Mission - Impossible III (Widescreen Edition) Review

At the time of its release, Mission: Impossible III 's box office was plagued by the publicity backlash against couch-jumping star Tom Cruise. It's too bad, because this third installment of the spy thriller franchise deserved a better reception than it got. First-time feature director J.J. Abrams (bigwig TV director/producer of Lost , Alias , & Felicity ) proves more than able-bodied in creating a Mission: Impossible that's leaner and less over-stylized than John Woo's sequel and less confusing than Brian De Palma's original. Plot is still a throwaway here (Cruise's Ethan Hunt rescues his kidnapped former trainee and works to steal a device that... well, we don't really know what it does, but it's something about mass destruction that costs $850 million), but the action sequences, particularly one where Ethan faces down a helicopter on a bridge and gets flung hard against the side of a car, are particularly impressive since Cruise, at 44, is still doing most of his own stunts and shows no hint of the weathered look that's struck his action-star peers. (Though no Mission: Impossible stunt will ever be quite as simultaneously nail-biting and funny as the first film's wire-dangling break-in of CIA headquarters.) Mission: Impossible III boasts a pedigreed cast, particularly Oscar® winner Philip Seymour Hoffman ( Capote ) as baddie arms dealer Owen Davian. Hoffman plays Owen all teeth-clenched and cool, especially when threatening to kill Ethan in front of his lovely new wife (Michelle Monaghan) who has no idea of his spy life. But in his first action-film lead role, Hoffman's almost too calm and collected to really make a memorable villain, especially when the rest of the cast--Ving Rhames (the only other cast member to return for all three films), Asian film star Maggie Q, and an underused Jonathan Rhys-Meyers--are a highlight as Ethan's IMF team. Mission: Impossible is still fun popcorn spy fare, and if Cruise chooses to end the franchise here, at least he goes out on a high note. --Ellen A. Kim