tom cruise film horror

Jack Reacher

It’s well-established that Tom Cruise is too short to play the Jack Reacher of Lee Child’s novels, a broad-shouldered giant of an ex-military policeman described by the author in terms usually reserved for horror movie beasts. But between Cruise’s often steely, obsessive screen persona and his multiple-decades-long career as a leading man, he’s built up a gravitas that translates to “menace” easily, and he’s effective in “Jack Reacher,” adapted by Christopher McQuarrie (“Way of the Gun,” “ The Usual Suspects “) from the novel “One Shot.” Even when he’s laughing and grinning, Cruise seems like the sort of person one wouldn’t want to cross. He can also do icy minimalism (see Michael Mann’s “ Collateral ” for proof), and that’s the mode McQuarrie is operating in here, so it’s an effective match of leading man and filmmaker, even though the overall impact is that of a superior proof-of-concept pilot for a TV show rather than a rich stand-alone film.

The story begins when a man drives a van into the parking garage across the Allegheny River from a stadium and murders five people with a sniper rifle. Local cops pull a fingerprint from a quarter deposited in a parking meter near the garage where the killer set up and arrest ex-Army sniper James Barr ( Joseph Sikora ). Detective Calvin Emerson ( David Oyelowo ) and District Attorney Alex Rodin ( Richard Jenkins ) offer Barr a choice between confessing to the crimes and going to prison for life. Barr adds a third option: writing “Get Jack Reacher” on a notepad. 

Reacher, who came to Pittsburgh after watching TV news coverage of the shootings, visits Barr in the hospital, where he’s in a coma with memory loss after having been attacked by fellow inmates during incarceration. Reacher meets Barr’s defense attorney, Helen Rodin ( Rosamund Pike ), who happens to be the D.A.’s daughter. The case has a few peculiar details, notably the fingerprinted quarter: what sort of mass murderer pays for parking? What really happened here? 

Helen and Reacher (they call him Reacher, almost never Jack) discuss the incident and embark on their own investigation. Well, not exactly: Reacher drives the movie to such a degree that it makes Cruise seem insecure as a leading man (he’s more generous in the “Mission: Impossible” movies). He does most of the talking here, trying out his own theories and picking apart Helen’s. Mostly Helen is there to (1) help Reacher do things he doesn’t have the clearance or access to do for himself, (2) be proved wrong or made to seem naive, and (3) get kidnapped and used as a hostage/leverage in the final stretch of the movie. 

Reacher is a sharp and often sardonic investigator in the books and usually becomes the alpha in whatever room he’s in. But there’s something misguided in this film’s tone. It tips things so that we spend two hours watching Reacher be right about (almost) everything. Helen isn’t insulted or degraded by the movie, but she’s not respected, either, and almost every person who dares step to Reacher gets his butt handed to him in a lunchpail. That gets dull after a while. If Cruise weren’t so naturally intense and the filmmaking so assured, it would have gotten dull a lot faster.

The mystery ultimately leads us to the bad guys, but they’re introduced to the audience long before Helen and Reacher figure out how they’re involved in the mass murder and why they engineered it the first place. The chief henchman is a Reacher-like paramilitary badass played by Jai Courtney . The Big Bad is a gangster posing as a legitimate businessman who goes by the ominous one-syllable name Zec (Russian for “prisoner”) and is played by director Werner Herzog . 

Zec is a cipher, more a satanic presence than a man. It makes sense that Cruise and McQuarrie would decide to fill the part with somebody who is as much of a “brand” in his own way as Cruise. Herzog has chronicled so much madness and evil as a director that it’s rubbed off on him by osmosis, even though he comes across as a cheerful eccentric when discussing his art. His work in “Jack Reacher” is one of the best pieces of director stunt casting since Martin Scorsese played the president of Geritol in “ Quiz Show .” Herzog brings menace and a hint of cosmic irony to the role, making it feel like a statement rather than a gimmick. Zec is a man who has not just seen hell, but purchased real estate.

There’s another cagey old veteran in the cast:  Robert Duvall , who acted with Cruise in “Days of Thunder.” He plays Marine Gunnery Sgt. Martin Cash, who helps Reacher go after the bad guys and is an artist with a rifle. The scenes between Cruise and Duvall are the most pleasurable in the film. Duvall often seems to be busting Cruise’s chops, more so than Cash busting Reacher’s. This levels out Cruise’s control-freak approach to the “hero” part. Duvall is a thousand-pound bull of an actor: Cruise seems to know he’ll get the best results by waving a cape at him, then stepping aside to let him gallop and kick. 

McQuarrie deserves credit for having enough faith in the power of his filmmaking to limit himself to a handful of self-contained action scenes, none of which are big by modern Hollywood standards, and make them feel wild, messy and harrowing rather than hide inside of the software-buffed vague digital slickness that has become so common. A fight between Reacher and three men in a house, two of whom corner him in a bathtub and try to kill him with bats, feels real even when Reacher is making like 1980s Schwarzenegger and using one man’s head as a makeshift bowling ball to beat another man’s face in. 

Cruise has that Harrison Ford gift for acting his way through action and reacting to things the way we might, even if we had the hero’s experience and training. The movie is never funner or more exciting than when Reacher is facing off against men whose machismo has poisoned the part of their brain that produces common sense and who fail to read Reacher as somebody who makes promises, not threats. Sometimes things will get intense even by Reacher’s standards and he’ll throw off a reaction that says, “I can’t believe I’m in a life-or-death situation for the fourth time this week” right before he rallies and neutralizes the people who are causing him problems. 

The climax should serve as a model for anybody hoping to stage comprehensible action in a vast, dimly lit space (the cinematographer is  Caleb Deschanel , who shot “ The Black Stallion ,” “ The Right Stuff ” and other classics). Every moment is so cleanly conveyed that you could write out a police report and not forget anything important. “Reacher” is a solid mystery-action picture, made memorable by the caliber of craft that its cast and crew brings to the table.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor-at-Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

• Tom Cruise as Jack Reacher
• Rosamund Pike as Helen Rodin
• Richard Jenkins as D.A. Alex Rodin
• David Oyelowo as Det. Emerson
• Werner Herzog as Zec Chelovek
• Jai Courtney as Charlie
• Robert Duvall as Martin Cash
• Vladimir Sizov as Vlad
• Joseph Sikora as James Barr
• Nicole Forester as Nancy Holt
• Michael Raymond-James as Linsky
• Alexia Fast as Sandy
• Josh Helman as Jeb Oliver
• James Martin Kelly as Rob Farrior
• Dylan Kussman as Gary
• Denver Milord as Punk
• Susan Angelo as Oline Archer
• Julia Yorks as Chrissie Farrior
• Delilah Picart as Rita Coronado
• Joe Coyle as Darren Sawyer
• Alicia Murton as Mrs. Sawyer
• Peter Gannon as Mr. Archer
• David Whalen as Mr. Holt
• Tristan Elma as Marcos Coronado
• Sophie Guest as Little Girl
• Michael Minor as Eyewitness
• Scott A. Martin as Wesley
• CJ Ramirez as Secretary
• Teri Clark as Night Manager
• Jarid Faubel as Man on Bus
• Sara Lindsey as Woman on Bus
• Jace Jeanes as Zec's Thug
• Andrei Runtso as Zec's Thug
• Efka Kvaraciejus as Zec's Thug
• Lee Child as Desk Sergeant
• Tommy Lafitte as Man with Ballcap
• Kristen Dalton as Mindy
• Jordan Trovillion as Goodwill Cashier
• Annie Kitral as Pawn Shop Cashier
• Lissy Gulick as Diner Waitress
• Catherine Albers as Jeb's Mom
• Larissa Emanuele as Sportsbar Waitress
• Jason McCune as Construction Foreman
• Shane Callahan as SWAT Guy
• Joshua Elijah Reese as SWAT Guy
• Nathan Hollabaugh as Cop
• Christopher Stadulis as Cop
• Joe Fishel as SWAT Officer (uncredited)
• Robert Liscio as Man in Bar (uncredited)
• Ronn Surels as Jeb's Wingman (uncredited)
• Jackson Nunn as Passenger / Bar Guy (uncredited)

Visual Effects Editor

• Josh Sutherland
• Mark Edward Wright

Supervising Sound Editor

• Alan Rankin
• Mark P. Stoeckinger
• Alice Rietveld
• Amy Lynn Tuttle
• Eddie Perez
• Janene Carleton
• Kimberly Shannon Murphy
• Peter Epstein
• Ronn Surels
• Zack Duhame

Set Costumer

• Alison Evans
• Melanie Cargioli

Utility Sound

• Amishjim Schulze
• Kelly Roofner

Unit Production Manager

• Andrew Saxe

Hair Department Head

• Angel De Angelis

Sound Re-Recording Mixer

• Anna Behlmer
• Terry Porter

Visual Effects Supervisor

• Bryan Godwin
• Mike Uguccioni

Camera Operator

• BJ McDonnell

Steadicam Operator

Sound effects editor.

• Bruce Tanis

Visual Effects Coordinator

• Caitlin Atherton
• Rachel Faith Hanson

Director of Photography

• Caleb Deschanel

Stunt Double

• Casey O’Neill

Boom Operator

• Chad Djubek
• Michael Piotrowski

Costume Supervisor

• Charlene Amateau
• Charles Baden
• Roger Mocenigo
• Shoban Narayanan
• Travis Wade Ivy
• Chris Ervin
• Cody Brunty
• Doug Spilatro
• Juan Álvarez
• Chris Navarro
• Jerry Gilbert

Stunt Driver

• Chris Palermo
• Clay Cullen
• Jimmy N. Roberts

Supervising Art Director

• Christa Munro
• Christopher McQuarrie

First Assistant Director

• Cliff Lanning

Associate Producer

Executive producer.

• Dana Goldberg
• David Ellison
• Kevin J. Messick
• Paul Schwake

Visual Effects Producer

• Daniel Chavez

Second Assistant Director

• David Kelley
• Deanna Leslie
• Rhys Summerhayes

First Assistant Sound Editor

• David Stanke

Executive Visual Effects Producer

• David Van Dyke

Music Supervisor

• Denise Luiso

2D Supervisor

• Denise O’Neill

Second Unit Director

• Dixon McPhillips
• Paul Jennings
• Don Granger
• Gary Levinsohn
• Paula Wagner

Set Decoration

• Douglas A. Mowat

Assistant Costume Designer

• Elaine Perlmann

Assistant Director

• Eric Yellin

Art Direction

• George A. Weimerskirch

Score Engineer

• Greg Loskorn

Compositing Supervisor

• Harimander Singh Khalsa

Digital Compositor

• Jale Parsons
• Valy Lungoccia

Production Design

• James D. Bissell
• James Eidel
• Kelli French
• Nancy Thompson

Rotoscoping Artist

• James Kawano

Sound Mixer

• Jay Meagher
• Jim Emswiller

Sound Editor

• Jay Wilkinson

Art Department Coordinator

• Jenn Albaugh

Script Supervisor

• Jessica Lichtner
• Marvel Wakefield

Original Music Composer

• Joe Kraemer

CG Supervisor

• Joel Sevilla

Music Editor

• John Finklea

Dialogue Editor

• Julie Feiner

Still Photographer

• Karen Ballard

ADR Supervisor

• Kelly Oxford
• Kevin Stitt

Executive In Charge Of Production

• Kirby Adams

Assistant Editor

Production coordinator.

• Lindsay Feldman

CGI Director

• Mare McIntosh

Key Makeup Artist

• Marianne Skiba

First Assistant "C" Camera

• Markus Mentzer

Key Costumer

• Michelle Christensen

Second Second Assistant Director

• Mikey Eberle
• Walter E. Myal
• Mindy Marin

Digital Colorist

• Mitch Paulson

Key Hair Stylist

• Nancy Keslar

Stunt Coordinator

Property master.

