Amid Hollywood Strikes, New ‘Mission: Impossible’ Reveals AI Dangers in Movies

Advertisement

Tom Cruise’s latest installment (Dead Reckoning Part One) delivers both Hollywood history and the necessity for human resistance to the dangers of artificial intelligence in filmmaking. The Writers Guild of America (WGA) strike has lasted more than 130 days. Hollywood writers, joined by the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA), are protesting a number of issues.

Among other demands, the WGA is calling for explicit regulations on the use of AI in media production, in what Time Magazine called “a pivotal moment” in film history. Enter Tom Cruise and cue the Mission: Impossible theme music. Although Barbie and Oppenheimer received the most attention this summer, Tom Cruise’s latest installment in the Mission: Impossible series (Dead Reckoning Part One), reveals more about the future of movies.

Highlights threat from AI

This blockbuster explores AI dangers to human society and our political order, and was begun far before the Hollywood strike in 2020. The Entity, an AI program, is Cruise’s adversary. The Entity, created as a cyberweapon, gains sentience and becomes both agent and object in the ensuing worldwide power struggle. In a digitally networked and dependant world, the Entity can alter digital and physical infrastructure, such as mobile phones and public transportation networks, and hence control the humans who rely on digital interfaces. Recognizing the Entity as a major threat to humanity, Ethan Hunt (Cruise) of the Impossible Missions Force goes rogue (again) in order to acquire and destroy the AI.

Immersive experience

The film’s plot is a vivid reminder of how little agency humans have in digital environments, even as the cinematic environment relies on contemporary technologies to immerse its audience. Like Cruise’s previous summer 2022 blockbuster, Top Gun: Maverick, Mission: Impossible — Dead Reckoning is designed to be cinema as experience more than story, using drone cinematography and sophisticated sound editing. Director Christopher McQuarrie explained his approach as dedicated to “a fully immersive big screen experience,” including high-definition video and sound technologies that allow editors to create the sensation of sound in the audience’s physical environment.

Human acting, star power

As a Hollywood movie star, Cruise is similarly devoted to creating visceral audience experiences. Even as computer-generated imagery (CGI) and digital effects have overtaken big-budget films, Cruise insists on doing all of his own stunts. He explicitly compared his approach to classic film performances, saying: “No one asked Gene Kelly, ‘Why do you dance? Why do you do your own dancing?” Clips of his riding a motorcycle off a cliff circulated online six months before the film released.

When Mission: Impossible was released in July 2023, Cruise surprised fans at global premieres, spending time on the red carpet meeting and talking with them.

His dedication to in-person presence recalls an earlier era of Hollywood when movie stars could not rely on social media to connect with their fans. Despite his public support for the strike, he also advocated for exemptions to allow actors to promote their films.

Advertisement

No digital de-aging

Unsurprisingly, McQuarrie decided against using a digitally de-aged Cruise, instead focusing attention on the physical fitness of a movie star who appears far younger than his 61 years.

All of Mission: Impossible – Dead Reckoning recalls earlier eras of cinema. The film’s title is taken, at least in part, from the 1947 film with Humphrey Bogart. References to the six previous Mission: Impossible films abound, including the return of Canadian actor, Henry Czerny as Kittridge, Hunt’s adversary from the franchise’s first film in 1996. The early desert sequence recalls big-screen desert epics like Lawrence of Arabia (1962), while the submarine introduction to the Entity’s power echoes The Hunt for Red October (1990), among others.

Classic car, train chases

A 20-minute car chase through the streets of Rome features an imperilled baby carriage on steps, a reference to the same scenario in director Sergei Eisenstein’s influential Battleship Potemkin from 1925. Cruise is handcuffed to costar Hayley Atwell, a trick used in various films, including the James Bond film Tomorrow Never Dies (1997), while driving a small yellow Fiat, reminiscent of both The Italian Job (1965) and The Bourne Identity (2002).

There’s even an extended sequence where Hunt battles enemies on top of and throughout the Orient Express train, evoking everything from the films based on Agatha Christie’s novel, to Buster Keaton’s The General (1926), to yet another James Bond film, From Russia with Love (1963), whose plot hinged on the threat of misused cybertechnology. The numerous cinematic references are to films that predate the era of streaming and social media.

Physical presence: a luxury?

Writers and actors have reason to be concerned. Because so many procedures in commercial media are already routine, the business is especially vulnerable to generative AI. The current situation recalls previous changes, such as the impact of sound technologies on silent-film actors, which was dramatized in Gene Kelly’s film, Singin’ in the Rain. Recently, movie theaters transitioned from celluloid to digital projection, thus removing projectionists.

Overt opposition to new technologies is rarely effective in the long run. Scott Galloway, a business professor and pundit, has connected the authors’ strike to the 1980s National Union of Mineworkers strike in Northern England. With so much digital stuff available, personal presence and proximity become increasingly rare and hence more valuable.

Audiences have certainly returned in force to live music concerts. (Try getting a Taylor Swift concert ticket in Toronto.) For the time being, we will have to wait and watch what happens to cinema and those who make it. The sequel to Mission: Impossible — Dead Reckoning won’t be released until next summer.

Advertisement
Advertisement
Advertisement