Mission: Impossible, a series that’s never shown much interest in character-building, has become the perfect embodiment of Tom Cruise’s illegible reputation.
When Dead Reckoning Part One settles into its set pieces or moments of caper comedy, it soars.
Doug Liman’s sci-fi action thriller remains one of the most enjoyable American blockbusters of the previous decade.
Joseph Kosinski’s film fully surrenders to the grandiose fun that’s marked the best of Tom Cruise’s recent star vehicles.
All that’s missing from Arrow Video’s stellar release of Ridley Scott’s cult fantasy is an accompanying unicorn horn.
The film receives one of the best blockbuster home-video releases of the year—and just in time for the holiday season.
Fallout’s action scenes are cleanly composed and easy to follow, and so abundant as to become monotonous.
Doug Liman’s American Made largely eschews any sense of verisimilitude in favor of wacky comedy bits.
Too much is at stake, leading to formulaic plot filler and exposition that snuff out the spark of the early scenes.
With Never Go Back, the Jack Reacher franchise is beginning to suggest NCIS remade on the big screen.
Paramount rolls out the formal red carpet for Rogue Nation, a glamorous spy fantasy with shards of playful wit and meta derring-do.
It can’t resist winking at how this franchise manages to defy the limits of both human endurance and its superstar’s rickety public status.
Dispensing with all notions that Days of Thunder is a critical work of any sort reveals its hollow and misogynistic underpinnings.
Going Clear penetrates the nature of faith to confront anxious questions.
Lawrence Wright’s presence in Going Clear is a persistent reminder of what the film could have been.
It’s an intelligent, self-reflexive summer blockbuster with an eye for castigating proliferate franchise mentalities.
Nicholson wears her erudition lightly, her swift, pared prose allowing the resonances of Cruise’s career to sneak up on you.
Tom Cruise turns the series of false starts, dead ends, and hard lessons into a working metaphor for his own career.
Contrary to the curious, outspoken beliefs of some, we prefer to celebrate movies around these parts.
Addiction films are usually propaganda without a specific base.