tom cruise self help guru

Meet Pickup Artist Ross Jeffries, The Inspiration For Tom Cruise’s Character In ‘Magnolia’

I called the hotline number that fed to Ross Jeffries’ Speed Seduction system, and the irony of the situation quickly dawned on me. Here I was scrambling to get in contact with the man who inspired Tom Cruise’s pick-up-artist/self-help guru character in Magnolia , and I was attempting to do so in the same exact way Philip Seymour Hoffman’s character did in the film. The only difference was that Hoffman was able to use the tactic to get in touch with Cruise’s Frank Mackie (granted, it was a life or death situation), while I only received an email address that could have been quickly ascertained had I committed to more internet research. (Perhaps I should have mentioned to the lovely telemarketer that Jeffries’ father’s condition was dire, and one of his last wishes was to speak to his son?)

By the tone and inflection of the woman’s voice — “He gets A LOT of emails” — I figured my correspondence would get lost in the shuffle of men scratching at his digital door begging for the secrets of sensuality to be slid underneath. Can I SEDUCE you into an interview with a very popular website?  read the subject line.   Send. (I decided to continue writing this piece with the hopes that Jeffries would get back to me but also with the awareness that he might not.)

One of the best parts of Paul Thomas Anderson’s epic drama, Magnolia , is Tom Cruise’s performance as Frank T.J. Mackie. In fact, it’s one of Cruise’s best performances, period. If you haven’t see the film, then take a gander at the video below (if you’re into drum and bass music,  you’ll appreciate this even more ), which is the most profane Cruise has ever been with exception to Tropic Thunder.

Anderson was on Marc Maron’s latest WTF podcast , and during the discussion of Magnolia , the auteur dropped a little gem acknowledging Ross Jeffries as the inspiration for Cruise’s Oscar-nominated role. Mackie is one of Anderson’s most charismatic and engrossing characters, but who is this Ross Jeffries guy?

Jeffries website, Seduction.com, houses a short bio on him :

Ross Jeffries is the founder, creator and Master Teacher of the worldwide seduction community. Featured as the mentor to Neil Strauss in the best selling book,  “The Game,”  RJ has taught, coached, and mentored thousands of men around the world, since 1991, guiding them to the success with women they truly desire and deserve.

After a brief perusal of his blog headlines, this man’s function in society began to come into focus even more:

“Bring In 2015 With A Bang (Literally)”

“Touching Technique That Drives Her Crazy”

“I’m A Perpetual Mental Masturbator”

At the center of Jeffries’ Seduction website is the Speed Seduction system, which claims to be the “Fastest And Easiest Pathway To Rapid Success, With The Women You  Truly  Desire!” The basis of the program is something called NLP, or Neuro-Linguistic Programming.  If you take a stroll through the vegetation of various definitions of NLP, you’ll come across definitions like this one from NLP University :

(NLP) is a  pragmatic school of thought  – an ‘epistemology’ – that addresses the many levels involved in being human. NLP is a multi-dimensional process that involves the development of behavioral competence and flexibility, but also involves strategic thinking and an understanding of the mental and cognitive processes behind behavior.

A more distilled definition of NLP brings us to a system that is based on cognitive and behavioral processes, one that allows you (I’m trying to not use the word “brainwash”) to inundate yourself with proven abilities of success while also instilling influence into others through the use of “linguistic patterns.” Here’s Jeffries discussing putting his program to use back in the early stages of his career.

(It was at this point in the writing process that my phone rang — a Beverly Hills number. To stay ahead of bill collectors I usually screen my calls. But, this was Beverly Hills,  and I’m a fame whore. So I picked it up.)

“Ross Jeffries doesn’t exist,” the voice said.

I was taken aback.

The man on the phone identified himself as Paul Ross. No, he was not Ross Jeffries, but he knew so much about the man. Were they related? Did they work together?

“Ross Jeffries was a character I created,” Ross explained. “A loudmouth, obnoxious, larger than life, sort of a bit of a showman to get the message out there, to be a loud mouthpiece. That character doesn’t really meld with who I am today.”

I felt like I had unplugged from the matrix. Everything that I had learned in the past hour or two was a lie. I wasn’t even sure if the office I was typing this piece in was made of four walls and a roof or just a sequence of numbers.

“Here’s the interesting thing: Paul Thomas Anderson thought that they were going to portray a real person,” Ross told me. “They didn’t realize they were portraying a character created by an actor. Tom Cruise didn’t realize that he was studying a character. He thought he was studying a person. He created a character based on a character. Very few people know this.”

If Ross Jeffries “doesn’t exist,” then how about his teachings? We’re they, like Jeffries, just a facade?

“That’s still there, that’s still valid. There’s just no Ross Jeffries,” Ross said. “There’s no Santa Claus (laughing). As I’ve grown as a person, that character (who) would bang every girl in sight — it doesn’t really fit who I’ve grown to be as a human.”

Indeed, Jeffries doesn’t exist; even his Twitter account is an extension of his character. His friend  Tania Raymonde  was an actor on LOST for several seasons, and he said he regularly discusses with her the intricacies of playing a role. “The entire craft of acting is a fascinating thing. It fascinates me.”

Paul is a practicing Buddhist now. He’s changed the direction of his NLP programs to focus more on business, wealth, and overcoming traumatic experiences. It’s not just about getting laid anymore.

“I’ve never expressed hatred towards woman,” Ross said. “I no longer hate anyone. That part has been burned out by my Buddhist practice. I don’t deny gender differences, either. You can call me anything. Names don’t bother me anymore.”

Ross didn’t have the time, nor did it seem like he cared to explore in detail with me, the exact machinations behind his change in philosophy, but it was clear he was no longer wholeheartedly in the seduction business. “I don’t want to promote Seduction.com,” he said. “This is not what you expected, is it?”

“No, it’s not,” I replied.

As for Cruise’s portrayal of his character in Magnolia —  did they get it right?

“Mackie is more manic. Mackie is far more misogynistic. He’s basically taking stuff from where I was in 1998,” Ross explained. “He’s also much shorter than I am. Remember when Mackie had the audience take out their calendars? I didn’t actually give them physical calendars, but I did have them say ‘By the 5th of May I’ll be having my way. By the 8th of June I’ll have their poon.’ That kind of rhyming stuff I got from Muhammed Ali.”

Paul Ross is continuing to use the name Ross Jeffries, because it’s “a brand,” but even though the focus of his seminars and programs have shifted more towards the arena of self-improvement, he’s not altogether abandoning his role as seduction guru.

“I’m temporarily stepping back from it so I can find a better way to teach it. I’m not getting out of it completely.”

December 17, 1999 FILM REVIEW `Magnolia': Twists of Fate in L.A. Lives Related Articles Paul Thomas Anderson: A Valley Boy Who Found a Home Not Far From Home (Nov. 14, 1999) The New York Times on the Web: Current Film Video Trailer From 'Magnolia' Forum Join a Discussion on Current Film By JANET MASLIN he great uh-oh moment in Paul Thomas Anderson's "Magnolia" occurs about two-thirds of the way through this artfully orchestrated symphony of L.A. stories. A song bursts out: it is heard first from one character, then from another, until all the film's assorted lost souls are brought together by a single anxiety-ridden refrain. "It's not ... going to stop," each one sings resignedly, signaling the approach of an impending group meltdown. But the effect is less that of a collective shiver than of directorial desperation. Peter Sorel/New Line Cinema Jason Robards, right, and Philip Seymour Hoffman in "Magnolia." Until that point, the colossally talented Anderson has seemed bound for glory. He has set up another Altmanesque swirl of intersecting stories, much as he did in "Boogie Nights," with many of the same cast members again assembled to form a charismatic ensemble. He has glided the film gracefully among seemingly unrelated episodes, keeping the viewer eager for all the pieces to fall into place. And he has begun the film with a paean to outrageously wild twists of fate, so that his own film's whopper coincidences won't seem too much of a stretch. And to the same "Nashville" echoes that reverberated through "Boogie Nights," he now adds a potent touch of "Network." In the San Fernando Valley, on the verge of the new millennium, the effects of media poisoning are powerfully felt. From the dying television mogul (Jason Robards) to the schoolboy quiz show star who can't take any more pressure (Jeremy Blackman), virtually everyone in the film is a casualty of pop cultural malaise in some fashion. The present day, seen as if from a great distance, appears to have brought the dire warnings of the "Network" madman Howard Beale to fruition. Stepping into the "Network" role of soothsayer, Anderson leaves himself poised to wonder what's next. But when that group sing-along arrives, "Magnolia" begins to self-destruct spectacularly. It's astonishing to see a film begin this brilliantly only to torpedo itself in its final hour. All along, Anderson has leapt from episode to episode as if working under the spell of some larger vision. But as the desperate reach for some larger meaning begins, the sheer arbitrariness of his approach is laid bare. So bare, in fact, that when "Magnolia" finally does come in for what is quite literally an amphibious landing, it actually invokes a biblical plague to create a sense of resolution. Even in the Bible, that kind of maneuver was a last resort. Named for, among other things, a thoroughfare in Anderson's native San Fernando Valley, and conceived with a many-petaled structure, "Magnolia" is still too good to be missed. What Anderson lacks in substance is offset by his great skill with actors, his gift for shaping resonant little individual vignettes and his extraordinary intuition. Treated in linear fashion, the events and relationships here would not add up to much. But scrambled and rearranged as a haunting collage, they take on greater power. At the very least, "Magnolia" is a showcase for some splendid acting. Its single biggest surprise is Tom Cruise in the role of a strutting, obscenity-spouting cult figure named Frank Mackey. Frank's brand of celebrity as a macho self-help guru is seen as symptomatic of the film's time and place. First seen in performance, on a kind of rock-star high, Frank is later made to unravel during a lengthy interview sequence (with April Grace) that is one of the film's incisive highlights. With a keen sense of the nuances and power plays involved here, Anderson creates a sustained trial by fire for Frank and shows how each of the film's initially secure-seeming characters is actually so vulnerable and needy. Cruise, like the other actors here, is allowed to come on like gangbusters and then reveal hidden uncertainty until, in that lethal last hour, the film's startlingly vapid insights lead him off a cliff. Anderson, who uses Aimee Mann's songs on the soundtrack to excellent effect, has acknowledged drawing inspiration for the film's mood and structure from Beatles music (with pervasive, brewing mood changes that share the unsettling spirit of "A Day in the Life"). Thus he often seems to be conducting the ways in which characters meet and intersect. It is gradually revealed, for instance, that the film includes not only its young quiz show star but a former boy wonder (William H. Macy) who is now a sad has-been. And that two of the story's older men ( Robards and Philip Baker Hall) are powerful figures in the television industry who have serious illnesses and bitterly estranged children. Julianne Moore wafts luminously through the film as the grieving wife of one of them, a figure of showy materialism with no inner resources at all. "Magnolia" is saved from its own worst, most reductive ideas by the intimacy of the performances and the deeply felt distress signals given off by the cast. Also extremely memorable here are two other members of Anderson's evolving stock company, Philip Seymour Hoffman as a dying man's devoted nurse and caretaker and John C. Reilly as an equally compassionate policeman. In each of them there is the mixture of creeping despair and saving grace that are the best "Magnolia" has to offer. Rating: "Magnolia" is rated R (Under 17 requires accompanying parent or adult guardian). It includes strong profanity and graphic sexual references. PRODUCTION NOTES: 'MAGNOLIA' Written and directed by Paul Thomas Anderson; director of photography, Robert Elswit; edited by Dylan Tichenor; music by Jon Brion, with songs by Aimee Mann; production designers, William Arnold and Mark Bridges; produced by Joanne Sellar; released by New Line Cinema. Running time: 180 minutes. Cast: Jeremy Blackman (Stanley Spector), Tom Cruise (Frank T.J. Mackey), Melinda Dillon (Rose Gator), April Grace (Gwenovier), Luis Guzman (Luis), Philip Baker Hall (Jimmy Gator), Philip Seymour Hoffman (Phil Parma), Ricky Jay (Burt Ramsey), Orlando Jones (Worm), William H. Macy (Donnie Smith, quiz kid), Alfred Molina (Solomon Solomon), Julianne Moore (Linda Partridge), John C. Reilly (Jim Kurring), Jason Robards (Earl Partridge) and Melora Walters (Claudia Wilson Gator).

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10 Moments That Prove Jerry Maguire Is Tom Cruise’s Best Performance

David ehrlich.

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The idea of “movie stars” has been on life support since the turn of the 21st Century — we live in a world where brands and intellectual property have become more important than people — but Hollywood as we know it will continue to hang on by a thread for as long as one man keeps running for its life. Tom Cruise isn’t just one of the greatest movie stars in the history of the medium, he might just be the last (depending on how Leonardo DiCaprio wants to play middle age). His face is known all over the world. His name is synonymous with big-screen entertainment. His incredible career has spanned more than 35 years, 45 roles, and hundreds upon hundreds of wild tabloid headlines. He’s been a Vietnam vet, a super-spy, a misogynistic self-help guru, a different super-spy, a samurai, a contract killer, another super-spy, a handsy bartender, a horny Chicago teenager, a New York City doctor on a sexual vision quest, whatever the hell he was supposed to be in “Rock of Ages,” and more. He’ll probably be a fourth super-spy before he’s ready to retire and spend the rest of his days sailing with Sea Org .

