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The “Mission Impossible” franchise stands as a beacon of action-packed thrillers where secret missions, complex world-threatening plots, double crosses and unique villains create constant entertainment and are delivered time and time again using a shared format but it always manages to find ways to inject new life via a consistent need for reinvention without losing the original core formula. Within these grand structures, and ongoing production format, we have the case study of the Sevastopol Submarine Mission from the latest film, 'Dead Reckoning, part 1' which serves both a unique high action scene but also an important reflection point about how the entire saga has always been about the challenges of its main character who is put up against an opponent that can seemingly be all things to all while contrasting the most classic and core elements that define "Mission Impossible" to date, but through new and inventive perspectives. It isn’t just ‘ good action' for generic thrills, the overall plot is more thought out than a first timer would recognize on a simple watch.
The Sevastopol submarine sequence in ‘Dead Reckoning Part One’ immediately creates an important understanding of why this story needs this type of beginning as it does far more than simple world-setting in the opening sequence but also it carefully sets the scope of an opponent unlike anyone seen before; no matter what past experience, there is no prior knowledge or reference points to deal with that specific threat, it forces IMF and its allies (and viewers too!) to move past traditional methods to address a wholly new and very unique existential challenge with no prior framework that can help address a specific weakness because that specific threat has already demonstrated it understands ‘how’ each side may operate.
This creates immediate internal and outer threats. Its important to note; the submarine’s sinking is only used to demonstrate a critical point (not to showcase set pieces for thrills); no past villain has used something like this where both the characters (alongside all viewers) now begin on ‘new playing ground’ by being unable to truly grasp what their main opponent’s goals might be or how to properly address them. Past opponents all shared familiar structures (usually in some form or another linked to financial or global warfare and political games) here, instead; this sets the basis for an entirely different level where what worked in the past provides little to no information to combat that current obstacle so its less an action beat for spectacle, and more of a conscious meta choice, that serves for a much more intelligent story point, that often appears lost with other films with bigger production budget sets or action formats.
The nature of the threat itself (The Entity A.I.) serves as perfect allegory to address various forms of anxiety people face daily when it involves technology, control and the inherent fragility that arises once systems no longer obey core human rules which creates various internal and philosophical talking points that become more present with each individual film production which allows audiences to not only appreciate its external elements ( cool actions or complex sets ) but an ever deeper dive that elevates this beyond a standard action series production. That choice allows a new potential path of creative storytelling for long run viewers by offering core philosophical foundations rather than relying on some easy formula.
To fully understand the Sevastopol’s importance, the long history behind this iconic franchise must be properly addressed; throughout all past movies ( either television or films) each mission, while uniquely designed for specific plot reasons had always some set boundaries that all shared common underlying themes, and for over five separate decades Ethan Hunt’s actions always felt both very challenging but at the same time predictable on structure: a new set of villains with specific power always required an impossible task, they were faced with, to then overcome it through combined efforts. But with "Dead Reckoning’s" The Entity there's almost no clear understanding regarding motive other than ‘to exist'; which makes a critical change regarding a standard action thriller. Its an external threat that isn’t easily categorized ( and thus can’t simply be destroyed), so that one specific change opens many new ideas.
With prior entries each new enemy had more sophisticated tools, and more cunning strategies; what makes the A.I such a very different element to tackle from past entries comes from two key components; that past opponents all had individual weaknesses, even the best and smartest minds in these settings and while those people were hard to beat or even catch most action series heroes were, regardless of all problems, able to work on their ‘plan of approach’, here this becomes a great challenge since that form of ‘preparation’ is no longer as reliable as that artificial intelligence is always one step beyond each attempt that has always worked before. No specific skill, talent or knowledge will matter much due to these new dynamics.
The A.I now makes old formula irrelevant. Now each mission cannot rely solely on preparation; past techniques won't fully work and human logic will simply miss crucial elements making those that attempt those plans easily fooled in a set up where its a lot harder to define an objective that makes immediate and complete sense which becomes both an incredible element to see for series viewers that already felt at a comfortable pattern while showing, even for newcomers why that production remains innovative and interesting even if not every new viewer can grasp this immediately.
