Previously on Midlife Crisis Crossover: star/producer Tom Cruise’s Mission: Impossible series reboot of the old TV espionage drama just keeps going and going and going and going and going. We were all assured the eighth entry Mission: Impossible – The Final Reckoning — delayed multiple times and with an ending price tag rivaling the GNP of most nations — would be the grand finale to end all grand finales and that this was totally it for IMF Agent Ethan Hunt, the stubborn jack-of-all-trades, honorary Olympic athlete, and indefatigable Chosen One whose rotating teams keep saving the world from every former spy turned evil mastermind — all sixteen million of them, whichever ones didn’t go after James Bond first.
Cruise, now 62 and eligible for discount-level Social Security, has prided himself on performing as many of his own stunts as possible, but cannot keep doing this forever, or so we all keep trying to tell him. Whether it’s his unconditional love of making blockbusters or the rewards of heading the Church of Scientology’s most effective outreach program, something’s fueled his deep desire to keep going bigger, faster, louder and jumpier. From the fifth one onward he’s synchronized with writer/director Christopher McQuarrie and all but buried the earlier, wobblier installments. The oft-thrilling conclusion to the saga (supposedly) doesn’t quite take the throne of Best Mission Ever, though it isn’t for lack of effort, ensemble, effects, or eagerness to excite.






As with most big-budget sci-fi films nowadays, many viewers will spend half the running time of the new Tom Cruise vehicle Oblivion mentally tallying how many refurbished components they recognize from other sci-fi flicks. That doesn’t automatically make the film bad in my book, but it can be a pervasive distraction that turns my viewing experience into one long Highlights for Children puzzle. (Score one point for every borrowed element you spot! If you spot ten or more, you’re a Certified Movie Maven!) Oblivion is the second feature film from Joseph Kosinski, the director of Tron: Legacy, which was a visual wonderland and a surprisingly classy act considering it was a Disney sequel to a film I’ve disliked since I was ten.