Mission: Impossible – Fallout: there’s not much to add to what I already wrote about this entry by Christopher McQuarrie to the action series. To be clear, it is the best action series currently being produced, and this film remains true to what makes it work so well.

It is interesting to consider the trajectory from the source, Bruce Geller’s original television series, to the current franchise; the series presented a team of operatives on a mission, mostly including heists or con games fooling the villain. The franchise shifted part of its focus to excellent action sequences, generally with unequaled stunt work by Tom Cruise and others, but it retains those other quieter moments that build tension in a very different way. While the series had a face man (mostly played by Peter Graves), it was clearly a team effort; the films dilute that a bit, but teamwork still is very relevant.

Fallout showcases all that: the inciting incident happens as a direct result of how important the team is to the protagonist, and most of the action setpieces, by design, require multiple people happening. It’s true that the story is the usual hodgepodge of terrorist groups, weapons of mass destruction, double-crossings, and triple-crossings; it still creates enough room for the camaraderie to shine, and to deepen the emotional investment in the situation (that, of course, is the secret of a great action sequence).

Aesthetically, this is firing at all cylinders: cinematographer Rob Hardy’s camerawork is impeccable, the editing of Eddie Hamilton makes the film feel much shorter than it actually is, and composer Lorne Balfe builds nicely off Lalo Schifrin’s famous and versatile theme. The whole cast is in great shape.

This is said with the greatest endearment: this is popcorn cinema of the highest order.

Read what I wrote before: Mission: Impossible – Fallout