It even applies to the film’s humor, which, while not as sight-gag zippy as Brad Bird’s Ghost Protocol, embraces slapstick and even Cruise’s slightest shrugs for big laughs.

But it’s also, for many long stretches, a wordless, graceful action spectacle, a return to the best slapstick of the silent era and a reminder that great sound effects are the only language you need for car chases and knife fights. It is, like all of the previous Mission: Impossible films, a convoluted spy adventure that requires bouts of wordy conversation to explain its twists and turns. But Rogue Nation is the first film to prove how bright our global blockbuster future could really be. Often that results in movies that are dull or even incomprehensible (see, again, last summer’s Transformers effort). China is poised to become the largest moviegoing market in the world, and virtually every tentpole produced by American studios is made intended for a global audience-that is, easily translatable, heavy on spectacle, and not offending any sensitive foreign governments that might decline to release it. Rogue Nation is the first English-language blockbuster released with the Alibaba imprint, but far from the first American film made with Chinese audiences very much in mind.

The film opens with title cards for production companies Bad Robot and Skydance, but also Alibaba, the film production arm of the e-commerce giant based in China.

At the very beginning of Mission: Impossible – Rogue Nation, you can get a glimpse of the future-and it has nothing to do with spy technology used by Ethan Hunt and his team.

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