Brad Bird and an acting ensemble led by Tom Cruise effortlessly accomplish the mission of pleasing their audiences.

Greed is the catalyst that produces redundancy; which plagues many big-budgeted Hollywood productions.  It is easier for the studio to contract a writer to continue an already established franchise, than to come-up with an original concept.  However the right director with motivated crew and actors/actresses can make a sequel worthwhile.  Paramount Pictures has not re-set the creative bar lately, but they have distributed the year’s most stylish and well-executed release.  M:I-Ghost Protocol will not squeeze its way into the Best Picture and Best Director categories for the 84^th Academy Awards Ceremony, but it has solidified Brad Bird as a force to be recognized.  The director of The Incredibles and Ratatouille makes his live-action directorial debut in a manner that seems as though he has had decades of experience.  In the manner of this year’s Rise Of The Planet Of The Apes, the fourth Ethan Hunt outing is fast paced and tells a great abundance without feeling forced and skimping on character development.  I will spare you the basic plot synopsis: if you have seen the trailer you already know the set-up. 

The film opens with an intriguing and well-photographed foot chase, but before that moviegoers are treated to Paramount Picture’s new and certainly improved company logo.  No better way than to commemorate 100 years of movie production than displaying mogul and studio founder Adolph Zukor’s ultimate goal: To entertain audiences.  The film does not require viewing of the three previous films to grasp the plot, and even the great effort from J.J Abrams on Mission: Impossible III cannot compare to what Brad Bird has accomplished.  The movie is Hollywood-ish in its ambitions but all of the large-scale action sequences are grounded in reality as much as possible.  Most likely audiences have seen the trailers and T.V Spots that showcase Tom Cruise scaling the world’s tallest building in Dubai.  This scene and a few others are a true testament to in-camera effects and traditional stunt work.  In regards to the latter movie's technique, Academy members that see this move should reminisce on previous films where stunt work was one of the stars of the film.  Stunt men/women and actors that perform these feats for a few seconds of entertainment are surely due for a golden statue.  There was once an Oscar for best title design: nuff said. 

One of my fellow serviceman (an enlisted Airforce member) said that one of the problems that he had with J.J Abrams’ take on the series was that the villain was not physically intimidating; despite being well played by Phillip Seymour Hoffman.  Michael Nyqvist (the film’s main antagonist) may not have the physique of a 30-year-old Sylvester Stallone, but the end action sequence will show audiences that a man hell-bent on changing history and society will get a few kicks and punches in on a still physically fit 49 year old Tom Cruise.  Paula Patton and Simon Pegg are exceptional, especially the effortless comic relief from the latter.  But it is Jeremy Renner whom steals most of the scenes from an on point Cruise.  Renner’s character is tormented by guilt that is connected to the Ethan Hunt character.  Although it is only rumored that Renner will be the frontrunner for upcoming Mission Impossible movies, he has shown here and with The Hurt Locker and The Town that he is not a fad that is going to fade away anytime soon.  Not bad for a guy that was once a struggling actor that did not have lights in his one bedroom apartment for 8 months. 

Brad Bird’s decision to shoot on 70mm IMAX film was not simply the result of jumping on the Christopher Nolan and Wally Pfister bandwagon.  In an interview with the U.K magazine “Empire”, Bird was quoted saying: “If your star is climbing up a building for real, you kinda have to show it”.  Robert Elswit’s 35mm shots match the 70mm shots with parallel clarity, tracking shots, and color exposure.   Only Robert Richard’s work on Martin Scorsese’s Hugo and Emmanuel Lubezki’s photography of The Tree of Life has a shot at beating Elswit for best cinematography. 

Bird’s next project will be based on James Dalessandro’s 1906, which gives an epic account of the 1906 San Francisco earthquake.  Warner Bros. and Walt Disney are splitting the $200 million dollar budget. 

Mission-Impossible: Ghost Protocol- B+

Coming Soon To Japanese Theaters.

