Réalisation:
Christopher McQuarrieScénario:
Christopher McQuarriePhotographie:
Rob HardyMusique:
Lorne BalfeActeurs·trices:
Tom Cruise, Henry Cavill, Rebecca Ferguson, Simon Pegg, Ving Rhames, Vanessa Kirby, Alec Baldwin, Sean Harris, Angela Bassett, Michelle Monaghan (plus)VOD (5)
Résumés(1)
Ethan Hunt (Tom Cruise), accompagné de son équipe de l’IMF –Impossible Mission Force (Alec Baldwin, Simon Pegg, Ving Rhames) et de quelques fidèles alliées (Rebecca Ferguson, Michelle Monaghan) sont lancés dans une course contre la montre, suite au terrible échec d’une mission. (Paramount Pictures FR)
Vidéo (32)
Critiques (16)
Un enthousiasme orgasmique, entrecoupé de moments d'amertume, qui peut être adouci ou non par un deuxième voir un troisième visionnage. Nolan lui-même aurait honte d'aborder cela d'une manière aussi chevaleresquement sombre, car il serait accusé de s'autocopier. Balfe, quant à lui, a simplement modifié quelques tons des bandes sonores de The Dark Knight : Le Chevalier noir pour ajouter de la tension aux dialogues et une dynamique continuellement palpitante au récit. La plupart des scènes d'action impressionnantes, qui sont presque un événement du genre, ainsi que les combats physiques brutaux, ne reposent pas tant sur la musique que sur la crudité sonore qui leur confère du réalisme. Ces éléments modernes d'urgence musicale assourdissante et d'actions réalistes dévastatrices se rencontrent ici avec des personnages dont l'intrigue est inutilement surchargée, avec des retraits de masques répétés et des changements d'identité parmi lesquels nous arrivons à comprendre l'intrigue de base, mais où nous nous perdons irrémédiablement lors les moments clés des retournements de situation. Du moins, c'est ce qui m'arrivait. Et probablement pas parce que je suis stupide, mais parce que le scénario tente de tout dramatiser à tout prix, même là où ce n'est pas nécessaire. Je lui donnerais donc quatre points, tandis que je donnerais cinq à Mission : Impossible - Rogue Nation, qui est plus modéré et élégamment beau. D'ailleurs, la scène que j'ai la plus appréciée de toutes dans Fallout était celle sentimentale avec la policière française. Et les femmes ici sont vraiment belles, plus belles que dans certains James Bond.
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On est au sixième volet et c’est toujours excellent. Tom Cruise est toujours Ethan Hunt et Ethan Hunt est toujours Tom Cruise. On retrouve la bonne vielle équipe, à laquelle appartient bien entendu Rebecca Ferguson et, comme bonus, la plupart des décors se situent à Paris – même s’il s’agit des lieux les plus glorifiés, mais on ne va pas se plaindre. Je me demande bien si Tom Cruise et son Ethan et Ethan tiendront le coup jusqu’à, disons, soixante-dix ans… :-)
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SPOILERS AHEAD. I find it a bit paradoxical to blame Fallout for being so reminiscent of Rogue Nation. Isn’t a certain degree of similarity, the certainty that we more or less know what awaits us, the reason that we like movie franchises, whether it’s Bond films, Marvel movies or the Star Wars saga? Besides that, Fallout offers enough specific elements to keep it from being interchangeable with its predecessor and it continuously highlights a certain cyclical nature that Ethan Hunt encounters in his life. ___ Unlike the previous instalments, this one makes greater use of a subjective narrative (dreams, ideas) and more frequently brings up the protagonist’s past, which suddenly began to burden him (similar to Bond in Skyfall). His dilemma – whether to help one beloved person or to save millions – is manifested especially in the female characters (Julie, Ilsa, the French policewoman). The central conflict established by the first scene (including a copy of Homer’s Odyssey, in which the mission is given to Hunt) is based on a desire for harmony, accompanied by concerns that he will irreversibly disrupt it with his actions. In fact, he “only” seeks inner peace (similarly to Ilsa wanting to return home). ___ Two and a half hours of the movie are then filled with various complicated deferrals of this goal (toward which it is necessary to work through several constituent tasks), which at first seems to be within reach (trading in plutonium), but gradually becomes more distant the harder Hunt and his team try to achieve it (basically in accordance with one of the meanings of the subtitle, they fall ever deeper). Hunt unwittingly contributes to the implementation of the villain’s plan and thus to the realisation of his worst fear from the opening scene. ___ The constant uncovering of the identities of double and triple agents who plot against each other (of which we are sometimes aware and sometimes not) shows how difficult it is to recognise reality in an unstable postmodern world of simulacrums (see also the scene in which Benji guides Hunt through a 3D