Tag Archives: Jeremy Renner

Mission: Impossible – Rogue Nation (2015, Christopher McQuarrie)

While Mission: Impossible – Rogue Nation doesn’t deliver much in the way of plot twists, it instead delivers a lot of easy smiles and a handful of good laughs. The easy smiles aren’t just for the action sequences, which often focus on characters’ reactions to them–sometimes relief, sometimes awe at Tom Cruise’s derring-do–but also for the chemistry. There’s not much in the way of character development in Rogue Nation (what does Ving Rhames do in his six months of retirement?), but the actors have a great time onscreen churning out the (relatively light) exposition and going through the espionage motions.

Rogue Nation opens with its biggest set piece–Cruise jumping on a cargo plane, which then takes off. Director (and writer) McQuarrie plays it for a nice combination of laughs and spectacle. Cruise’s sidekicks are all commenting on it, albeit sometimes from thousands of miles away. For the film’s first hour, McQuarrie relies on Simon Pegg for humor. Pegg doesn’t disappoint. After the first scene, it takes a while for Rhames to reappear, while Jeremy Renner (as the team’s permissive straight man) is a constant. First as the chiding presence, then as Cruise and company’s defender once CIA suit Alec Baldwin dismantles the IMF, making Cruise a fugitive.

Cruise is too busy hunting down an unknown villain–Sean Harris–who kidnapped him. Woman of mystery and ostensible Harris lackey Rebecca Ferguson helps free Cruise, just before he has to go on the run from Baldwin. Ferguson and Cruise’s scene, complete with complementary butt-kicking of Harris’s thugs, oozes with chemistry. It takes a while for Ferguson to return to the action; McQuarrie smartly doesn’t focus too much on Cruise–rather Pegg’s angle–because Cruise is… well… a little on snooze when Ferguson’s not present.

Eventually Cruise gets the band back together and travels from Vienna to Morocco to London while pursuing Harris and Ferguson. Baldwin’s after them (sort of) and Ferguson’s disavowed British agent subplot figures in as well. There’s a big car chase in Morocco, a shootout in the Vienna opera house, an underwater heist, and some attempts at plot twists in the U.K. McQuarrie’s set pieces for the third act are all a lot smaller than the ones before. He’s trying to wrap up the film with narrative not action, which is fine, but far from exciting. Particularly because, like I mentioned before… his plot twists aren’t particularly surprising. If they aren’t predictable, they’re entirely inconsequential. Rogue Nation constantly amuses, but never surprises.

It also leaves a couple big questions unanswered, just because they don’t matter once the plot points they’re supporting are resolved. McQuarrie can’t be bothered with anything even hinting at character development. Sometimes he just avoids it by cutting away from a scene and changing the narrative distance–Cruise will take over after a Ferguson solo scene, so her resolution in her own scene becomes a plot point in his new one. Or McQuarrie just forgets about something. It’s more frustrating when he forgets about it, because then it’s clear it never mattered in the first place.

Technically, the film’s excellent. Fine editing from Eddie Hamilton, good photography from Robert Elswit (except in the finale, where it just seems a little too artificial), decent music from Joe Kraemer. A lot of Rogue Nation‘s technical competences are just competences; they’re perfunctory. The film’s strengths are in the performances and the actors’ chemistries. Not just Ferguson and Cruise, but Cruise and Pegg, Cruise and Rhames, Cruise and Renner. Even Rhames and Renner, who do this odd couple schtick for about three minutes spread over a half hour or so. There’s not a lot to their interplay, but it’s damned amusing when they’re onscreen together.

And Harris is good as the odious villain. Rogue Nation sets him up as this terrorist mastermind, but doesn’t show any of the terror (good thing Cruise is really affecting when he’s passionate enough to yell). But when Harris is scheming or terrorizing Ferguson? He’s good. Understated. Maybe the only understated thing in the entire film.

Of the supporting good guys, Pegg’s best. He’s got the most to do. He’s even got the start of a character arc. Renner and Rhames are both fine. No heavy lifting, just easy smiles.

Cruise and Ferguson get the most screen time, with Ferguson getting more of the heavy lifting acting. Cruise has a little, but nothing compared to her. Just more than everyone else. Except–maybe–Pegg. And Cruise gets to do some straight humor scenes, which is nice. Unfortunately, McQuarrie hurries through them.

Baldwin’s in a glorified cameo. It ought to be stunt casting, but it’s hard to identify why it’s much of a stunt.

