Jingoism, beefcake, military hardware, and a Giorgio Moroder rock score reign supreme over taste and logic in this Tony Scott film about a maverick trainee pilot (Tom Cruise)... read more

Jingoism, beefcake, military hardware, and a Giorgio Moroder rock score reign supreme over taste and logic in this Tony Scott film about a maverick trainee pilot (Tom Cruise) who can't follow the rules at a Navy aviation training facility. The dogfight sequences between American and Soviet jets at the end are absolutely mechanical, though audiences loved it at the time. The love story between Cruise's character and that of Kelly McGillis is like flipping through pages of advertising in a glossy magazine. This designer action movie from 1986 would be all the more appalling were it not for the canny casting of good actors in dumb parts. Standouts include Anthony Edwards--who makes a nice impression as Cruise's average-Joe pal--and the relatively unknown Meg Ryan in a small but memorable appearance. --Tom Keogh (hide)

Mission Impossible A flashy, splashy summer-movie blockbuster that's fun and exciting without being mindless? That's the impossible mission accomplished by director Brian De Palma, star-coproducer Tom Cruise, and... read more

Mission Impossible
A flashy, splashy summer-movie blockbuster that's fun and exciting without being mindless? That's the impossible mission accomplished by director Brian De Palma, star-coproducer Tom Cruise, and the crack team of Mission: Impossible. Based on the '60s TV show and an almost impenetrably complex (but nonetheless thrilling) original story by David Koepp (Jurassic Park) and Steven Zaillian (Schindler's List), with a screenplay by Koepp and Robert Towne (Chinatown, Shampoo), Mission: Impossible begins with veteran agent Jim Phelps (Jon Voight) and his expert crew embarking on a mission that goes horribly, horribly wrong. But nothing is what it seems. The nail-biting set piece--always a signature of director De Palma (Carrie, The Untouchables)--in which Cruise is lowered from the ceiling to retrieve information from a computer in a high-security vault--is an instant classic. But perhaps even more impressive, at least in retrospect, is a flashback sequence in which two characters attempt to reconstruct a series of events from multiple points of view. It's pretty daring and sophisticated stuff for a big-budget spy movie, but brains were always what put the Mission: Impossible team ahead of the competition, anyway, no? --Jim Emerson

Mission Impossible II
Visually stunning, and a likely must for John Woo aficionados, the second Mission: Impossible outing from megastar Tom Cruise suffers from an inconsistent tone and tired plot devices--not only recycled from other films, but repeated throughout the film. Despite remarkable cinematography and awe-inspiring, trademark Woo photography, the movie offers a tepid story from legendary screenwriter-director Robert Towne (Chinatown, Without Limits) and a host of other writers, most uncredited.

It is, regrettably, as forgettable as the first big-budget, big box-office MI in 1996, and it's clear (as Towne confirms) that the plot was developed around Woo- and Cruise-written action sequences. The film combines equal elements of romance and action, and is best when it features the stunning allure of Thandie Newton as Nyah, a master thief recruited by the sinewy charms of Ethan Hunt (a fit Cruise). Deeply in love after a passionate night, the couple must then combat MI nemesis (and Nyah's former lover) Sean Ambrose (Ever After's Dougray Scott). Ambrose holds hostage a virus and its cure, and offers them to the highest bidder.

Woo's famed mythic filmmaking is far from subtle, with heroic Hunt frequently slow-motion walking through fire, smoke, or other similar devices, replete with a white dove among pigeons to signal his presence. The emphasis on romance is an attempt to develop character and a more human side to superspy Hunt, but still the dreary story proves a distraction from the exciting action sequences. John Polson (as an MI team member) is an Aussie talent to keep an eye on. --N.F. Mendoza

Mission Impossible III
At the time of its release, Mission: Impossible III's box office was plagued by the publicity backlash against couch-jumping star Tom Cruise. It's too bad, because this third installment of the spy thriller franchise deserved a better reception than it got. First-time feature director J.J. Abrams (bigwig TV director/producer of Lost, Alias, & Felicity) proves more than able-bodied in creating a Mission: Impossible that's leaner and less over-stylized than John Woo's sequel and less confusing than Brian De Palma's original. Plot is still a throwaway here (Cruise's Ethan Hunt rescues his kidnapped former trainee and works to steal a device that... well, we don't really know what it does, but it's something about mass destruction that costs $850 million), but the action sequences, particularly one where Ethan faces down a helicopter on a bridge and gets flung hard against the side of a car, are particularly impressive since Cruise, at 44, is still doing most of his own stunts and shows no hint of the weathered look that's struck his action-star peers. (Though no Mission: Impossible stunt will ever be quite as simultaneously nail-biting and funny as the first film's wire-dangling break-in of CIA headquarters.)

