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The action sequences in this hopefully final MI installment are outstanding. But ultimately, the film sinks under the sense of its own self-importance.

The plot here is surprisingly straightforward. Ethan Hunt (Tom Cruise) must use a special key (conveniently procured during the 2023 installment of this series) to exterminate The Entity, an AI presence that's systematically hacking into and taking over the arsenals of the world's nuclear powers. Only Ethan Hunt can prevent nuclear annihilation of the human race. In other words, the usual.

The producers have gotten the old gang back together for this last hurrah. In addition to Cruise, Simon Pegg reprises his role as Benji, the tech expert and source of comic relief. Ving Rhames reappears as Luther - hacker, friend and confidant of Ethan. (He's the only other character to appear in all eight installments of the MI franchise). Relative newcomer Hayley Atwell, who was introduced in the previous installment, returns as Grace, a skilled pickpocket and occasional counterbalance to the testosterone of the rest of the team. (Atwell was reportedly 8 ½ months pregnant during filming of some of her action sequences.) There are also cameos by Hannah Waddington ("Ted Lasso") as commander of an aircraft carrier, Angela Bassett as the President and appearances by a variety of other recognizable actors.

Director Christopher McQuarrie ("Jack Reacher" and three previous MI installments) and Director of Photography Fraser Taggart ("John Wick" series and the most recent MI film) have created set pieces that are so good and so implausible that they make this film a must-see. Apparently tiring of doing amazing stunts on solid ground, the pair do their best work at the bottom of the ocean and with Cruise hanging from a biplane. The biplane scene also advertises how well expert plastic surgery can hold up, even in a wind tunnel.

What undermines this project, and makes the show really drag in spots, is the self-seriousness that permeates the script. There are several montages that show scenes from the seven previous installments in the franchise. Fair enough. But there's never any acknowledgement that, even at its best, the MI series has been frivolous, ridiculously implausible summer fun, not anything to take seriously. In this installment, things are often a little too earnest, sometimes way too somber.

The action is further dragged down by some ponderous exposition. For example, Luther advises Ethan: "Our lives are not defined by any one action. Our lives are the sum of our choices." That's fine if you're trying to express your personal philosophy when you're in the tenth grade, but it's deadly in a summer blockbuster.

It's fair to note that this installment was under considerable pressure as it (please, God) wrapped up a franchise that began in 1996 and has enjoyed significant success. Even so, this final reckoning deserved more playfulness, less pretension.

"F1" is a thrill ride of a film that centers on Formula 1 racing. But it's also, um, formulaic.

Sonny Hayes (Brad Pitt) is a talented former F1 driver who never made it to the top. He's recruited by Reuben (Javier Bardem), a former racing rival who now manages the hapless APXGP team on the F1 circuit. Sonny is brought in to mentor Joshua (Damson Idris), the company's talented rookie driver, teach him valuable life lessons and demonstrate that a driver should race for the love of the sport, not the fame and acclaim that accompany success at this level.

Co-Writer/Director Joseph Kosinski, who directed "Top Gun: Maverick," has involved many members of that team on his current film. Co-Writer Ehren Kruger is back. Composer Hans Zimmer delivers another propulsive score that perfectly fits the action taking place. Cinematographer Claudio Miranda has substantially improved on the already-excellent cinematic techniques he employed in "Top Gun." Editor Stephen Mirrione, who was not involved in the previous project, also deserves mention for contributing to a story that starts out fast, then accelerates.

The technical aspects of this film are simply amazing. F1 champion Lewis Hamilton signed on as a producer for the film. Because of his involvement, many current F1 drivers - Oscar Piastri, Lando Norris and others - along with Toto Wolff (principal of Mercedes' F1 racing team) participated in the film and served as technical advisors. Many current F1 drivers took part in the racing sequences.