• Peter Gelfman

Makeup Artist

• Sarah Monzani

Foley Mixer

• Scott Curtis

Senior Visual Effects Supervisor

• Shane Strickman

Post Production Supervisor

• Susan E. Novick

Costume Design

• Susan Matheson

ADR Engineer

• Tamas Kurina

Makeup Department Head

• Trefor Proud

Foley Editor

• Victor Ray Ennis

Key Set Costumer

• Virginia Smith Phillips

Assistant Hairstylist

• Winfrey Izear

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Collateral made Tom Cruise into a slasher movie villain

Michael Mann’s gritty L.A. thriller inches close to the horror genre

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by Matthew Essary

A well-dressed man slips through throngs of dancers at a tightly packed nightclub while the rhythmic, electronic drone of Paul Oakenfold’s “Ready Set Go” bounces off every surface in the space. The enraptured crowd is fully lost in the music, unaware of the dark presence that moves among them like a shadow. The figure working his way to the back of the room is not there to dance or mingle. He is there for a single awful purpose, to stalk and kill another victim, and nothing will stop him. A few guards lie in wait, hidden among the crowd, to protect the intended target, but they are quickly dispatched in a savage flurry of snapped limbs and bludgeoning strikes. The loud music and pulsing crowd obscure the violent scene from detection. The brutal killer is unfazed by the physical altercation and now one step closer to completing his grisly mission.

This foreboding sequence sounds like a horror movie, but it’s actually Michael Mann’s 2004 thriller Collateral. Inhabited by Tom Cruise, the character, Vincent, is a rarity among the image-conscious superstar’s past performances, allowing him to play an emotionally distant and ruthlessly violent force of destruction. While it is not his only villainous role, it is certainly his most chilling. Coupled with Mann’s use of sudden violence, Collateral stands out as the closest thing to a slasher movie that Tom Cruise has ever done.

The word “slasher” likely conjures images of unstoppable knife-wielding maniacs killing off coeds at a summer camp or university. But the slasher horror genre is broad and composed of only a few essential elements: an unstoppable killer, unwitting victims (who try but fail to escape the killer’s wrath), and a foil to stand against the madman’s rampage. Collateral may not have Cruise wearing a mask and brandishing a chainsaw, but it unabashedly has all those other needed pieces front and center — they’re just covered in the window dressing of a noir-ish crime thriller.

The plot of Collateral finds Vincent arriving in Los Angeles for a one-night spree of assassinations, intended to stop a federal indictment before it proceeds. To aid him in his task of navigating the city, he dupes a taxi driver, Max (Jamie Foxx), into chauffeuring him, with promises of a wad of cash for an easy night’s work. In these early moments of the film, Vincent doesn’t seem all that unique compared to other Cruise performances. He’s charming but focused, and outside of sporting a buzzed, gray hairstyle that matches his immaculate suit, Vincent feels like the actor relying on the qualities that made him a star. This all changes quickly when Vincent’s first hit goes slightly awry and the body of his victim does a two-story belly-flop onto the top of Max’s cab. The body hitting the car’s roof not only shatters part of the taxi sign that rests there, but also the lies that Vincent spun to Max about his one-night agenda.

Before Max can even fully process what’s happened, Vincent makes it clear nothing has changed for Max’s situation: Vincent still needs ferrying to his destinations, and Max is responsible for that. A deal is a deal. This is the first time the audience, and Max, sees the charming mask that Vincent hides behind fall away to reveal the calculating sociopath underneath. It’s laid bare that Vincent is an apex predator in this jungle of concrete and glass— an uncaring force ready to gun down anything that stands between him and what he’s pursuing.

As the pair make their way across the sprawling and disconnected landscape of after-hours L.A., Max tries to make sense of the situation he finds himself in. He attempts this in the way many of Michael Mann’s noteworthy protagonists do, through conversation. Trapped in a cab and isolated in the empty urban sprawl, he questions his passenger-turned-captor but Vincent offers no answers that would bring clarity or solace. He is, in his own words, simply “indifferent” to the death he leaves in his wake — leaving him not too far removed from other truly monstrous characters of horror fiction, like another well-dressed, charismatic sociopath: American Psycho ’s Patrick Bateman. The biggest difference between the two is training and purpose, but murder is still murder, even if it’s done with tactical efficiency.

Mann seizes horror tropes for alternative use in Collateral to reinforce Vincent as a malevolent force. In one standout scene that takes place halfway through the night, Vincent’s demeanor shifts back to something approaching normalcy when he tells Max they are ahead of schedule and he’ll buy him a drink at a nearby jazz club. The film then cuts to the pair with their drinks, watching the club’s owner, Daniel (Barry Shabaka Henley), masterfully play the trumpet for that night’s patrons. Vincent explains his appreciation for the improvisational nature of the music to Max and even invites Daniel to sit with them for a drink.

Daniel regales them with tales of legendary jazz musician Miles Davis, and in these fleeting moments. Cruise’s natural charisma shines through, and Vincent seems like any other fan, enraptured by the thing he loves. In an instant, his demeanor flips back to icy detachment when it becomes clear Daniel is in fact yet another target on his hit list. Max and Daniel both plead for Vincent to make an exception and let Daniel go. Vincent offers an apparent compromise, if Daniel can correctly answer one question about Miles Davis he’s free to go. Of course, this was never actually a possibility. Daniel answers the question and Vincent still coldly shoots him at point-blank range with a silenced pistol. Vincent rationalizes it with a technicality, but it’s clear Daniel had no hope of survival. The whole situation simply served to show the audience and Max they are at the mercy of a person who simply has no use for the concept.

Another moment heavily informed by the horror genre comes when a narrative thread from earlier in the film is tied off in shocking fashion. After the first assassination’s sloppy resolution, we learn a detective (Mark Ruffalo) is looking for Vincent, and understands Max is likely nothing more than a captive living on borrowed time. The story builds in such a way that the audience is led to think this lone policeman will help Max and work as the competent foil for Cruise’s steely hitman , acting as the Dr. Loomis to Vincent’s well-dressed Michael Myers.

Immediately following a signature Michael Mann show-stopping gunfight inside of a packed nightclub that sees Vincent brutally take out numerous policemen on his way to eliminating his penultimate target, Max is grabbed by Ruffalo’s lone cop and rushed away from the scene. Through the chaos, Max is reassured that this is the help he’s been so desperate for throughout the story. However, as they exit the building, Ruffalo’s character is shot dead mid-stride by an already waiting Vincent. This whole sequence from when they entered the club until the shocking murder of the heroic detective feels like a subversion of a similar scene in the 1984 sci-fi classic The Terminator (“Come with me if you want to live.”). Instead of a valiant stand-off with the unfeeling killing machine that ultimately leads to its defeat, Ruffalo’s Kyle Reese stand-in is wiped out without making any real difference in the story at all. This undermining of the audience’s expectation is a reinforcement of a trope often seen in horror— you may think you are getting away but the killer is always one step ahead and waiting to strike when it matters. There is no safety.

As Collateral enters its final act, the film fully embraces the horror aesthetic it has toyed with throughout its runtime. After he finally rebels and crashes the car carrying them both, Max learns that the last name on Vincent’s list is (in the kind of coincidence that only exists in movies), Annie (Jada Pinkett-Smith), a defense attorney whom Max had shared a romantic moment with briefly at the start of the film. Chasing after Vincent on foot, he tries to call and warn Annie with a stolen cellphone that is unfortunately low on battery, creating a moment all too familiar to horror fans. Annie is working late, alone in her law office’s multi-floor building and unaware that a killer is lurking and moments away from finding her. Max tries to warn her while forced to observe helplessly from the street below as Vincent closes in.

At this point, Cruise embodies Vincent as a neo-slasher character. Bloody and bruised from the car crash, he can no longer hide the darkness behind a clean-cut exterior, and Cruise seems to relish the opportunity to be haggard and desperate onscreen. There is even a moment where he wields a fire axe to cut the electricity in the building. In this moment all the serial killer subtext of his character floats to the surface and he fully becomes what audiences think of as a horror movie villain.

In a sequence that uses Mann’s immaculate eye for staging physical action to create a heavy sense of dread, Vincent slowly stalks a cowering Annie through the darkened high-rise – with only the distant illumination of the surrounding buildings shedding any light on their high stakes cat and mouse game. Just as it seems like Vincent is about to succeed in killing Annie, he is thwarted at the last possible moment by an intervening Max. Cruise’s determined physicality is used to project pure menace in these tense moments, and it’s some of the best physical acting of his career. Vincent goes from being measured and ready to strike to absolutely frantic anger as he smashes through plate glass to give chase to the fleeing couple.

Eventually, Annie and Max make their way onto a public transit train and what they think is safety, but in a bit of stubborn determination that would make Jason Voorhees or Leatherface proud, Vincent follows them for one final confrontation (remember, there is no safety).

Naturally, it ends with Max finally stopping Vincent and fully saving himself and Annie. At that point, the story ends with the two entering into the dawn of a new day, forever changed by the darkness they faced, like any noteworthy survivor of a horror film.

Tom Cruise has not done anything as dark as his role here since Collateral ’s release, nearly 18 years ago, even though he received strong reviews and the film itself was a big box office success. Maybe as he enters his later years and his time as an action star begins to shorten, he’ll once again take on a role that is so diametrically opposed to his typical onscreen persona. If he doesn’t though, at least there is this all-time villain performance for audiences to savor.

Collateral is available to watch on HBO Max .

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The 40+ Best Tom Cruise Movies, Ranked By Fans

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When it comes to Hollywood royalty, few can hold a candle to Tom Cruise. Over the years, this megastar has delivered one jaw-dropping performance after another, solidifying his place as a cinematic legend. It's a formidable task to narrow down the best Tom Cruise movies of all time, but hey, someone's got to do it. From high-octane action flicks to soul-stirring dramas, Cruise's filmography is as versatile as it is impressive.

Take, for instance, Top Gun , the adrenaline-pumping story of competitive fighter pilots that catapulted Cruise to international stardom. Or A Few Good Men , where he delivered one of his most powerful performances, proving that he could handle weighty dialogues with the same ease as he does action-packed sequences. These films are just the tip of the iceberg when it comes to top Tom Cruise films that have left an indelible mark on cinema.

But how did we curate such a coveted list? Well, it started with movie experts who have an eye for performances that define careers, creating a shortlist of films that truly showcase Tom Cruise at his best. Then, we turned it over to the fans, whose votes have shaped this definitive ranking. Whether you're a die-hard Cruise fan or just a movie buff looking to revisit some cinematic gold, this list has got you covered.

As an adrenaline-pumping display of aerial combat and rivalry, this movie takes viewers into the world of elite fighter pilots, with the lead actor embodying the brash, fearless pilot Pete "Maverick" Mitchell. The audience follows Maverick's journey through the prestigious Top Gun Naval Fighter Weapons School as he battles his own ego, engages in astonishing dogfights, and learns the true meaning of teamwork. The sizzling on-screen chemistry with Kelly McGillis, the thrilling action sequences, and the beloved rendition of " Take My Breath Away " make it an unforgettable 80s classic.

• Released : 1986
• Directed by : Tony Scott

A Few Good Men

In this tense courtroom drama, audiences are captivated by the exceptional performance as a young military lawyer assigned to defend two Marines accused of killing a fellow comrade. Alongside powerful performances from Jack Nicholson and Demi Moore, the film flawlessly showcases the protagonist's gradual transformation from a cocky, fresh-faced attorney into a fierce, skilled advocate determined to uncover the truth. The iconic line "You can't handle the truth!" immortalizes the film's memorable climax and solidifies the protagonist's status as one of Hollywood's most dynamic actors.

