Tom Cruise lifts Mission: Impossible — Fallout to a new series best

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The Mission: Impossible – Fallout is eyeing a North American debut between $50 million and $65 million. (Paramount Pictures)
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“Fallout” is by far the most expensive film in the Mission: Impossible series with a $178 million price tag. (Paramount Pictures)
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“Fallout” is by far the most expensive film in the Mission: Impossible series with a $178 million price tag. (Paramount Pictures)
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“Fallout” is by far the most expensive film in the Mission: Impossible series with a $178 million price tag. (Paramount Pictures)
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Tom Cruise, who performs all his own stunts, has described the Abu Dhabi skydive as “one of [my] most dangerous stunts yet.” (Paramount Pictures)
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The Mission: Impossible – Fallout is eyeing a North American debut between $50 million and $65 million. (Paramount Pictures)
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The Mission: Impossible – Fallout is eyeing a North American debut between $50 million and $65 million. (Paramount Pictures)
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“Fallout” is by far the most expensive film in the Mission: Impossible series with a $178 million price tag. (Paramount Pictures)
Updated 26 July 2018
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Tom Cruise lifts Mission: Impossible — Fallout to a new series best

  • With the series, Tom Cruise was, as its producer, very consciously launching his own action franchise
  • This series is a set-piece delivery mechanism, and its stories and central character are only there to make those moments happen

Through 22 years and six entries, there is no question as to what the driving force of the Mission: Impossible film franchise is—it’s Tom Cruise. With the series, Cruise was, as its producer, very consciously launching his own action franchise, and each entry since has been guided first and foremost by what stunt he wanted to perform next.
Writers on the second entry in 2000 said that the script was mainly a matter of fitting together the action set pieces that Cruise had already mandated and planned for the film. Now, 18 years later, writer/director Christopher McQuarrie has stated that the latest entry, “Mission: Impossible - Fallout,” featuring a skydiving sequence filmed in Abu Dhabi, began with Cruise saying he would like to pilot a helicopter in a chase.
It’s no wonder that the plots of this series feel so incidental. American poet Maya Angelou once said, “People will forget what you said, people will forget what you did, but people will never forget how you made them feel.” I’m near certain that she was talking about this film franchise. What you remember, as the story of each film self-destructs five seconds after you leave the cinema, is the moments—Cruise hanging from the ceiling, Cruise dangling off the Burj Khalifa, Cruise strapped to the side of a plane. This series is a set-piece delivery mechanism, and its stories and central character—the IMF agent Ethan Hunt—are only there to make those moments happen.


What is Fallout about? The previous installment’s terror group is back, they’ve got plutonium, and they plan to set off nuclear bombs. Ethan Hunt must pose as a terrorist and try to get the plutonium before they have the chance. That’s the plot, anyways. What this film is really about is Ethan Hunt, and how he goes about achieving his goals.

In Fallout, the name of the franchise is the key—each task that Hunt must complete starts off seeming difficult, and as it plays out, quickly seems truly impossible. Each sequence sets the stakes and then continues to raise them, giving this film a palpable tension unlike any action film has delivered in recent memory. But even as the odds get longer, and we the audience question how Hunt will manage to succeed, Hunt himself, even through all the punishment he takes, never loses faith—he will, simply, find a way.
This resonates because we believe it, too—not in the character, but in Cruise himself. In a series that has always relied on practical effects, we know, and are told over and over again, that this is really a 56-year-old Tom Cruise up there, risking his life, defying age, doing what no other person on Earth would dream of doing. Cruise is still the world’s best movie star, and best action star, because he decides he can be. It’s a faith that’s truly infectious. As stressful as this film is, it’s also, without a doubt, the year’s most uplifting, and life-affirming.

 

 


Hafez Galley’s exhibition pays tribute to two Egyptian artists who shaped a visual era

Both artists emerged in an era when newspapers and magazines played a central role in shaping Egypt’s visual culture. (Supplied)
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Hafez Galley’s exhibition pays tribute to two Egyptian artists who shaped a visual era

  • Artworks by Attyat Sayed and El Dessouki Fahmi will be on display until Feb. 28

JEDDAH: Hafez Gallery in Jeddah has opened an exhibition showcasing the works of influential Egyptian artists Attyat Sayed and El Dessouki Fahmi. The exhibition runs until Feb. 28.

Kenza Zouari, international art fairs manager at the gallery, said the exhibition offers important context for Saudi audiences who are becoming increasingly engaged with Arab art histories.

Artworks by Attyat Sayed and El Dessouki Fahmi will be on display at Hafez Gallery until Feb. 28. (Supplied)

“Attyat Sayed and El Dessouki Fahmi’s decades-long practice in Cairo established foundational models for how artists across the region approach archives, press, and ultimately collective memory,” Zouari told Arab News. 

Both artists emerged in an era when newspapers and magazines played a central role in shaping Egypt’s visual culture. Their early work in press illustration “demanded speed, clarity, the ability to distill complex realities into a single, charged image,” the gallery’s website states.

Seeing the works of both artists side-by-side is breathtaking. It’s fascinating to witness how press illustration shaped such profound and lasting artistic voices.

Lina Al-Mutairi, Local art enthusias

Heba El-Moaz, director of artist liaison at Hafez Gallery, said that this is the second time that the exhibition — a posthumous tribute to the artists —has been shown, following its debut in Cairo.

“By placing their works side by side, it highlights how press illustration, often considered ephemeral, became a formative ground for artistic depth, narrative power, and lasting influence, while revealing two distinct yet deeply interconnected artistic paths within modern Egyptian visual culture,” she told Arab News. 

Artworks by Attyat Sayed and El Dessouki Fahmi will be on display at Hafez Gallery until Feb. 28. (Supplied)

Sayed’s work evolved from black-and-white illustration into “layered, dynamic compositions that translate lived emotion into physical gesture, echoing an ongoing negotiation between the inner world and its outward form,” the website states. Viewed together, the works of Sayed and Fahmi “reveal two distinct yet deeply interconnected artistic paths that contributed significantly to modern Egyptian visual culture.”

The exhibition “invites visitors into a compelling dialogue between instinct and intellect, emotion and structure, spontaneity and reflection; highlighting how artistic rigor, cultural memory, and sustained creative exploration were transformed into enduring visual languages that continue to resonate beyond their time,” the gallery states.

Lina Al-Mutairi, a Jeddah-based art enthusiast, said: “Seeing the works of both artists side-by-side is breathtaking. It’s fascinating to witness how press illustration shaped such profound and lasting artistic voices. The exhibition really brings their vision and influence to life.”