1996 Directed by Brian De Palma
When Ethan Hunt, the leader of a crack espionage team whose perilous operation has gone awry with no explanation, discovers that a mole has penetrated the CIA, he's surprised to learn that he's the No. 1 suspect. To clear his name, Hunt now must ferret out the real double agent and, in the process, even the score.
Tom Cruise Jon Voight Henry Czerny Emmanuelle Béart Ving Rhames Kristin Scott Thomas Vanessa Redgrave Jean Reno Emilio Estevez Ingeborga Dapkūnaitė Rolf Saxon Marcel Iureș Karel Dobrý Andreas Wisniewski Annabel Mullion Olegar Fedoro Morgan Deare Valentina Yakunina Marek Vašut Nathan Osgood John McLaughlin David Shaeffer Rudolf Pechan Gaston Šubert Ricco Ross Mark Houghton Bob Friend Garrick Hagon Jiřina Třebická Show All…
Mission: Impossible 1, Misija - Nemogoce, Mission Impossible - IM1, Миссия: Невыполнима 1, Mission Impossible, Mission Impossible I, M:I-1, Місія неможлива, MI-1 - Mission Impossible, 碟中谍1, Mission։ Impossible, 職業特工隊1, Mission Impossible 1, Missão Impossível
After PULP FICTION maybe the pop masterpiece of the 90s? Probably hyperbole, but minutes after my umpteenth viewing it's the truth.
"Would you like to watch a movie?"
Usually a respected auteur like Brian De Palma doesn't get credit for delivering a great piece of pop blockbuster entertainment unless he or she subverts it in some way, deconstructs the genre or introduces some kind of wildly transgressive element like Verhoeven's satire or Scott's formal mayhem, but that's not what De Palma does here. This is more like his Manhunter, where a great director takes pulpy source material and turns it into a meditation on the act of watching, and the romance and excitement of movies themselves. In the opening sequence, IMF are basically established as a film crew, creating a fake scenario in order to get the name of a spy…
94/100
Mission: Impossible is delightfully cheesy, aged to perfection and surrounded by the meatiest strip of bacon ever crafted. It's a tasty and junky blast, from the first frame to the last. Brian De Palma has always been known for his sensual and gleefully silly ventures, all of which possess immaculate form and content. but this is easily his most delicious in regards to spookiness. The set-pieces here are just magnificent, relishing in flawless camerawork and ingenious pacing, and it's all enhanced by Danny Elfman's peerless score. In spite of its commitment to tone, De Palma's film also has a rat complicating things and dangerous chewing gum. Fun, fun, and fun.
it's funny because we all know that 2018 tom cruise would actually run around on top of a moving train and so 1996 tom cruise relying on visual effects seems sort of weak by comparison
Brian DePalma finally got the chance to direct a big studio tentpole and the resulting film absolutely rips. The director gets to lean into his pulpier, crowd pleasing side while still indulging in his signature obsessions with surveillance/voyeurism and meta filmcraft-as-spycraft mechanics. The very first scene opens with our Impossible Mission Force team essentially making a film: we've got a director, a damsel in distress, a villain, and a set, and we're seeing it all on the same video monitor as the team itself until - voila! - DePalma pulls back the curtains and reveals what's really happening. It's right in line with some of his best intros, a meta-riff and love letter to filmmaking itself - the slasher movie…
Mission Impossible still rules!! Definitely the most auteur-driven blockbuster & the only one in the series to have that true spy thriller feel with 60's espionage aesthetic. De Palma going full De Palma with shots and camera placement. That Langley heist is just an all-timer set-piece, in terms of suspense and tension building, it's maybe the best set-piece in the series. Also that Elfman score is gold.
94
Still the gold standard of auteur-franchise-fuckery. De Palma lays out all the traditional crayons and colors inside the lines, yet it still plays like one great big con-job. The *classic* opening, literally dividing its space and revealing itself as a movie-set, is only the beginning of how De Palma constantly expands and constricts his canvas. Shooting wide and large, in the case of the final train/helicopter action set-piece (which is still an all-timer), and shrinking a 'light-bulb' revelation to nothing more than conjoined edits and alternate viewpoints find common ground in his delicious zooms, ghostly steadicam, and operatic tendencies. The looming fog, traveling gazes, and canted angles are right out of early-British-period Hitchcock and Film Noir, but there's a few additions such as exploding chewing gum, floppy-disc-drives, and (gasp!) email. So assured it'll re-wire the brain.