READ MORE: Watch Tom Cruise Spin Through The Air While Shooting A Zero Gravity Stunt In “The Mummy”

But of all those roles, none lingers in the mind (or in the recesses of cable television) quite like Jerry Maguire. It’s not Cruise’s most dangerous part, or his most athletic. There are no special effects, and no death-defying stunts. For all of the vulnerability and candor of his work, it’s not even the rawest thing he would do that decade. But, however unassuming it may be, his 1996 performance as an emotionally disoriented sports agent doubles as a comprehensive one-stop shop for everything that makes Cruise a unique force of nature. This week, as the man formerly known as Mapother unwraps “ The Mummy ” and accepts the most impossible mission of his career by trying to compete with the legendary charisma of Brendan Fraser, IndieWire looks back at 10 moments from the one movie that always reminds us why he’s the best in the business.

10. Cush-lash

At the height of his career, just months after the first “Mission: Impossible” film had cemented his status as the world’s leading action star (and netted him a cool $70 million paycheck after profit participation), Tom Cruise decided to downshift by playing the title role in a plucky Cameron Crowe drama about a sports agent who experiences a sudden crisis of conscience. Of course, for a sports agent in a cynical world of tough competitors, having a conscience is just about the greatest crisis there is. And so it goes for fast-talking, floppy-haired Jerry Maguire, who finds his career in ruins after he loses his “ability to bullshit” (and his job along with it). It’s a hard world out there for people who care about people, especially when they care about people more than they do endorsement deals; when they care about the love of the game more than they do about the length of a contract. Capitalism isn’t really the most accommodating environment for compassion.

Watching the highest-paid actor on the planet try to sell us on the human angle should have been a noxious exercise in hypocrisy, but Cruise’s performance is anything but. Bending his usual intensity towards saving himself rather than saving the world, Cruise’s turn as Jerry Maguire is an incredible high-wire act of moral desperation. The first scene where we get to see how hard it’s going to be for Jerry to sustain his awakening is utterly savage stuff, as he learns that his number one client — top NFL draft pick Matt Cushman (Jerry O’Connell) — has betrayed him and signed with Jerry’s devious former protégé, Bob Sugar (Jay Mohr). The frozen smile on Cruise’s face as he privately learns the news, the way he slips on that “Team Cushman” hat like he still has a chance, the unblinking stare he wears when he realizes how he’s the only person in that hotel suite with any scruples whatsoever… it’s heartbreaking. “This is business, not friendship” Sugar says. But, in that moment, you can tell that Jerry Maguire is never going to choose between the two again.

9. Dorothy Boyd Wants a Divorce 

When Jerry leaves his job, there’s only one person who’s willing to come with him: a 26-year-old single mom named Dorothy Boyd ( Renée Zellweger ). They eventually get married, both of them trying to will their best lives into existence. He wants to be a people person, she wants to meet the man of her dreams, someone who will be as good a partner to her as he will be a father to her young son, Ray (Jonathan Lipnicki). But change isn’t easy, and sometimes wanting something doesn’t mean a thing if you’re not willing to work for it; for most of the movie, this is the only kind of work that Jerry isn’t willing to do.

The scene where he and Dorothy realize that their unattended marriage is falling apart — or, rather, the scene where Dorothy realizes that for the both of them — is one of those moments that earned Cruise his second Oscar nomination (and earned Zellweger her first Oscar snub). “What do you want, my soul or something?” he asks. “Why not?” she replies. “I deserve that.” Cruise plays the beat super casual, but that’s part of its power. This is such a powerful break-up scene because it’s so gentle, because it wouldn’t be happening if Jerry had earned the happiness that’s sitting right in front of him.

8. Jerry Tells Ray That The Zoo Is Closed 

“The fucking zoo’s closed, Ray.”

Weaponizing the sheer adorableness of Tom Cruise drunkenly spilling his guts to a giant-headed kid, Jerry Maguire’s first heart-to-heart with his future step-son is such a memorable touchpoint because of how much pain (and blunt character detail) it manages to disguise in a whirlwind of cuteness. Jerry Maguire, always vulnerable but finally transparent, opens up about the fact that his predatory existence has made him kind of a non-entity. He’s a facilitator, not a person. “My whole life I’ve been trying to talk — I mean, really talk — but no one wants to listen to me.” Meanwhile, Ray just wants to go the fucking zoo.

The genius of the scene (and the point beyond its central curse word) is in Cruise’s unwillingness to adjust for his audience. Jerry Maguire is a guy who’s success depends on being able to read a room, and here he’s tipsy, flushed, and talking to some kid like he’s the therapist he would never admit he needs. Ray’s purity makes him the perfect foil for Jerry, he’s completely void of the bullshit that has come to define Jerry’s existence, and the fun that Cruise has with letting his character get pleasantly lost in that exchange makes for some great cinema. Cruise has done that half-crazed smile in just about every movie he’s ever made, but seldom has it felt so real.

7. Bottom-feeders

Tom Cruise doesn’t get enough credit for being one of cinema’s great non-verbal actors. Sure, no one questions the physicality of his screen presence — all that running and climbing and clenching — but the man is an artist even when he’s standing still. For proof, look no further than the scene in which Cruise’s eponymous sports agent wakes up the morning after a romantic encounter with his only employee and eavesdrops on her telling her sister that she loves him. That she loves him for the man he wants to be and she loves him for the man he almost is. All the while, Cruise is posing silently in a hallway just on the other side of the wall, and you can see the wheels turning behind his face. A flash of the eyes and a little dip of his head is all he needs to let you inside Jerry’s head, to feel him wrestling with what he wants and trying to make sense of what’s available to him. Then the charm takes over, and Cruise — like only Cruise could do — ends the scene with the best kiss of his career. And it’s not even on the lips.

6. The Bro-Hug Of Dreams 

“Jerry Maguire” is probably the most romantic film of Tom Cruise’s career (depending on what you make of “Eyes Wide Shut,” that is), so much so that its sense of romance is woven into every one of its plot threads. Cameron Crowe’s humanistic masterpiece might be remembered for its tear-jerking love scenes between Tom Cruise and Renée Zellwegger, but the heart and soul of the story is the bromance between Jerry Maguire and Rod Tidwell ( Cuba Gooding , Jr, in his Oscar-winning role as the brash football star who Jerry manages to salvage from his rolodex). Jerry is more than Rod’s “ambassador of Quan,” he’s also his double, his measuring stick, his greatest test. Both men are fighting their way through the same thing, they’re both trying to sort out their priorities and see if it’s possible to strike a profitable balance between  doing what they love, and loving what they do.

It’s a volatile relationship, but then they’re little company has a very big night. A very big night. And Rod emerges from a euphoric post-game media scrum to see his agent standing there by himself, sporting the greatest “I’m not gonna cry” face of all time. Of ALL TIME. After that — and the stiff finger-point that Cruise does along with it — the massive bro hug is just icing on the cake. This moment is the culmination of two long, wayward paths simultaneously arriving at the same truth about what really matters in this sick sad world. The truth is too sweet for Bob Sugar to enjoy.

The list continues on the next page.

Continue Reading: 10 Moments That Prove Jerry Maguire Is Tom Cruise’s Best Performance Next »

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Tom Cruise’s 10 Greatest Roles

Tom Cruise has certainly, of late, been treated with disdain. His off-screen troubles have been considerably noticeable and strange. However, to those who don’t care, he is still seen as one of modern cinema’s most prolific actors. His magnetism and charisma leap off the screen and allow you to accept him in any role. whether he’s a special agent, or a self-help guru, or even an egotistical movie producer, he falls into every role similarly to the way he dropped into the vault in the first Mission Impossible flick some years ago. The success of this year’s Jack Reacher and Oblivion is largely due to Cruise’s prowess. Here are some performances that prove he is much more than just his controversial off-screen persona.

10. Jerry Maguire in Jerry Maguire

9.  Les Grossman in  Tropic Thunder

8. Lt. Daniel Kaffee in A Few Good Men

7. Lestat de Lioncourt in Interview with the Vampire

6. Charlie Babbitt in Rain Man

5. Joel Goodsen in Risky Business

4. Nathan Algren in The Last Samurai

3. Ron Kovic in Born on the Fourth of July

2. Frank T.J. Mackey in Magnolia

1. Vincent in Collateral

Regardless of his emotional and mental spasms in real life, he is still one of the most eclectic and magnetic performers working in Hollywood today. In our current commercially-driven culture, it’s rare to see movies that attract people due to the actors involved. Cruise, with Jack Reacher and Oblivion in particular, has proven he can sell a movie on the basis of simply having his name draped across the poster.

Honourable mentions: Senator Jasper Irving in Lions for Lambs , Stacee Jaxx in Rock of Ages (despite how atrocious the rest of the movie is!), Ethan Hunt in the Mission Impossible series, Maverick in Top Gun , Jack Reacher in Jack Reacher.

What do you think? Leave a comment .

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15 Comments

Where the heck is Maverick from Top Gun?????

Collateral was the film that made me a fan, I enjoyed watching jack reacher too.

Michael Mann is the MAN! (that was lame)

Tom Cruise rendition of a hit man is definitely his top acting performance. We agree on this.

Hard to argue with most of that, I might of had his Magnolia character at number 1 and maybe bumped Jerry Maguire a couple of spots up the list, but all and all I’d say you nailed it.

I like this list. I’m not a massive fan of Tom Cruise, but the movies I do like him in you have mentioned except for Top Gun and Mission Impossible. I think that they should have been mentioned at least in the list, but it is a personal choice. Good job with the article.

Les Grossman is a champion! I love how popular the character got, despite how insignificant this role seems in comparison to the others. Totally agree that it came at the perfect time for him.

I have a few thoughts. 1.) I cannot believe Maverick from Top Gun is not on here! 2.) I think Jerry Mcguire should be a little higher then 10. And 3.) Tropic Thunder Tom Cruise is my favorite kind of Tom Cruise. 4.) Has anyone heard the Dave Chapelle joke about Tom Cruise and The Last Samurai? If not, look it up, it’s hilarious. All of that being said, nice article! And a great idea to rank his roles.

I can’t believe so many people liked my first article! Thank you all so much! 🙂

Jerry Maguire should be higher. Tom Cruise was born to play that role. And would have been nice to see Minority Report or Eyes Wide Shut, which are better movies than several of these. But otherwise, thanks for the reminder that Cruise can act!

Tom Cruise is the man and I’m so glad others agree. Even Jack Reacher is awesome. I will say, however, that I agree with Melina in wishing that Eyes Wide Shut and Minority Report were up here. I’d even make a case for Vanilla Sky.

Yeah I missed Top Gun!! I loved him in that. And I am NOT a fan. Have you seen “Rock of Ages”? He is HILARIOUS in that. I think it has nothing to do with his comedic acting but because it’s Tom Cruise.

I’m surprised Eyes Wide Shut wasn’t mentioned. I still enjoyed reading this article. 🙂

Great article dude, I’m glad to hear other people agree that Tom Cruise has turned in some seriously good acting over the years. I actually can’t think of many movies where he hasn’t been good. He’s picked some challenging roles at his best. I would have included Eyes Wide Shut, Minority Report and Vanilla Sky (which was surprisingly moving).

Tom cruise as Vincent was captivating and that perhaps is his best character ever.Though I personally feel Nathan algren is a close second .

I’m surprised that you didn’t mention Top Gun (the film that made Tom Cruise’s career), along with snide allusions to Tom Cruise being propped up on an apple crate.

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An epic mosaic of interrelated characters in search of love, forgiveness and meaning in the San Fernando Valley. An epic mosaic of interrelated characters in search of love, forgiveness and meaning in the San Fernando Valley. An epic mosaic of interrelated characters in search of love, forgiveness and meaning in the San Fernando Valley.

• Paul Thomas Anderson
• Jason Robards
• Julianne Moore
• 1.6K User reviews
• 183 Critic reviews
• 78 Metascore
• 28 wins & 59 nominations total

Top cast 99+

• Frank T.J. Mackey

• Earl Partridge

• Linda Partridge

• Sir Edmund William Godfrey …
• Mrs. Godfrey
• Joseph Green
• (as Mark Flannagan)

• Stanley Berry

• Daniel Hill

• Firefighter

• Delmer Darion
• Reno Security Guard

• Craig Hansen

• Forensic Scientist

• Sydney Barringer

• Arthur Barringer
• 1958 Detective
• 1958 Policeman
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Did you know

• Trivia The story about the man being killed by a gunshot while falling off a building has for years been used as a hypothetical case in criminal law classes to illustrate causation.
• Goofs In the "Wise Up" sequence, Claudia is dressed for her date, she's wearing black and her hair is up. When she opens the door to Jim, she's wearing red, her hair is down. On the way to the car, she is again wearing black etc, and at the restaurant she is back wearing red.

Jimmy Gator : The book says, "We might be through with the past, but the past ain't through with us."

