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Still hidden in the shadows, Ethan Hunt (Tom Cruise) and his impossible mission team find themselves called to action as a new Artificial Intelligence super weapon begins to take form and sentience. Traveling from one corner of the globe to the other the proverbial goose chase is afoot, but, fighting this nearly omnipotent super power will come with greater risks and unknown rewards, if any. Written by Bruce Geller, Erik Jendresen, and Christopher McQuarrie and Directed by McQuarrie this seventh installment in the franchise brings back familiar faces Ving Rhames, Simon Pegg, and Rebecca Ferguson, and, effectively delivers monster set piece after monster set piece of action, spy trickery, and creative wit, to make for the dominant action/adventure flick in theatres currently, and that’s saying something in the face of a certain whip wielding archeologist who returned to the silver screen two weeks ago. In fact, in a quick comparison between the two films both manage to showcase at least two very similar sequences, and, in both instances Cruise and company take the crown for overall execution and effectiveness in cinematics. One thing is clear, say what you will about his offscreen personality; but, Tom Cruise’s “action personality” still knows how to raise the bar and make good action flicks, performing his own stunts, jumping off of cliffs, crashing cars, and flying planes. At 61 years old, one does begin to question when will enough be enough, oh by the way, there’s at least one more in the chamber for this series with Dead Reckoning Part Two slated for a 2024 release. At some point the physical aches of transgressions past will catch up, but for now this two hour and forty three minute adrenaline pumper hits hard. Worthy and demanding of the big screen experience, Mission: Impossible – Dead Reckoning Part One is rated PG-13.

Archeologist and Professor, Dr. Indiana Jones (Harrison Ford) is on the precipice of retirement when his god daughter, Helena (Phoebe Waller-Bridge), decides to re-enter his life whilst on her own archeological quest; more specifically, a mission to find the Antikythera of Archimedes, a device believed to be able to predict the sun and the stars’ movements. As legend would have it, the Antikythera also contains the ability to see and travel through time. It’s this later possibility that catches the attention of former Nazi scientist Dr. Voller (Mads Mikkelsen). Now, it’s a race against time to gather up the Antikythera to keep the world in order.Written by Jez Butterworth, John-Henry Butterworth, David Koepp, and James Mangold and Directed by Mangold this fifth instalment in the Indiana Jones Franchise plays nicely to pay homage and re-visit a number of favorite characters, themes, and getaways from the last forty-ish years. Running strong with action set piece after set piece in Acts I and II, the film isn’t overly complex or inventive with fresh material, rather, we’re subjected to nostalgia at almost every turn, which eventually runs a bit dry, and, by Act III our fevered pitch sputters instead of detonates. Also noticeably absent, the Indy humor component, rather we’re hit with the similar tones of “I’m old” over and over. The sum total of this CGI heavy two hours and thirty four minutes leaves us a little underwhelmed, certainly not the worst of the catalog, but far from the best. Indiana Jones and the Dial of Destiny is rated PG-13.

Playwright Conrad Earp (Edward Norton) has completed his latest work detailing the tale of a father (Jason Schwartzman) driving his precocious son, Woodrow (Jake Ryan), to receive an award for his scientific research in the fictional town of Asteroid City. While in Asteroid city a confluence of events takes place locking all inhabitants and visitors into quarantine. It’s during this lockdown each inhabitant will have their own revelation for better or for worse. Written by Wes Anderson and Roman Coppola and Directed by Anderson, this veritable who’s who of Wes Anderson’s greatest hits features the usual expected cast of players adding a few new faces along the way, all delivering deadpan lines of efforted dialogue. Meticulous in set design and art direction, the usual Anderson feast of nuttiness is on full display, and, plinking soundtrack from none other than Alexandre Desplat does its best to sell the drama. Sadly, this return to Wes world, comes up a bit empty handed with comedic beats lacking punch, and, despite all its efforts, echoes a resounding “meh,” we’ve seen these gags before and the bar has not been raised further. Seemingly forgettable, tidy bows and all, this brisk hour and forty four minutes seems appropriately timed. Asteroid City is Rated PG-13.