Mission: Impossible III boasts a pedigreed cast, particularly Oscar® winner Philip Seymour Hoffman (Capote) as baddie arms dealer Owen Davian. Hoffman plays Owen all teeth-clenched and cool, especially when threatening to kill Ethan in front of his lovely new wife (Michelle Monaghan) who has no idea of his spy life. But in his first action-film lead role, Hoffman's almost too calm and collected to really make a memorable villain, especially when the rest of the cast--Ving Rhames (the only other cast member to return for all three films), Asian film star Maggie Q, and an underused Jonathan Rhys-Meyers--are a highlight as Ethan's IMF team. Mission: Impossible is still fun popcorn spy fare, and if Cruise chooses to end the franchise here, at least he goes out on a high note. --Ellen A. Kim (hide)

One of the best romantic comedies of the 1990s, this box-office hit cemented writer-director Cameron Crowe's reputation as "the voice of a generation." Crowe could probably do without... read more

One of the best romantic comedies of the 1990s, this box-office hit cemented writer-director Cameron Crowe's reputation as "the voice of a generation." Crowe could probably do without that label, but he's definitely in sync with the times with this savvy story about a sports agent (Tom Cruise) whose fall from grace motivates his quest for professional recovery, and the slow-dawning realization that he needs the love and respect of the single mom (Renée Zellweger in her breakthrough role) who has supported him through the worst of times. This is one of Cruise's best, most underrated performances, and in an Oscar-winning role, Cuba Gooding Jr. plays the football star who remains Jerry Maguire's only loyal client on a hard road to redemption and personal growth. If that sounds touchy-feely, it is only because Crowe has combined sharp entertainment with a depth of character that is rarely found in mainstream comedy. --Jeff Shannon (hide)

Little did Tom Cruise know that he would become a box-office superstar after he cranked up some Bob Seeger and played air guitar in his underwear. But there's... read more

Little did Tom Cruise know that he would become a box-office superstar after he cranked up some Bob Seeger and played air guitar in his underwear. But there's more to this 1983 hit than the arrival of a hot young star. Making a stylish debut, writer-director Paul Brickman crafted a subtle satire of crass materialism wrapped in an irresistible plot about a crafty high schooler named Joel (Cruise) who goes into risky business with the beguiling prostitute Lana (Rebecca De Mornay) while his parents are out of town. Joel turns his affluent Chicago-suburb home into a lucrative bordello and forms a steamy personal and professional partnership with Lana, but only as long as the two can avoid the vengeful pimp Guido (Joe Pantoliano) and keep their customers happy. A signature film of the 1980s, Risky Business still holds up thanks to Cruise's effortless charm and the movie's timeless appeal as an adolescent male fantasy. --Jeff Shannon (hide)

Rain Man is the kind of touching drama that Oscars are made for--and, sure enough, the film took Academy honors for best picture, director, screenplay, and actor (Dustin... read more

Rain Man is the kind of touching drama that Oscars are made for--and, sure enough, the film took Academy honors for best picture, director, screenplay, and actor (Dustin Hoffman) in 1988. Hoffman plays Raymond, an autistic savant whose late father has left him $3 million in a trust. This gets the attention of his materialistic younger brother, a hot-shot LA car dealer named Charlie (Tom Cruise) who wasn't even aware of Raymond's existence until he read his estranged father's will. Charlie picks up Raymond and takes him on a cross-country journey that becomes a voyage of discovery for Charlie, and, perhaps, for Raymond, too. Rain Man will either captivate you or irritate you (Raymond's sputtering of repetitious phrases is enough to drive anyone crazy), but it is obviously a labor of love for those involved. Hoffman had been attached to the film for many years, as various directors and writers came and went, but his persistence eventually paid off--kind of like Raymond in Las Vegas. Look for director Barry Levinson in a cameo as a psychiatrist near the end of the film. --Jim Emerson (hide)