• Crazy credits Underneath the title at the end a line reads "for fa and ea". fa is Fiona Apple (Paul Thomas Anderson's girlfriend) ea is Ernie Anderson (Paul Thomas Anderson's father)
• Alternate versions The supplemental material disc of the R1 special edition DVD of Magnolia has about 8 minutes of hidden outtake footage. To access it, you need to select the 'Color Bars' option and wait about twenty seconds.
• Connections Featured in The Johnny Vaughan Film Show: Episode #1.1 (1999)
• Soundtracks One Written by Harry Nilsson Performed by Aimee Mann Courtesy of Superego Records

User reviews 1.6K

• Mar 28, 2003
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• January 7, 2000 (United States)
• United States
• Mag·no'li·a
• Bryson Hotel - 2701 Wilshire Boulevard, Downtown, Los Angeles, California, USA
• Ghoulardi Film Company
• New Line Cinema
• The Magnolia Project
• See more company credits at IMDbPro
• $37,000,000 (estimated)
• $22,455,976
• Dec 19, 1999
• $48,453,541

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• Runtime 3 hours 8 minutes
• Dolby Digital

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Vote up the films starring Tom Cruise that complete you.

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 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

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

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

Tom Cruise’s Best, Strangest Role Was a Career Changer Until It Wasn’t

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This Psychological Thriller Is the Most Intense Movie You'll Ever Experience

Netflix's 'rebel ridge' stands out from other action movies in one major way, denis villeneuve's most badass, chilling action movie is now on hulu.

Tom Cruise has had an unprecedented level of success in the film industry for four decades, but the projects he’s worked on have been varied in their tone, style, and intent. Despite become a young heartthrob thanks to the success of Risky Business and Top Gun , Cruise spent the next two decades working with nearly every great director in the industry; Tony Scott, Ridley Scott, Oliver Stone, Martin Scorsese, Barry Levinson, Rob Reiner, Ron Howard, Sydney Pollack, Neil Jordan, Brian de Palma, Cameron Crowe, and Stanley Kubrick all lined up to utilize Cruise’s star power. Cruise had been gaining the reputation of being a “great actor,” and his ambitious collaboration with Paul Thomas Anderson on Magnolia could have signified his transition to all-time status. However, Cruise’s best and strangest role was a career changer until it wasn’t.

RELATED: Why 'Magnolia’s Musical Sequence Remains the Crowning Jewel of Paul Thomas Anderson’s Career

Who Does Tom Cruise Play in 'Magnolia'?

While Anderson is now regarded as one of the industry’s finest directors, he was still an emerging talent in the 1990s with an eye for casting actors against type. Anderson’s small-scale gambling thriller Hard Eight and his epic ensemble dramedy Boogie Nights certainly indicated his ambition, but they would pale in comparison to Magnolia , a three-hour epic that follows multiple struggling characters throughout critical emotional breakthroughs within the San Fernando Valley. While each character within the mosaic is equally important and well-developed, Cruise’s role as the public speaker Frank T.J. Mackey was in many ways the heart of the film. Mackey is a selfish, aggressive bully in public, but by the end, he’s reduced to being a tearful child begging for a relationship with his father.

The role of Mackey was easily the most intimate and emotionally vulnerable performance Cruise would ever give, and it was one of the first instances since the beginning of his career where he took on a supporting role. Cruise had twice been nominated for Academy Awards before (for Born on the Fourth of July and Jerry Maguire , and there was a notion that he could finally win for such a dynamic role. However, Magnolia would sadly be the last in this period of experimentation for Cruise, as public controversies, backlash, and personal issues signified that he’s never done something as “out there” as Magnolia ever again.

'Magnolia' Saw Tom Cruise Stripped of His Charm and Charisma

Cruise is an actor that exudes confidence naturally, and even his more experimental projects require him to show a certain level of inherent charisma. Jerry Maguire, Ethan Hunt , Mitch McDeere, and even Ron Kovic all have a conviction to them that draws people to their causes. But in Magnolia , Cruise was asked to subvert that very concept entirely. While Frank certainly maintains a level of popularity among his followers, his rhetoric appeals to the worst segment of the population. Described as somewhere between a “motivational speaker” and a “pickup artist,” Frank holds “inspirational” seminars in which he encourages men to be more aggressive. In an era right before the rise of the Internet, Frank felt like a precursor to the types of toxic masculine hate groups that dominate online discourse today.

There’s clearly a great deal of self-loathing on Frank’s part, which is partially why Cruise’s performance is so dynamic. He looks inherently ridiculous as he struts around yelling vague, immature comments about female inferiority with the conviction of someone reading great prose. Based on the audiences that attend Mackey’s seminars, it appears that empty speeches tend to have an impact on unconfident, shy men who look to Mackey as a success story. Yet, it’s only after a quick look into Mackey’s personal life that he’s simply really good at hiding his trauma, as he fears that admitting to his past will shatter the reputation he’s created for himself.

The role borders on becoming an analogy for Cruise’s own life, as Cruise had always been very protective over his public image. Anderson may have either consciously or unconsciously started unpacking Cruise’s issues on the big screen, and Cruise would rarely show that type of sensitivity on screen again.

'Magnolia' Pushed Tom Cruise's Limits as an Actor

Cruise had rarely taken on comedic parts, and it’s even rarer that he’s the butt of a joke. While Jerry Maguire and Risky Business required him to do a few embarrassing things on screen, they were still within the character trajectory of becoming a charming leading love interest. Comparatively, Frank is prancing around in his underwear talking about genitalia when he’s unexpectedly questioned about his heritage. After a question about his neglectful father Earl Partridge ( Frank Robards ) gets under his skin, Frank storms out of the room like an angry child.

It’s here where Cruise truly transcends to the best acting of his career. A struggling Frank begins to question his life’s achievements when he’s approached by Phil Pharma ( Philip Seymour Hoffman ) , a nurse taking care of his dying father. The scenes between Frank and Earl are among the most heartbreaking in all of Magnolia ; both men have lived lives they deeply regret, and a burden is lifted from Frank’s chest when he realizes he’s been bottling up his anger because of his father’s abuse. Seeing Cruise break down and cry was something audiences had simply never seen before.

Tom Cruise Hasn't Experimented in His Career Since "Magnolia'

Ironically, Magnolia was released that same year as Eyes Wide Shut , another highly personal drama that required Cruise to reflect on masculinity, self-worth, and sexuality in overt ways that may have made him self-conscious. He was getting more attention than ever for the subtext of his roles, which may have struck someone so closely in control of their public persona as a sign of distress. Cruise ended up losing the Best Supporting Actor Oscar to Michael Caine for The Cider House Rules ; it would be the last time he made a serious bid at an awards race, even if some critics groups tried to push him for contention in The Last Samurai or Tropic Thunder .

Tom Cruise faced an emotional rollercoaster ride at the beginning of the 21st century when his high-profile divorces, active involvement in Scientology, media scandals, and controversial statements became bigger news items than his films. While he continued to star in great films, they were a strict return to safe blockbuster storytelling where Cruise was in his comfort zone as the super-confident, awesome action star that he seemed born to become. Magnolia may have been the last hint at how Cruise’s career could have gone in a completely different direction, and it’s a miracle that it simply exists.

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Predictions, limited series.

• Baby Reindeer 31/10
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Movie/Limited Actress

• Jodie Foster 16/5
• Brie Larson 39/10
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Movie/Limited Actor

• Richard Gadd 82/25
• Andrew Scott 19/5
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Drama Series

• Shogun 39/10
• The Crown 11/2
• Mr. and Mrs. Smith 7/1

Drama Actress

• Anna Sawai 10/3
• Imelda Staunton 4/1
• Jennifer Aniston 5/1

Drama Actor

• Hiroyuki Sanada 10/3
• Gary Oldman 4/1
• Donald Glover 5/1

Comedy Series

• The Bear 39/10
• Only Murders in the Building 13/2

Comedy Actress

• Jean Smart 17/5
• Ayo Edebiri 19/5
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• Jeremy Allen White 10/3
• Martin Short 9/2
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Tom Cruise movies: 17 greatest films ranked worst to best

• Tom O'Brien , Misty Holland , Chris Beachum
• June 28, 2024 7:00AM

With a film career that spans over four decades, Tom Cruise is arguably the biggest movie star of this generation. Cruise is associated with so many iconic film moments — the dance in “Risky Business,” the “need for speed” chant in “Top Gun,” and “Show me the money!” in “Jerry Maguire,” among many others — that it seems like he’s been a movie star forever.

He has been a critical darling through parts of his career but has mainly focused on blockbusters (acclaimed or not). He has received two Oscar nominations for Best Actor in “Born on the Fourth of July” (1989) and “Jerry Maguire” (1996) plus another as Best Supporting Actor in “Magnolia” (1999). Those are the three performances that provided him with Golden Globe wins. His other four nominations with the Hollywood Foreign Press were for “Risky Business” (1983), “A Few Good Men” (1992), “The Last Samurai” (2003) and “Tropic Thunder” (2008). Many of these roles have allowed him to work with some of the best directors in the business, including Oliver Stone , Paul Thomas Anderson , Stanley Kubrick , Steven Spielberg , Rob Reiner and Cameron Crowe .

Take a tour through our photo gallery above which collects 17 of his greatest film performances (or franchises like “Mission: Impossible”) and ranks them from worst to best.

17.  WAR OF THE WORLDS (2005) 

Director: Steven Spielberg. Writers: Josh Friedman, David Koepp.  Starring Tom Cruise, Dakota Fanning, Tim Robbins.  

Loosely based on the H.G. Wells novel, Steven Spielberg’s 2005 remake again depicts an invasions of aliens that have huge mechanisms with which to decimate Earth.  Cruise plays Ray Ferrier, a Regular Joe dock worker who, though not living with his kids, rushes to protect them and their mother as the aliens obliterate everything in sight.  Beyond that, it’s not a character-driven kind of film, but Cruise once again plays a convincing hero concerned with family, and that performance, combined with the Spielberg skill makes for a popcorn movie par excellence.

16.  MISSION IMPOSSIBLE series (1996, 2000, 2006, 2011, 2015, 2018, 2023) 

Directors: Various.  Writers:  Various.  Starring Tom Cruise, Ving Rhames, Simon Pegg.  

The big-screen adaptation of the 1960s TV espionage series has spawned six film incarnations, with seventh and eighth installments tentatively scheduled for 2021 and 2022. Cruise portrays Ethan Hunt, who, in the first film, is forced to take over as leader of the Impossible Missions Force (IMF) as the team is betrayed from within.  Under the direction of Brian DePalma, that first film — “Mission Impossible” (1996) — created the most iconic “MI” image, that of Cruise being lowered by wires in order to avoid laser alarms.  The success of that film prompted the series, that has attracted such respected directors as John Woo, J.J. Abrams, Brad Bird and Christopher McQuarrie.

15.  THE COLOR OF MONEY (1986) 

Director: Martin Scorsese.  Writer: Richard Price.  Starring Paul Newman, Tom Cruise, Mary Elizabeth Mastrantonio.  

Cruise’s first (and to date only) collaboration with Scorsese, “The Color of Money” brought an Oscar to co-star Paul Newman, and, as he would do two years later with “Rain Man,” Cruise delivered ample support for his Oscar-winning co-star.  Newman reprises he famed pool-playing character from “The Hustler,” Fast Eddie Felson, who is retired from the game but agrees to mentor young pool player Vincent Lauria, taking him on the road to learn the tricks of the trade, which Vincent learns too well, and eventually teacher and student wind up facing each other in a pool championship.  It’s not the greatest Scorsese film ever, but the character of Vincent fits Cruise very well, and he shines with it.

14.  THE FIRM  (1993)

Director: Sydney Pollack.  Writers: David Rabe, Robert Towne, David Rayfiel.  Starring Tom Cruise, Jeanne Tripplehorn, Gene Hackman, Ed Harris, Holly Hunter.

Based on the novel by John Grisham, “The Firm” is a legal thriller in which Cruise portrays Mitch McDeere, a recent graduate of Harvard Law School, who joins a prestigious Memphis law firm and is taken under the wing of one of the firm’s senior partners, Avery Tolar (Gene Hackman).  It would appear that Mitch has it made.  Eventually, though Mitch begins to realize that the firm is involved in some pretty shady dealings of which he is expected to become a part.  Mitch tries to get out but he can’t, and then the FBI starts moving in.  Cruise is completely convincing as Mitch, and with a director as adept as Sydney Pollack, who knows how to turn the suspense screws, you’ve got a thoroughly entertaining summertime thriller.

13.  RISKY BUSINESS (1983) 

Writer/Director: Paul Brickman.  Starring Tom Cruise, Rebecca DeMornay, Joe Pantoliano, Nicholas Pryor.  

The one that started it all.  Cruise’s breakthrough role was as high schooler Joel Goodson who hopes to go to Princeton University, but when his parents go away on a trip, Joel’s good-boy self turns very bad, quickly involving him with hooker Lana (Rebecca DeMornay) and her pimp Guido (Joe Pantoliano).  What lingers in the mind about “Risky Business” is the classic moment when Joel glides across his living room entryway, wearing only his pink shirt, underwear and socks, and lip-syncs to Bob Seger’s “Old Time Rock ‘n’ Roll.”  It lasts less than a minute, but that’s the moment in which Tom Cruise became a movie star.