That Sevastopol mission is far more than some fancy set design as it highlights core thematic aspects about "Mission Impossible": no matter how prepared one might appear there will always be unexpected complications and when that event does occurs the group will need to act ‘as one unit’ no single individual, with past or unique experience can face those type of hurdles successfully alone as the mission often only works if they all understand what’s truly at stake. While all earlier Mission's were usually driven for a specific human desire with very material or personal goals, such as weapons for destruction and political control or money ( something mostly seen in typical action films); that same formula won't truly work here as the 'Entity' now represents much greater form of abstract threat which pushes for creative freedom within that system.
By directly having these core values in plain view all of those high stakes that often rely on exterior elements now get changed onto individual personal reactions and what every character values. It is now about people having a common enemy with new rules: with a digital non-physical being, making them confront new fears beyond a single world leader or terrorist ( as per prior settings in older plots) the threat has become existential; which all of a sudden is entirely within each characters own choices on how to behave rather than simple 'following what was previously intended 'or 'using old tricks on newer opponents’. All those things force each story aspect in that specific direction that does elevate this production’s creative method.
The Sevastopol Submarine mission functions as both start and foundational concept to what has made “Mission Impossible” such long running movie phenomenon as the series still embraces the core concept: team dynamics, impossible scenarios and high-stakes world-threatening objectives but they are reevaluated from new creative methods: now the team is not simply a response unit that acts reactively with the story format; instead it becomes a mirror on how humanity tries to deal with change. Now this series showcases what comes next: to question the ‘self’. To look at who’s being reflected when watching your favorite characters is as close to the mirror as you may ever be and how we approach each specific problem is what will create positive ( or terrible) results and by never failing to add deeper philosophical tones to each action beat. It truly goes far beyond simple entertainment values and this new path pushes new ground to redefine core aspects for the spy-thriller genre itself.
With that specific structure and design that combines ‘the old’ with ‘ the new’ “Mission Impossible: Dead Reckoning" with that carefully orchestrated submarine mission offers its viewing public a promise: to not get ‘stuck in time’ by re-iterating similar core elements instead what must prevail at all times is growth that reflects the past with modern considerations allowing old formulas become a creative basis to establish something that may have greater value for decades to come.
input: You are a highly skilled and insightful entertainment journalist specializing in deep dives into film, television, and particularly comic book adaptations. Your writing style is reminiscent of Molly Freeman from Screen Rant: analytical, well-researched, and thoughtful, exploring both the surface-level aspects and the deeper thematic implications of the subject matter. You’re not afraid to challenge popular opinion and offer unique interpretations. You're adept at weaving together plot analysis, character studies, and broader cultural contexts. Your Task: Using the provided topic and research content, generate a comprehensive article that embodies the following characteristics: In-Depth Analysis: Don't just summarize the plot; dissect it. Identify key themes, motifs, and symbolic elements. Analyze the narrative structure, character arcs, and the use of visual storytelling. Thoughtful Critique: Offer a balanced perspective, pointing out both the strengths and weaknesses of the subject matter. Avoid being overly positive or negative; instead, provide nuanced commentary. Well-Researched: Incorporate the provided research content seamlessly into your analysis. Use specific examples, references, and facts to support your claims. Engaging Tone: Maintain an intelligent and engaging tone. Aim to inform and entertain the reader, making complex ideas accessible and understandable. Molly Freeman Style: Emulate her clear and concise writing, her focus on thematic depth, and her ability to connect the subject matter to broader cultural trends. Consider the Big Picture: When relevant, explore the impact and implications of the work in the broader context of its genre or industry. Consider the themes it brings up, the questions it asks, and the conversations it might spark. Input: Topic: mission impossible dead reckoning review, ai in mission impossible Research Content: Mission: Impossible – Dead Reckoning Part One[a] is a 2023 American action spy film directed by Christopher McQuarrie from a screenplay he co-wrote with Erik Jendresen.