Contrary to the escapist blockbuster, Tom Cruise's Ethan Hunt's eighth and final outing is the most doomed, most frustrating, but most frustrating.

With tensions and conflicts around the world, it can be a relief when Hollywood blockbusters disperse their audience with some escapism, some optimism and some shaky, kind fun. Mission: Impossible - The final estimate is not that kind of blockbuster. Tom Cruise's Global Action-Adventure Series, the final estimate is a tragic, apocalyptic road fixed on the subject of our reconciliation range from our nuclear world and the rapid collapse of civilization. Yes, you'll see Cruise fighting on his panties and doing another flat routine of him, but even so, it could be a summer face movie.

The person who starts the film says, "The truth is disappearing and war is coming. Instead of the lively drama ban, there is a cod philosophy about fate and choice, and instead of Lalo Schifrin's adrenaline pumping classic theme, there is an orchestral minor tune on the soundtrack. All this doom and melancholy disappointingly, the franchise allows you to see that kind of spinning turn in its car sequence. The final mission: The Impossible Movie, The Estimate of the Dead is a fun, bubble-rich European fanatic, full of pranks, charm and romance-or as close to romance as the romance you're going to take a cruise, while the follow-up has the same writer-director Christopher McQuarrie). However, the final estimate is almost exclusively in tunnels and caves, and deep in the ocean, is the darkest, darkest film in the series, both literally and symbolically.

It uses its nearly three hours of running time to scenes sitting in a dark room, explaining to each other in gravel whispers. We sat again and again in these heavy, por murmurs: The title may also be the fair: Infinite. Often, these scenes flash back on what happened before, flashing what might happen in the future, and explaining the same story in the same gravel whisper in different dark rooms to different people (if a term) in different dark rooms. But instead of leaving McQuarrie and his team insincere the plot, this crazy editing keeps cutting the shot into smaller and smaller pieces in the hope that we won’t notice, but hope we won’t notice.

If the final estimate is a truly clever and complex drama, then a frustrating mood may be forgiven. But, unfortunately, it's as stupid as a Hollywood blockbuster. The premise that starting from the estimate of death is that an artificial intelligence called the entity has taken over the Internet and will soon launch a global nuclear strike that will destroy humanity. I'm not sure why it's going to do that, or how good people know what it's going to do, but that's OK. The point is that Cruise’s character, Ethan Hunt, can eliminate the threat of this existence with some surprisingly simple means. All he has to do is click the two gadgets together, and the entity will be a non-entity.

One of these gadgets is a box containing the source code of the entity, currently in a destructive submarine - so the deep-sea diving kit, which gets full traces for weirdness without the mark of irritation. (How long do you want to watch someone swim quietly without a villain chasing him?) Another gadget that Ethan needs to end the entity is "poison" - basically invented by his Pal Luther (Ving Rhames), basically a thumb drive. In the missionary world: impossible, then this poison is almost the most important object in history. It can actually save people. So why did Ethan keep it in the pocket of his helpless friend, allowing the bad guy Gabriel (Esai Morales) to steal it easily?

Ironically, the film keeps praising its protagonist against the sky. When we haven’t heard a speech about his heroic spirit (which is naturally passed in gravel whispers), we are watching edits from other films in the series as if someone is going to give him a Lifetime Achievement Award. But no one even mentioned how disastrous it was that he didn’t put Luther’s poison in a safer place.

Before the film finally reaches a sequence of action on the poster that the audience might want to re-watch an action sequence on the poster, there are countless plot problems to solve, namely an action sequence on the poster, and Cruise clutches the biplane in the air. As we're often told, Cruise does his own stunts - he does it well - so if you like to see his face blown up by the high-altitude, high-speed winds' face, you'll enjoy his latest fitness feat. But this is not the most primitive work: essentially, it's the helicopter sequence in the mission: Impossible - The radiation mixed with the freight aircraft sequence in the mission: Impossible - Rogue State. You must ask: Biplane? Really? This outdated vehicle choice suggests that the filmmakers have canceled every other mode of transport during the three-year run of the franchise, so what’s left over from Price is almost what they have left.

If there is another sequel, the gang will be forced to trample in a penny park, so perhaps the best, the final estimate is sold as a mission: the impossible finale. It’s a pity that the series’ farewell must be so solemn and so stupid.