prologue

While the television show was far before my time, I have seen several episodes with my dad. One of my favorite aspects was always the opening title sequence in which a fuse would be burning and in the background, clips and pictures of things that were to come later in the episode were shown. Ghost Protocol’s opening title sequence is an homage to this and it works perfectly. It will make any fan of the series smile.”

The main title is awesome, and there are some good bits of action music. It fits the film well...”

The movie starts with a clever jailbreak by Cruise’s Ethan Hunt, stuck in a Moscow prison for reasons unexplained until late in the story, then serves up an opening-credit montage fondly reminiscent of the old “Mission: Impossible’’ TV show.”

The opening is also probably one of the best executed of the year, as well. Something as simple as the combination of a very long fuse being used in a unique way, that familiar theme music, and an elaborate title sequence somehow make all the difference in the world.”

...Hunt tops the moment with one line, "Light the fuse!" They do and the opening credits are the perfect homage to the original television show, complete with Lalo Schifrin music. From that rousing start, "Mission" doesn't let up and you will be on the edge of your seat as you're involved in the action.”

I also like how Bird incorporated a real Mission Impossible-like opening credit sequence showing the influence of the original TV series while updating it for today. The score is by Michael Giacchino who already did a Mission Impossible-like soundtrack for 'The Incredibles' and here gets to do the real thing.”

Then it leads to an equally fun credits sequence that gives full play to the awesomely cool 'Mission: Impossible' theme, which I also appreciated, because you only lose goodwill by leaving out the cool theme music, which the last installment did pretty much entirely.”

Fans of the franchise will notice a few light-hearted winks at previous installments, such as an opening credits sequence that already points to many upcoming events in the rest of the film.”

From an opening credits sequence and Lalo Schifrin's superb musical score that pays greater homage to the TV show original than previous installments, and a classic James Bond meets The Incredibles sort of sensibility; Bird combines these elements and more into a finely crafted action film that lives up to every positive yet cliche' ridden superlative ever uttered about a film of this genre.”

Making his live action debut, Bird brings a playfulness and wry sense of humour to Mission: Impossible — Ghost Protocol. From the moment Tom Cruise’s secret agent barks, “Light the fuse,” cueing Lalo Schifrin’s iconic theme music over the opening credits, our pulses race and we’re strapped tight in for a giddy thrill ride. ”

This is a fast paced, high adrenaline film that doesn't stop moving from the great opening credits until the final frame.”

...the opening credits of the fourth M:I flick leaves little doubt as to who is the driving force behind the latest entry in the blockbuster franchise.”

Director Brad Bird is perhaps best known for his considerably successful animation films, like 'The Incredibles' and 'Ratatouille.' This affinity with animation is clearly visible in for example the title sequence of 'Ghost Protocol.'”

...I can remember sitting there, initially overjoyed by the 'Mission: Impossible' TV-series homage that it paid within the first half-hour (including a superb prologue classic mission, followed by a credits sequence that cleverly flashed us images of the subsequent movie – as was the format of the old series)...”

Right from “Protocol”’s “coming this episode” opening titles for “Light the Fuse,” Brad Bird wants his Imax audience to know they’re back at home watching the most souped-up hour ever, and Giacchino has a blast reminding us of that intent in a way that would undoubtedly make the composer he so obviously loves smile.”

Starting with a cameo by one of Abrams' 'Lost' alums that gets the McGuffin moving (literally, in this case), things quickly takes off, pausing only briefly for a title sequence that nicely homages the TV show's intro each week with a montage of context-free clips from that episode, cut to Lalo Schifrin's propulsive music.”