Rogue Nation is constantly entertaining and never challenging, never ambitious. McQuarrie’s direction is even, he toggles more than adequately between the various elements–humor, action, thriller, exposition–he just doesn’t shine at any of them. Except maybe the humor, which he eschews in the second half for the most part. He’s able to get away with some sincerity, however, thanks to Cruise and company. The actors are able to sell it.

The film’s a fine diversion. But it’s clear from the end of the first act it’s never going to particularly excel overall.

2.5/4★★½

CREDITS

Directed by Christopher McQuarrie; screenplay by McQuarrie, based on the television series created by Bruce Geller; director of photography, Robert Elswit; edited by Eddie Hamilton; music by Joe Kraemer; production designer, Jim Bissell; produced by Tom Cruise, J.J. Abrams, Bryan Burk, Dana Goldberg, David Ellison, and Don Granger; released by Paramount Pictures

Starring Tom Cruise (Ethan Hunt), Rebecca Ferguson (Ilsa Faust), Sean Harris (Lane), Simon Pegg (Benji Dunn), Jeremy Renner (William Brandt), Ving Rhames (Luther Stickell), Jens Hultén (Vinter), Simon McBurney (Atlee), and Alec Baldwin (Hunley).


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Arrival (2016, Denis Villeneuve)

Stylist for hire. Stylist for hire. Denis Villeneuve is a stylist for hire on Arrival. He assembles a wonderful crew and they all do great work. Joe Walker’s editing is always assured, never flashy. Bradford Young’s photography is phenomenal. Arrival’s got a great color palette. Bored with its beauty or some such aesthetic. Excellent music from Jóhann Jóhannsson, even if it sounds a lot like Michael Nyman’s Wonderland score at times. And great production design from Patrice Vermette.

It’s a shame all this great technical work is on a cheap, manipulative narrative. Eric Heisserer’s got no understanding of narrative pacing, so he needs someone like Villeneuve who can assign tonal shifts to the narrative to move things along. I mean, there’s expository narration in Arrival because it’s got a somewhat lengthy present action for an alien encounter movie and a lot of science the film doesn’t want to make up in detail for the viewer. So, even with expository narration, Heisserer can’t make this thing move. It’s a boulder Villeneuve’s got to get going, then keep going. The style gets it through. The technical skill gets it through.

Until there’s a big reveal and the script gets worse. Arrival isn’t cheap and manipulative in terms of its plotting–actually, if the script worked, the plot would be fine–Heisserer’s cheap and manipulative in the detail, in the contrived events, in the lack of ambition or thoughtfulness. There are big logic wholes and not just because the film’s structured to hide the reveal. And that hide is an exceptionally manipulative–or potentially exceptionally manipulative–device on its own.

Arrival should offer Amy Adams an amazing role. It doesn’t. Worse, Villeneuve doesn’t seem to care. He’s concentrating on the filmmaking, not his actors’ performances. You can’t blame him–the actors have that script dragging them down, all Villeneuve has to do is expertly render it. Adams is fine. She’s good. She’s not great. It’s not a great role. It should be a great role and it isn’t.

Jeremy Renner practically deserves an “and” credit. He’s present but not active. Heisserer and Villeneuve ignore him. The second half’s pacing is wonky and, even though Renner gets the stop narration updating the ground situation, he doesn’t have much of a place in it. He needs a very big place in it given the twist and the hide. Villeneuve needed to deliver here with his two lead and he doesn’t.

Forest Whitaker’s awesome as the army guy who recruits Renner and Adams to talk to aliens. Oh, right; Arrival is about aliens coming to Earth. Whitaker can chew some scenery. It’s kind of a crap part given he doesn’t get any character development, even though its sort of promised. I can’t even get into how cheap Heisserer gets with the end of the second act events. If it weren’t for Villeneuve, they’d be big enough to jar you out.

Arrival is a big disappointment. Not just because of the talented people working on it, but because it’s a fine plot with a bad script and Villeneuve tries to mundanely stylize away that badness.

2/4★★

CREDITS

Directed by Denis Villeneuve; screenplay by Eric Heisserer, based on a story by Ted Chiang; director of photography, Bradford Young; edited by Joe Walker; music by Jóhann Jóhannsson; production designer, Patrice Vermette; produced by Shawn Levy, Dan Levine, David Linde, and Aaron Ryder; released by Paramount Pictures.

Starring Amy Adams (Louise), Jeremy Renner (Ian), Michael Stuhlbarg (Halpern), Tzi Ma (Shang), and Forest Whitaker (Weber).


