PR in the Philippines

(SeaPRwire) –   J.J. Abrams’ reputation has been in decline since he left Star Wars in a predicament from which it is still trying to recover. The Rise of Skywalker represented the lowest point for the sequel trilogy both critically and at the box office, and although it earned a massive sum for Disney, the franchise now appears directionless following the hollow conclusion of the Skywalker Saga.

However, Abrams would never have been entrusted with that role without first proving his worth, having demonstrated his skill at revitalizing struggling franchises long before Palpatine’s inexplicable return. He directed The Force Awakens, naturally, but he secured that job by successfully reviving Star Trek for the big screen when the series was stagnant. And three years prior to that, he was the caretaker of a franchise that would later achieve extraordinary, spectacular feats.

Mission: Impossible III is arguably the most average film in the M:I series, and possibly its most crucial one in secret. As devotees of the series are aware, the franchise was still defining itself when III premiered two decades ago today; the 1996 reboot was a comparatively realistic Brian De Palma thriller, whereas M:I-2 was the most intensely John Woo film imaginable. III struck a middle ground as a solid yet forgettable action movie that, looking back, maintained the franchise’s appeal and significance just long enough for it to evolve into the contemporary pinnacle of stunt-based filmmaking.

As the final installment to operate on the assumption that Ethan Hunt is an ordinary person, III finds him engaged to be married and retired from active duty, content to work as an IMF instructor by day and live as a regular citizen by night. This premise feels somewhat absurd now, with the knowledge that four subsequent films featuring ever more outlandish antagonists and set pieces were on the horizon. At the time, however, Tom Cruise was already 44, making it plausible to assume that both he and his character shared the same mortal constraints as everyone else.

Predictably, Hunt is drawn back into the field after his best protégé is captured, leading to a tumultuous conflict between Hunt and arms dealer Owen Davian (Philip Seymour Hoffman) over possession of a lethal MacGuffin known as the Rabbit’s Foot. Hoffman embodies a chilling antagonist who appears capable of outmatching Cruise through pure mercilessness. Although the storyline feels tenuous in parts, the narrative was never the primary draw for audiences.

Moviegoers attended for the spectacle, and Abrams provided it with a high-energy assault on a German facility, a frantic pursuit through Shanghai, a fiery battle on the Chesapeake Bay Bridge, and, most memorably, a lengthy Vatican City sequence where Hoffman’s character is impersonated by a disguised Cruise. The action occasionally borders on confusion—the film was produced at the peak of the jarring shaky-camera trend and marked Abrams’ directorial debut after years in television. Yet the successful sequences are exceptionally effective, and the sight of Cruise leaping between Shanghai high-rises hinted at the expanding scale of the series’ aspirations.

And while Mission: Impossible III was never a contender for accolades in character development (Maggie Q and Jonathan Rhys Meyers appear only once in the series as underdeveloped allies for Hunt), it remains fascinating to watch Cruise portray a part he doesn’t often embody: an everyday person who visits convenience stores, drives an average car, and speaks of love without melodrama. The casual dialogue between Cruise and Ving Rhames about balancing personal relationships with their dangerous jobs feels generic, but by the time Dead Reckoning Part One was released last year, their interactions had become so consumed by exposition that their humanity was nearly forgotten.

Although M:I III garnered mostly positive reviews, several commentators noted the franchise was still seeking its place alongside the likes of Bourne and Daniel Craig’s James Bond. This assessment was valid—this is a film where Cruise reciting “Humpty Dumpty sat on a wall” after climbing the Vatican serves as the height of cleverness—but Abrams’ workmanlike, reliable style generated sufficient revenue to buy the series time to find its footing. After oscillating between Cruise as a reluctant desk analyst and Cruise as a flamboyant, leather-wearing stunt rider, a “competently straightforward” entry was a prudent and essential move.

Five years later, Brad Bird’s Ghost Protocol would propel the franchise to wildly exaggerated new levels, after which Christopher McQuarrie solidified the tone for the subsequent four films with a consistent mix of boundary-testing action and intricate, solemn plots. McQuarrie’s movies have notable strengths and tedious weaknesses, but audiences understood the experience they were signing up for with each installment. Could he—and could viewers—have had the opportunity to cement that identity if Abrams, who continued as a producer for the next three films, had not steadied the ship during a critical period?

The answer is uncertain. Yet given the substantial criticism he has received for his damaging impact on Star Wars, it is only just to acknowledge his contributions where they are deserved. Abrams’ traditional, formulaic direction proved advantageous for Mission: Impossible III, offering the series a much-needed coherent path forward. He may not be a master at repairing franchises, but for this particular one, he served as its rescuer.

Mission: Impossible III is available for streaming on Paramount+.