12.  MINORITY REPORT (2002) 

Director: Steven Spielberg.  Writers: Scott Frank, Jon Cohen.  Starring Tom Cruise, Colin Farrell, Samantha Morton, Max von Sydow. 

In his second collaboration with director Steven Spielberg, Cruise portrays Chief John Anderton, the head of the Pre-Crime police division in 2054.  Its disturbing premise is that, thanks to technology, authorities, with the help of psychics called “recogs,” can determine in advance if you are about to commit a crime and, if so, arrest you.  With Cruise’s solid performance, the film raises fascinating questions of whether free will could overcome someone else’s determination that you will behave one way and only one way.  One of the few blockbusters that might provoke hours of discussion afterward.

11.  TOP GUN (1986)

Director: Tony Scott.  Writer: Jim Cash, Jack Epps Jr.  Starring Tom Cruise, Kelly McGillis, Val Kilmer, Anthony Edwards, Tim Robbins. 

In one of his most iconic roles as Lt. Pete “Maverick” Mitchell, Cruise heads up a group of closely-knit naval aviators aboard the USS Enterprise.  When superiors don’t care for their reckless way of flying, Maverick and his partner Nick “Goose” Bradshaw (Anthony Edwards) are sent to remedial training at the Top Gun school.  There they meet their instructor, Kelly McGillis’ Charlotte “Charlie” Blackwood (everybody’s got a nickname in this thing), and Maverick is smitten, even though she harbors doubts about his recklessness (which only makes him more attractive).  “Top Gun” is one of the quintessential movies of the 1980s.

10.  EYES WIDE SHUT (1999) 

Director: Stanley Kubrick.  Writers: Stanley Kubrick, Frederic Raphael.  Starring Tom Cruise, Nicole Kidman.  

It may be one of the most bizarre films in Cruise’s filmography, but no actor would turn down the chance to star in a Stanley Kubrick film, which turned out to be his last.  Cruise plays Bill Harford, a doctor who witnesses an orgy at a country mansion, and the experiences provokes questions about sex to his young wife Alice (Nicole Kidman, Cruise’s real-life wife at the time).  Alice’s admission of a sexual affair prompts Bill to go on a sexual exploration of his own.  The explicitness of the sex depicted in the film far exceeded anything that Cruise or Kidman had ever done, and although “Eyes Wide Shut” received mixed reviews, “Eyes Wide Shut” remains the artiest “art film” that Cruise has ever done.

9.  COLLATERAL (2004) 

Director: Michael Mann.  Writer: Stuart Beattie.  Starring Tom Cruise, Jamie Foxx, Jada Pinkett Smith, Mark Ruffalo.  

In a rare casting-against-type, good guy Cruise is cast here as a contract killer who takes a taxi driver (Jamie Foxx) hostage as he makes his deadly rounds.  It takes someone of Michael Mann’s caliber to make the ever-smiling Cruise convincing as a contract killer, but somehow he does.  Frankly, I have always thought that, with the exception of “Tropic Thunder,” Cruise is always better when he underplays, and here he is a stone-faced assassin roaming the streets of an eerily-lit L.A.  Cruise and Foxx (who was nominated for an Oscar for this performance) have a great chemistry, and what could have ice-cold story, under Mann’s direction, draws audiences in slowly but thoroughly.

8.  TROPIC THUNDER (2008) 

Director: Ben Stiller.  Writers: Justin Theroux, Ben Stiller, Etan Cohen.  Starring Ben Stiller, Jack Black, Robert Downey, Jr., Tom Cruise. 

Cruise has sometimes been accused of not having a sense of humor about himself and his work.  But in “Tropic Thunder,” he is disproved it in a major way in his appearance, in what is essentially a glorified cameo, as an obese, bald and utterly disgusting studio executive, the appropriately-named Les Grossman, who is overseeing production of the “Tropic Thunder” film within the film.  To see Cruise, who is usually so cautious in his few public interviews, let out a string of the most obscene profanities is actually kind of liberating and very funny.  It’s a relatively small part, but it had such an impact that Cruise earned his seventh Golden Globe nomination.

7.  EDGE OF TOMORROW (2014) 

Director: Doug Liman.  Writers: Christopher McQuarrie, Jez Butterworth, John-Henry Butterworth.  Starring Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson. 

Cruise received his best reviews in over a decade with this sci-fi action film directed by Doug Liman, which recalls “Groundhog Day” if it was set in the midst of battle.  Set in the future with Earth having been invaded by aliens, Cruise’s Maj. Bill Cage is basically a PR guy who is sent into battle.  Not surprisingly, he almost immediately is killed.  But it seems that Cage is caught in a time loop, where he is sent back the day before his death and is basically tutored by tough-as-nails Sgt. Rita Vrataski (Emily Blunt), who will teach him something new.  Then he’ll go back into battle, get killed again, then come back and learn something else.  As the film’s tag line calls it: “Live, Die, Repeat.”  A very clever premise, very well acted by both Cruise and Blunt.

6.  RAIN MAN (1988)

Director: Barry Levinson.  Writers: Barry Morrow, Ronald Bass.  Starring Dustin Hoffman, Tom Cruise, Valeria Golino. 

Oscar winner for Best Picture, “Rain Man” is one of the major movies in Cruise’s filmography, even though it’s co-star Dustin Hoffman’s film.  However, Cruise’s character wheeler dealer Charlie Babbit, who always seems to be in debt, learns that his estanged father has died, and Charlie, hopeful for a large inheritance in order to pay off his debt, winds up getting a relative pittance.  The lion’s share of the estate is going to an older brother he never knew he had — Raymond (Hoffman), a savant who is housed in a mental institution.  Charlie seeks him out with hopes of squeezing more money out of him, but winds up getting a real brother instead.  Hoffman, of course, walked away with the lion’s share of the awards, but Cruise, with the biggest character arc in the film, gives a standout performance as well.

5.  A FEW GOOD MEN (1992) 

Director: Rob Reiner.  Writer: Aaron Sorkin, based on his play.  Starring Tom Cruise, Jack Nicholson, Demi Moore, Kevin Bacon.   

Based on the 1989 play by Aaron Sorkin, who adapted the film’s screenplay is a courtroom drama, centering on the court-martial of two Marines who’ve been accused of killing a fellow Marine.  But instead of telling the accuseds’ story, Sorkin focuses instead on the challenges faced by his lawyers, Lt. Daniel Kaffee (Cruise) and Lt. Commander JoAnne Galloway (Demi Moore).  When Kaffee feels that all is lost in the trial, he calls to the stand Marine Col. Nathan Jessup (Jack Nicholson), who implicates himself when Kaffee says that he wants the truth, and Jessup respons with the classic “You can’t handle the truth!”  It never gets old.  For his performance as Kaffee, Cruise earned his third Golden Globe nomination.

4. TOP GUN: MAVERICK (2022)

Director: Joseph Kosinski.  Writers: Ehren Kruger, Eric Warren Singer, Christopher McQuarrie.  Starring Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Glen Powell, Val Kilmer, Ed Harris.

36 years after the original “Top Gun,” Cruise heads up this sequel, which became one of the best reviewed blockbusters of recent years. He again stars as test pilot Pete “Maverick” Mitchell, who, despite a stellar record, has failed to be promoted due to his history of insubordination, yet he is called up to teach a group of hot-shot Mavericks-to-be just how pull off a near-impossible mission. Though Maverick’s dazzling smile is still intact, life has taken its toll, which Cruise acknowledges in a reunion with ex-rival Ice (a moving Val Kilmer), whose vengeful son Rooster (Miles Teller) is one of Maverick’s students. As Maverick, Cruise is both high-spirited and contemplative, a winning combination that results in one of his best performances.

3.  BORN ON THE FOURTH OF JULY (1989) 

Director: Oliver Stone.  Writers: Oliver Stone, Ron Kovic, based on Kovic’s autobiography.  Starring Tom Cruise, Kyra Sedgwick.

Cruise received some of the best reviews of his career for his performance as disabled Vietnam veteran Ron Kovic in Oliver Stone’s acclaimed film based on Kovic’s memoir.  Cruise won his first Golden Globe Award and earned his first Oscar nomination for his portrayal of the activist who, confined to a wheelchair thanks to injuries he sustained in battle.  While Stone’s restrained direction was widely praised, critics took particular note of what they called Cruise’s new-found maturity, with less of a reliance of his grinning all-American boy looks than on his serious digging into the character of Kovic who, though an icon on the left, nonetheless had a lifetime struggle, which all Americans should admire and respect.

2.  MAGNOLIA (1999) 

Writer/Director: Paul Thomas Anderson.  Starring Philip Seymour Hoffman, Tom Cruise, Philip Baker Hall, Melinda Dillon, Jason Robards, William H. Macy. 

Though by now Cruise was accustomed to being the leading man in his films, he agreed to accept a supporting role to be a part of the ensemble of Paul Thomas Anderson’s sprawling “Magnolia,” an Altman-like mosaic of people just trying to find happiness while living in the San Fernando Valley.  Cruise plays Frank Mackey, a self-help guru who might need some help himself as he is hiding a number of closely-held family secrets.  Though the ensemble cast was widely praised, critics were particularly taken by the vulnerability seeping through the bravado of Cruise’s self-help guru, and for his performance, Cruise won his third Golden Globe, third Oscar nomination, and two nominations from the Screen Actors Guild — Best Ensemble and Best Supporting Actor for Cruise.

1.  JERRY MAGUIRE (1996)

Writer/Director: Cameron Crowe.  Starring Tom Cruise, Renée Zellweger, Cuba Gooding Jr., Kelly Preston, Jay Mohr. 

Others may argue, but I still think that overall, “Jerry Maguire” is still Cruise’s best film.  Cruise is terrific in it, winning his second Golden Globe Award for Best Actor and earning nominations from both the Academy and the Screen Actors Guild.  Thanks largely to Cameron Crowe, everything in “Jerry Maguire” just clicks — the romance with newcomer Renée Zellweger is funny and satisfying, his “Show me the money!” scenes with an over-exuberant Rod Tidwell (Oscar winner Cuba Gooding Jr.) and the smart take on the business of sports agentry — and the result is one of the most satisfying romantic comedies of the 1990s.

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“Is Tom Cruise funny?” 

That’s how critic Steven Hyden opened his 2015 Grantland essay “The Comedic Stylings — Intentional and Otherwise — of Tom Cruise,” and it’s a question that still gets debated a lot. A year ago, Collider argued that Cruise was a modern-day Buster Keaton in terms of his ability to meld action and comedy, making us gasp and laugh simultaneously when he pulls off his latest ridiculous stunt. Recently, Comic Book Resources made the case that his new blockbuster, Mission: Impossible – Dead Reckoning Part One , is actually really funny. 

As for Hyden, he answered his own query by suggesting this: “For most movie stars, comedy typically derives from inserting the actor into a strange or outrageous situation, allowing him or her to react. … But in Tom Cruise movies, the setup is inverted: He is the strangeness that the rest of the world must contend with.” Clearly, Cruise is a talented, charismatic actor, but we’re not quite sure about his funnyness because he doesn’t do funny the same way other performers do.

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The 61-year-old star has been making movies since the early 1980s. Other big names come and go — they have their moment and then recede into the background — but Cruise has stayed in the spotlight for almost the entirety of those 40-plus years. He started off doing sex comedies both forgettable ( Losin’ It ) and iconic ( Risky Business ), but since then he’s largely focused on action and drama. There’s humor in those films, too, of course, and fans will point to his bizarro turns in movies like Magnolia and Tropic Thunder as proof that he can be very funny on screen. (I’d also cite a personal favorite: He’s a lot of fun as hair-metal god Stacee Jaxx in the cheesy rock musical Rock of Ages .) But you’d be hard-pressed to name your favorite Tom Cruise comedy because, basically, he’s never done one. Sure, he’s done action-comedies and other hybrids. But when did he just play a purely comedic character in one of his star vehicles? 

There was a moment where maybe that would have changed. In hindsight, it perhaps seems inevitable Cruise would continue to pursue action flicks — especially when it became part of his brand, anointing himself The Savior Who Would Preserve the Majesty of the Big-Screen Experience. But in 1996, he presented us with two different Cruises: one, the action hero; the other, a sensitive, flawed guy in a grownup rom-com. One was the first Mission: Impossible , the other Jerry Maguire . Personally, I think Jerry Maguire is the slightly better film — and easily his best comedy. But it’s not the direction he decided to pursue. I’m not saying we lost out on a comic genius. But more than 25 years later, Jerry Maguire hints at what could have been.