space according to a 2D map) and offers – above all – more and more pretexts for the spectacular action on which this franchise is based and to which the logic of everything else is subordinated. So, yeah, the villain has to leave London from the tower of the Tate Modern gallery, Hunt has to ride around the Arc de Triomphe at full speed in the wrong direction, and he has to skydive into Paris from seven kilometres up, because it looks fantastic and will boost your adrenaline level. Suspension of disbelief. Alfred Hitchcock. If you have a problem with that, you will find it excessive and improbable, any you will unfortunately not fully enjoy Fallout. ___ By giving us the dizzying feeling of straddling the boundary between life and death, Fallout is reminiscent of great grotesques like The General and Safety Last! (though Cruise bases his performances on speed and strength rather than physical acrobatics). With their rhythm, use of deadlines, inventive incorporation of Schifrin’s motif and the way everything smoothly fits together in the end, the action scenes are incredibly intoxicating, while also being sufficiently diverse in terms of vehicles, combat methods, multiple storylines running in parallel (in this regard, the final action scene is very Nolan-esque) and the extent of our awareness of what’s going on, which contributes to the fact that we often do not know with certainty whether we are seeing the fulfilment of a premeditated plan or improvisation. ___ Life supposedly flows in spirals and Fallout is structured accordingly, as it repeats situations that we saw in the first half of the film (a shootout in the London underworld is strikingly reminiscent of the handover in Berlin) or in previous instalments of the series with a slight alteration of forces, which the characters are aware of, knowingly winking at each other (and at us) and making fun of their (again) seemingly zero chance of success and survival. The episodic narrative, composed of several outstanding action sequences with their own patterns of development and breathtaking gradation, is again not only utilised, but also reflected. There is no way for anything to end except with a spectacular cliffhanger. ___ Sure, Fallout could have been shorter, less overloaded with plot twists and more focused on the action than on the characters, but in terms of the development of today's world and the Mission: Impossible franchise, I find its more pronounced melodramatic nature (which contributes significantly to the longer runtime) and greater prevalence of postmodern doubt about what is actually real to be a logical way to raise the stakes without resorting to excesses likes those put out by the creators of Fast & Furious. Of course, it can’t be ruled out that Hunt will race with tanks and submarines next time. He evidently still has the physique for that. 90%
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(moins)
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The day before, I saw an overstuffed digital coloring book, the new Avengers, and those endless fights didn't breathe any life, the only thing that sweated during them were the computer processors as they rendered the CGI. In Cruise's film, on the other hand, the contact fights oozed animalism, they were raw and you could feel every punch, it was such a relief to see that old-school action flicks are still being made. The charismatic Cavill is a stud, I can imagine him as the new James Bond, even with that fabulous mustache. And Cruise? I don't know how he does it, if eating umbilical cords to prolong his youth, or if he made a deal with the devil, Hubbard, or Ashtar Sheran, whatever, but to look like that at 56 and still perform those stunts, hats off. I'm 11 years younger and when I take my groceries to the 6th floor, by the third floor I'm already putting on an oxygen mask because I feel like I'm going to die :o)
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I totally appreciate the craftsmanship, the totally awesome Tom Cruise, the great action scenes and pacing. I'd be bullshitting if I said I was bored, but at the same time I felt all along that most of those things were done a little better by the previous film. Whether it was the chases, the work with the bad guy (it's all too transparent here) or the sort of embellishment that makes a great scene stand out (I missed the opera this time). It's great, but not as great as last time, and I really can't imagine that if I had to choose which of the last two M:I episodes to watch now, I'd reach for the sixth one. Not to sound overly disappointed, but it's like choosing between The Dark Knight and The Dark Knight Rises. I'd give Ledger the edge, but if I can't find him, Hardy certainly won't offend me. It's just... it was just a little more interesting last time. In every way.
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Annonces