• Released : 1992
• Directed by : Rob Reiner

Top Gun: Maverick

Returning to the iconic role of Pete "Maverick" Mitchell after decades, the anticipation for this sequel has been immense, and it promises to deliver the same captivating thrills and aerial combat sequences of the original. As a mentor to the next generation of fighter pilots, including the son of his late best friend Goose, the protagonist guides these young talents while still facing his own personal demons and unresolved past. The combination of a compelling storyline, breathtaking stunts, and a nostalgic return to the character that made him a household name ensures this will be another hit.

• Released : 2022
• Directed by : Joseph Kosinski

The lead character delivers a heart-wrenching performance as Charlie Babbitt, a hustler who discovers he has an autistic savant brother named Raymond after their father's death. Through their cross-country road trip, Charlie learns to appreciate the gentle genius of his older brother while he evolves from a selfish, money-driven man to a compassionate and loving brother. This emotional journey resulted in a Best Actor nomination, and the film itself won numerous awards, including Best Picture, highlighting the powerful and touching bond between the two main characters.

• Released : 1988
• Directed by : Barry Levinson

Mission: Impossible

In the role of super-spy Ethan Hunt, the leading man had audiences on the edge of their seats with the thrilling action and elaborate plots of this espionage thriller series. As Hunt, he displays an unrivaled level of physicality and commitment to his craft, performing most of his own stunts, resulting in a rollercoaster ride of adventure and suspense for moviegoers. The franchise has become synonymous with jaw-dropping stunts, twisty plots, and an evolving ensemble cast that perfectly complements the main character's charisma and determination.

• Released : 1996
• Directed by : Brian De Palma

Edge of Tomorrow

Featuring a mix of action-packed sequences, science fiction elements, and dark humor, this film showcases the protagonist as a reluctant hero, forced to live the same day repeatedly while fighting alien invaders. The compelling story of survival and personal growth, alongside the intriguing concept of time loops, make this an unforgettable cinematic experience. Supported by a strong performance from Emily Blunt, this thrilling, fast-paced adventure cements its status as a modern sci-fi classic.

• Released : 2014
• Directed by : Doug Liman

Jerry Maguire

In this romantic dramedy, the audience witnesses a sports agent's fall from grace and subsequent redemption through his relationship with his sole client and love interest. Audiences are charmed by the stunning performances, emotional vulnerability, and undeniable chemistry between the characters, as well as the classic line, "You complete me." The film earned the lead actor an Academy Award nomination and remains an enduring favorite for its heartwarming relationships, brilliant dialogue, and bittersweet exploration of ambition and love.

• Directed by : Cameron Crowe

Risky Business

As the high school senior who turns his family's home into a brothel after getting involved with a call girl, the lead actor delivers a charming and iconic performance that launched his career as a Hollywood heartthrob. The famous scene of the character dancing in his underwear to " Old Time Rock and Roll " has become a pop-culture staple, and the film itself remains a beloved 80s classic. With its unique blend of teen angst, dark comedy, and romance, this coming-of-age story showcases the beginnings of a truly remarkable talent.

• Released : 1983
• Directed by : Paul Brickman

Minority Report

Set in a dystopian future where crime is predicted and prevented by a specialized police force, this Steven Spielberg-directed sci-fi thriller sees the lead actor as a detective accused of a crime he has yet to commit. With its unique premise, thought-provoking themes, and stunning visuals, the film became an instant classic and served as a showcase for the protagonist's range and versatility as an actor. The combination of gripping storytelling, groundbreaking special effects, and a strong ensemble cast cement its status as one of the best sci-fi films of the 21st century.

• Released : 2002
• Directed by : Steven Spielberg

The Last Samurai

Set in 19th-century Japan, this epic historical drama follows the journey of Capt. Nathan Algren, an American military officer who becomes deeply immersed in the samurai culture. The protagonist brilliantly portrays a tortured soul seeking redemption and finding it through his connection with the titular warriors, resulting in a soulful and emotional performance. Aesthetically stunning and emotionally engaging, this film is impressively crafted and features outstanding performances from Ken Watanabe and the rest of the cast.

• Released : 2003
• Directed by : Edward Zwick

Mission: Impossible – Ghost Protocol

The fourth installment in the adrenaline-fueled franchise sees the protagonist perform even more heart-stopping stunts, including scaling the world's tallest building, Dubai's Burj Khalifa, further solidifying his reputation as a fearless action star. With a fresh team of dynamic actors, including Simon Pegg and Paula Patton, this film raises the stakes and balances its thrilling action with lighter moments of humor. Picking up where its predecessors left off, the film delivers an exhilarating, globetrotting adventure that leaves audiences eager for more.

• Released : 2011
• Directed by : Brad Bird

In this gripping adaptation of John Grisham's best-selling novel, the protagonist plays an ambitious young lawyer who becomes entangled in a dangerous web of deceit and corruption at his prestigious law firm. The intense plot and stellar performances from the ensemble cast, including Gene Hackman, Holly Hunter, and David Strathairn, keep the audience absorbed and guessing until the very end. The smart script, thrilling twists, and central performance make it a must-watch for legal thriller enthusiasts and fans of the leading man alike.

• Released : 1993
• Directed by : Sydney Pollack

Mission: Impossible - Fallout

In his sixth turn as super-spy Ethan Hunt, the main character's commitment to performing his own stunts reaches new heights with a harrowing high-altitude-low-opening (HALO) jump. Additionally, the film's electric helicopter chase and intense fight sequences showcase the actor's relentless dedication to delivering pulse-pounding action. With a gripping storyline that delves deeper into the personal life of Hunt and an exhilarating finale, this entry is widely regarded as one of the best in the long-running series.

• Released : 2018
• Directed by : Christopher McQuarrie

Mission: Impossible – Rogue Nation

The fifth installment of the popular action franchise sees the protagonist reprise his role as Ethan Hunt, this time facing a powerful, clandestine organization known as the Syndicate. With incredible stunts, including a breathtaking underwater sequence and a thrilling motorcycle chase, the lead actor continues to push the boundaries of what's possible in action cinema. Alongside new additions to the cast such as Rebecca Ferguson and Sean Harris, this thrilling adventure offers non-stop excitement and intrigue that maintains the high standards of the series.

• Released : July 31, 2015

Interview with the Vampire (1994)

Portraying the tormented vampire Lestat in this adaptation of Anne Rice's novel, the protagonist delivers a mesmerizing and seductive performance that captivated audiences worldwide. Sharing the screen with Brad Pitt and a young Kirsten Dunst, the actor's portrayal of an immortal craving companionship and grappling with the morality of his actions is both chilling and heartbreaking. Though controversial at the time for its dark themes and explicit content, the film has since become a cult classic, showcasing a different side of the leading man's abilities.

• Released : 1994
• Directed by : Neil Jordan

Mission: Impossible – Dead Reckoning Part One

The upcoming seventh installment in the blockbuster franchise promises to deliver even more breathtaking stunts, explosive action, and intriguing espionage as the lead character reprises his iconic role of Ethan Hunt. As the first part of a two-part cinematic event, the film will undoubtedly raise the stakes and further solidify the protagonist's status as an unstoppable action hero. With returning and new cast members, fans are eagerly anticipating the next thrilling chapter in the ever-evolving series.

• Released : 2023

In a rare turn as the villain, the lead actor plays a cold and calculating contract killer in this crime thriller directed by Michael Mann. Sharing the screen with Jamie Foxx's unsuspecting taxi driver, the actor's menacing performance offers a fascinating look into the psyche of his character and contrasts sharply with the vulnerable, heroic roles that have defined his career. With its gritty atmosphere, taut pacing, and unforgettable performances, the film stands as a testament to the versatility and range of the protagonist.

• Released : 2004
• Directed by : Michael Mann

Jack Reacher

Adapted from Lee Child's bestselling novels, the movie features the leading man as the tough-as-nails former Army investigator and drifter who finds himself entangled in a complex conspiracy. Showcasing his impressive range as an actor, the protagonist delivers a gritty and physical performance that captivates audiences and brings the beloved literary character to life. The film's thrilling action sequences, unexpected twists, and solid supporting cast make it a standout in the action-thriller genre.

• Released : 2012

Days of Thunder

Reuniting with the Top Gun director, the protagonist stars as hotshot NASCAR driver Cole Trickle in this high-octane racing drama. With thrilling race sequences and an exploration of the competitive world of stock car racing, the movie allows the lead character to demonstrate his undeniable screen presence and physical prowess. The electrifying on-screen chemistry between the actor and his future wife, Nicole Kidman, adds to the allure of this compelling sports drama.

• Released : 1990

The Color of Money

In this sequel to the 1961 classic The Hustler, the lead character plays pool protegé Vincent Lauria, who is mentored by Paul Newman's "Fast" Eddie Felson. A dynamic on-screen duo, they brilliantly convey the tension and rivalry between their characters, making for a compelling examination of ambition, redemption, and the cost of success. The film stands as a worthy follow-up to its predecessor, with a superb performance that further cemented the protagonist's status as a versatile leading man.

• Directed by : Martin Scorsese

The Outsiders

Based on the classic novel by S.E. Hinton, this coming-of-age drama set in the 1960s features the lead actor as part of an ensemble cast that includes Matt Dillon, Patrick Swayze, and Rob Lowe, among others. As the youngest member of the "Greasers" gang and the brother of Ralph Macchio's Johnny, the actor delivers a tender performance that showcases his talent at an early age. The film has since become a cult classic, with its heartfelt portrayal of friendship, loyalty, and the trials of growing up.

• Directed by : Francis Ford Coppola

In this 80s drama, the leading man portrays an ambitious bartender who dreams of success and navigates the trials and tribulations of love and friendship. The role allows the protagonist to showcase his charm, charisma, and signature smile, resulting in a captivating performance that further establishes him as a Hollywood heartthrob. With memorable scenes and quotable dialogue, the film has earned a special place in pop culture nostalgia.

• Directed by : Roger Donaldson

Born on the Fourth of July

In a powerful and transformative performance, the lead actor takes on the real-life story of Ron Kovic, a disillusioned Vietnam War veteran who becomes an anti-war activist. Earning his first Academy Award nomination for Best Actor, the protagonist impeccably portrays the emotional turmoil, physical pain, and ultimate redemption of his character. The film's unflinching depiction of the war's aftermath and its impact on soldiers makes it a poignant and unforgettable viewing experience.

• Released : 1989
• Directed by : Oliver Stone

Mission: Impossible III

With J.J. Abrams at the helm, the third installment of the blockbuster franchise brings a personal and emotional depth to the series, as protagonist Ethan Hunt faces a ruthless villain with ties to his personal life. The leading man's captivating performance, along with an incredible supporting cast and intense action sequences, make this entry a standout in the spy thriller genre. Fans of the series appreciate the balance of character development, emotional stakes, and adrenaline-pumping action that this installment delivers.

• Released : 2006
• Directed by : J.J. Abrams

Tropic Thunder

In a surprising and hilarious turn, the protagonist takes on the role of an over-the-top Hollywood producer in this satirical war comedy. Sporting a bald cap and thick prosthetic makeup, he is nearly unrecognizable as he lampoons the movie industry with biting humor and infectious dance moves. His comedic prowess and willingness to poke fun at himself contribute to the film's status as a modern classic in the comedy genre.

• Released : 2008
• Directed by : Ben Stiller

In this visually stunning sci-fi thriller, the protagonist plays a drone repairman tasked with maintaining Earth's defense system after an alien invasion. Unraveling a twisted web of secrets and lies surrounding his mission, the lead actor delivers a gripping and emotional performance that keeps audiences engaged from start to finish. With its breathtaking cinematography, thought-provoking themes, and memorable score, the film solidifies its place as a captivating entry in the science fiction genre.

• Released : 2013

War of the Worlds

In this modern adaptation of H.G. Wells' classic novel, the protagonist portrays a divorced father who must protect his children during a sudden alien invasion. Under the direction of Steven Spielberg, the lead actor excels in conveying the terror, desperation, and determination of his character while navigating a world on the brink of destruction. The film's riveting storyline, impressive special effects, and powerful performances create a thrilling and suspenseful ride for viewers.