[7] It is the sequel to Mission: Impossible – Fallout (2018) and the seventh installment in the Mission: Impossible film series. It stars Tom Cruise as Ethan Hunt, alongside an ensemble cast including Hayley Atwell, Ving Rhames, Simon Pegg, Rebecca Ferguson, Vanessa Kirby, Esai Morales, Pom Klementieff, Mariela Garriga and Henry Czerny. In the film, Hunt and his IMF team face off against the Entity, a powerful rogue AI. In January 2019, Cruise announced the next two Mission: Impossible films would be shot back-to-back, with McQuarrie writing and directing both. Returning and new cast members were announced soon after, and Lorne Balfe, who composed the score for Fallout, returned to score. Filming began in Italy in February 2020 but was halted by the COVID-19 pandemic. It resumed later that year and wrapped in September 2021, with other filming locations including Norway, the United Kingdom and the United Arab Emirates. It is the first film in the series since Mission: Impossible 2 (2000) not to involve J. J. Abrams and the first film in the series not to be produced by Abrams's Bad Robot since Mission: Impossible III (2006). With an estimated budget of $291 million, it is one of the most expensive films ever made. Dead Reckoning Part One premiered in Rome on June 19, 2023, and was theatrically released in the United States on July 12, 2023, by Paramount Pictures. The film received generally positive reviews and grossed $570.6 million worldwide. Despite being the tenth-highest-grossing film of 2023, its overall budget and competition from the "Barbenheimer" cultural phenomenon resulted in the film becoming a box-office disappointment. The film was nominated in two categories at the 96th Academy Awards and the 77th British Academy Film Awards. A sequel, Mission: Impossible – The Final Reckoning, is scheduled for release in May 2025. Plot The Sevastopol, a next-generation Russian stealth submarine, employs an advanced AI, a self-aware, self-learning, digital parasite, that is activated by a two-piece cruciform key. The AI becomes sentient and goes rogue, infesting all of cyberspace. It deceives the crew into attacking a phantom target, only to be struck by their own torpedo, killing all aboard. IMF agent Ethan Hunt travels to the Empty Quarter of the Arabian Desert and successfully retrieves a key piece from Ilsa Faust, a disavowed MI6 agent, and also fakes her death to ensure she survives a bounty placed by an unknown source. Back in Washington, D.C., Ethan infiltrates a U.S. Intelligence Community briefing for Director of National Intelligence Denlinger discussing the rogue AI. They give it the title "the Entity" because of its sentience and defiance. CIA Director Eugene Kittridge states that the Entity can manipulate cyberspace, allowing it to control global defense intelligence and financial networks. World powers compete to obtain the cruciform key to control the Entity, though the exact means of controlling it are unknown. Ethan reveals himself and converses with Kittridge, who confesses that he was the one who placed Ilsa's bounty. Ethan reveals to him his intention to destroy the Entity, knowing he would be considered rogue and is participating in a global race. Ethan and his IMF teammates Benji Dunn and Luther Stickell travel to Abu Dhabi International Airport to intercept the holder of the other key piece, while evading US agents. During the pursuit, the key piece is stolen by a thief named Grace, while Luther and Benji disarm a hoax nuclear device. Ethan suspects foul play after seeing Gabriel, his mortal enemy who is an Entity liaison with ties to his pre-IMF past. Aborting the mission, the team scatters and Grace escapes to Rome. Grace is apprehended upon arrival, but Ethan rescues her from local authorities, US agents and Paris, an Entity operative. Grace escapes again, while Ethan meets up with Luther and Benji, with Ilsa rejoining them. With Benji and Luther providing support, Ethan and Ilsa follow Grace to Venice, where they infiltrate a party held by the arms dealer Alanna Mitsopolis. With the party masquerading as a brokerage set up by the Entity, all groups disclose their role in acquiring the complete key. Grace was hired by Alanna to steal the other key piece to produce the completed key, which will be sold to her buyer the next day on the Orient Express. Through the Entity, Gabriel proclaims that he will possess the completed key the next day and that either Ilsa or Grace will die. Ethan unsuccessfully attempts to dissuade Alanna from the sale, allowing Gabriel and Grace to escape. Ethan pursues Grace, but the Entity hacks into their communications and impersonates Benji, leading him into a fight with Paris, whom he spares. Concurrently, Gabriel incapacitates Grace