Set in the chillingly possible future of 2054, Steven Spielberg's Minority Report is arguably the most intelligently provocative sci-fi thriller since Blade Runner. Like Ridley Scott's "future noir"... read more

Set in the chillingly possible future of 2054, Steven Spielberg's Minority Report is arguably the most intelligently provocative sci-fi thriller since Blade Runner. Like Ridley Scott's "future noir" classic, Spielberg's gritty vision was freely adapted from a story by Philip K. Dick, with its central premise of "Precrime" law enforcement, totally reliant on three isolated human "precogs" capable (due to drug-related mutation) of envisioning murders before they're committed. As Precrime's confident captain, Tom Cruise preempts these killings like a true action hero, only to run for his life when he is himself implicated in one of the precogs' visions. Inspired by the brainstorming of expert futurists, Spielberg packs this paranoid chase with potential conspirators (Max Von Sydow, Colin Farrell), domestic tragedy, and a heartbreaking precog pawn (Samantha Morton), while Cruise's performance gains depth and substance with each passing scene. Making judicious use of astonishing special effects, Minority Report brilliantly extrapolates a future that's utterly convincing, and too close for comfort. --Jeff Shannon (hide)

Vanilla Sky reunites director Cameron Crowe (Jerry Maguire) with über-playboy Tom Cruise, adds another sexy Cruz (Penélope) and Cameron Diaz for good measure, and delivers a wildly entertaining,... read more

Vanilla Sky reunites director Cameron Crowe (Jerry Maguire) with über-playboy Tom Cruise, adds another sexy Cruz (Penélope) and Cameron Diaz for good measure, and delivers a wildly entertaining, bizarre venture into erotic science fiction. Adapted near exactly from Spanish filmmaker Alejandro Amenábar's 1997 romantic thriller Open Your Eyes, the film follows David Aames (Cruise) as he falls from his graceful Manhattan perch of inordinate wealth, good looks, and newfound love with Sofia (Cruz) because of severe facial disfigurement in a car accident caused by a suicidal ex-lover (Diaz). What at first promises to be a conventional allegory of redemption via true love is turned on its head as Cruise's character, reduced to wearing a latex mask and spurned by his friends, wins back his princess only after a miracle of plastic surgery restores his former beauty. A series of plot twists follows as waking life, technological advances, and nightmares flip-flop to dizzying effect and David ultimately comes face to face with his own mortality. Despite a final conceit to some vague morality, the appeal of the film is the wonderfully callous message conveyed by the rest of it (money and physical beauty equal happiness) through an unabashed vanity perfectly embodied by Cruise and Cruz. A delicious, decadent treat. --Fionn Meade (hide)

A U.S. soldier is dead, and military lawyers Lieutenant Daniel Kaffee and Lieutenant Commander JoAnne Galloway want to know who killed him. "You want the truth?" snaps Colonel... read more

A U.S. soldier is dead, and military lawyers Lieutenant Daniel Kaffee and Lieutenant Commander JoAnne Galloway want to know who killed him. "You want the truth?" snaps Colonel Jessup (Jack Nicholson). "You can't handle the truth!" Astonishingly, Jack Nicholson's legendary performance as a military tough guy in A Few Good Men really amounts to a glorified cameo: he's only in a few scenes. But they're killer scenes, and the film has much more to offer. Tom Cruise (Kaffee) shines as a lazy lawyer who rises to the occasion, and Demi Moore (Galloway) gives a command performance. Kevin Bacon, Kiefer Sutherland, J.T. Walsh, and Cuba Gooding Jr. (of Jerry Maguire fame) round out the superb cast. Director Rob Reiner poses important questions about the rights of the powerful and the responsibilities of those just following orders in this classic courtroom drama. --Alan Smithee (hide)

Despite super effects, a huge budget, and the cinematic pedigree of alien-happy Steven Spielberg, this take on H.G. Wells's novel is basically a horror film packaged as a... read more

