenplay by Chris Morgan and Drew Pearce, based on a story by Morgan; director of photography, Jonathan Sela; edited by Christopher Rouse; music by Tyler Bates; production designer, David Scheunemann; produced by Dwayne Johnson, Jason Statham, Hiram Garcia, and Morgan; released by Universal Pictures.

Starring Dwayne Johnson (Hobbs), Jason Statham (Shaw), Idris Elba (Brixton), Vanessa Kirby (Hattie), Helen Mirren (Queenie), Eddie Marsan (Professor Andreiko), Eliana Sua (Sam), Cliff Curtis (Jonah), and Lori Pelenise Tuisano (Sefina).


Mission: Impossible – Fallout (2018, Christopher McQuarrie)

Mission: Impossible – Fallout is two and a half hours of almost constant, continuous action. There’s an opening sequence to set things up–Tom Cruise botches a mission because he likes his sidekicks too much (and who wouldn’t like Ving Rhames and Simon Pegg, who make a fantastic pair in the film). He gets in dutch not with boss Alec Baldwin (who can barely maintain his man crush on Cruise) but with Angela Bassett, who’s the CIA boss. Cruise and company are IMF, which stands for Impossible Mission Force. Oddly, even though Henry Cavill (as Bassett’s CIA muscle who tags along to babysit Cruise) makes fun of the Mission: Impossible “let’s wear masks and pretend to be bad guys” thing, he doesn’t make fun of the Impossible Mission Force name.

Maybe writer (and director) McQuarrie only wanted to go so far with it.

So even though Cruise has botched the opening mission, Bassett’s willing to let him go off and try to save the world from rogue secret agents who want plutonium. Sadly they don’t need it to get 1.21 gigawatts, they need it to set off nuclear bombs and destabilize the world as we know it. As long as he takes Cavill along.

Bassett describes Cruise as a scalpel and Cavill as a hammer, but it’s more like Cruise is a hammer and Cavill is a jackhammer. Cavill towers over Cruise, making their scenes together in the first act all the more impressive because Cruise maintains the upper hand. Not hogging the screen acting-wise, but in terms of being the more dominating ideology. Cruise is a good secret agent, Cavill is an immaculately groomed thug. Cruise is fairly immaculate as well, but he gets dirty. Not too dirty; whoever was in charge of maintaining their hair during action scenes deserves some kind of special Oscar. Secret agents have great hair.

Pegg, Baldwin, and Bassett included. Rhames is shaved bald. And when British secret agent and former Cruise and company member Rebecca Ferguson shows up a little while into the film, she too has great hair. Only Sean Harris, as the villain, doesn’t have great hair. He’s wild and unkempt. He’s an ex-secret agent who wants to destroy the world. Cruise stopped him once and, in Fallout, now has to decide whether or not to potentially free Harris to get back that plutonium.

The film stays in Europe for most of the story, with the biggest sequences in Paris and London. The finale heads to rural Central Asia, where director McQuarrie proves just as adept at mounting phenomenal action sequences as he does in European metropolises. McQuarrie never lingers too long on landmarks, but he’s always aware of the architecture. There’s lots of Cruise in long shot, running through a building (or across the top of one) and great scenic backdrops. It’s charming. And always perfectly paced. McQuarrie’s direction, more than his script, more than any of the performances, makes Fallout. He gets the film set up, gets it moving, and runs it to the finish. He never races–Fallout’s pacing (especially for a two and a half hour movie) is outstanding. McQuarrie has some twists, but he’s also just got good plot developments.

He’s also able to use dream sequences–albeit ones with visions of nuclear destruction–to do a lot of Cruise’s character development. Though, really, Fallout doesn’t have much character development. Not for anyone else, anyway. Pegg’s got a tiny personal subplot about being more self-confident and Ferguson’s sort of got one but not really. Like Rhames doesn’t have any. Neither does Cavill. He’s there to be a foil. There’s not time for character development. There’s plutonium out there and Cruise’ll be damned if he’s going to let anyone get hurt.

All of Cruise’s dream sequence character development involves guilt over how he ruined ex-wife Michelle Monaghan’s life by being a secret agent, forcing her into hiding. Monaghan’s a memory in Fallout, someone offscreen in danger to give Cruise something constant to fret about. McQuarrie doesn’t give Cruise any angst to deal with, just the dream sequences haunting him. Harris haunts him too, because Harris knows Cruise too well. It’s impressive how well McQuarrie integrates it into the film since Fallout’s always moving. Even when Rhames has to tell Ferguson about Monaghan because Ferguson is sweet on Cruise and thinks Cruise might just be sweet on her, which leads to a lovely scene in Paris in a park. McQuarrie is sparing with the quiet moments, but they’re always exceptional. They’re so well-executed, technically speaking, it lets him get away with the script being a little saccharine.

Baldwin’s not the only one with a man crush on Cruise; McQuarrie’s pretty smitten too. Cruise isn’t just a good guy, he’s the only good guy who can save the world. It’d be eye-rolling if the film didn’t make such a successful argument for it.

All the acting is fine or better. Vanessa Kirby, as a blue blood heiress arms dealer, gets a little grating, but she’s an arms dealer. She’s not really supposed to be too sympathetic.

Cruise is good. He’s got some really fun moments, not just the action stuff, but also the action stuff. He and Ferguson’s gentle flirtation is likable, just like he and Cavill’s muted hostility is entertaining. Rhames and Pegg are both fun. Harris is a good villain. Cavill’s good, though probably has the worst character in the film. McQuarrie never quite gives him enough and sometimes too little. Especially in the third act. Same with Ferguson; she’s got her own subplot–aside from the Cruise crush–and McQuarrie kind of chucks it once she fully teams up with Cruise and company. Actually, there’s enough of a logic leap with her character… maybe some scene got cut.

On the technical side, Fallout’s excellent. Rob Hardy’s photography is good, Eddie Hamilton’s editing is great. Lorne Balfe’s score is quite good; he’s sparing when integrating the Lalo Schifrin theme and always right on when does (or doesn’t) use it.

Fallout’s a superior large-scale, stunt-filled, action picture. It’s more thrilling than ever a thriller–in the third act, even the good guys can’t really be in any life-threatening danger because franchise, McQuarrie is still able to make every moment rivet. Fallout is a spectacular action spectacle.

3/4★★★

CREDITS

Directed by Christopher McQuarrie; screenplay by McQuarrie, based on the television series created by Bruce Geller; director of photography, Rob Hardy; edited by Eddie Hamilton; music by Lorne Balfe; production designer, Peter Wenham; produced by Tom Cruise, McQuarrie, Jake Myers, and J.J. Abrams; released by Paramount Pictures.

Starring Tom Cruise (Ethan Hunt), Henry Cavill (Walker), Ving Rhames (Luther), Simon Pegg (Benji), Rebecca Ferguson (Ilsa), Vanessa Kirby (White Widow), Michelle Monaghan (Julia), Alec Baldwin (Hunley), Angela Bassett (Sloan), Wes Bentley (Patrick), Liang Yang (Lark), Kristoffer Joner (Nils Debruuk), and Sean Harris (Solomon Lane).


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