As some of our subscribers already know, Travlis Hallingquest and Daniel Pardi are Sailors that are stationed on an Air Force base in Misawa, Japan.  As far as movies go we often do not receive new releases at the same time as the U.S or U.K.  There have been a few exceptions such as:  X-Men: First Class, Avatar, and Inception.  The latter of the three actually debuted one week earlier in Japan than the U.S.  Now Toho Cinemas is receiving The Adventures of TinTin: The Secret Of The Unicorn and Mission: Impossible –Ghost Protocol on the same release date(s) as the U.S.  We will give an all-encompassing analysis and film review of both these films after they are viewed.  Too bad the IMAX theaters in Japan only show documentaries, therefore we will not be able to view Brad Bird’s take on the next Ethan Hunt adventure and the first 6 minutes of Christopher Nolan’s final Batman outing in glorious 70mm IMAX. For now we will share Japanese posters of TinTin and Ghost Protocol. 

Good job Paramount and Warner Bros.

Cinematic Impact usually steers away from routine reporting on film and television news that is being featured on most prominent film sites.  We primarily focus on analyzing the production, casting, funding, scripting, and studio influence on upcoming and already released projects.   However the following news is too good not to say a few words about:  The Dark Knight Rises “Prologue” may be attached to IMAX prints of Mission: Impossible- Ghost Protocol. 

Brad Bird (the director of Ratatouille, The Incredibles, and The Iron Giant) is directing his first feature live action film.  25 minutes of Ghost Protocol was shot on 70mm IMAX film, and features daring stunt work by Tom Cruise from the world’s tallest building in Dubai.  The aforementioned details are enough to make most moviegoers want to see Bird’s take on secret agent Ethan Hunt.  However drop in 6 minutes of footage from Christopher Nolan’s upcoming end to the Batman Trilogy, and now you have a glimpse of what could be one of the most groundbreaking films ever.                        

http://www.nolanfans.com/2011/02/01/wally-pfister-speaks-about-the-dark-knight-rises/

The above link is from our friends at nolanfans.com.  It is a link to cinematographer Wally Pfister’s interview with The Kevin and Josh Movie Show.  Pfister was on record saying that “the opening scene will blow your mind…and we are all scratching our heads on how we are going to film it”.  Those that have been watching the videos of leaked footage from the Pittsburg and Los Angeles sets may have an idea of what Mr. Pfister is talking about.  I will not comment on any of this due to spoilers and I would rather probe official Warner Bros released trailers and prologue footage.   For amateur video recordings captured on consumer grade video cams and IPhones does not bring justice to what Christopher Nolan and his team are truly up to.  Just keep in mind that Nolan and crew use around 55% less CGI than most other film crews.

Too bad that the IMAX theaters here in Japan only show documentaries, hopefully Paramount Pictures and Warner Brothers will work out a deal to attach The Dark Knight Rises “Prologue” to conventional projectors.  I would love to be able to comment upon a film that could potentially top the 2008 The Dark Knight.  There are doubters out there who have scrutinized the leaked footage.  All I can say is that with special effects genius Chris Corbould (Inception, The Dark Knight, Casino Royale) supervising production/post-production and a script so secret that Nolan has committed the ending only to mental memory, is enough for me to trust a director that has yet to make a sub-par film.

Update on Tuesday, October 25, 2011 at 6:02AM by Travlis Hallingquest

AMC Theaters have confirmed that a 6 minute Prologue to the highly anticipated The Dark Knight Rises is indeed attached to Brad Bird's Mission: Impossible- Ghost Protocol.  As of now, the Prologue will only be available in real IMAX, not IMAX digital. 

GOT FILM?

One weekend onboard the USS ANZIO my friend Eddie and myself had just finished our five-hour security watch.  Afterwards we went to our shop and watched the action/horror exploitation double feature Grindhouse. After viewing Death Proof and Planet Terror we began discussing the two film’s cinematography.  Robert Rodriguez used 35mm film in the past on projects such as Desperado and From Dusk Till Dawn. However he utilized 35mm digital on Planet Terror.  And since George Lucas mainstreamed digital cinematography with Attack of the Clones more filmmakers are running to digital format.  But why not use what has been used since the three second long 1888 Roundhay Garden Scene?  There have been mammoth leaps in digital cinematography in recent years.  Slumdog Millionaire and Avatar won the Academy Award for cinematography in 2008 and 2009 respectively.  And David Fincher has showcased respectable digitally captured images in The Curious Case of Benjamin Button. Even considering all of the positive previously stated truths, the fact remains that digital formats will always try to mimic film.