Despite super effects, a huge budget, and the cinematic pedigree of alien-happy Steven Spielberg, this take on H.G. Wells's novel is basically a horror film packaged as a sci-fi thrill ride. Instead of a mad slasher, however, Spielberg (along with writers Josh Friedman & David Koepp) utilizes aliens hell-bent on quickly destroying humanity, and the terrifying results that prey upon adult fears, especially in the post-9/11 world. The realistic results could be a new genre, the grim popcorn thriller; often you feel like you're watching Schindler's List more than Spielberg's other thrill-machine movies (Jaws, Jurassic Park). The film centers on Ray Ferrier, a divorced father (Tom Cruise, oh so comfortable) who witnesses one giant craft destroy his New Jersey town and soon is on the road with his teen son (Justin Chatwin) and preteen daughter (Dakota Fanning) in tow, trying to keep ahead of the invasion. The film is, of course, impeccably designed and produced by Spielberg's usual crew of A-class talent. The aliens are genuinely scary, even when the film--like the novel--spends a good chunk of time in a basement. Readers of the book (or viewers of the deft 1953 adaptation) will note the variation of whom and how the aliens come to Earth, which poses some logistical problems. The film opens and closes with narration from the novel read by Morgan Freeman, but Spielberg could have adapted Orson Welles's words from the famous Halloween Eve 1938 radio broadcast: "We couldn't soap all your windows and steal all your garden gates by tomorrow night, so we did the best next thing: we annihilated the world." --Doug Thomas

War of the Worlds at Amazon.com

The Soundtrack	The War of the Worlds (1953)	War of the Worlds - The Complete First Season (TV series)
Classic Sci-Fi Movies and Their Remakes	Aliens Invade on DVD	The Prog-rock Opera (no kidding)

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A handful of people in the San Fernando Valley are having one hell of a day. TV mogul Earl Partridge (Jason Robards) is on his deathbed; his trophy... read more

A handful of people in the San Fernando Valley are having one hell of a day. TV mogul Earl Partridge (Jason Robards) is on his deathbed; his trophy wife (Julianne Moore) is popping pills with alarming frequency. Earl's nurse (Philip Seymour Hoffman) is trying desperately to get in touch with Earl's only son, sex guru Frank T.J. Mackey (Tom Cruise), who's about to have his carefully constructed past blown by a TV reporter (April Grace). Whiz kid Stanley (Jeremy Blackman) is being goaded by his selfish dad into breaking the record for the game show What Do Kids Know? Meanwhile, Stanley's predecessor, the grown-up quiz kid Donnie Smith (William H. Macy) has lost his job and is nursing a severe case of unrequited love. And the host of What Do Kids Know?, the affable Jimmy Gator (Philip Baker Hall), like Earl, is dying of cancer, and his attempt to reconcile with his cokehead daughter (Melora Walters) fails miserably. She, meanwhile, is running hot and cold with a cop (John C. Reilly) who would love to date her, if she can sit still for long enough. And over it all, a foreboding sky threatens to pour something more than just rain.

This third feature from Paul Thomas Anderson (Boogie Nights) is a maddening, magnificent piece of filmmaking, and it's an ensemble film to rank with the best of Robert Altman--every little piece of the film means something, and it's solidly there for a reason. Deftly juggling a breathtaking ensemble of actors, Anderson crafts a tale of neglectful parents, resentful children, and love-starved souls that's amazing in scope, both thematically and emotionally. Part of the charge of Magnolia is seeing exactly how may characters Anderson can juggle, and can he keep all those balls in air (indeed he can, even if it means throwing frogs into the mix). And it's been far too long since we've seen a filmmaker whose love of making movies is so purely joyful, and this electric energy is reflected in the actors, from Cruise's revelatory performance to Reilly's quietly powerful turn as the moral center of the story. While at three hours it's definitely not suited to everyone's taste, Magnolia is a compelling, heartbreaking, ultimately hopeful mediation on the accidents of chance that make up our lives. Featuring eight wonderful songs by Aimee Mann, including "Save Me." --Mark Englehart (hide)

When it was announced that Tom Cruise would play the vampire Lestat in this adaptation of Anne Rice's bestselling novel, even Rice chimed in with a highly publicized... read more

