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[Photos: Paramount Pictures] By STEVE PERSALL, Times Film Critic © St. Petersburg Times, published May 24, 2000 Mission: Impossible 2 takes longer than five seconds to self-destruct. It slowly erodes anticipation, more concerned with moody spies than mayhem. That is surprising, since this Mission was accepted by John Woo, the chief architect of modern movie violence. This is his least spirited film, better than most directors could envision but disappointing compared to earlier works.
In the sequel, Ethan is called away from a death-defying, mountain-climbing vacation to track down a deadly virus. The bug winds up in the hands of rogue agent Sean Ambrose (Dougray Scott), who threatens to unleash it and sell the antidote for millions. The only distinction of this villain is his Scottish accent.
Robert Towne's screenplay demands much exposition, despite its clear outline. Many thought DePalma's movie was too complicated. This time the story is simple but Towne makes it appear complicated. Each misdirection requires a short cut later to get back on track. Woo should be igniting more fireworks than this. An hour passes before the first satisfying action, tardy by his standards. The final 20 minutes, a motorcycle-and-martial arts showdown between Ethan and Sean, locates that misplaced momentum, almost too late to matter. Woo reprises some franchise tricks, including the false-face routine made famous by the 1960s TV series. Improved computer technology makes ripping away latex masks look better than ever. Towne dreams up several uses for the effect, perhaps a couple more than necessary.
The most memorable sequence in 1996 occurred when Ethan was slowly lowered by cable through a hyper-sensitive security system. Woo uses the same kind of dangling danger, but speeds through the stunt. He doesn't allow tension to build as DePalma did, when a bead of sweat on Ethan's brow could make a viewer cringe. There aren't any nail-biting scenes in Mission: Impossible 2. Fingers are more likely to impatiently drum the arm rest, waiting for the balletic mayhem of Woo's Hard-Boiled or The Killer. We know his genius lurks somewhere in this movie; slow-motion camera swirls, fluttering birds and double-fisted guns are his trademarks, widely imitated. Woo directs Mission: Impossible 2 cautiously, as if still introducing himself to U.S. audiences despite Face-Off and Broken Arrow. Or maybe he has nothing left to say about the poetry of violence after such visual eloquence in his Chinese classics. Only one sequence in Mission: Impossible 2 evokes Woo's best, reckless romanticism, when a car chase takes a nasty swerve. Ethan uses his vehicle to shield Nyah's from a cliff. Two cars spin like those flamenco dancers they observed earlier. Their eyes flirt for what seems like eternity, despite the immediate danger. Frantic, a bit silly, and finally so touching that you buy into it. That is Woo's style, and what this mission curiously lacks. Mission: Impossible 2
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