Starting with 1986’s Top Gun , Cruise made it his mission to get asses into seats. But he had other ambitions as well: Starring in Oscar-winning dramas like The Color of Money , Rain Man and Born on the Fourth of July , Cruise got good reviews, demonstrating that he could hold his own against acting titans (like Paul Newman and Dustin Hoffman ) and intense directors (Oliver Stone). He did blockbusters, but they weren’t necessarily action blockbusters: For every Days of Thunder , there were movies like A Few Good Men , The Firm and Interview With the Vampire . But Mission: Impossible , based on the 1960s and 1970s series (which came back in the late 1980s), was different. This was going to be a big action-spy film at a time when Pierce Brosnan was trying to rescue the James Bond franchise from irrelevance. Mission: Impossible had the potential to be Cruise’s next Top Gun .

“Basically, it was a film I wanted to see,” Cruise explained in an L.A. Times profile shortly before the release of Mission: Impossible , his first as a producer. “I make my decisions about pictures by: Would I want to see it? It’s fun working on this kind of movie, because you are the audience. It’s, ‘Okay, what do you want to see? What would be really cool?’ It’s as basic as that sometimes — what do you think is really cool?”

It wasn’t easy-going, though. There were reports of tension behind the scenes. Director Brian De Palma had issues with the script, which was being rewritten frantically throughout filming. And Cruise was feeling the pressure to prove he could hack it as a producer overseeing a huge bet on the part of Paramount, which would be releasing the film. “Even though I’ve been successful as an actor,” he told the L.A. Times , “this is a different game.” 

But the gambles paid off: Opening in May 1996, Mission: Impossible was one of the year’s top moneymakers, setting the stage for a franchise that continues to this day — although Cruise’s director never understood the appeal of sequels. (“After I made Mission: Impossible , Tom asked me to start working on the next one,” De Palma later recalled . “I said, ‘Are you kidding?’ One of these is enough. Why would anybody want to make another one? Of course, the reason they make another one is to make money.”) In the U.S., it was his biggest hit to that point, but he was already deeply invested in his next project, something much more small-scale, a story about a sports agent who becomes disillusioned with the business, blowing up his career and starting over again.

Initially, Cameron Crowe , whose second feature had been the Seattle-set 1993 love story Singles , had Tom Hanks in mind when we wrote Jerry Maguire . But although the Oscar-winner liked the script, he passed, largely because he wanted to direct his first feature, That Thing You Do! Hanks suggested that Crowe consider John Travolta for the role, but Crowe was already thinking about Tom Cruise.

“After Say Anything , (Cruise) called and said, ‘I love this movie and I would love to do something with you,’” Crowe recalled . “(It) was just one of the great calls. I wanted to take him up on his offer.” So he sent Jerry Maguire to Cruise. “(H)e reacted immediately,” said Crowe. “He was excited about the sports angle, the idea of playing an agent. I had never worked with anybody in that stratosphere, and friends of mine would say, ‘Watch out, they change your stuff. They’re really demanding.’ But my first conversation with Tom after he read the script, he said, ‘I’ll fly out there. I’ll sit down. I’ll read for you. You tell me if you think I’m right for the part.’” 

Cruise has always been known as a super-intense, highly-focused guy, and that was just as apparent once he started working with Crowe. Mission: Impossible came out during the filming of Jerry Maguire , but the actor downplayed its massive commercial success when his castmates were giving him congratulations. “He says, ‘Thank you, you guys. Now let’s get down to Jerry. Let’s make our movie,’” Crowe said. “The guy could pivot, right and left, to this intimate, romantic comedy side of him that I couldn’t wait for people to see.”

In later films, like Edge of Tomorrow , Cruise has gotten laughs sending up his action-star persona: Part of the considerable fun of that 2014 movie is watching his character screw up again and again, dying every time and having to go back to square one. Mission: Impossible ’s Ethan Hunt is indefatigable, but he makes myriad mistakes — which proves he’s human but also demonstrates that, for all of Cruise’s enthusiasm for delivering death-defying stunts, he has a sense of humor about his seemingly unstoppable character, and by extension himself. 

Likewise, one of the most endearing things about Jerry Maguire is that it’s really a whole movie of Tom Cruise messing up. Early on, Jerry writes his passionate, self-righteous, extremely ill-advised manifesto, which gets him fired from the high-powered agency. He foolishly thinks he’ll be able to lure his big-name clients away, resulting in repeated humiliation. He’s so naive he assumes he can get other employees to join him in his new solo venture. His last remaining client, Rod (Cuba Gooding Jr.), is a loose cannon whom Jerry basically has to beg to hold onto — hence, the now-famous “Show me the money!” scene. The one assistant who goes with him, Dorothy (Renée Zellweger), he ends up impulsively marrying, which creates further romantic and professional complications. Even Dorothy’s young son Ray (Jonathan Lipnicki) spends a good portion of Jerry Maguire dunking on Jerry Maguire. 

These are all the reasons why the film, which is more accurately described as a comedy-drama — the sort that Jerry Maguire producer James L. Brooks used to make, like Broadcast News — is so unexpectedly funny. Granted, Jerry Maguire eventually gets his shit together, grows as a person, etc., but there’s little doubt that he’s an imperfect, perhaps permanently shallow person in some regards. Everybody remembers Dorothy’s “You had me at hello” line, but part of what makes that moment work is that she wants Jerry to stop trying to unload the sort of big-speech-to-win-you-back moment that usually wraps up rom-coms. Basically, she wants him to shut up and just kiss her. Yes, Tom Cruise gets to be the hero, but Jerry Maguire has no illusions about what a putz he can be. And Cruise seemed to be having a blast, disassembling the strutting, impervious onscreen persona he’d so carefully constructed over many years. 

While Mission: Impossible had been a summer smash, Jerry Maguire was an awards-season darling: Opening in mid-December, the film got nominated for five Oscars, including Best Actor and Best Picture. (Gooding won for Best Supporting Actor.) It was a sizable hit, too: Mission: Impossible was the third-highest-grossing 1996 film, with Jerry Maguire landing in fourth. If Ethan Hunt was a cocky, high-flying action figure, Jerry Maguire was a lovable fool — the two roles creating a cinematic equivalent of those “How I view myself/How I really am” social-media memes. Cruise demonstrated he had both modes inside him — the superhuman and the very, very human — and the juxtaposition of the two films released right next to each other made each of them more compelling as a result.

In some ways, the next phase of Cruise’s career was the most interesting. He and then-wife Nicole Kidman went off to England for a few years to film Eyes Wide Shut with the exacting Stanley Kubrick . (“Someone said, ‘Well, you know he does a lot of takes,’” Cruise mentioned in the L.A. Times piece. “I said, ‘I don’t care if he does a thousand takes, I’m working with Stanley Kubrick!’”) He was mostly out of the spotlight during that period, but when the film was over, he got back to being a movie star. He moved between a supporting role in Magnolia as the shockingly, satirically misogynistic self-help guru Frank T.J. Mackey — he got an Oscar nomination, his latest to date for acting — and star vehicles such as Mission: Impossible 2 , Vanilla Sky (reunited with Crowe), Minority Report , The Last Samurai , Collateral and War of the Worlds , all of which did big business. 

At the same time, though, he and Kidman split, he got involved with Katie Holmes — they married in 2006 — and he had his infamous “couch jumping” interview with Oprah Winfrey . There was that embarrassing face-off with Matt Lauer, in which Cruise criticized the Today host and spouted anti-therapy, anti-medication nonsense . (Oh, and don’t forget the story about how Cruise set up a Scientology tent on the set of War of the Worlds to convert crewmembers.) At the box office, he still seemed bulletproof, but the offscreen behavior started to cut into his popularity. By the release of 2006’s Mission: Impossible III , the tarnishing of his image was significant enough that the film failed to gross as much as either of the first two installments, inspiring talk that Cruise might be “over.”

For a while, it seemed like that might be true. Outside of his amusingly gonzo turn as Les Grossman in Tropic Thunder , he was popping up in unmemorable period thrillers ( Valkyrie ) and unmemorable action-comedies ( Knight and Day ). Modest hits like Oblivion and those Jack Reacher films — where everybody made fun of him because he wasn’t nearly as tall as the character in the books — suggested a star on the decline. Maybe that’s why his Rock of Ages performance in 2012 was so satisfying: Not only was it funny, his fully committed, full-throated rendition of “I Want to Know What Love Is” seemed to make fun of both the aging rocker and the aging actor who played him.

Some stars might have pivoted to dramatic roles, reinventing themselves as a respected character actor, content in the knowledge that they didn’t need to top the box office anymore or prove anything to anyone. But that was never going to be Tom Cruise, who doubled-down, starting with 2011’s Mission: Impossible – Ghost Protocol , where he performed the nerve-wracking Burj Khalifa stunt himself. 

Ghost Protocol ’s stunt coordinator, Gregg Smrz, said of Cruise , “If he wasn’t an actor, Tom could have been a stuntman … (P)utting Tom into the harness was no different than a stunt guy.” Smrz was unconsciously echoing what David Kronke, who wrote that 1996 L.A. Times profile, had said back then: “If this movie star thing ever peters out on him, Tom Cruise just might have a promising career as a stuntman. Cruise, who dabbled in race (car) driving for a while and enjoys the odd act of aerial derring-do in his own plane, is the kind of thrill junkie who finds putting life and/or limb on the line for a ‘cool’ (his word) shot ‘fun.’” 

Fifteen years after those prophetic words were written, Ghost Protocol was a sensation, reestablishing Cruise’s star power and cementing his reputation as a guy who will do anything — anything — to wow his audience. Subsequent sequels featured their own incredible stunt sequences, each time the thrill being the audience’s realization that, holy shit, that’s actually Tom Cruise doing that crazy thing . Not since Jackie Chan had an action star put himself in harm’s way so strenuously, repeatedly and joyously for our entertainment. By risking his own life, Cruise was reborn.

He would occasionally flash his comedic side in his later blockbusters — he’s been especially loose-limbed with director Doug Liman, who directed him in Edge of Tomorrow and the underrated true-life action-comedy American Made — but as he rebuilt his stardom, the emphasis has been on tentpoles, even if they’re total duds like The Mummy , which was meant to launch Universal’s Dark Universe. (Spoiler: It did not. ) As a result, there wasn’t much room for a Jerry Maguire anymore — there wasn’t space for something in which he played a human-scaled character. Only action heroes need apply.

It’s not fair to be too harsh to Cruise about this shift away from funny, thoughtful romantic comedies. Truth is, Hollywood in general has stopped making Jerry Maguire s — at least at the studio level. Try to think of a movie like that from the last 20 years. Maybe Richard Linklater ’s Before films? Perhaps Love Actually ? Maybe La La Land ? (And that’s more of an old-school musical anyway.) There’s just not a lot of those films around anymore. If anything, Cruise read the tea leaves, realizing that, if you’re going to remain an A-list star — and you’re not going to play in the Marvel sandbox — then you’d better find a big-budget franchise or two. In this century, bankable stars have been replaced by familiar brands, properties and characters. The Mission: Impossible films might be that rare, happy exception: You go for the franchise, but you also go for Cruise.

It’s not a spoiler to reveal that Dead Reckoning ends with something of a cliffhanger. ( Part One is right there in the title.) I imagine, like me, most people will be excited to return to theaters next year to see Part Two , which may very well be the final Mission: Impossible with Tom Cruise. If so, it’s been a hell of a run in a remarkable career. He has thrived where other stars have not — all these years later, he’s still thinking about what would be cool to show an audience, and his instincts have been pretty unerring. 

Back in 1996, Mission: Impossible and Jerry Maguire presented two paths for where he could go next. We know which one he chose, which proved to be the smart decision, but I’ll always wonder about the path not taken. Trust me, I’m not complaining: We got so many great Mission: Impossible movies out of the deal.

In Jerry Maguire , his character is at a crossroads, and so was Cruise, who refashioned himself as the last great action hero. Mission: Impossible held the key for his future. But it’s funny to think back to De Palma’s grousing about sequels, because his complaints suggest what’s so terrific about Jerry Maguire . You didn’t need to make another one of those. It’s more than good enough on its own.

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Tom Cruise is here to help

For more than four decades, the actor has attained near-mythic status by giving us what we want — including seven ‘mission: impossible’ movies.

T om Cruise is about to blast back into our lives in “Mission: Impossible — Dead Reckoning Part One,” the first half of the seventh installment of the action-adventure franchise he launched in 1996. The movie was delayed four times. As it prepares to hit theaters on July 10, the buzz is all about Tom’s latest in a series of progressively more audacious stunts as super-operative Ethan Hunt, this one featuring him racing his motorcycle off a mountain top, then parachuting onto a speeding train to — what else? — save the day.

It’s all very on-brand for a film series built on can-you-top-that spectacle. But the most mythic element of what’s essentially a plot-point punch list — albeit an impressively executed one — is Tom Cruise himself.

Since making his brief screen debut in 1981 in the Brooke Shields movie “Endless Love,” Cruise has proved to be unusually durable as an on- and off-screen presence — perhaps not the “last” movie star, as some have dubbed him, but surely the most charismatic megafauna of the entertainment ecosystem.

We might be creeped out by the institutions that define his private life, puzzled by his relationships, skeptical about his sincerity, chronically curious about who he really is. But Tom Cruise merely absorbs our ambivalence and allows it to make him faster, stronger, more unreachably empyrean. Through it all, we’ve remained true to Tom Cruise, if only because of the universal yet deeply personal form of catharsis he alone can provide.