When it was announced that Tom Cruise would play the vampire Lestat in this adaptation of Anne Rice's bestselling novel, even Rice chimed in with a highly publicized objection. The author wisely and justifiably recanted her negative opinion when she saw Cruise's excellent performance, which perceptively addresses the pain and chronic melancholy that plagues anyone cursed with immortal bloodlust. Brad Pitt and Kirsten Dunst are equally good at maintaining the dark and brooding tone of Rice's novel. And in this rare mainstream project for a major studio, director Neil Jordan compensates for a lumbering plot by honoring the literate, Romantic qualities of Rice's screenplay. Considered a disappointment while being embraced by Rice's loyal followers, the movie is too slow to be a satisfying thriller, but it is definitely one of the most lavish, intelligent horror films ever made. --Jeff Shannon (hide)

This 1988 effort at creating a milestone coming-of-age story with the impact of The Graduate is commendable, but the results are mostly shaky and garish. Tom Cruise plays... read more

This 1988 effort at creating a milestone coming-of-age story with the impact of The Graduate is commendable, but the results are mostly shaky and garish. Tom Cruise plays an ambitious young man who arrives in New York City and becomes known as a flashy bartender in a hot club. After falling for Elisabeth Shue's girl-next-door character, however, his desire for success causes him to travel down a more selfish path with an older woman. The film, directed by Roger Donaldson (Bounty), is built on entirely on appearances (Cruise's star charisma) and flash (the way Cruise and his character's bartending mentor, played by Bryan Brown, toss bottles of booze around). The more interesting and underlying themes, however, particularly the hero's obvious Oedipal dilemmas, are lost beneath this window dressing, as if everyone involved was afraid to commit to the story's intrinsic value. Cruise fans might want to take a look at this, but otherwise there isn't much to recommend it. --Tom Keogh (hide)

With Days of Thunder, director Tony Scott tried to do for the Indy 500 what he did for the U.S. Air Force with Top Gun. But without Top... read more

With Days of Thunder, director Tony Scott tried to do for the Indy 500 what he did for the U.S. Air Force with Top Gun. But without Top Gun's go-go soundtrack and visual feats, Scott merely ends up with a Tom Cruise vehicle that's out of gas.

Cruise plays (what else?) a cocky, upstart stock-car racer who faces down ruthless racing opponents. Nicole Kidman, Robert Duvall, Cary Elwes, and Randy Quaid do the laps around this movie's tiresome track with Cruise, while director Scott attempts to propel the action along with his trademark visceral, gritty but glamorous visual style.

Days of Thunder is notable, however, as a turning point in Cruise's then one-dimensional career. After this film--having tired even his most devoted fans by playing a bartender, an air force pilot, and a stock-car driver--Cruise was forced to take on real character parts. --Ethan Brown (hide)

Collateral offers a change of pace for Tom Cruise as a ruthless contract killer, but that's just one of many reasons to recommend this well-crafted thriller. It's from... read more

Collateral offers a change of pace for Tom Cruise as a ruthless contract killer, but that's just one of many reasons to recommend this well-crafted thriller. It's from Michael Mann, after all, and the director's stellar track record with crime thrillers (Thief, Manhunter, and especially Heat) guarantees a rich combination of intelligent plotting, well-drawn characters, and escalating tension, beginning here when icy hit-man Vincent (Cruise) recruits cab driver Max (Jamie Foxx) to drive him through a nocturnal tour of Los Angeles, during which he will execute five people in a 10-hour spree. While Stuart Beattie's screenplay deftly combines intimate character study with raw bursts of action (in keeping with Mann's directorial trademark), Foxx does the best work of his career to date (between his excellent performance in Ali and his title-role showcase in Ray), and Cruise is fiercely convincing as an ultra-disciplined sociopath. Jada Pinkett-Smith rises above the limitations of a supporting role, and Mann directs with the confidence of a master, turning L.A. into a third major character (much as it was in the Mann-produced TV series Robbery Homicide Division). Collateral is a bit slow at first, but as it develops subtle themes of elusive dreams and lives on the edge, it shifts into overdrive and races, with breathtaking precision, toward a nail-biting climax. --Jeff Shannon (hide)