• Released : 2005

In this gripping historical thriller, the lead actor portrays German army officer Claus von Stauffenberg, who leads a plot to assassinate Adolf Hitler during World War II. With a strong supporting cast and a suspenseful narrative, the protagonist delivers a compelling performance that highlights his versatility as an actor. The film is a riveting exploration of moral courage and determination in the face of insurmountable odds.

• Directed by : Bryan Singer

Far and Away

Starring alongside Nicole Kidman, the protagonist takes on the role of an Irish immigrant seeking his fortune in America in this sweeping romantic epic. The film's lush landscapes and stirring score provide an exquisite backdrop for the passionate love story between the main characters. Despite some mixed critical reception, the undeniable chemistry between the lead actors and the film's grand scope make it a memorable viewing experience.

• Directed by : Ron Howard

American Made

Based on a true story, the protagonist plays a commercial airline pilot turned drug smuggler and CIA informant in this fast-paced crime drama. The lead actor's charismatic performance, combined with a fascinating real-life plot and a vibrant 80s aesthetic, makes for an entertaining and thrilling ride. The film showcases the protagonist's ability to tackle complex characters and deliver engaging performances in diverse roles.

• Released : 2017

Mission: Impossible II

The second installment in the blockbuster franchise features the protagonist returning as super-spy Ethan Hunt, this time facing off against a rogue former agent with a deadly virus at his disposal. Directed by action maestro John Woo, the film amps up the thrills and jaw-dropping stunts, including a gravity-defying rock climbing sequence performed by the lead actor himself. Although met with mixed reviews, the film remains a notable entry in the series for its memorable action sequences and its continued exploration of the character's personal life.

• Released : 2000
• Directed by : John Woo

All the Right Moves

In this high school football drama, the lead actor stars as a promising young athlete from a struggling Pennsylvania steel town, determined to earn a college scholarship and escape his bleak surroundings. The film allows the protagonist to showcase his talent for embodying relatable and ambitious characters, earning him praise for his performance as a driven, passionate teenager. Capturing the spirit of blue-collar America, this coming-of-age story resonates with its themes of perseverance, loyalty, and the pursuit of a better life.

• Directed by : Michael Chapman

Knight and Day

In this action-comedy, the protagonist partners with Cameron Diaz as a mysterious secret agent and an unwitting civilian who become entangled in a perilous mission. The lead actor's charm and charisma shine through in this lighthearted adventure, making it a fun and enjoyable romp for audiences. The film's blend of humor, romance, and thrilling action showcases the main character's ability to balance different genres with ease.

• Released : 2010
• Directed by : James Mangold

In one of his earliest roles, the protagonist plays a military cadet who takes part in a student-led revolt against the closing of their school in this gripping drama. The film features a strong ensemble cast, including Timothy Hutton and Sean Penn, and allows the young actor to display his burgeoning talent and screen presence. The movie's exploration of loyalty, authority, and camaraderie remains a powerful and thought-provoking examination of human nature.

• Released : 1981
• Directed by : Harold Becker

In this ambitious and sprawling ensemble drama from director Paul Thomas Anderson, the protagonist delivers a memorable performance as a morally conflicted self-help guru. With a complex narrative structure and an immense ensemble cast, the film delves into the interconnected lives of characters who are all experiencing their own personal crises. The movie's bold storytelling and the lead actor's nuanced performance contribute to its status as a modern classic in American cinema.

• Released : 1999
• Directed by : Paul Thomas Anderson

Eyes Wide Shut

In this final film from legendary director Stanley Kubrick, the protagonist stars alongside then-wife Nicole Kidman as a couple experiencing a crisis of sexual desire and jealousy. With its atmospheric cinematography, haunting score, and daring erotic scenes, the movie pushes the boundaries of traditional Hollywood storytelling. The lead actor's immersive performance and the film's controversial exploration of human sexuality make it a provocative and unforgettable entry in his filmography.

• Directed by : Stanley Kubrick

Vanilla Sky

Reuniting with Jerry Maguire director Cameron Crowe, the protagonist stars in this mind-bending psychological thriller that explores themes of love, loss, and the blurred boundaries of reality. The film's enigmatic plot, paired with the lead actor's intense and emotional performance, makes for an immersive and captivating viewing experience. Despite its polarizing reception, the movie remains an intriguing example of the protagonist's willingness to take on challenging and unconventional roles.

• Released : 2001

In this visually stunning fantasy-adventure, the main character takes on the role of Jack, a pure-hearted hero who must save a magical land from eternal darkness. Directed by Ridley Scott , the film features lush landscapes, elaborate costumes, and a memorable performance from Tim Curry as the sinister Lord of Darkness. Though considered a commercial failure at the time of its release, the movie has since developed a cult following thanks to its fantastical world-building and the protagonist's earnest performance.

• Released : 1985
• Directed by : Ridley Scott

Rock of Ages

In this star-studded musical adaptation, the lead actor portrays an aging rock star amidst the backdrop of 1980s Los Angeles. Embracing the era's iconic style, music, and larger-than-life personalities, the protagonist delivers an entertaining and energetic performance that showcases his singing abilities. The film may not have been a commercial success, but it offered audiences a chance to see the actor in a new light, embracing a fun and campy departure from his action hero roles.

• Directed by : Adam Shankman

Austin Powers: Goldmember

In a brief but memorable cameo, the protagonist hilariously lampoons his own action-star persona by portraying the titular character in a film within the film. The self-referential and irreverent nature of the cameo makes it a delightful surprise for fans and demonstrates the actor's willingness to engage in self-deprecating humor. The scene remains a standout moment in the popular comedy franchise.

• Directed by : Jay Roach

In this reboot of the classic horror-adventure series, the protagonist takes on the role of a soldier-turned-treasure hunter who accidentally unleashes an ancient evil upon the world. Though the film received mixed reviews, the lead actor's charisma and commitment to performing his own stunts add an undeniable appeal for fans of action-packed adventure films. The movie offers an entertaining and thrilling ride that showcases the main character's enduring appeal as an action hero.

• Directed by : Alex Kurtzman

Lions for Lambs

This thought-provoking political drama features an ensemble cast, including the lead actor as a Republican senator advocating for a new military strategy in Afghanistan. The film delves into complex themes of ethics, politics, and the human cost of war, showcasing the protagonist's versatility as an actor. While it may not have drawn major box-office success, the movie's timely subject matter and strong performances make it a compelling watch.

• Released : 2007
• Directed by : Robert Redford

Losin' It

In this early 80s teen comedy, the protagonist plays one of a group of high school friends heading to Mexico for a weekend of debauchery. The film, while not critically acclaimed, offers a glimpse into the early days of the lead actor's career and his natural talent for comedy. With its raucous humor and nostalgic setting, the movie remains an interesting snapshot of the protagonist's beginnings in Hollywood.

• Directed by : Curtis Hanson

Endless Love

In this romantic drama loosely based on Scott Spencer's novel, the protagonist makes his feature film debut in a supporting role as the brother of the female lead. Though the film received mixed reviews, it offers a unique opportunity to witness the early days of the lead actor's career. With its passionate love story and memorable soundtrack, the movie has become a cult classic over time.

• Directed by : Franco Zeffirelli
• Entertainment
• Watchworthy

All about the life and career of the ageless actor Tom Cruise.

Risky Business: Every Tom Cruise Film, Ranked – Updated

Tom Cruise has been a movie star for almost 40 years now. Let that sink in for a bit. In his annus mirabilis of 1983, he seemed to appear fully-formed from the collective id of Reagan’s America — the then–21-year-old actor appeared in no less than four movies, and starred in three of them. Whether he was a working class football star ( All the Right Moves ) or an entitled dork ( Risky Business ), he was always “Tom Cruise” — driven, laser-focused and upright, even when running a fly-by-night brothel out of his parents’ house. That image helped fuel such later successes as Top Gun and Cocktail , but Cruise also smartly complicated it, first in films like Born on the Fourth of July and Rain Man , and later in films like Magnolia and Minority Report . The star may have had us at “Hello,” but he still figured out a way to continue to be Tom Cruise™ even while expanding his range and appearing in more ambitious films.

So in light of Top Gun: Maverick – his belated sequel to the flyboy blockbuster that made him truly, global-celebrity famous – finally hitting theaters (and with a new two-part Mission: Impossible movie set to come out next year), we’re updating our list of good, great and grating Cruise-controlled movies. Which ones have held up, which ones have aged badly and which ones gained new relevance? We have both a need for speed and the answers. Here are Tom Cruise’s movies, ranked from worst to best. ( All entries written by Bilge Ebiri unless otherwise noted. )

‘Endless Love’ (1981)

This notorious melodrama starring Brooke Shields and where-is-he-now? casualty Martin Hewitt as star-crossed teenaged lovers torn from each other by a series of hilariously unlikely events is one of the seminal bombs of the 1980s. Tom Cruise has a teeny-tiny part in it, but he compounds the awfulness thanks to the fact that he gives Hewitt's romantic hero the ludicrous idea of setting his girlfriend's house on fire in an attempt to get back in her family's good graces. On the plus side, he is shirtless.

‘The Mummy’ (2017)

Could this be the most pointless movie of Cruise’s career so far? Though he’s the lead here – playing a treasure-hunting U.S. soldier in Iraq who comes across the tomb of an ancient, demonic Egyptian princess, and begins to fall under her spell – Tom is largely anonymous. Seriously, this could be anybody going through the motions as the film jumps awkwardly between thriller, slapstick, action and cumbersome, studio-mandated world-building. Universal’s attempt to kick-start their “Dark Universe” series of updated old-school–monster movies was a complete bust, and we’ll see if that franchise ever actually happens. But Cruise’s star power and talents are so wasted here that you actually feel embarrassed for the guy.

‘Rock of Ages’ (2012)

This dreadfully shrill, tiresome Eighties-set rock musical (based on the Broadway hit) flopped mightily, and with good reason: Director Adam Shankman substitutes hyper editing for rhythm, cameos for actual performances, and loudness for passion. But as Stacee Jaxx, the Axl Rose-like rock-god superstar whose drugged-out, sexed-out fog briefly lifts under the questioning of an intrepid, smokin' hot Rolling Stone reporter (!) played by Malin Akerman, Cruise almost saves it, with his uncontainable charisma and his never-less-than-fully-committed vocal stylings. Almost.

‘Vanilla Sky’ (2001)

It seemed as if Cameron Crowe had cracked the code on reinventing Cruise with his 1996 romcom hit Jerry Maguire (see No. 8). But then this remake of the 1997 Spanish thriller Open Your Eyes happened. Cruise plays an obnoxious, rich publisher whose romantic callowness leads one of his lovers (Cameron Diaz) to drive the car they're in off a bridge. Post-accident, our disfigured hero begins to see and experience things that blur the lines between fantasy and reality. Cruise himself seems oddly detached and unconvincing – you'd think he'd nail the entitled jerk part, at the very least, but nope. This film has attracted a cult following since its initial release, but it's far from the star's finest hour.

‘Days of Thunder’ (1990)

Attempting to recapture that Top Gun magic (a questionable proposition to begin with; see No. 27), Cruise re-teamed with director Tony Scott and producers Don Simpson and Jerry Bruckheimer for this rushed-into-production knockoff about a racecar driver who has to set aside his rebellious ways, learn to love, and achieve glory. Cruise does very little with his blandly-written role — the only bright spots are Robert Duvall as Cruise's mentor, and Nicole Kidman (the future Mrs. Cruise) as his love interest.