After “Endless Love,” Cruise played Reagan-era archetypes in a series of breakout roles: a rebellious military cadet in “Taps,” an all-American teenager in the brilliant comedy “Risky Business,” a cocky fighter pilot in 1986’s “Top Gun.” After long insisting he’d never make a sequel to that wildly successful military-industrial fantasy, he reprised his role last year in “Top Gun: Maverick,” which reinvigorated a theatrical movie business staggering from the coronavirus pandemic, streaming and rapid-onset irrelevance.

“Maverick,” a nearly beat-for-beat stylistic re-creation of the original, with Cruise playing a humbled, world-weary version of his obnoxiously hyper-competent title character, wound up grossing around $1.5 billion, making it Hollywood’s rarest rara avis: a global, trans-generational pop-culture phenomenon driven by a bona fide human being, rather than interchangeable actors buried under layers of Spandex and CGI.

“You saved Hollywood’s ass,” Steven Spielberg gushed to Cruise in a video clip that went viral during Oscar season. Arguably, Cruise saved his own ass, too. Or, more precisely, he proved that his singular hold on his audience hasn’t faltered and remains preternaturally — even inexplicably — strong.

The angular physical beauty has by now filled out and softened, and those look-Ma-no-hands stunts are approaching try-hard territory; the off-screen life may seem more strangely opaque than ever, with PR disasters dimly remembered, if at all.

Somehow, the Tom-ness of Cruise has transcended it all: the unique combination of all-consuming commitment, indefatigable work ethic, graceful physical chops, boundless enthusiasm and instinctive good taste that have allowed him to move beyond fame into another realm entirely. “It’s not enough just to be a great actor and to have star charisma,” explains director Doug Liman. “You need all of those qualities. If you’re missing one of those, you’re not Tom Cruise.”

A genuine love of moviemaking

Liman remembers when he first pitched Cruise on the sci-fi thriller “Live. Die. Repeat.,” later renamed “Edge of Tomorrow.” The actor was interested, but before he committed, he asked Liman not for script changes or co-star approval, but for ideas on concept art for the film. “[It was] like, what was the trailer for the movie going to look like?” Liman explains. “Because you can develop a great script, but if it’s not a movie people want to see, what’s the point?”

To Liman, Cruise’s request for concept art was just another way of asking the question that has consumed him above all others, and goes furthest in explaining his continuing potency: What does the audience want, and how can I give it to them? “He genuinely recognizes that he’s a movie star because people like his movies, and not the other way around,” Liman says. “It’s not like he’s anointed. He really cares about his audience and giving them their money’s worth.”

Cruise’s obsession with pleasing us — the clenched determination he puts into looking effortless — shouldn’t be confused with pandering. It’s more organic than that. And, whether that attunement is congenital or calculated or a mixture of both, he’s at the point where his sense of what a movie needs to succeed has become pure reflex.

Almost from the beginning, Cruise has made it a point to work with the very best, which explains a résumé that includes names such as Kubrick, Spielberg and Scorsese, as well as Oliver Stone, Paul Thomas Anderson and Michael Mann.

When he began the “Mission: Impossible” movies, he enlisted the legendary “Chinatown” screenwriter Robert Towne to elevate otherwise rote procedural formulas; for the past 16 years, his chief collaborator has been “The Usual Suspects” writer Christopher McQuarrie. As a producer and a star, he’s a one-man quality-control department, fine-toothing everything from casting to visual effects (which, in the interest of production value, are usually practical rather than digital).

“People aren’t aware of just how holistically he works as a filmmaker,” observes Ben Stiller, who has known Cruise for more than 30 years, since they met while Cruise was filming “The Firm.”

It was Cruise, Stiller says, who told him and co-writer Justin Theroux that their script for the Hollywood satire “Tropic Thunder” needed an additional character. “He said, ‘You’re making fun of actors and you’re making fun of agents, but you don’t have a studio head,’” Stiller recalls.

Cruise wound up playing that character, a fatuous balding production executive named Les Grossman, who became the most iconic figure in the movie, largely thanks to Cruise’s eagerness to make himself look ridiculous. (Which exemplifies another first rule of the Tom-ness of Cruise: He is nothing if not 100 percent game. “Let’s do it!” the most famous actor in the world replied when Stiller asked him to appear in a goofy video that he made for his wife, Christine Taylor. “I love it!” Cruise cried when Liman told him he wanted to make him a coward in “Edge of Tomorrow.”)

Talk to people who have worked with Cruise, from the beginning of his career to the present day, and you hear about his genuine, almost giddy love for what he does.

While doing interviews for “Minority Report” in 2002, Spielberg wistfully remembered getting to the set first thing in the morning only to find Cruise already there, ready to play.

Liman recalls setting a call time for 8 a.m. for the cast of “Edge of Tomorrow”; Cruise got there at least 15 minutes early, asking where everybody was. “He’s like, ‘It should be like taking a flight, people should get here early and be ready to go,’” Liman says. “Sometimes with movie stars, you’ve got to get them out of their trailer. Tom’s like, ‘We’ve been given this incredible opportunity, and we need to use every second to get as much production value and performance on the screen as possible.’”

Those motivational speeches are a Cruise hallmark; only rarely do they become rants, such as when he lit into “Dead Reckoning” crew members for violating pandemic precautions in 2021. “We are the gold standard,” he can be seen shouting in a video that instantly went viral. “They’re back there in Hollywood making movies right now because of us. Because they believe in us and what we’re doing. I’m on the phone with every [expletive] studio at night, insurance companies, producers and they’re looking at us and using us to make their movies. We are creating thousands of jobs, you [expletive.] I don’t ever want to see it again. Ever!”

Few would dispute that Cruise’s outburst wasn’t the product of movie star pique as much as the laserlike focus and commitment that have defined him from the very beginning.

“I cannot reiterate enough how much Tom Cruise loves making movies,” says April Grace, who co-starred with Cruise in Anderson’s “Magnolia.” In the film, Cruise plays a misogynist self-help guru named Frank T.J. Mackey, whose buried past comes to light during an increasingly tense interview with a journalist played by Grace. Mackey’s character was a startling departure for Cruise, who had played flawed men before, but no one this angry or edgy. His scene with Grace is a taut, tightly calibrated boxing match of verbal feints and parries, as Cruise’s character goes from glib condescension to fear and, finally, aggression.

Grace recalls that Cruise worked with her even when he wasn’t needed. “I’ve worked with far lesser actors who would leave me to read with an assistant when they’re off-camera,” Grace says. “But Tom does not play that way at all. At one point, his face was literally smashed against the [side] of the camera, to get in my eye line as much as possible, even if I could only see the corner of his eye,” she says. “He was like, ‘What do you need, what can I do, how can I help you?’”

Cruise’s complicated private life

It’s easy to be cynical about Cruise’s messianic energy, his zealotry on behalf of an art form that, when he practices it, looks less like a profession than a holy vocation (is it any coincidence that he once contemplated becoming a Franciscan priest?). Tilt the lens, and even his most admirable qualities take on the contours of overcompensation: his obsession with satisfying the audience as an extension of him bringing joy and diversion to his mother and sisters after his parents split when Cruise was in sixth grade; reading everything in sight after overcoming dyslexia — with the help, he has said, of the Church of Scientology, which he joined in 1986.

The impression of Cruise protesting too much became queasier in 2005, when he professed his love for girlfriend Katie Holmes by manically jumping on a couch during an Oprah Winfrey interview. A few months later, he criticized Shields for taking medication for her postpartum depression, which led to an infamous interview on the “Today” show during which he defended Scientology and its anti-psychiatry stance to co-host Matt Lauer. “Matt. Matt, Matt, Matt, Matt. You’re glib,” Cruise said. “You don’t even know what Ritalin is.” Cruise looked arrogant, entitled, unhinged.

Many observers thought he would never recover. His relationship with Spielberg, whose movie “War of the Worlds” Cruise was supposed to be promoting, ruptured. (They still haven’t worked together again.) And it wouldn’t be the last time Cruise would come in for scrutiny, especially regarding his relationship with Scientology, which is officially recognized as a church but which many former practitioners and journalists who have investigated it consider a dangerous and abusive cult.

Like the Entity, the artificial intelligence program Hunt pursues in “Dead Reckoning,” Cruise learns, corrects, iterates. After the 2005 debacle, he assembled a first-class publicity team and largely clammed up, only making himself available selectively. (He declined a request to be interviewed for this article.) Constantly scraping his environment and audience expectations for data, he adjusts and improves, ultimately achieving the perfect Zen balance of mega-celebrity: near-constant ubiquity and inscrutable remoteness.

It’s just this ability to emerge unscathed that drives Cruise’s detractors crazy. “I happen to have a huge body of facts, particularly with regard to his and Scientology’s treatment toward women, that for me makes it very hard to excuse his continued adulation,” says Maureen Orth, who wrote a troubling article about Cruise’s relationship with the actress and activist Nazanin Boniadi for Vanity Fair in 2012. “Not just because of him alone, but [because] he’s the second most important person in Scientology, next to [church leader] David Miscavige. … The press has fallen down on its job, too. He always gets a free pass. He never gets asked about this stuff anymore.”

Indeed, by the time Golden Globes host Jerrod Carmichael made a pointed joke about Cruise and Scientology this year, the jibe landed but didn’t gain purchase. (Carmichael suggested they trade in the Globes Cruise returned in protest for “the safe return” of Miscavige’s wife Shelly, who has not been seen in public for several years.)

Ever the generational avatar, Cruise has become a vessel, not for our aspirations and wish-fulfillment fantasies, but for 21st-century exhaustion: with pandemics, with Trump-era political ructions, with the pressing demand that our celebrities’ private actions and beliefs align completely with our own. Sensing the wound in our collective consciousness, the Tom-ness of Cruise acts as both purgative and balm. Could anyone else have brought us together after the trauma, tribal hostility and enforced separation that has defined American life since 2016?

Cruise was pointedly absent at this year’s Oscars, despite the fact that “Top Gun: Maverick” was nominated for six awards, including best picture. The official excuse was a scheduling conflict, but he would be well within his rights to hold out for the respect he’s due, not as the Saver of Hollywood’s Ass, but as the consistently superb actor he’s been for more than four decades. Unbelievably, he’s been nominated only three times for his performances, in “Born on the Fourth of July,” “Jerry Maguire” and “Magnolia.”

Jon Avnet, who produced “Risky Business,” has seen Cruise’s ability from the moment he read for the part of Joel Goodsen in that film, when Avnet recognized “a form of confidence — it wasn’t cockiness — but a form of confidence that for a 19-year-old was very unusual.” Even then, Avnet notes, Cruise was able to grasp the tricky tonal balance of “Risky Business,” which seems to be a teenage sex comedy before it becomes a darker, more layered critique of contemporary capitalism. “That combination of playing it straight while at the same time having a wry sense of humor, while still maintaining a level of innocence or lack of sophistication, he really seemed to inhabit that,” Avnet says.

As for why artistic recognition has eluded Cruise, Avnet explains: “There is a tradition in Hollywood that is cruel to people with certain gifts. … The pettiness comes out when you vote.”

By now, a new generation has grown up with Tom Cruise: the children of the boomers and X-ers for whom the “Mission: Impossible” movies are a family tradition.

But to understand Cruise’s power, they need to go to the back catalogue, to “A Few Good Men” and “Rain Man,” “Collateral” and “Minority Report,” “Magnolia” and “Tropic Thunder,” to experience firsthand what an uncommonly versatile actor can be and always has been. In trying to preserve theatrical filmgoing, he has gone all-in on the blockbuster. After the final Mission: Impossible installment next year, he’s poised to make history as the first actor to film a movie in the International Space Station.

After saving planet Earth, there are only questions. How far will Cruise go to exploit that boyish “Let’s do it!” energy in service to chases, stunts and hyperkinetic set pieces? “I’ve got 20 years to catch up with him,” Cruise recently told the Sydney Morning Herald, referring to 80-year-old Harrison Ford. “I hope to keep making Mission: Impossible films until I’m his age.” And wouldn’t a return to the midrange dramas and comedies that made him a star be a nervier trust fall?

“I feel like he’s smart enough to know that changing things up, or exploring an area that people might not expect him to go, is really exciting. People enjoy that, and I think he enjoys it, too,” says Stiller. “I also think that at this point, he’s done so much, he’s earned the right to chill out.”

The Tom-ness of Cruise allows for many things; chilling out, let it be noted, isn’t one of them. More precisely, it could be allowed, but only with the audience’s permission. Ultimately, Cruise’s hold on us is best explained by our hold on him. He’s still at the camera, his face as close as it can get, waiting to make his next move, waiting for us to tell him exactly what we need.