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Ingenious (2009, Jeff Balsmeyer)

Ingenious is a struggling artist picture, only the struggling artist in question (Dallas Roberts) is a tchotchke designer, not a painter.

The film mostly centers on Roberts, but also his sidekick (Jeremy Renner as the somewhat dangerous comic relief) and long-suffering wife (Ayelet Zurer). It’s a little unclear why director Balsmeyer and writer Mike Cram give so much attention to Renner and Zurer at first, because Ingenious does everything in a single stroke. There are no subplots per se. As the narrative perturbs, there is some branching out, but not a subplot. Even though Roberts (sparingly) narrates the film, he’s its opaquest character.

Just over halfway through, it becomes clear why Zurer gets so much attention. And Renner is Ingenious‘s only steam valve. He makes Roberts more likable because even if Roberts is irresponsible, Renner’s worse. But still endearing.

Balsmeyer and Cram really know how to use Renner in scenes too. He’s quiet, then starts to boil and make Roberts (and the viewer) cringe. When he finally does shut up and listen, it’s one of Ingenious‘s most profound moments.

Roberts is excellent in the lead, maintaining likability even when his choices are bad, but Zurer runs away with it all. Her character has the strongest arc and, thanks to Zurer’s performance, Balsmeyer is able to get away with what would otherwise be a cheap finish. Zurer brings so much gravity to the film, it’s impossible to read the end as airy.

Ingenious is subtle and quite good.

3/4★★★

CREDITS

Directed by Jeff Balsmeyer; written by Mike Cram; director of photography, Geoffrey Hall; edited by Suresh Ayyar, Gavin Whalen and Marcus D’Arcy; music by Howe Gelb; production designer, Kim Buddee; produced by Cram, Tim Flood and Brian Neufang.

Starring Dallas Roberts (Matt), Jeremy Renner (Sam), Ayelet Zurer (Gina), Marguerite Moreau (Cinda), Eddie Jemison (Bean), Judith Scott (Rita), Amanda Anka (Louisa), Debby Rosenthal (Brenda) and Richard Kind (Newkin).


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Mission: Impossible – Ghost Protocol (2011, Brad Bird)

Mission: Impossible – Ghost Protocol might be a vanity project for producer-star Tom Cruise, but he sort of deserves it. His first scene features some athletics from him–the film’s full of them–and it’s hard to believe Cruise is nearly fifty. Either he’s got a portrait locked in a closet, they CG’ed his body or vitamins really are magic….

Ghost Protocol, silly title and all, is a fairly diverting espionage action thriller. With Michael Giacchino’s lush score, lots of gadgets and lots of globe trotting, it feels like a James Bond movie. Just an American one with an emphasis on teamwork.

For his first live action film, director Bird does an outstanding job. The film’s problems progressively get more outlandish, but he keeps them in check. Ghost Protocol is a comedy of errors. Nothing goes right; Bird keeps it moving fast enough one doesn’t think too hard.

And Ghost Protocol opens with silly opening titles showcasing later scenes in the movie. If Bird can recover from that lunacy, he can do almost anything.

His composition is strong–he fills the Panavision frame stylishly. It’s a great looking film, except when the CG composites don’t quite match.

Cruise is sturdy in the lead, but has nothing to do. He’s mostly just shepherding the team–Pegg’s blandly amusing and Jeremy Renner’s fine. The film’s best performance is easily from Paula Patton.

As the villain, Michael Nyqvist is terrible.

The conclusion’s just a setup for a reinvigorated franchise… likely an entertaining one.

1.5/4★½

CREDITS

Directed by Brad Bird; screenplay by Josh Appelbaum and André Nemec, based on the television series created by Bruce Geller; director of photography, Robert Elswit; edited by Paul Hirsch; music by Michael Giacchino; production designer, James D. Bissell; produced by J.J. Abrams, Tom Cruise and Bryan Burk; released by Paramount Pictures.

Starring Tom Cruise (Ethan Hunt), Paula Patton (Jane Carter), Simon Pegg (Benji Dunn), Jeremy Renner (William Brandt), Michael Nyqvist (Kurt Hendricks), Vladimir Mashkov (Anatoly Sidorov), Samuli Edelmann (Wistrom), Ivan Shvedoff (Leonid Lisenker), Anil Kapoor (Brij Nath), Léa Seydoux (Sabine Moreau), Josh Holloway (Trevor Hanaway), Pavel Kríz (Marek Stefanski) and Miraj Grbic (Bogdan).


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