‘Jack Reacher 2: Never Go Back’ (2016)

Cruise was so determined to make the whole Jack Reacher thing work that he went ahead and made a sequel, despite the fact that the first one wasn’t a huge hit. And, to be fair, the star has started to grow into the part: His performance is not the problem here, and his interactions with co-star Cobie Smulders, playing an Army major whom Reacher is trying to clear of espionage, are often touching. But the first film’s dry humor is gone, and the action scenes and suspense set pieces, as directed by veteran journeyman Ed Zwick ( Glory ), are thoroughly uninspiring. That first Reacher was far from perfect, but if Cruise and co. want to attempt another one, they should look to the terse, atmospheric original as the template – and not this blah, by-the-numbers follow-up.

‘Far and Away’ (1992)

It sounded good on paper: Tom Cruise and his real-life lady love Nicole Kidman as Irish immigrants (she's rich, he's poor) who come to America from the old country in a big screen romantic epic from director Ron Howard. Alas, aside from some lovely photography and a moderately exciting finale set during the Oklahoma Land Rush, it's a hollow mess; there's surprisingly little chemistry between the two leads, despite their much-discussed offscreen romance at the time. It appears to have given James Cameron some ideas for the central romance in Titanic, however.

“Mission: Impossible II” (2000)

For one of the biggest and most resilient movie stars on the planet, Tom Cruise has very few franchise movies — the Mission: Impossible films are it. (Though there are also efforts underway to make more Jack Reacher films; see No. 22.) And Cruise, as producer on the M:I films, has maintained an impressive level of quality control over the series: hiring top-notch action directors and co-stars, and making sure each script is choc-a-block with inventive, wildly unreal set pieces. Except for this one, which, despite having the talents of John Woo behind the camera and co-stars such as Thandie Newton and Brendan Glesson, just gets lost amid a mess of goofy disguises and inane action scenes. Luckily, the series rallied strongly from this low-point (which, to be fair, scored $540 million at the worldwide box office – one of Cruise's biggest hits). 

‘American Made’ (2017)

Barry Seal was a restless airline pilot who, back in the 1970s, was recruited by the C.I.A. to spy on Central American no-goodniks. Soon, he’s moonlighting for the Medellin Cartel as a narco-transporter, running guns to the Contras on the sly, and getting filthy rich in the process. You can see why director Doug Liman wanted to make this “based on a true lie” movie about a opportunist becoming a key player in both Pablo Escobar’s coke-fueled empire and the U.S. war on drugs — the chance to send up the American dream of prosperity by any means necessary while taking potshots at political hypocrisy is too good to pass up. What’s confusing is why Cruise was tempted to play this anti-hero; maybe, like Seal himself, he was so bored by his day job (in this case, being the last real movie star left standing) that he was ready to shake things up for the hell of it. The role isn’t quite a good fit for him, despite Cruise’s best efforts to dig into this complicated man and find something to play to besides stock ugly-American smarm. Still, you have to credit the way his Edge of Tomorrow director weaponizes that megawatt smile and golden-boy charm in the name of meta-critique. Really, who better to take down the Reagan era’s dirty tricks than one of the biggest stars of that decade? —D.F.

‘Legend’ (1985)

Long considered a film maudit and originally released in a butchered theatrical release version, Ridley Scott's supernatural fairy tale was eventually given the director's-cut treatment, with its original Jerry Goldsmith score. No matter which version of this medieval fantasy — in which a miscast Cruise plays a young man who goes on a quest to save a damsel from the clutches of Darkness (Tim Curry, doing what he can) — you prefer, you still end up with a rather inert, indulgent, and, occasionally, laughably silly movie.

‘The Firm’ (1993)

Tom Cruise in a John Grisham adaptation should be the working definition of “slam dunk.” And, to be fair, this film of the legal thriller author's first big bestseller was a hit, opening the floodgates to more Grisham movies. But it's also mind-numbingly plodding: It has the pacing of a serious movie, but it doesn't have an absorbing story to match. Meanwhile, Cruise is uncharacteristically lifeless as a hot young law grad who gets recruited by a prestigious legal firm that turns out to be run by the mob.

‘Cocktail’ (1988)

It's Top Gun set it in the world of bartending; that's not a compliment, by the way. Cruise is Brian Flanagan, an ambitious young man who wants to make a lot of money but doesn't have the experience for a Wall Street job — so naturally, he winds up behind a bar instead. There, he finds himself taken under the wing of older, wiser aphorism-generator Doug Coughlin (Bryan Brown), with whom he creates a nightly spectacle of juggling bottles, synchronized pouring, and other displays of bartending prowess. It's meant to be fun, but it's a surprisingly dark portrait of late-Eighties capitalism, a world where everyone is desperate to gain an edge and get ahead. But any social critique the movie offers is undone by the sub-soap opera plot. You will feel shaken, not stirred.

‘Top Gun’ (1986)

The movie that exemplified the macho militarism of the Reagan era, Tony Scott's music video of an action flick about young, hot-dogging flying aces in an elite military training program solidified Cruise's stardom — and has dated in all sorts of troubling ways. What once felt like a fun chance to watch a bunch of young, good-looking guys tooling around in  giant penises  fast airplanes now feels jingoistic and clunky (except for the volleyball scene, which simply feels like pandering). Still, Cruise remains intensely likable as Maverick, his quintessential stuck-up rebel hero who has to learn to endure love and loss and finally become part of the team. It's just the movie around him that's so toxic.

‘Lions for Lambs’ (2007)

Director Robert Redford's political drama-cum-lecture was roundly dismissed by audiences and critics alike — but Cruise is quite good in it, playing a Republican Senator and military hawk who tries to sell veteran journalist Meryl Streep on a new strategy in the Afghan war. The film cuts between their exchange and two other events – a conversation between Redford's lefty professor and promising absentee student Andrew Garfield, and a failed mission involving stranded soldiers Michael Peña and Derek Luke. All three story strands are connected in interesting ways, though the film's attempt to draw some kind of broader insights about America at war are muddled. Still, Cruise isn't flying jets and recruiting for the U.S. Navy's aviation program, so it's got that going for it.

‘The Last Samurai’ (2003)

The posters for this bloated epic featured Tom Cruise in Samurai garb, charging at the camera — but [ spoiler alert ] he is not the last Samurai in this movie. That honor belongs to Ken Watanabe, playing the leader of a rebellion against the Japanese government's attempts to Westernize society and do away with the bushido tradition. Watanabe steals the movie right out from under a somewhat listless Cruise, who plays the alcoholic American Civil War veteran and soldier-of-fortune who first tries to fight the resistance, then joins it. If you've ever wanted to see the star in kendo training gear, however, here's your chance.

‘Knight and Day’ (2010)

Cruise is the larger-than-life CIA agent, and his Vanilla Sky co-star Cameron Diaz is the civilian lady who winds up in the wrong place at the wrong time and gets swept up in an absurd romance/action adventure. The concept is great – and it dares to utilize Cruise's physical comedy chops, which are surprisingly substantial – but despite the stars' rapport, the film seems more interested in overbaked action setpieces. That's part of the joke, of course: Cruise is sending up his Mission: Impossible antics here. But a little of that goes a long way, and too much of it goes nowhere at all. We will give the star bonus points, however, for gamely poking fun at his screen persona. 

‘Jack Reacher’ (2012)

Let's get something out of the way first: Yes, Tom Cruise is totally wrong to play author Lee Child's beloved tough guy detective/wanderer. But he's not a bad choice to play Tom Cruise 's version of the character, which is less a physically imposing, macho guardian angel and more of a diligent, stern-faced enigma.  This initially absorbing (if semi-ludicrous) mystery is distinguished by a lot of witty dialogue and some effective suspense, despite the fact it goes off the rails near the end. It wasn't much of a hit, but there are reportedly efforts to make another one. Could an older Cruise yet grow into the part? 

‘Losin’ It’ (1983)

Does anybody remember this affable little movie, directed by Curtis Hanson ( L.A. Confidential )? Tom Cruise, Jackie Earle Haley ( Watchmen ), and John Stockwell (who went on to direct films like  Blue Crush and crazy/beautiful ) head to Tijuana to score some chicks, and pick up on-the-run housewife Shelley Long in the process? Cruise is his usual intense self, and you can still see hints of the future star even in a Porky’s knock-off like this. The teen comedy would end up being overshadowed by the same year’s other Tom Cruise-tries-to-get-laid title, a little film called  Risky Business . (See No. 3.)

‘Interview with the Vampire’ (1994)

No less a luminary than author Anne Rice publicly objected to the casting of Cruise as the dashing and mysterious Vampire Lestat in Neil Jordan's star-studded adaptation of her best-selling novel. Rice eventually came around, and time has been kinder to it: What seemed like an overtly preening performance by Cruise at the time now comes off as a cavalier callousness hardened by centuries. The film still drags in parts – today, the episodic story would be a natural for a TV or cable series – but it's an offbeat, engaging, and curiously somber little epic.

‘All the Right Moves’ (1983)

Cruise would have bigger — much bigger — hits in the 1980s, but this sports drama could easily be a template for many of his later movies. Here, he plays a small-town Pennsylvania high school football star who butts heads with his domineering coach (played by Craig T. Nelson, soon to corner the sports-coach niche). Cruise's character sees football as his ticket out of this dying town, and he thinks almost nothing of the fact that if and when he departs, he will leave his working-class family and his devoted girlfriend (Lea Thompson) behind. It's a sensitive, surprisingly dark tale of All-American ambition — an area that Cruise would occasionally go back to with gratifying results (see No. 1).

‘Valkyrie’ (2008)

Cruise may not have been the ideal actor to play Colonel Claus von Stauffenberg, the German officer who tried to lead a failed attempt to assassinate Hitler. But Bryan Singer's 2008 ensemble drama (which also features sterling performances from Kenneth Branagh, Bill Nighy, and Tom Wilkinson) is still a largely effective, absorbing historical thriller that gradually builds in suspense. As the conspirators put together their plan, you find yourself becoming more and more invested in it – even though we know pretty much how it turned out (no spoilers here). The star is not the weakest link; he's just not its strongest selling point either.

‘The Outsiders’ (1983)

Francis Ford Coppola's solid adaptation of S.E. Hinton's novel about Sixties greasers is a landmark in the Chronicle of Eighties Hunkdom: Alongside stars C. Thomas Howell, Matt Dillon, and Ralph Macchio, it also featured a supporting cast of newcomers such as Rob Lowe, Patrick Swayze, Emilio Estevez, and, yes, our man Tom. Sporting some terrible teeth, Cruise actually looks downright homely against his fellow heartthrobs. Who'd have guessed that, among this Tiger Beat who's-who of a cast, he'd be the one to truly hit the stratosphere?

‘Mission: Impossible – Rogue Nation’ (2015)

The most recent entry in Cruise’s reliable movie series, directed by his Jack Reacher director Christopher McQuarrie, actually benefits at times from underplaying his part and letting the scene-stealing Rebecca Ferguson kick ass in his place. But the film also delivers on the set pieces – from the incredible opening airplane stunt to the opera house assassination attempt (a nice callback to the Hitchcockian flair that Brian De Palma brought to the original Mission ). It’s not as tight as that first entry, to be fair, or as breathtaking as Ghost Protocol. But it’s relentlessly fun, and damned if Cruise doesn’t seem to be having the time of his life.

‘Oblivion’ (2013)

Part Wall-E , part The Matrix and   part I Am Legend , this ethereal, spare sci-fi film was a deceptively weird little attempt at a blockbuster. Cruise plays the last human male left on an Earth that’s dying in the wake of an apocalyptic alien war. Comfortably ensconced (with beautiful fellow survivor Andrea Riseborough) in a Jetsons-like house in the sky, he’s watching over the planet while the rest of humanity migrates elsewhere in the galaxy – or so he thinks. It was marketed as a kick-ass action flick, but in reality, this is as much a melancholy, unsettling romance as it is an adventure. And, frankly, it’s better than its reputation as a mediocre star vehicle suggests.

