The “Mission: Impossible” series has always made its protagonist juggle his commitment to completing his objective while protecting those close to him. The first “Dead Reckoning” is certainly no exception.
This time around, IMF Agent Ethan Hunt (Tom Cruise) is informed about a dangerous artificial intelligence system, as well as a set of keys that can gain control of the program or shut it down. Hunt is ordered to recover it for the United States to give the country an advantage, but he goes rogue, believing it’s better to shut down the dangerous system rather than use it at all.
In his mission, he’s joined by fellow IMF teammates Luther (Ving Rhames) and Benji (Simon Pegg). However, they’re far from the only ones after the keys, as several other powers are after them, including a foe from Hunt’s past. Additionally, a renowned thief, Grace (Hayley Atwell), comes into play as she’s hired to get the keys by one of the many seekers.
As expected, the latest “Mission: Impossible” features a plethora of thrilling moments, from chases using various vehicles to intense fight scenes. There’s even some classic Tom Cruise running. “Dead Reckoning” certainly has plenty of action to satisfy an audience’s entertainment craving.
It’s what happens between the action sequences, though, where the movie can start to wear on a person. Of course, one doesn’t expect non-stop action, and usually in “Mission: Impossible” movies there’s some good banter between the team and a good level of intrigue as the situation they’re in evolves.
However, while there’s some of that in “Dead Reckoning: Part One,” most of the time taking place between action set pieces seemed dedicated to repetitive exposition. The same bits of information related to getting control over the keys and the balance of power in the world seem to just get brought up again between more characters and a viewer just wants things to move on.
It’s probably more noticeable in this installment, too, as it’s the longest “Mission: Impossible” movie to date. Most in the franchise have gone about 10 to 15 minutes over two hours, while this one comes in at nearly two hours and 45 minutes.
Additionally, some interesting story aspects, such as Ethan’s life before the IMF, isn’t delved into as much. The likely reason is that more of it is being saved for the second movie. The problem is is that it makes this film somewhat narratively dry, and there’s a sense that the story holding everything together is being stretched too far in covering two whole movies.
The new cast additions weren’t particularly memorable, either. Atwell’s thief character Grace is an underwhelming addition to the group, adding little personality to the team. Esai Morales, meanwhile, is forgettable as the new villain and Shea Whigham felt miscast as another agent trying to capture Ethan.
It’s a real shame that Jeremy Renner’s character couldn’t be brought back. He, or a similar type of character, would have been a better fit than Whigham’s agent. Fortunately, the returning trio of Cruise, Pegg and Rhames are good as always in their roles.
The three have a nice chemistry with each other and Cruise is always great at balancing Hunt’s seriousness and dedication to the missions, as well as his occasional sharp wit. The film had one intriguing newcomer, too, in Pom Klementieff’s assassin character. She makes for a good, menacing No. 2 baddie and it will be interesting to see what she does in the sequel.
As stated above, the action moments, such as a chase through a city, and the suspenseful espionage scenes, like one in an airport, are effective. The film has a great finale, too, taking place on a speeding, runaway train. It’s exciting as the characters are constantly in danger aboard the passenger train as they attempt to complete their mission.
“Dead Reckoning Part One” isn’t on the level of the previous few “Mission: Impossible” flicks, but it’s still watchable thanks to the expected spectacle on display. Familiar, likable protagonists also make the journey enjoyable, although one wishes the new characters were better, too. 3.25 out of 5.
Matthew Liedke on Film 
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