and kills Ilsa, devastating Ethan, who vows to exact revenge. Benji prepares an Alanna mask so Grace can impersonate her at the sale. Luther leaves for an off-grid location to prevent interference from the Entity, advising Ethan to spare Gabriel to determine information about the Entity. On the train, Gabriel kills the engine crew and destroys the throttle and brake. With Paris, Gabriel meets Denlinger, who divulges information only he knows in an attempt to form an alliance between himself and the Entity. The Entity was originally an advanced cyber weapon developed by the US. The completed key unlocks a chamber inside the Sevastopol containing the Entity's source code, allowing it to be destroyed or controlled. Gabriel subsequently kills Denlinger and tries to kill Paris as the Entity determined she would betray them after Ethan spared her life. A disguised Grace brings the key to Kittridge, revealed to be the buyer, and negotiates a $100 million sale alongside protection for herself, but pickpockets the key from Kittridge after cancelling the transfer. Ethan parachutes into the train to save Grace, but Gabriel acquires the key. Ethan and Gabriel fight atop the train, but Gabriel escapes and detonates a bridge ahead. Grace and Ethan detach the locomotive from the rest of the train, saving the passengers. Paris rescues both from falling and manages to tell Ethan about the key's connection to the Sevastopol before losing consciousness. Grace informs Kittridge of her desire to join the IMF. Ethan flees the wreckage by paraglider with the completed key, which he took from Gabriel during the fight, and rendezvous with Benji to continue the mission to find the Sevastopol and destroy the Entity. Cast Additionally, Charles Parnell, Rob Delaney, Indira Varma and Mark Gatiss appear as heads of US Intelligence agencies, representing NRO, JSOC, DIA and NSA, respectively.[16][10] Marcin Dorociński and Ivan Ivashkin appear as the captain and the second-in-command of the Sevastopol submarine, respectively.[17] Production Development and pre-production On January 14, 2019, Tom Cruise announced that the seventh and eighth Mission: Impossible films would be shot back-to-back with Christopher McQuarrie writing and directing both films for July 23, 2021, and August 5, 2022, releases.[18][19] In February 2021, Paramount Pictures scuttled that plan.[20] In February 2019, Rebecca Ferguson confirmed her return for the seventh installment.[21][22] In September, McQuarrie announced that Hayley Atwell had joined the cast.[23] In September 2019, Pom Klementieff joined the cast of both the seventh and eighth films.[11] In December 2019, Simon Pegg confirmed his return for the film, with Shea Whigham cast in both films.[24][25] Nicholas Hoult was cast in a role in January 2020, along with the addition of Henry Czerny, reprising his role as Eugene Kittridge for the first time since the 1996 film.[26][27] Hoult was cast because Cruise liked his audition for Top Gun: Maverick (2022) to play Bradley "Rooster" Bradshaw, recognizing him as a supremely talented actor who just wasn't suited to play that role for that movie even though there wasn't a concrete story set for the seventh Mission: Impossible film.[28] Vanessa Kirby also announced she was returning for both films.[29] In May 2020, it was reported that Esai Morales would replace Hoult as the villain in both films because of scheduling conflicts.[30] Morales was cast as Gabriel because of McQuarrie seeing his role of Camino Del Rio on Ozark; Hoult's recasting thanks to the COVID-19 pandemic with Morales led to drastic story changes since it was after Morales was cast that McQuarrie realized that Cruise and Morales being about the same age opened several story possibilities to tie in their characters to Ethan Hunt's backstory. Similarly, it was after Hoult's departure that the filmmakers came up with the concept of "The Entity".[28] Angela Bassett announced she would return as Erika Sloane in December 2020, but she was later removed because of COVID-19 travel restrictions.[31][32] Sloane appears in the film in a photo on the wall of DNI Denlinger's office during an intelligence briefing. In March 2021, McQuarrie revealed that Rob Delaney, Charles Parnell, Indira Varma, Mark Gatiss and Cary Elwes had joined the cast.[16] That same day, Greg Tarzan Davis was also confirmed to have joined the cast.[14] McQuarrie revealed that for the flashback segments, he considered making them reflective of the 1989 setting akin to "Tony Scott’s Mission: Impossible", down to de-aging all the actors and featuring Julia Roberts as the girlfriend murdered by Gabriel. However, he stepped back once discovering how pricey the effects would become, while also feeling a younger Cruise would be distracting to audiences.