‘Mission: Impossible III’ (2006)

The M:I series rallied under the guidance of director J.J. Abrams, who returned the films (somewhat) to the team-focused ethos of the original series with this third installment. Surprisingly funny, it gets by on character exchanges as much as it does on action scenes – which isn't to say that Cruise's Ethan Hunt doesn't kick major amounts of ass or remind us why we consistently pay money to see Tom run (and shoot, and hang from things, and fight, and…). Still, the real MVP here might be the late Phillip Seymour Hoffman, playing a uniquely deranged, genuinely threatening villain, by far the best heavy in this series.

‘Taps’ (1981)

As a borderline-psychotic cadet who helps spur an armed revolt at an elite military academy, Cruise almost walks off with this tense, deceptively strange film. His Cadet Captain David Shawn is the demonic opposite of Sean Penn's more conflicted, peace-loving Cadet Captain Alex Dwyer; together, the two battle for supremacy over the conscience of the film's ostensible hero, the talented and intelligent young Cadet Major Brian Moreland (Timothy Hutton). Full of adolescent aggression but thoroughly devoid of charm, David is a fascinating dry run for the gung-ho heroes of many of Cruise's later films. You could tell that there was more to this kid than a pretty face and money-minting smile.

‘Tropic Thunder’ (2008)

"Take a step back, and literally FUCK your own FACE!" Hiding under layers of make-up, Cruise did a hilarious supporting turn as craven, hair-trigger studio exec Les Grossman in Ben Stiller's action comedy – a movie powered primarily by the genius energy of its supporting performances. It seems like stunt casting – and it is — but of a particularly brilliant type: Watch the rage in Cruise's face as he screams at the leaders of the Flaming Dragon guerilla group. Watch his cold, dead eyes as he informs Matthew McConaughey's agent that he won't lift a finger to save his stars who have been kidnapped in Asia. This man is committed . It's funny, because it's so damned chilling.

“Mission: Impossible – Ghost Protocol” (2011)

The right to watch the biggest movie star in the world scale the tallest skyscraper in the world should be enshrined in the U.S. Constitution. The most recent Mission: Impossible movie is the most Mission: Impossible -iest of them all: Over the top beyond your wildest dreams, and yet somehow strangely nonchalant. Cruise reprises his role as super-agent Ethan Hunt, but there's a compelling jadedness to him this time, which sort of adds to the lunacy of this film. It's the closest any Tom Cruise film has come to being a cartoon – quite appropriate, as this was the first live-action film made by veteran animation director Brad Bird ( The Incredibles ). 

‘The Color of Money’ (1986)

Cruise teamed up with Martin Scorsese and Paul Newman in this sequel to The Hustler , and impressively held his own. It has all the usual Tom Cruise vehicle tropes — he's a young, impetuous, talented pool shark who is taken under the wing of a veteran player, while romancing a sassy, independent-minded woman (Mary Elizabeth Mastrantonio).  But Scorsese's stylized, frenetic direction gives the movie its own special energy. It's loads of fun — check out Cruise's gleeful arrogance as he famously runs the table to the tune of Warren Zevon's "Werewolves of London" — and watching the brash young movie star face off against the world-weary Newman, you start to wonder whether you might be watching a documentary.

‘War of the Worlds’ (2005)

Tom Cruise as an Everyman? In Steven Spielberg's adaptation of H.G. Wells's classic alien invasion novel, Cruise plays a Jersey longshoreman and absentee father who has to flee the invaders from space. The early scenes are gritty and close to pathetic as we watch our hero try to be a dad. When the invasion happens, the film shifts into a series of spectacular Spielbergian set pieces, without ever losing sight of the film's central emotional dynamic: A father trying to keep his kids from going insane amid unspeakable horror. The film goes downhill once Tim Robbins shows up as a Masshole survivalist, but it's still one of Cruise's better films of the past decade.

‘A Few Good Men’ (1992)

Directed by Rob Reiner and written by Aaron Sorkin, this gloriously satisfying cheeseburger of a movie finds Cruise playing a Navy lawyer looking into the death of a young Marine at a Guantanamo Bay base run by snarling, contemptuous, powerful Colonel (Jack Nicholson). A bit shouty in parts, but the movie earns its bigness: The final stand-off between Cruise and Nicholson has rightly gone down in movie history for its insanely exciting back-and-forth ("I want the truth!" "You can't handle the truth!"). It's the kind of crackerjack legal thriller they don't make anymore, and Cruise's ramrod performance is one the reasons you wish they did.

‘Mission: Impossible’ (1996)

When this action hit first came out, fans of the original series were upset that the film underplayed the whole cooperation-between-teammates-with-different-skills thing, focusing instead on the heroics of the lone Cruise character. Fair enough. But what a movie! Director Brian De Palma delivers an atmospheric Cold War thriller that turns into a  North by Northwest -style adventure before transforming into a go-for-broke action spectacle. Meanwhile, Cruise becomes a bona-fide action hero here. (Previously, most of his action movies had simply asked him to control large, powerful vehicles.) Watch the justly celebrated, wordless Pentagon break-in sequence: what makes it work so well is the subtle slapstick Cruise brings to being suspended in air.

‘Edge of Tomorrow’ (2014)

Our man is so well-cast in this incredibly fun science-fiction comedy-thriller-adventure, it’s downright scary. He’s a military officer who knows nothing about combat; he just helps recruit soldiers for a never-ending war against unstoppable space aliens. Then, suddenly, he’s thrust into battle and dies immediately … only to find himself reliving his final day, dying in every imaginable way before magically starting back at square one. Eventually, he becomes a better soldier and learns how to defeat the enemy. Here we have all the various Cruise personae in one movie: The gung-ho pretty boy who effectively sold 1980s militarism to a generation of teens; the go-getter who pursues a task until he’s achieved his goals; the cynical opportunist who needs to be taught a lesson. And, as in so many of his best films, he gets a smarter, stronger partner-mentor: Super-soldier Emily Blunt, who also has the power to come back from the dead once. It’s a movie in which Tom Cruise dies over and over again – which means even people who hate Tom Cruise can get a kick out of it.

‘Rain Man’ (1988)

The movie was a runaway hit, took home that year's Best Picture Oscar and helped Dustin Hoffman win the Best Actor award — oddly enough, Tom Cruise is the one underrated aspect of this touching hit drama about a craven young man's cross country trip with his autistic older brother. As a slick car salesman who learns about family, selflessness, and devotion from his mentally troubled sibling, Cruise is the one whose emotional arc has to carry the movie. Rising to the challenge, the actor gave one of his most touching performances to date – going from shameless yuppie to protective brother to emotional mess. It's a shame that he was overlooked when it came to awards season. 

‘Jerry Maguire’ (1996)

"Show me the money!" Despite being a heartthrob and having an impeccable sense of comic timing, Cruise rarely did romantic comedies. (Does Risky Business count?) But he was the perfect choice for Cameron Crowe's comedy about a hot-shot sports agent who has a moment of conscience and gives up everything to start his own scrappy company — all the while falling for his assistant, a single mom played by a darling Renee Zelwegger. It's certainly one of the most quotable romcoms of all time, in part thanks to the power of the Cruise-Zelwegger chemistry and Oscar winner Cuba Gooding Jr. 's turn as a lovably boisterous young football star.

‘Collateral’ (2004)

Playing the mysterious, white-haired assassin holding Los Angeles cabbie Jamie Foxx hostage as they go from hit to hit, Tom Cruise is at his sociopathic best in director Michael Mann's stylish thriller. He's cool, confident, efficient – a bold foil for Foxx's submerged, and very human laborer. In Mann's vision, this is the story of two very different men who connect in unlikely ways: The killer teaches the dreamer a thing or two before the inevitable, bloody cat-and-mouse finale. One of those occasional reminders that Tom Cruise, for all his stardom, should play villains more often.

‘Mission: Impossible — Fallout’ (2018)

How many franchises can boast that they’re dropping their best installments six chapters in? How many movie stars can be asked why they insist on doing their own stunts and when they reply , “No one asked Gene Kelly, ‘why do you dance,” you go, “Well, he does make a good point”? If the latest Mission: Impossible was nothing more than Tom Cruise trying to one-up himself yet again — this time by actually performing the High Altitude Low Opening (or HALO) skydive you see near the beginning of the movie — it’d still be a rush. But Cruise and director Christopher McQuarrie also deliver a crack espionage thriller, with Ethan Hunt and the IMF team trying to locate some rogue plutonium cores before a terrorist network does. Everything from the pacing to the standout set pieces (including a for-the-ages fistfight between the star, Henry Cavill and a bad guy in a nightclub bathroom) to the sexual tension between Hunt and Vanessa Kirby’s femme fatale put this a cut above your normal multiplex fare, but Cruise is the reason it all works, period. These movies are as much a tribute to his commitment — even if it means risking life and limb! — as they are to the notion of a globe-trotting superspy saving the world one unmasking at a time. Running, jumping, throwing himself off of buildings and out of planes just for your entertainment: this is what Cruise was born to do. —D.F.

‘Eyes Wide Shut’ (1999)

True, the film has dodgy spots: Stanley Kubrick died before he could finish editing the film, so we're effectively watching a rough cut. But as Cruise's disconsolate Dr. Bill Harford journeys into a dreamlike New York City night in a bizarre quest to explore his sexual dark side, what emerges is a sensitive, mesmerizing film about the masks that we must all occasionally wear to find some semblance of happiness. It seems like an odd part for Cruise — the role of a humiliated husband — but his awkwardness in the part feels intentional: This is a guy who isn't sure what's going on, and always feels uncomfortable. Nicole Kidman is terrific as Harford's mysterious wife; the two have very little chemistry together, but that too is part of the idea, it seems. (They divorced several years later.) 

‘Minority Report’ (2002)

Why yes, Steven Spielberg's sci-fi potboiler about a world where you can be arrested for future crimes (instead of past ones) does feel amazingly prescient. But what makes it so special is its unique ability to juggle dark social themes, a tense mystery plot, and an insane, freewheeling sense of fun. And as the pre-crime cop-turned-fugitive at the heart of this tale, Cruise is one of the film's most formidable weapons. He merges the driven, upright character of his early years with the more physical action hero of his later years. But he's supremely vulnerable, too: a man who hides his doubt and suffering under a cloak of unquestioning determination.

‘Risky Business’ (1983)

The sight of young Tom Cruise, in tightie-whities, button down shirt, and tube socks dancing to Bob Seger's "Old Time Rock 'n Roll" by himself became an iconic image for young males in the early Eighties. But watch it again in the context of the movie, and you realize how funny it is. Cruise has always had a gift for physical comedy, though he uses these talents rarely. In this classic, he's alternately ambitious and underachieving, horny yet sheltered, driven yet lost – the ultimate teenager. And when he gets the chance to run a brothel out of his parents' house while they're on vacation, it's both the ultimate in wish fulfillment and a nightmare waiting to happen. A hilarious sex comedy, a touching coming of age movie, and a chance to see a young actor turn into a generation-defining movie star before your very eyes.  

‘Born on the Fourth of July’ (1989)

Tom Cruise was practically destined for Oliver Stone's epic film about Ron Kovic, a fresh-faced good soldier who became a paralyzed Vietnam protestor. It may be set in the Sixties and Seventies, but Kovic's story calls into question the alpha-male militarism and single-mindedness of the Eighties as well — in effect interrogating the Tom Cruise persona itself. The star is perfect for the film's early scenes showing Kovic as a can-do, unquestioning high school jock, for whom a defeat on the wrestling mat is downright apocalyptic. Kovic's journey through the battlefields of Vietnam, the horrors of the VA hospital, and the turmoil of a politically explosive homefront becomes a classic hero's journey, a modern American myth. And every step of the way, Cruise is genuinely riveting — from All-American star to wandering, wounded soul to, finally, determined activist. The movie is a masterpiece for Stone, and it may be Cruise's greatest lead performance.