Tom Cruise’s 10 Best Movies Ranked

The ‘ Tom Cruise movie’ might as well be its own genre. When you sit down to watch a Tom Cruise film, there are things you know you’ll see: Running, really fast? Check. A performance of magnetic intensity? Check. Feats of physical endurance and stunt-based spectacle? Mostly, check. Through the years, Cruise has proved that there are few vehicles or buildings he won’t cling to or jump from; no skill he can’t master to showcase on screen; no story he can’t hone into its most crowd-pleasing shape. There’s a reason he’s still one of Hollywood’s biggest stars and made Empire 's list of the 50 Greatest Actors of all time: the man makes amazing movies.

He’s also had a fascinating career – one that began with a series of roles that dialled into his charisma and confidence as an upstart, before moving into more nuanced character dramas, and then into blockbuster spectacle. And through all those career modes, there’s a sense of sincerity in the stories being told and the characters being brought to life – one that, today, finds him pushing the limits of on-screen action further than most thought possible. Empire ’s ranking of the 10 best Tom Cruise movies spans his entire career – early works, curiosities, all-time American classics, and pulse-pounding adventures – going (spoiler alert!) right up to the thrilling, nostalgic, and emotional Top Gun: Maverick . The highway to the danger zone begins here…

Tom Cruise's 10 Best Movies Ranked

10) Mission: Impossible

When Brian De Palma first brought '60s spy series Mission: Impossible to the big screen in the mid-'90s (with Cruise producing as well as starring), it wasn't yet an action juggernaut – the height of spectacle here is an exploding fish tank, or the helicopter-in-a-train-tunnel chase (which perhaps began Cruise's fondness for clinging to speeding vehicles). But the DNA of the ultimate Tom Cruise franchise all comes from this first entry. There's the twisty, double-triple-crossing plot which turned memories of the original show upside down. There are rubber mask rug-pulls. There's that iconic lit-fuse title sequence and theme tune. And at the centre of it all is Cruise's Ethan Hunt, perpetually on the backfoot, barely surviving near-impossible predicaments by the skin of his teeth. Even back in '96, the Mission movies were all about breathless setpieces – though at that point, they were more about beads of sweat pooling on Hunt's forehead while he dangles in a temperature-controlled computer vault, than strapping himself to an aeroplane while it takes off.

9) Minority Report

If you know someone's about to commit a crime, can you punish them before they do it? That's the knotty question at the heart of Minority Report , which saw Cruise team up with the one and only Steven Spielberg for a gritty, noirish thriller with a lot on its mind. Cruise is John Anderton, an officer in the Pre-Crime unit of 2054, which uses the visions of three psychic siblings (the 'precogs') to proudly reduce the murder rate in Washington DC to zero. But when his own face comes up as the unit's next criminal to catch, it throws the entire system – and Anderton's beliefs around it – into question. This meeting of legendary cinematic minds produced something darker and more dystopian than you might expect, but Cruise is on impeccable screen-swiping form as an action hero, a care-taker for precog Agatha ( Samantha Morton ), and a man whose entire world-view is shattering around him, desperate to clear his name. Plus, we get to see him have eyeball surgery. Feast your illegally transplanted retinas on that.

8) The Color Of Money

Released in the same year as the original Top Gun , this lesser-known Martin Scorsese banger is absolutely the former's equal in displaying the young Cruise's prodigious talent, captivating charisma, and cocksure confidence. His pool-hall wizard Vince (so self-adoring that he literally walks around in a t-shirt with his own name on it) simply cannot help showing off, broadcasting his considerable skills with a cue for all to see – even if it means imploding the hustling scheme he's cooked up with Paul Newman 's veteran Fast Eddie. (This is a legacy sequel before they were a thing, with Newman reprising his role from 1961's The Hustler .) The pool sequences are electrifying and all-out Scorsese cinematic – and an early example of Cruise dedicating himself to learning new skills for his art, clearly potting all the balls himself in extended takes – but the character drama is just as captivating, with Vince stepping into his power, Eddie facing his own decline, and the hustler becoming the hustled.

7) Collateral

Silver-haired, super-focused, and stalking through the shadows of an LA night, Cruise's Vincent (we never learn his last name) is one of the actor's great assholes – a tunnel-visioned assassin who drags Jamie Foxx 's reluctant and goodnatured cabbie, Max, into a night of murderous mayhem, Michael Mann -style. Sleek and cool but also sociopathic and callous, Cruise has rarely been more controlled as he rides around in the back of Max's taxi, dispensing hot takes and hotter lead to victims; but it's in the way he slowly, painstakingly depicts the way Vincent loses control as the night begins to run away from him that's so impressive. He really should play more grade-A shits.

6) Top Gun: Maverick

A sequel 36 years in the making, besieged by pandemic-induced release date delays, with a brand new writer and director on board, and the follow-up to one of the most beloved action movies of a generation? Top Gun: Maverick had a lot to prove. Incredibly, it soars higher, faster and even more full-throttle than anyone could have predicted. Returning to the cockpit with decades of experience in pushing the boundaries of action filmmaking, Cruise, Mission collaborator Christopher McQuarrie (on writing duties here) and director Joseph Kosinski deliver aerial acrobatics (yes, the actors are actually in those planes) that will leave you awe-struck, heart in your mouth, fist punching the air with glee. As with Tony Scott 's original, the character work is just as rich as the stunts – Cruise slips back into Maverick's roguish charm with the ease of putting on a familiar patch-covered aviator jacket, but also perfectly evokes the effect that years of tension with his superiors and grief over Goose have had on him – his ever-present over-confidence cracking, just a little. All these years later, it's clear Cruise really did feel the need to return to Top Gun – and on this evidence, it's easy to see why.

5) Mission: Impossible – Fallout

Frankly, multiple spots in a list of Tom Cruise's greatest movies could be filled by Mission: Impossible films. To do so (as we've chosen not to) would perhaps overwhelm the sheer variety of the rest of his career – but in a way, Mission is Cruise's career. With each passing entry, the saga became a stunt-filled action masterclass in which its leading man goes to greater and greater lengths to bring visceral thrills to the masses – and no Mission film exemplifies that better than Fallout . It's stacked with jaw-dropping setpieces that go out of their way to foreground the fact that its leading man really is doing a HALO jump in a single take, or flying a helicopter through a gorge, or leaping across the rooftops of London (and, yes, breaking his foot in the process). It makes for breathlessly exciting cinema, a kind of spectacle that subsequently feels lacking in almost every other show in town. The Cruise-Christopher McQuarrie partnership continues to be a perfect marriage – the writer-director helping marry action and story beats to the stunts with style and propulsive pace. This is peak Mission , and the peak of Cruise's own cinematic mission – one that you sense will never truly be over.

4) A Few Good Men

Among all the Tom Cruise legal thrillers of the '90s, A Few Good Men stands tallest. His Lt. Daniel Kaffee, a Naval lawyer more interested in baseball than his own cases, begins the film as a smarmy pencil-pusher – but that all changes when he's handed the case of a Marine killed in Guantanamo Bay, and discovers corruption in the armed forces that will all-too-easily be covered up. It's up to him and fellow lawyers JoAnne Galloway ( Demi Moore ) and Sam Weinberg ( Kevin Pollak ) to prove what really happened in a court of law, facing up to Jack Nicholson 's fearsome Colonel Jessop in the process. It's one hell of an ensemble cast, but Cruise drives it all, capturing Kaffee's increasing desperation and dedication to win the case – and prove that, yes, he can handle the truth – becoming a better person in the pursuit of justice. His intensity is a perfect match for Aaron Sorkin 's dense dialogue, all classily captured by Rob Reiner 's crisp direction.

3) Magnolia

As legend has it, Paul Thomas Anderson wrote the part of Frank TJ Mackie for Cruise after visiting him on Stanley Kubrick 's demanding Eyes Wide Shut set, and deciding that the actor needed to let loose. What fun Cruise would have as Mackie! This cocksure, cock-respecting self-help sex guru struts and shouts and thrusts – yes, there's all of that. But Magnolia is a heavy film, and Cruise, as Mackie comes undone and reunites with his estranged father Earl (Jason Robards), really falls apart, the slick showbiz veneer crumbling as years of emotion burst out. Sitting by his dying dad's bedside, Mackie – away from Cruise's signature grin, away from the big stunts – is unbridled humanity, shaking, weeping, quivering, his anger making way for love. It's a devastating physical catharsis for him, and for us.

2) Edge Of Tomorrow

One of the biggest blockbuster surprises of 2014, Edge Of Tomorrow (or, Live Die Repeat , as it was later marketed), gave us a different shade of Cruise as action star – his Lieutenant William Cage is a smarmy, cowardly PR guy when we meet him, only growing into an elite soldier through the repetitive, Groundhog Day -inspired, video game-esque nature of Doug Liman 's explosive sci-fi thriller. Teaming up with steely warrior Rita (an excellent Emily Blunt ), Cage must live through his final two days over and over, picking up skills and learning from his multiple deaths in order to stop the invasion of some big bad aliens. Cruise's chemistry with Blunt is endlessly compelling, the strength of her character and his star-power making them feel like equals on-screen. But it's the progression of his character that's most intensely satisfying, going from a man who's desperate to weasel his way out of doing anything selfless to the kind of all-out hero that Cruise was born to play. It makes for the kind of movie you'd happily be stuck watching in a time-loop over and over and over and ov- You get the picture.

1) Jerry Maguire

Like many Cruise films, Jerry Maguire has got so many memorable moments and one-liners that they've almost become more famous than the film itself. But the brouhaha over, "You complete me", or, "Show me the money!" masks one of Cruise's best – and most emotional – films. Meshing perfectly with writer-director Cameron Crowe (at his most Billy Wilderian), Jerry Maguire is an often heartwarming, often inspirational, often deeply romantic tale of a cynical sports agent (Cruise at his most winning) who has an epiphany, and begins to hunt around for something akin to a soul. It's cute and charming as hell, especially when Jerry is falling in love with his former secretary Dorothy (a star-making turn from Renée Zellweger ), but there's a bite here that's often overlooked, with a seemingly happy ending that may be nothing more than a sticking plaster over a fairly gaping wound. Still, Cruise and Cameron will have you at, "You had me at hello".

Every Tom Cruise Movie Ranked From Worst To Best

2. magnolia (1999).

Paul Thomas Anderson's epic drama Magnolia is an ensemble piece with an impossibly packed cast (Julianne Moore, Philip Seymour Hoffman, William H. Macy, John C. Reilly, Melora Walters, Jeremy Blackman), but you can't come away from the film without agreeing that Tom Cruise steals the show.

As self-help guru Frank Mackey, Cruise is magnetic, disturbing, haunted, energetic and strangely fragile. He plays Frank as a man unsure of himself despite his confidence and damaged by a past he'd rather forget.

Watching him go from aggravatingly arrogant to weeping by his dying father's bedside is a perfect encapsulation of how great a performer Cruise can be at his best, and the fact he didn't win the Oscar for his performance is certainly one of the Academy's biggest snubs.

Aidan Whatman hasn't written a bio just yet, but if they had... it would appear here.

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Tom Cruise Deserves an Oscar for ‘Saving Hollywood’s Ass’

Our last great film star should get his first Academy Award—not just for producing ‘Top Gun: Maverick,’ but for bailing out the movie industry.

By Titus Techera

March 11, 2023

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Tom Cruise turned 60 last summer, just as Top Gun: Maverick was becoming the biggest blockbuster of 2022. Maverick brought audiences back to movie theaters after the pandemic years, giving them the joy of a cathartic military and moral triumph. It also gave Hollywood hope for the future, even as it lost more than 2,000 movie screens during the lockdowns and $14 billion in gross revenue last year alone.

Maverick handed Cruise the greatest box office success of his career, rivaling the superhero movies that have dominated Hollywood for the last 15 years. It made more than $700 million in the U.S. , the fifth greatest box office in U.S. history, and a worldwide total of almost $1.5 billion. Its smash hit status arguably makes Cruise the most successful movie star ever in America.

Of course, Cruise has been too busy to celebrate. He’s been working on his next movie, the seventh Mission: Impossible extravaganza, flying motorcycles off cliffs in breathtaking landscapes and then parachuting his way back to Earth, all for your viewing pleasure. Tom Cruise has been a celebrity for four decades. In TikTok time, that's 10,000 trends. 

Eat your heart out, MrBeast !

Now, you might not believe it, but after a career spent on-screen saving America, civilization, and even the world, from the Cold War to the era of digital technology, Tom Cruise has never won an Oscar. It’s as though Hollywood were ashamed of him.

It’s not so elsewhere. Maverick screened at the Cannes Film Festival, where Cruise was awarded an honorary Palme d’Or for his career, continuing a French tradition of honoring Hollywood talent more than Hollywood itself does. Barton Fink , Wild at Heart , and Sex, Lies and Videotape all won the Palme d’Or too, but none of them got an Oscar nod for Best Picture. You’d think the Academy would have learned its lesson by now.

Well, tomorrow , the Oscars have the opportunity to do justice to Cruise’s indefatigable efforts and, though he isn’t nominated as a star, they can give him the statue as a producer , since he’s nominated for Best Picture for Maverick . It would be a fitting victory, too. No other actor has produced his own career with more care and professionalism. 