Director Kosinski outfitted six F2 race cars with cameras, recorders and transmitters. During the racing scenes, Pitt and Idris drove on actual F1 racetracks (the scenes were shot during Grand Prix weekends throughout 2023 and 2024). During the racing scenes, Cinematographer Miranda sat at a monitor with sixteen screens, directing the camera operators and selecting shots. Most of the cameras were on motorized mounts, allowing the cameras to be readjusted to track the action in close-up. As a result of this technical expertise, "F1" is realistic and exhilarating.

In addition to its substantial strengths, this film has major flaws. Calling the story formulaic is actually charitable. The gruff veteran who has problems with authority (and secretly has a heart of gold)? Check. A gifted, self-absorbed younger man whose hubris exceeds his talent and who needs to learn the value of teamwork? Yep. Setbacks caused by unsavory outside forces? Sure. A period of self-doubt before ... You get the idea. You can see it all coming from wayyyyy down the track.

Then there's casting Pitt as a Formula 1 driver. Pitt was 60 during much of the filming. The retirement age for the average F1 driver is 37. Although Pitt is as charismatic and charming as ever, the stereotype of the worldly-wise, wily veteran that worked for Tom Cruise as a pilot in "Top Gun" doesn't seem nearly as plausible here. For me, there was a melancholy element to all this. Pitt, at times, seems to be literally straining to reassert his relevance in a Hollywood often prone to move on without sentimentality to the newer, younger next big thing.

It's easy and appropriate to recommend "F1" as flashy, sleek, adrenaline-pumping entertainment. It's a fun afternoon at the movies. You have to look quite closely to see the wrinkles.

Writer/Director Celine Song first got my attention with 2023's "Past Lives," a beautifully crafted film that received an Oscar nomination for Best Picture. "Materialists" offers a similar level of thoughtful dialogue, wry humor and insight into the human condition.

Lucy (Dakota Johnson) is a NYC matchmaker. While attending the wedding of one of her clients, Lucy meets Harry (Pedro Pascal), a six-foot, handsome private equity investor who checks nearly all of her boxes. But wait! John (Chris Evans), her struggling-actor ex, is working as a server at the same event. John offers perfect hair, attentiveness and a total devotion to Lucy. (Did I mention the hair?) Obviously, the lady has some choices to make. Lucy moves in with Harry, but she turns to John during her times of greatest vulnerability.

Song's script is uneven, but still inspired. Fortunately, the story never threatens to spend much time in typical rom-com territory. In fact, Song seems to enjoy playing with several rom-com tropes. There are the obligatory scenes of ordinary people expressing their romantic expectations. But instead of a speed-dating setting, these are clients being interviewed by Lucy, who occasionally offers some clear-eyed feedback. After one client has presented Lucy with her multi-page, typed list of bullet points that describe her modest expectations for a suitable spouse, Lucy responds: "All I can hope to find for you is a man who can tolerate you for the next fifty years, who likes you at all." There also are multiple references to men having surgery on their legs to become up to six inches taller.

As the film's name foreshadows, Song is clear that, for many, marriage is as much a business decision as it is a choice inspired by true love. But even this mercenary spirit is tempered by a sense of humanity. At one point, Lucy confesses that she likes Harry "because you make me feel valuable," offering a charming shift in perspective on the nature of their transactional relationship.

There are a few imperfections. The film includes a major digression into the travails of Lucy's client Sophie (Zoe Winters). Although there's an ultimate payoff to this subplot, several of the related scenes slow the film's momentum. Finally, there's Lucy/Dakota Johnson. Although the script requires her character to be emotionally detached, I spent the film trying to figure out whether Johnson was compellingly in-character or just an actor with a limited emotional range. (Anyone who is even vaguely aware of the "50 Shades" franchise should be permitted similar misgivings.)

Because Song is willing to take risks and clearly has something to say, I was rooting for "Materialists." As the film progressed, I wondered how she would eventually land the plane. From my perspective, Song comes in for a smooth, satisfying landing.