‘Magnolia’ (1999)

"Respect…the cock!" Cruise is not the lead in Paul Thomas Anderson's ambitious 1999 multi-character drama (is anybody?), but he lurks, coiled like a venomous snake, at the film's heart. As self-help guru Frank T.J. Mackey, Cruise preaches a loathsome brand of male empowerment, objectifying women and the very idea of femininity with proud abandon. The film interrogates Frank brilliantly, both through a literal interview he has to sit through, and through a non-reconciliation with his dying father later on. It could easily have been a one-note performance – watch the movie star play a vile, loud celebrity, hint hint – but Cruise turns it into a whirling dervish act of competing responses. You start off laughing at Frank, then you're terrified of him, and finally you realize just how irreparably broken he is. Along the way, you realize the depths of this amazing actor's talent. It's a performance that should never ever be forgotten. 

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(Photo by DreamWorks/courtesy Everett Collection. Collateral.)

All Tom Cruise Movies, Ranked By Tomatometer

Collateral celebrates its 20th anniversary!

From his teen idol days in the early ’80s to his status as a marquee-lighting leading man today, Tom Cruise has consistently done it all for decades — he’s completed impossible missions, learned about Wapner time in Rain Man , driven the highway to the danger zone in Top Gun , and done wonders for Bob Seger’s royalty statements in Risky Business , to offer just a few examples. Mr. Cruise is one of the few honest-to-goodness film stars left in the Hollywood firmament, so whether you’re a hardcore fan or just interested in a refresher course on his filmography, we’re here to take a fond look back at a truly impressive career and rank all Tom Cruise movies.

Mission: Impossible - Fallout (2018) 97%

Top Gun: Maverick (2022) 96%

Mission: Impossible - Dead Reckoning Part One (2023) 96%

Mission: Impossible Rogue Nation (2015) 94%

Mission: Impossible - Ghost Protocol (2011) 93%

Risky Business (1983) 93%

Edge of Tomorrow (2014) 91%

Minority Report (2002) 89%

Rain Man (1988) 88%

The Color of Money (1986) 88%

Collateral (2004) 86%

Born on the Fourth of July (1989) 84%

American Made (2017) 85%

A Few Good Men (1992) 84%

Jerry Maguire (1996) 84%

Magnolia (1999) 82%

Tropic Thunder (2008) 82%

The Firm (1993) 76%

War of the Worlds (2005) 76%

Eyes Wide Shut (1999) 76%

Mission: Impossible III (2006) 71%

The Outsiders (1983) 70%

Taps (1981) 68%

Mission: Impossible (1996) 65%

The Last Samurai (2003) 66%

Jack Reacher (2012) 64%

Interview With the Vampire (1994) 63%

All the Right Moves (1983) 61%

Valkyrie (2008) 62%

Top Gun (1986) 58%

Mission: Impossible II (2000) 56%

Oblivion (2013) 54%

Knight and Day (2010) 52%

Far and Away (1992) 50%

Vanilla Sky (2001) 42%

Rock of Ages (2012) 42%

Legend (1985) 41%

Jack Reacher: Never Go Back (2016) 38%

Days of Thunder (1990) 38%

Lions for Lambs (2007) 27%

Losin' It (1982) 18%

The Mummy (2017) 15%

Cocktail (1988) 9%

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Tom Cruise may be a blockbuster staple, but the movie star has a slew of cancelled horror projects to his name - and some of these unmade movies sounded promising. Since Tony Scott’s classic Top Gun  arrived in cinemas in 1986, Tom Cruise has been an almost unstoppable force at the box office, starring in a string of successful blockbusters. That said, this star power isn’t completely beyond reproach.

One of Cruise’s few flops came with a rare foray the actor made into horror with 2017’s critically-panned  The Mummy reboot. Despite his many big-screen successes, Cruise has starred in few horror projects. 1994’s Interview With A Vampire  is the only horror movie on the actor’s CV outside of  The Mummy -  and even that hit barely counts as a scary movie. However, despite what fans of the actor might guess, this is not due to a lack of trying on Cruise’s part.

Related: Why Top Gun 2 Won't Beat Ghostbusters: Afterlife At The Box Office

Cruise is always searching for another successful franchise, and throughout his decades of screen stardom, he has attempted to get numerous horror movies off the ground, with each project being cancelled for one reason or another.

At The Mountains Of Madness

Possibly the most famous of Cruise’s cancelled projects, the Antarctica-set horror At The Mountains of Madness would have seen the actor play the protagonist of this “unfilmable" Lovecraft adaptation. The story follows a set of doomed explorers who uncover dark secrets beneath the ice of Antarctica and was set to begin filming in 2011 after Del Toro had spent six years attempting to get the movie off the ground. However, despite  John Carpenter ’s Antarctic body horror classic The Thing receiving a remake the same year, the studio balked at the thought of the movie’s lack of a love story, unhappy ending and R-rating, leading to the cancellation of the movie.

I Am Legend

This may not strictly count as an “unmade” horror movie since director Francis Lawrence did eventually adapt author Richard Matheson’s seminal vampire novel   I Am Legend in 2007 (complete with an underrated Will Smith performance). However, a much earlier take on I Am Legend was being shopped around Hollywood in the late 1990s and the Mission Impossible franchise star was a contender for the title role. Cruise was considered for the part of a lonely apocalypse survivor alongside fellow big names like Harrison Ford and Michael Douglas, but the Terminator himself Arnie eventually got the role before this version of the movie was vetoed.

The Vampire Lestat

After the success of 1994’s  Interview With a Vampire , helmer Neil Jordan had ambitious plans for a follow-up to his Cruise collaboration. Per a Talkhouse interview with the Irish director: " I was commissioned to write a sequel, based on Anne Rice’s sequel novel. I wrote it and had a lot of fun in 17th-century France .” The idea had potential but unfortunately, Cruise had no interest in reviving the role, meaning viewers missed out on the sight of Lestat witnessing the revolution or turning his ailing mother into a vampire on her deathbed. The sequel was canned, and it took the likes of  True Blood  to reignite interest in "sexy" vampires about a decade later.

Related:  Top Gun 3 Would Be Better For Tom Cruise Than Mission: Impossible 9

Selling Time

Less of a full-blown horror and more of a supernatural thriller, Selling Time was another project that was attached to Will Smith as well as Cruise at one point. According to the British movie magazine Empire  in 2006, Selling Time saw its protagonist selling off parts of his life in exchange for the chance to relive his worst day. Seemingly a trippy combination of Repo Men  with Cruise’s own   Edge of Tomorrow , it’s a shame viewers never got to see this strange Tom Cruise movie brought to life.

More:  Every Unmade Horror Movie Arnold Schwarzenegger Almost Appeared In

• SR Originals

The Tom Cruise Lovecraftian Horror Movie We Never Got To See

Tom Cruise's career has seen some ups and downs in the past decade or two, but the actor remains one of the biggest, most bankable stars in the world. And while he continues to earn raves for his  death-defying work in the blockbuster "Mission: Impossible"   franchise, part of Cruise's durability in Hollywood is his dedication to subverting his action movie persona with films not cut straight from that genre's cloth.

Cruise's affinity for genre-jumping has led to some of the best performances of his career, including 1989's "Born on the Fourth of July," 1999's "Magnolia," and 2008's "Tropic Thunder." That said, horror is one of the few genres Cruise has only ever dipped a toe in, with Neil Jordan's 1994 vampire melodrama "Interview with the Vampire," Stanley Kubrick's unnerving 1999 thriller "Eyes Wide Shut," and 2017's forgettable monster movie " The Mummy " being the only films that even remotely fit the proper genre mold. 

Back in the early 2010s, however, Cruise was apparently looking to change that and go big with his first true-blue horror flick. In March 2011, it was reported that Cruise was teaming up with  Guillermo del Toro for a hard R-rated adaptation of H.P. Lovecraft's "At the Mountains of Madness," a breathlessly tense story about a doomed expedition that uncovers horrors buried in the icy environs of Antarctica (via io9 ).

What happened with the adaptation of At the Mountains of Madness?

Sadly, Universal Studios brass nixed the planned adaptation of "At the Mountains of Madness" not even a day after producer Don Murphy told io9 that it was set to begin filming in June 2011, that Tom Cruise would star, and that the script closely followed the source material. Deadline  detailed on March 7, 2011 Universal had "been balking over the $150 million budget and R rating on 'At the Mountain[s] of Madness'" for a long time and finally pulled the plug. With Legendary Pictures at the time moving swiftly on Guillermo del Toro's "Pacific Rim," it was evident that the "At the Mountains of Madness" movie wouldn't come to pass.

Shortly following that report, del Toro sat down for a revelatory interview with Deadline , explaining that in spite of Tom Cruise's star power (and his genuine desire to lead the movie) and the backing of James Cameron , Universal ultimately shut down "Mountains" due to its pitch-black narrative, inherent lack of a romantic subplot, need for a hard R-rating, and reported $150 million price tag.

For Cruise, "At the Mountains of Madness" falling through was just one of many projects throughout his career that didn't quite get off the ground. For del Toro, it was the tragic end of decades' worth of planning. And unfortunately, the film's cancellation came just months after he'd exited his long-delayed adaptation of "The Hobbit," hoping to rebound with a faithful adaptation of H.P. Lovecraft's harrowing tale of arctic terror. To make matters worse,  IndieWire  reported in 2012 that del Toro believed Ridley Scott's divisive "Alien" prequel " Prometheus " had essentially killed his "At the Mountains of Madness" adaptation for good, as there were striking similarities between the projects. 

All may not be lost, however. Even if Cruise and del Toro don't get back together to adapt "At the Mountains of Madness," the director himself told  IndieWire in 2020 that he's still holding out hope to one day make the film on his terms. The only question now is who's got the money to back it?

Tom Cruise Movies List

1. Endless Love

3. The Outsiders

4. Losin' It

5. All the Right Moves

6. Risky Business

9. The Color of Money

10. Cocktail

11. Rain Man

12. Born on the Fourth of July

13. Days of Thunder

14. A Few Good Men

15. The Firm

16. Interview with the Vampire

17. Mission: Impossible

18. Jerry Maguire

19. Eyes Wide Shut

20. Magnolia

21. Mission: Impossible II

22. Stanley Kubrick: A Life in Pictures

23. Vanilla Sky

24. Space Station 3D

25. Minority Report

More to explore, recently viewed.

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‘Mission: Impossible — Dead Reckoning Part One’ Review: Still Running

In this franchise’s seventh entry, Tom Cruise’s mission includes increasingly improbable leaps, chases and stunts. Luckily for us, he chooses to accept it.

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By Manohla Dargis

I don’t know if anyone has ever clocked whether Tom Cruise is faster than a speeding bullet. The guy has legs, and guts. His sprints into the near-void have defined and sustained his stardom, becoming his singular superpower. He racks up more miles in “Mission: Impossible — Dead Reckoning Part One,” the seventh entry in a 27-year-old franchise that repeatedly affirms a movie truism. That is, there are few sights more cinematic than a human being outracing danger and even death onscreen — it’s the ultimate wish fulfillment!

Much remains the same in this latest adventure, including the series’ reliable entertainment quotient and Cruise’s stamina. Once again, he plays Ethan Hunt, the leader of a hush-hush American spy agency, the Impossible Mission Force. Alongside a rotating roster of beautiful kick-ass women (most recently Rebecca Ferguson and Vanessa Kirby) and loyal handymen (Simon Pegg and Ving Rhames), Ethan has been sprinting, flying, diving and speed-racing across the globe while battling enemy agents, rogue operatives, garden-variety terrorists and armies of minions. Along the way, he has regularly delivered a number of stomach-churning wows, like jumping out a window and climbing the world’s tallest building .