 Before I go further in to this discussion, I would like to voice my admiration of digital projectors.  Commemorating the 10^th Anniversary of Memento, director Christopher Nolan approved the 10^th Anniversary Blu-Ray and digital print of the 2000 neo-noir film. Stating the obvious, digital projection alleviates viewing experiences being hindered by film reels being jammed and the annoying appearance of the infamous cigarette burn.  Yet the grains, textures, and latitudes of film cinematography are maintained in digital projection.  However the aforementioned physiognomies of film are not present (although some what admirably imitated) in the digital capturing of movies and television.

Director of Photography Wally Pfister attempted to include high-speed shots in Inception that were captured by the Phantom HD camera.  The scene where Leonardo DiCaprio’s character is being dunked into a tub of water to snap out of the induced dream was simultaneously shot on the Arriflex 435 Extreme film camera and the Phantom HD.  Portions of the film were also post converted to 3D and Christopher Nolan has acknowledged the conversion was much better than expected.  But nonetheless he was not impressed enough to release a 3D version of the movie.  Below is Wally Pfister discussing the superior advantages of shooting on film.

Steven Spielberg is utilizing digital motion capture cameras for The Adventures of Tintin: The Secret of the Unicorn.  Spielberg believes that this is the only way to bring Georges Remi’s (aka Herge`) comic series to life.  However he has stated that all of his other films will still be shot traditionally.  I have seen poor quality traditionally shot films, but it certainly seems as though there are much more poorly shot digital films.  I personally loved Michael Mann’s Public Enemies, but as my friend Daniel Pardi stated: “It looks like The Blair Witch Project with guns.  Another friend of mine said that it was as if though they were watching a homemade movie and all of a sudden Christian Bale and Johnny Depp walked across the screen.

 Cinematographer Roger Deakins shot the upcoming 2011 film In Time in the digital format.  Although it was the director’s decision to shoot on this format, I believe that the 10 Academy Award nominations with no wins was a factor for Deakins to be so optimistic about abandoning film. I am very biased (obviously) about this discussion.  But I am not so obtuse that I do not recognize that filmmakers simply use what they feel are the best tools for the job.  But I can’t imagine that Sam Mendes will want Deakins to digitally capture James Bond’s next outing in the still untitled Bond 23. 

 I would never disregard a film whether it is independent or studio produced because it is not recorded to a film stock.  But two facts remain even if all of what I am arguing is perceived as pretentious or boulder-dash:

1.  The human eye sees motion naturally in analog not digital.

2.  Digital formats will always try to mimic film and not vice versa. 

 
© Copyright 2011. Panavision Inc. All Rights Reserved.

Update on Thursday, September 29, 2011 at 3:18AM by Travlis Hallingquest

In an interview earlier this year, cinematographer Wally Pfister spoke of the disadvantages of 3D cinema and the advantages of IMAX film cameras.  3D images are not only dimmer but also cause headaches for the audience.  Acclaimed animator and writer Brad Bird is looking for the best image quality possible with his first feature live action movie Mission Impossible: Ghost Protocol.   It is confirmed from the two time Academy Award winner that 25 minutes of Ghost Protocol will be shot on 70mm IMAX film.  This is less than The Dark Knight and the upcoming The Dark Knight Rises (which is rumored to have 1/2 of the film in 70mm), however key IMAX scenes will involve Tom Cruise scaling the world's tallest building in Dubai. 

Brad Bird's efforts to open his version of the next Ethan Hunt adventure earlier than the official release date has only given him five sneak preview days. However, the five days will be dedicated to placing the movie on premium IMAX screens.  Those individuals will most likely (judging by Bird's current track record) leave theaters positively discussing a film that was viewed in the best possible manner.