Mission: Impossible – The Final Reckoning

REVIEW:

Mission: Impossible – The Final Reckoning: Review (Spoilers Ahead)

This review has spoilers, so if you haven’t watched Mission: Impossible – The Final Reckoning and don’t want anything ruined, please go watch the movie and return after. With that out of the way, let’s talk about the epic, ambitious, occasionally flawed, but ultimately satisfying potential finale to one of cinema’s most consistent action franchises. At nearly three hours long, the first hour feels like a dense info-dump: exposition-heavy, occasionally clunky, and a little too eager to reorient the audience. It’s understandable given the complex fallout from Dead Reckoning – Part One, but it could’ve been more efficient. Tightening this first act would have allowed the film to breathe more later on, rather than overwhelming us with a wall of dialogue early.

One of the things I did love, however, was the callbacks. This movie isn’t shy about pulling the past into the present—almost like a cinematic scrapbook, referencing characters and events all the way back to Brian De Palma’s original. These nods often work, giving long-time fans rewarding moments of recognition. But not all of them hit the mark. A particularly odd inclusion was the reveal that Shea Whigham’s character is the son of Jon Voight’s Jim Phelps. This revelation lands with a thud—it’s mentioned, then ignored. It doesn’t affect the story in any meaningful way and only raises questions the film has no intention of answering. A classic case of a twist for twist’s sake.

Esai Morales’ Gabriel, who was positioned as a significant figure in Ethan’s past across both Dead Reckoning and The Final Reckoning, ultimately feels like a missed opportunity. His death is abrupt and strangely quiet for a character who supposedly shaped Ethan’s entire path into the IMF. We’re teased with glimpses of their history, but never offered a proper flashback or deeper explanation—just hints and half-formed memories. With everything else going on, that subplot dissolves into background noise, making Gabriel feel more like a narrative device than a full-fledged villain. It’s disappointing when the emotional core of the conflict isn’t fully realised.

Vanessa Kirby’s absence was definitely felt, especially given how much flair and mystery she brought to her role as the White Widow. Whether scheduling conflicts or script choices kept her out, her presence could have added another layer of intrigue. Meanwhile, Hayley Atwell returns and gives a committed performance, but I still wish Rebecca Ferguson had remained the central female lead. She had a unique connection with Ethan and the right skillset for this world. I wasn’t surprised by her death in the previous film, but I was disappointed they didn’t find a way to keep her in the story. Her dynamic with Ethan had real weight, and it’s missed here.

In terms of action, this is a different kind of Mission: Impossible. Gone are the sprawling car chases and skydiving acrobatics we’ve come to expect. Instead, we’re treated to fewer—but grander—set pieces. The highlight is undoubtedly the underwater sequence, which is nothing short of a masterpiece in filmmaking. When Ethan descends from the American sub and the Russian submarine looms like a sunken leviathan, it’s breathtaking. The scale, the silence, the mounting tension—it’s unlike anything else in the series. Ethan’s escape through a rolling, collapsing vessel, including the torpedo tube scene, is edge-of-your-seat brilliance. That entire section alone justifies seeing this on the biggest screen you can find.

Long-time fans will definitely benefit most. The film makes little effort to catch up newcomers—so if you don’t remember the likes of Rolf Saxon’s CIA analyst from 1996, some of these returns will pass you by. But for those who do, these callbacks add depth and meaning. Pom Klementieff is another standout, evolving her assassin character from deadly foe to unexpected ally in a way that feels earned, not forced. Her shift adds a rare emotional warmth to the ensemble. Yet, the script falters elsewhere. Luther’s mysterious illness is introduced and then never followed up on—it’s confusing, especially with the timeline being so close to the last film. And Gabriel’s “only parachute” bluff is made meaningless when Ethan finds one under the seat thirty seconds later.

In terms of tone, this is easily one of the more serious entries in the series. There’s far less humour, fewer of those signature light-hearted moments that give breathing space between chaos. But given the world-ending stakes, this sombre tone feels appropriate. Fallout remains the pinnacle of the franchise for me, followed closely by Rogue Nation, and then The Final Reckoning. Its grand ambition and scale help it stand tall, even if the path getting there isn’t always smooth. Ethan and his team are literally trying to prevent the end of the world, and that weight sits heavily on the film’s shoulders.

While the title and tone suggest finality, this doesn’t feel like an absolute ending. Threads are tied off, yes, but the door is left cracked just enough for more. Personally, I hope this is the end. Not because I want to see it go, but because it deserves to finish strong—and this feels like a confident, well-earned conclusion. Let Cruise, who’s given everything to this franchise, bow out with dignity and explore new challenges. The Final Reckoning is a thrilling, occasionally uneven, but emotionally satisfying blockbuster. It could’ve used a tighter script and pacing, but that underwater sequence alone is an unforgettable experience—and proof that the franchise still knows how to leave us in awe.