This time, the villain is the very au courant artificial intelligence, here called the Entity. The whole thing is complicated, as these stories tend to be, with stakes as catastrophic as recent news headlines have trumpeted. Or, as an open letter signed by 350 A.I. authorities put it last month: “Mitigating the risk of extinction from A.I. should be a global priority alongside other societal-scale risks, such as pandemics and nuclear war.” In the face of such calamity, who you gonna call? Analog Man, that’s who, a.k.a. Mr. Hunt, who receives his usual mysterious directives that, this time, have been recorded on a cassette tape, an amusing touch for a movie about the threat poised to the material world by a godlike digital power.

That’s all fine and good, even if the most memorable villain proves to be a Harley Quinn-esque agent of chaos, Paris (Pom Klementieff), who races after Ethan in a Hummer and seems ready to spin off into her own franchise. She tries flattening him during a seamlessly choreographed chase sequence in Rome — the stunt coordinator, Wade Eastwood, is also a racecar driver — that mixes excellent wheel skills with scares, laughs, thoughtful geometry and precision timing. At one point, Ethan ends up behind the wheel while handcuffed to a new love interest, Grace (Hayley Atwell, another welcome addition), driving and drifting, flirting and burning rubber in what is effectively the action-movie equivalent of a sex scene.

Despite the new faces, there are, unsurprisingly, no real surprises in “Dead Reckoning Part One,” which features a number of dependably showstopping stunts, hits every narrative beat hard and, shrewdly, has just enough winking humor to keep the whole thing from sagging into self-seriousness. This is the third movie in the series that Cruise and the director Christopher McQuarrie have made together, and they have settled into a mutually beneficial groove. On his end, McQuarrie has assembled a fully loaded blockbuster machine that briskly recaps the series’ foundational parameters, adds the requisite twists and, most importantly, showcases his star. For his part, Cruise has once again cranked the superspy dial up to 11.

Over the years, McQuarrie has loosened up the star, who generally seems to be having a pretty good time. Still, it must be exhausting to be Tom Cruise, who famously performs his own stunts. A smattering of creases now radiate around his smile, but time doesn’t seem to have slowed his relentless roll. The most arresting set piece here finds Ethan smoothly sailing off a cliff via a motorbike and a parachute. Improbable, yes? Impossible? Nah. Like the other large-scale, stunt-driven sequences, this showy leap at once underscores Cruise’s skills and reminds you that a real person in a real location on a real motorbike did this lunatic stunt.

Nothing if not a classicist, Ethan also goes one to one with a baddie (Esai Morales) atop a speeding train, perhaps in homage to his cliffhanger moves on another train in the first “ Mission: Impossible ” (1996). In his review, the New York Times critic Stephen Holden observed that with this film Cruise had “found the perfect superhero character.” It’s worth noting that, in 1996, the top 10 movies released in the United States were largely high-concept thrillers and comedies; in 2022, half the top 10 releases were from Marvel or DC. Yet the film that connected most strongly with audiences was Cruise’s “Top Gun: Maverick.”

Although “Maverick” featured plenty of digital whiz-bangery, its most spectacular draw of course was Cruise, who has also remained the single greatest attraction in the “Mission” movies. To that point, while there’s little of substance that I remember about the first film other than it was directed by Brian De Palma, I can vividly picture — with the crystalline recall that only some movies instill — two distinct images of Cruise-Ethan from it. In one, he races away from a tsunami of water and shattered glass; in the second, he hovers inches above a gleaming white floor, his black-clad body stretched head to toe in a near-perfect horizontal line. The filmmakers imprinted those images on my memory; so did Cruise.

Early in the “Mission: Impossible” series, the outlandishness of the movies’ plots and Cruise’s equally fantastical stunts started to make him seem less than human. By the second movie, I wondered if he were disappearing altogether, turning himself into little more than a special effect. Since then, the plots and the stunts have remained impossibly absurd, sometimes enjoyably so, as here. Yet over the years, the series has unexpectedly made Cruise seem more poignantly human than he has sometimes seemed elsewhere. One reason is that the “Mission” movies were instrumental in shifting the locus of his star persona from his easygoing smile — the toothy gleam of “Risky Business” and “Jerry Maguire” — to his hardworking body.

The obvious effort that Cruise puts into his “Mission” stunts and the physical punishment he endures to execute them — signaled by his grimaces and popping muscles — have had a salutary impact on that persona, as has the naked ferocity with which he’s held onto stardom. It’s touching. It’s also difficult to imagine any actor today starting out in a superhero flick reaching a commensurate fame, not only because the movies, Hollywood’s at least, no longer retain the hold on the popular imagination that they once did, but also because the corporately branded superhero suit will always be more important than whoever wears it. Tom Cruise doesn’t need a suit; he was, after all, built for speed. He just needs to keep running.

Mission: Impossible — Dead Reckoning Part One Rated PG-13 for thriller violence. Running time: 2 hours 43 minutes. In theaters.

Manohla Dargis is the chief film critic of The Times, which she joined in 2004. She has an M.A. in cinema studies from New York University, and her work has been anthologized in several books. More about Manohla Dargis

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Mission: Impossible - Dead Reckoning Part One

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With world-threatening stakes and epic set pieces to match that massive title, Mission: Impossible - Dead Reckoning Part One proves this is still a franchise you should choose to accept.

With a terrific cast and some beautifully shot stunts, Mission: Impossible - Dead Reckoning Part One might be the best action movie of the year.

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Hold Onto Your Couch! This Cosmic Body Horror Movie Is One Hell of a Trip

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Joe Begos ’ 2019 Bliss blends all the grungy glamor of a Bret Easton Ellis novel with 1970s campy body horror to the grand heights of mind-altering cosmic horror. Starring Dora Madison as Dezzy, a Los Angeles artist struggling to paint now that she’s sober, Bliss takes the audience on a bender like no other. As Dezzy falls back into drugs and partying, she makes great strides in her painting, at the cost of waking up covered in blood with no memory of the night before. Breaking her sobriety with a new drug, bliss, Dezzy experiences terrifying and surreal visions. Under the influence, her friend, Courtney ( Tru Collins ), slips her something else entirely. Dezzy begins to experience a thirst for blood that sends her into a bloody spiral. As Dezzy roams Los Angeles’ party scene, high and wild, the walls of reality begin to collapse around her. The horror could be an induced hallucination, or it could be real. Through a carefully curated aesthetic and eclectic editing, Bliss drugs the viewer alongside Dezzy to simulate a 90-minute-long trip unlike any other.

The Horror in ‘Bliss’ Is a Campy Throwback to the 1970s

As Dezzy falls into a supernatural drug-induced psychosis, Bliss kicks off its bizarre brand of horror. Gore galore collides with incomprehensible cosmic terror as Dezzy becomes increasingly dependent on supernatural drugs to finish her painting. There are a few fight scenes towards the end of the movie. In them, the body horror is visceral and strange. As throats get ripped out and fingers bitten off, the sound effects are dialed up to 11. The sound design for the bone-crunching and wet squishes gives the viewer shivers. The exposed carnage looks nasty, reminiscent pf chunky meat. None of the gore appears overly realistic; instead, it favors a more stylized look. Watching these violent sequences, the bloodshed comes off as artsy rather than gritty . The gore becomes surrealist as the movie draws to a close and Dezzy has officially spun out of control. Bodies melt like Jello or squeeze wax. It feels unreal, emphasizing the niggling possibility that none of this is actually happening and that it’s all been a bad trip. In maintaining this style, Bliss ’ gore doesn’t make it a scary movie as much as it makes it a visually exciting one.

Bliss takes several aesthetic cues from '70s sexploitation films , which casts the violence in a campy light. Dezzy frequently wakes up naked and covered in blood . One of the final scenes of the film features her twirling around her apartment, stripping her clothing off, and smearing blood and guts over her naked skin. One of the first signs the drug, bliss, is affecting Dezzy is her hallucinating blood pouring from her neck. She stands in a grotty club bathroom and seductively runs her hands along her upper body, watching as the blood spills and oozes down her neck and onto her chest. Her lack of alarm lulls the audience into relative calm, choosing to believe this is simply a hallucination. As the body count begins to stack up, blood spurts from victims like geysers. The overabundance of gore feels theatrical and revelatory. As Dezzy overindulges in drugs and partying, the film likewise leans into obscene dramatics. The lurid red of the blood perfectly matches the color scheme of Bliss . The lighting of the film is electric and bright. Favoring glamorous reds, purples, and blues, Bliss generates an otherworldly vibe. Depending on the color, a different tone is established for the scene. When Dezzy is out and partying, the lights flash and pulse. Watching Dezzy and Courtney thrash on the dance floor while blinding lights cut in and out tricks the viewer into feeling like they’re right next to the characters. Back at her apartment, while Dezzy works on her painting, infernal red candles burn and cast the set in an ominous light.

Editing Emphasizes the Cosmic Horror Trippiness of ‘Bliss’

Bliss teases whether the aforementioned violent sequences are real, with Dezzy experiencing what she believes to be drug-induced blackouts. As she questions reality, Bliss pushes this cosmic theme of unreality. Humanity, specifically Dezzy's humanity, becomes elastic as she consumes more bliss and blood. She pierces the veil of reality, as she unknowingly paints a window into Hell. Bliss incorporates trippy editing and an electric, psychedelic soundtrack to elevate this tone and atmosphere of cosmic horror . The editing casts a surrealist lens over Bliss , creating the vibe that an otherworldly force is falling upon LA, and specifically, Dezzy. The camera is constantly in motion, spinning with Dezzy as she dances in a manic state or pulling away from her as she falls into a bliss-induced haze. When she begins to panic, the shot warps as the camera switches to a fishbowl lens, distorting the edges of the shot as well as the textual reality of the scene. As Dezzy questions what’s real, so too does the viewer.

During the handful of painting sequences, clips of Dezzy out on the town are interspersed over her working. As she paces her apartment and furiously paints, there are quick flashes of her on the dance floor, having a threesome with Courtney and Ronnie ( Rhys Wakefield ), or biting someone. The disorienting nature of these scenes is then compounded by Dezzy not remembering anything the next morning. She does not recall working on the painting, nor does she know what she did after taking the drug. Bliss is also careful to update the viewer on the painting’s progress. What at first appeared to be a sunset is rapidly becoming a hellscape full of tortured bodies. A force greater than Dezzy seems to be possessing her , inspiring her process with deadly consequences.

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While Bliss works to subject Dezzy and the audience to the most bizarre trip of their lives, the most incredible soundtrack plays in the background. The electric rock and alternative metal, heavy with guitar riffs and screeching, underscore the cosmic unreality of the movie. Dezzy and Courtney have a conversation at the start of the film about seeing some local bands playing at a dive. None of the bands playing throughout are mainstream, which gives the underground party scene a grungy believability. The songs, however, help elevate the cosmic tone Bliss is playing with. The synthetic notes and psychedelic bars feed into the unreality Dezzy is experiencing . Combined with the spinning camera, bright visuals, and choppy editing, the music compounds the feeling of riding an epic high or crashing from insane heights.

Bliss is a film concerned with aesthetics. Through expert use of flashy visuals, Begos incorporates aspects of gore, cosmic horror, and arthouse into Bliss. The convergence of these genres results in an electric movie, one that keeps the viewer on their toes, constantly wondering what is real and what is a hallucination. As Bliss textually toys with the fabric of reality, it also subconsciously teases the same question through editing. Surrealist editing and intoxicating music only fuel the trippy nature of Bliss. If anyone is looking to experience acid without actually doing acid, Bliss is the movie to watch.

Bliss (2019)

Struggling artist Dezzy Donahue turns to drugs to overcome her creative block, spiraling into a dark and hallucinatory journey. As she loses grip on reality, Dezzy must confront her inner demons while her art grows increasingly violent and disturbing.

Bliss is currently available to stream on Prime Video in the U.S.

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