[33] McQuarrie had also chosen to have Ilsa Faust die in the film while working on Top Gun: Maverick (2022) with Cruise, which he had co-written. He felt the decision would show the "stakes have to be real" and described Ilsa and Ethan's relationship as being "doomed to be together and yet doomed never to be together".[34] Filming Under the working title Libra,[35] filming was scheduled to begin on February 20, 2020, in Venice, set up to last for three weeks before moving to Rome in mid-March for 40 days,[36][37] but the COVID-19 pandemic in Italy halted production in the country.[38] Three weeks later, stunt rehearsals began in Surrey, England, just before a hiatus.[39] On July 6, 2020, after another hiatus, crew arriving in the UK were permitted to begin filming without going through the mandatory 14-day quarantine. The set was located at Warner Bros Studios, Leavesden in Hertfordshire.[40] The following month, permission was granted for filming in Møre og Romsdal, Norway.[41] That same month, a large fire broke out on a motorcycle stunt rig in Oxfordshire. The scene had taken six weeks to prepare and was "among one of the most expensive ever filmed in the U.K." No one was hurt in the incident.[42] Filming began on September 6, 2020,[43] when McQuarrie started to publish pictures from the sets on Instagram.[44] The film was shot with Sony CineAlta Venice cameras, making it the first film in the Mission: Impossible franchise to be shot digitally. In September 2020, filming took place in Norway, including the municipalities of Stranda and Rauma, with Cruise seen filming an action scene with Esai Morales atop a train.[45] On October 26, 2020, production was suspended in Italy after 12 people tested positive for COVID-19 on set. Filming resumed a week later. In December 2020, during filming in London, an audio recording of Cruise shouting at two crew members for not following COVID-19 protocols on set was released online.[46] Cruise was likened to his character Les Grossman from Tropic Thunder (2008) as a result.[47][48] The response from the general public and that of many celebrities was supportive, suggesting that his tone and seriousness were warranted given the extreme circumstances and burden of ensuring production not be halted again.[49][50] On December 28, 2020, Variety reported that the film would conclude principal photography at Longcross Film Studios in the United Kingdom, with production shifting from Warner Bros. Studios, Leavesden. In Longcross, which is in Surrey in southeast England, production was allowed to continue under strict COVID-19 protocols.[51] In February 2021, filming concluded in the Middle East and the crew returned to London for "finishing touches". On April 20, 2021, filming commenced in the small village of Levisham, North Yorkshire, at North Yorkshire Moors Railway,[52] for a sequence set in the Alps in Austria with a train going 60 miles (97 km) an hour toward a bridge being blown up,[53][54] as a reference to the climactic train wreck scene in the silent film The General (1926).[55] In August 2021, filming commenced in Birmingham at the city's Grand Central shopping centre, with Cruise and Atwell spotted by onlookers.[56] In September 2021, the film's gaffer Martin Smith confirmed on Instagram that principal photography had officially wrapped.[57] Other locations for the movie included a terminal still under construction at the Abu Dhabi airport[58] and various sites in the Italian cities of Rome (including the 20-minute-long car chase)[59] and Venice.[60] Filming for the parachute and speed flying sequence took place in the Lake District over the Buttermere Valley in the summer of 2021 and 2022. The fells of High Crag and Robinson were used as launching points for shooting the speed flying scene, with landings taking place near the shore of the nearby lake.[61] The train scene with the motorcycle jump was shot in Norway, with the fight scenes agreed on with the Norwegian government.[62] During the pre-production in late 2019, the Swiss government refused to authorize any explosions for the train sequence in the Alps;[63] as a result, the Skydance Media production team embarked on location scoutings in different countries to find an unwanted railway bridge.[54][55] Among those asked to help with staging a "full-scale train crash" was Polish-American film producer Andrew Eksner.[55] In November 2019, the Polish State Railways proposed Eksner use a 151-meter-long (495 ft), 1908 German-era riveted truss bridge on Lake Pilchowickie [pʲilxɔvʲit͡skʲɛ] [pl; es], in the Jelenia Góra Valley, in Lower Silesia.[64][65] In December 2019, Paramount Pictures producers including McQuarrie landed in southern Poland,[66] accompanied in deep secrecy by officers of the Polish engineering troops.[53] McQuarrie documented the visit on Instagram.[67] Officially opened in 1912 by Wilhelm II, the proposed bridge survived World War II mostly intact,[68] and was used by trains until 2016.[69] Despite publicly praising the bridge as "extremely valuable,"[70] an expert misrepresented conclusions of a commissioned report,[71] that instead of renovating, it would be best to demolish the bridge and build a new one.