Steven Spielberg, the father of the blockbuster film and America’s beloved techno-magician for an entire generation, seems to be the only guy who gets it. He congratulated Cruise on Maverick ’s success at the recent Oscars nominee luncheon, declaring : “You saved Hollywood’s ass. And you might have saved theatrical distribution. Seriously. Maverick might have saved the entire theatrical industry.”

Not everyone feels this way. Hosting the Golden Globes, comedian Jerrod Carmichael mocked Cruise for returning his Golden Globe statue in 2021 in protest against the Hollywood Foreign Press Association’s lack of ethnic and gender diversity. Carmichael reminded the audience that Cruise is a Scientologist with a joke about Shelly Miscavige, wife of David Miscavige, Chairman of the Board of that cult. (Shelly has not been seen in public since 2007.) And at the Directors Guild of America Awards, Judd Apatow pilloried Cruise for being short and doing dangerous stunts at his age, calling that an “ad for Scientology,” and reminding everyone that Cruise once embarrassed himself by jumping up and down on Oprah’s couch. 

It’s true: Scientology is a crazy cult, and it should not have tax-exempt status . But no one would accuse all Hollywood actors of being especially sane, or, I’m guessing, paying their fair share of taxes. 

The Oscars are supposed to reward art more than entertainment, and that’s another reason for a Tom Cruise win. No other star has tried so hard to work with the most talented directors in Hollywood. 

After Risky Business made him a celebrity in 1983, Cruise signed up to work for Ridley Scott, who had just made Blade Runner . The result, 1985’s Legend , a fairy tale about princesses, unicorns, and devils, is one of Scott’s weaker movies, but it was an artistic risk, not a crowd-pleasing money grab. More importantly, Cruise was undeterred by failure. After his sensational success with Top Gun in 1986, helmed by Ridley Scott’s brother Tony, Cruise made The Color of Money with Martin Scorsese. Cruise played a pool hall hustler with his usual cocky charm, but without the advantages of heroism. It’s a movie that shows what made him a star, since it trades dazzle for the romance of poverty. 

Cruise kept up this pattern: Rain Man was a blockbuster and Oscar success in 1988, and in 1989 he signed up for Oliver Stone’s Vietnam drama Born on the Fourth of July . Cruise got his first Oscar nomination for the portrayal of a veteran who turns to drugs and then anti-war protests because he cannot make sense of his crippling injuries. Like other talented directors, Stone saw the intensity behind the handsome smile and pretty features and brought it out to amazing effect.

Then in 1996, Cruise became a producer and star of Mission: Impossible , which turned into a multibillion-dollar franchise that is now almost 30 years old. After Spielberg introduced Cruise to Brian de Palma, the actor was so amazed by the filmography of the master of horrors and thrillers, he hired him to helm the first film. De Palma’s Mission: Impossible was a big success, making almost half a billion dollars worldwide . It was also the most stylish espionage thriller of that decade, proving that great cinematic talent can also draw huge audiences.

The ’90s were full of hits for Cruise— Interview with the Vampire and Jerry Maguire ( another Oscar nomination ) on the romantic side, A Few Good Men and The Firm on the thriller side. For most of that decade, Cruise showed a gift for playing underdogs defined by moral earnestness—the staple of American cinema since Frank Capra pioneered it.

He also continued to work with impressive directors. Paul Thomas Anderson’s Magnolia (1999) earned him his third Oscar nomination for playing a guru whose misogyny—retailed as self-help to weak guys confused by third-wave feminism—turns out to be a self-loathing fear going back to his childhood. Who else but Cruise could show that charm and vulnerability, that aggression and fear, and turn it into the will to succeed?

Stanley Kubrick’s last movie, Eyes Wide Shut , came out the same year—an art movie that made more than $100 million internationally, showcasing Cruise’s subtlest performance. He plays a striving Manhattanite, devoid of the advantages of celebrity, showing his weakness to temptation when faced with a Jeffrey Epstein–style mystery, which could be anything from rich people indulging in prostitution to a cult. Cruise shows all over again why he became a star, bringing fear of failure back into his performance, this time without playing on the sympathy of the audience.

In the second part of his career, Cruise transformed into the action hero we now know—indeed, the last action hero. His best artistic achievement in the genre is Steven Spielberg’s 2002 science fiction thriller Minority Report , the movie that brought Cruise closest to the noir hero, and to tragedy. Cruise plays the champion of an order that aims to replace humans with robots in the name of safety—until he becomes its victim. Eventually, he learns to love all-American freedom and to endorse it over the surveillance state.

This is the career the Oscars should honor. And the Best Picture award is the prime opportunity. Top Gun: Maverick is the pinnacle of Cruise’s career as an entertainer—and as an icon who has uttered some of cinema’s most memorable lines. Back in 1996, playing Jerry Maguire, he declared his undying love to Renée Zellweger by saying, “You complete me.” 

Nor would American cinema be complete without Tom.

Will Hollywood say it back?

Titus Techera is a film critic, the Executive Director of the American Cinema Foundation, and host of the ACFmovie podcast . Don’t miss Walter Kirn’s essay on how Top Gun: Maverick brought the holy anarchy of fun back to cinemas.

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The Internet Is Talking About How Tom Cruise Dropped Out Of Edward Scissorhands Over Bathroom Concerns, But What’s The Full Story?

Did Tom Cruise really leave Edward Scissorhands over bathroom concerns?

One of Johnny Depp’s best performances was in Edward Scissorhands playing the title role of a humanoid whose inventor passed away before giving him hands instead of scissor blades. If you can believe it, Mission: Impossible ’s Tom Cruise was one of the many actors in Hollywood lining up to be in the Tim Burton movie . Reports have come out that got the internet talking about Cruise dropping out of Edward Scissorhands over bathroom concerns, but there’s actually more to it than that.

Edward Scissorhands was a big deal for both Johnny Depp and Tim Burton . Before the gothic fantasy movie, Burton only had Pee-Wee’s Big Adventure, Beetlejuice and Batman under his belt. Depp also had the reputation of being a teen star due to his starring role in the 21 Jump Street series and the rom-com film Cry-Baby . But after Edward Scissorhands grossed four times over its budget at the box office, it was clear this would be one of many of Depp’s performances in a Tim Burton movie .

After reports say Tom Cruise walked away from the role due to bathroom concerns, what’s the full story? Check out why exactly the role of the unfinished humanoid wasn’t meant for the A-lister:

Why Tom Cruise Reportedly Dropped Out of Edward Scissorhands

It’s hard to believe that Tom Cruise almost starred in Edward Scissorhands . That would have been quite a unique role for the action star. Leave it to Johnny Depp, who ultimately ended up with the lead role, to confirm in the upcoming Tim Burton docuseries (via Indiewire ) that Cruise really was in the running for the 1990 flick:

[Cruise] was not far away from actually playing Edward Scissorhands — true story.

With Tom Cruise being so close to donning the scissor-blade hands, you can’t help but wonder what happened. In a post thread about actors who’ve been turned down, dropped out of or were replaced in movies, Film Updates recently answered why Cruise allegedly dropped out of Edward Scissorhands on X. Based on the post, the Top Gun actor reportedly kept asking a lot of questions to Tim Burton that he couldn’t answer, like how the title character used the restroom.

I have to admit that now I’m starting to wonder how Edward Scissorhands could use the bathroom. That toilet paper wouldn’t stand a chance! But it proves that while it may be funny to think about the answers to those questions, it’s not necessary to get answers if there’s no bathroom scene in the movie.

The Full Story of Why Tom Cruise Turned Down Edward Scissorhands

While it’s true that Tom Cruise asked questions about how Edward Scissorhands was able to use the bathroom, that was only part of it. Caroline Thomas, who wrote the film’s screenplay, spoke to Far Out Magazine about what else the Risky Business star was asking about the lead role during his meeting with Tim Burton:

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He was asking the kind of questions about the character that can’t be asked for this character! Part of the delicacy of the story was not answering questions like, ‘How does he go to the bathroom? How did he live without eating all those years?’ Tom Cruise was certainly unwilling to be in the movie without those questions being answered.

Clearly Tom Cruise was having trouble understanding Tim Burton’s vision. Gary Oldman also didn’t understand Edward Scissorhands when he read the script as well. Another bone Cruise picked about Edward Scissorhands was the film’s sad ending. If you remember, the humanoid and his love interest Kim didn’t end up together since Edward went into hiding after killing Jim in self-defense. We see that Edward spends his days carving ice sculptures of the time he spent with his lost love. As melancholy as that ending may be, it fits in well with Tim Burton’s deep theme of being an outsider in a picturesque suburb that struggles to accept what's considered weird.

Even though Edward Scissorhands and Tom Cruise weren’t a cinematic match, Johnny Depp did a spectacular job conveying a childlike innocence to make the role sympathetic and relatable to audiences. Through collaborating with Tim Burton, the two were able to create a unique character that audiences would remember for decades. Plus, it looks like Depp didn’t care how his character used the bathroom. You can relive Burton's masterpiece with your Disney+ subscription .

Just your average South Floridian cinephile who believes the pen is mightier than the sword.

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Crime and Courts

Infamous sex cult leader convicted in nyc of all charges in federal ‘branded women' case, published june 18, 2019 • updated on june 19, 2019 at 6:26 pm, what to know.

• Jury convicts leader of secretive upstate NY group that turned female followers into brainwashed sex slaves of all charges
• Keith Raniere, co-founder of the group called NXIVM, faced a weeks-long trial; it took a jury just hours to reach a verdict
• Startling revelations of group and founder came to light at trial, but the case gained more notoriety when actress was linked to group

It had the makings of a Hollywood suspense thriller — a television actress, an heiress, a self-help guru and an alleged sex cult – but on Wednesday the curtain closed, when a New York City jury convicted the infamous leader of all charges in a blockbuster case where women were turned into brainwashed “slaves.”

The trial of Keith Raniere, co-founder of the group in upstate New York called NXIVM, lasted weeks. It took a jury only a matter of hours to convict him.  Raniere was convicted on all seven counts, which included racketeering, racketeering conspiracy, forced labor conspiracy, wire fraud conspiracy, sex trafficking conspiracy, sex trafficking and attempted sex trafficking charges. He faces up to life in prison. 

Raniere - known within the group as "Vanguard" - oversaw a barbaric system in which women were told the best way to advance was to become a "slave" overseen by "masters," prosecutors said. The women were also expected to have sex with him and do menial chores for masters, and to keep the arrangement a secret or be publicly humiliated, according to prosecutors.

Defense lawyers had insisted any contact Raniere had with the women was consensual.

During the trial, startling revelations of the NXIVM group and its founder came to light .

Lauren Salzman, a former member of his inner-circle in a group called NXIVM who's pleaded guilty and was cooperating with the government, testified Raniere was a coward during his arrest last year in Mexico on a U.S. sex-trafficking charge and a bully when dealing with a follower who failed to adhere to his twisted code of ethics.

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Salzman, 42, was recruited, along with others, and was confined to a bedroom for two years, the witness said, despite passing a note that begged: "Let me out. I'm coming undone."

Salzman told the jury that Raniere - spooked by mounting news reports that the sorority was under investigation - went to Mexico with her and others to try to reconstitute the group there. When Mexican authorities broke down his door at a villa in Puerta Vallarta to grab him, Salzman was there and tried to stand up to them while he hid in a closet, she said.

She also detailed how Raniere groomed as followers a family from Mexico with three daughters. According to prosecutors, he sexually exploited all three - the youngest starting at age 15.

The allegations brought against Raniere were shocking, but the case peaked the public’s interest when a television actress best known for playing a young Superman's close friend was found to be involved with NXIVM – ultimately pleading guilty to racketerring and related conspiracy charges.

Federal prosecutors said actress Allison Mack she worked as a slave "master" recruiting unsuspecting women to a cult-like group led by a man who sold himself as a self-improvement guru to the stars.

Prosecutors said they recruited unsuspecting women into a pyramid scheme for the benefit of Raniere.

Mack, 35, starred in the CW series "Smallville" and has played minor roles since the series ended in 2011. When she admitted her crimes in April she wept – ultimately apologizing to the women who prosecutors said she exploited.

"I believed Keith Raniere's intentions were to help people. And I was wrong," Mack said. "I know I can and will be a better person."

She faces 20 years on each count when she is sentenced in September.

It wasn't just a Hollywood actress who found herself connected to NXIVM. The heiress to the Seagram's liquor fortune pleaded guilty to two charges in connection with the case.

Clare Bronfman, the 39-year-old daughter of late philanthropist and Seagram CEO Edgar Bronfman, issued a tearful apology in court April 19 as she admitted she housed and concealed a woman she brought into the country illegally to use as unpaid labor for NXIVM.

She also admitted to using a dead woman's identity and credit card to help NXIVM avoid paying taxes.

Bronfman told the judge that she had wanted to help people through NXIVM but ended up dishonoring her family.

As part of a plea agreement, Bronfman agreed to forfeit $6 million. She faces up to 27 months in prison at sentencing on July 25.

Raniere and NXIVM have been the subject of criticism for years, dating back to at least 2012 when the Times Union of Albany published a series of articles examining the organization and allegations that it was like a cult.

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