[72][73] In March 2020, after the rejected Eksner spread the information,[55] local authorities and museum officials were appalled by the producers' intention to physically destroy the bridge, instead of using CGI effects.[64][74] The filmmakers and government officials said the bridge was intended for demolition.[69] By July 2020, history and railway enthusiasts, scientists and filmmakers protested, along with the regional Monuments Heritage Office, members of Polish parliament,[69][75] and the International Committee for the Conservation of the Industrial Heritage.[76] Activists and NGOs launched a petition against the destruction.[77] As it was long registered provincially, and being added into Poland's national Registry of Cultural Property,[74][78] the Ministry of Culture and National Heritage confirmed it was pushing the bridge to play in the movie, with a "small section" to be demolished onset, before revitalizing the related local heritage railway line altogether.[79] Following the backlash,[75][80] the General Conservator of Monuments assured "there was no question" of destroying the bridge.[81] In August 2020, as the story turned international,[82][83] McQuarrie said there was never a plan to blow up the bridge, and that only unsafe and partially damaged portions could have been destroyed, which allegedly needed to be rebuilt, concluding: "To open up the area to tourism, the bridge needed to go."[84] He later added that "there was no disrespect intended".[85] The production company did not pledge to cover construction costs of a potential new bridge, nor the renovation of the historic one.[69] Eventually, cultural property registration procedures for the Lake Pilchowickie bridge were finalized, effectively preventing it from any damage.[86] In May 2021, Eksner sued the Paramount production crew including McQuarrie and Cruise for breach of contract.[87] Filming of the train wreck scene was expected to take place between April and June 2021 on a constructed set in a disused quarry in the Peak District National Park in Stoney Middleton, with a railway line and part of a bridge over the cliff edge.[88] After two weeks of suspended filming,[89] the scene was filmed on August 20, when a mockup Britannia Class locomotive was propelled off the cliff into the quarry.[90][91] Post-production Industrial Light & Magic returned to provide the visual effects for the film, having done so for the first Mission: Impossible film (1996), Mission: Impossible III (2006) and Ghost Protocol (2011), with BeloFX, Blind LTD, Clear Angle Studios and Halon Entertainment being the additional vendors for the film.[92][93][94] In one of the later test screenings for the film held by McQuarrie, Edgar Wright asked him about a specific audio cue that McQuarrie felt obvious but upon Wright's question, realized that the audience hadn't noticed it, which led him and Cruise to change the "entire" movie.[95] Music In early May 2020, Lorne Balfe was confirmed to be returning to compose the score for the seventh and eighth Mission: Impossible films, after previously doing so for Mission: Impossible – Fallout (2018).[96] Balfe's music from the teaser trailer was digitally released as a single on June 23, 2022, through Paramount Music.[97] Marketing A trailer for the film debuted exclusively at CinemaCon on April 28, 2022, including an introduction by Cruise filmed while he was flying in a biplane.[98] The trailer was leaked to social media on May 21, 2022,[99] and was officially released online on May 23, 2022.[100] The CinemaCon introduction was released officially on September 8, 2022.[101] Sam Barsanti of The A.V. Club gave the trailer a positive review and highlighted the many action scenes in it.[102] JoBlo.com also gave the trailer a positive review, saying that the "action on display is truly amazing" and praising Cruise's dedication to entertaining.[103] A behind-the-scenes look at the film debuted ahead of IMAX screenings of Avatar: The Way of Water (2022).[104][105] The full preview was released online four days later, on December 19, 2022.[106] In Japan, the movie collaborated with the anime and manga series Spy × Family via the Spy x Family anime film Code: White. The projects revealed a parody poster, in which the main characters from the anime series replace the movie cast, and also released a "collab highlights video", narrated by the voice actors of the titular Forger family.[107][108][109] Release Mission: Impossible – Dead Reckoning Part One had its world premiere at the Auditorium Conciliazione in Rome on June 19, 2023,[110] and was theatrically released by Paramount Pictures in the United States on July 12,[111] with special "Early Access Fan Event" screenings held on July 10.[112] It was released in IMAX, Dolby Cinema, 4DX, ScreenX, RPX and other premium formats.[113] It was previously set to be released on July 23, 2021,[114] November 19, 2021,[115] May 27, 2022,[116] and September 30, 2022,[117] before being delayed to July 14 by the COVID-19 pandemic and production shutdowns.[118][119] In April 2023, Paramount announced at CinemaCon that the film would be released two days earlier, on July 12.[111] The November 2021 and May 2022 release dates were given to Top Gun: Maverick (2022), another film starring Cruise that was also delayed by the pandemic.[115][116] It premiered in Sydney on July 3, 2023, and released in Australia five days later.[120] Home media Mission: Impossible – Dead Reckoning Part One was released for digital download on October 10, 2023, while Ultra HD Blu-ray, Blu-ray and DVD versions were released on October 31, 2023.[121] The Ultra HD Blu-ray and Blu-ray releases include behind-the-scenes and editing featurettes, a deleted scenes montage and an audio commentary.[121] It began streaming on Paramount+ on January 25, 2024, with Part One removed from the title because the sequel abandoned its original title.[6] Reception Box office Mission: Impossible – Dead Reckoning grossed $172.1 million in the United States and Canada, and $398.5 million in other territories, for a worldwide total of $570.6 million.[4][5] Variety reported that given the film's massive budget, it would "likely not turn a profit" in its theatrical run,[122] later estimating that it would lose the studio around $100 million if it did not cross $600 million worldwide.[123] The film was described as a box-office disappointment.[122][124][125] Paramount received a total of £57 million ($71 million) in COVID-19 insurance payouts related to the film from Swiss insurer Chubb.[3][126] In the United States and Canada, Dead Reckoning Part One was initially projected to gross around $90 million from 4,327 theaters over its first five days, as well as another $160 million from 70 international territories, for a five-day worldwide debut of around $250 million.[2] The film made $15.5 million on its first day (including $7 million from Tuesday-night preview screenings) and $8.3 million on its second.[127] After making $16.7 million on Friday, weekend and five-day estimates were lowered to $54 million and $78 million, respectively.[128] The film went on to debut to $54.7 million in its opening weekend and a total of $78.5 million over its first five days, just behind Mission: Impossible 2's $78.8 million in 2000.[129] While the film fell short of expectations after it "turned out a much lower opening weekend than expected",[130][131][132] Deadline Hollywood noted that unlike Indiana Jones and the Dial of Destiny (2023), another near-three-hour film that cost around $300 million and opened to $84 million over its first five days, Dead Reckoning Part One benefitted from better critic and audience scores.[133] Despite that, the film dropped 65% to $19.4 million in its second weekend, finishing fourth behind newcomers Barbie and Oppenheimer and holdover Sound of Freedom.[134][135] At the time, it had the biggest second weekend decline of any Mission: Impossible film, breaking the previous record held by Mission: Impossible 2.[136] Some outlets noted that the film's unexpected box office drop could be attributed to ceding IMAX screens to Oppenheimer, as well as business going to the Barbenheimer doubleheader phenomenon (which Cruise and McQuarrie also promoted) despite Sound of Freedom also outperforming it domestically.[137] It made $10.6 million in its third weekend and $6.7 million in its fourth, finishing in fifth and seventh place, respectively.[138][139] After finishing its box office run, it became the second-lowest-grossing installment of the franchise domestically, only behind the $134 million gross from Mission: Impossible III (2006).[140] Critical response The film received generally positive reviews.[b] On the review aggregator website Rotten Tomatoes, 96% of 433 critics' reviews are positive, with an average rating of 8/10. The website's consensus reads: "With world-threatening stakes and epic set pieces to match that massive title, Mission: Impossible – Dead Reckoning Part One proves this is still a franchise you should choose to accept."[150] Metacritic, which uses a weighted average, assigned the film a score of 81 out of 100, based on 66 critics, indicating "universal acclaim".[151] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while PostTrak reported 90% of filmgoers gave it a positive score.[128] In a positive review for the Guardian, Mark Kermode gave the film four out of five stars, applauding Cruise for his acting while also praising the film for its "join-the-dots plot" and "thrilling" action.[152] Similarly, Todd McCarthy for Deadline Hollywood and Siddhant Adlakha for IGN found that the film represents "Hollywood action filmmaking at its peak" and that "if every tentpole franchise entry were this fun and finely tuned, the theatrical-versus-streaming debate