Tom Cruise – The Last Action Hero

I have to get something off my chest concerning Tom Cruise and the haters ain’t gonna like it!

Rhys Graeme-Drury

Few movie stars divide opinion like Tom Cruise; I’m struggling to think of another A-list actor who elicits such a myriad of reactions. Case in point: a merry trip to the cinema to see Sully with a group of friends last month was brought to a screening halt when we came face-to-face with the shiny poster for the new Jack Reacher movie, Never Go Back.

“Ugh, Tom Cruise just needs to stop”, was the prevailing opinion. As the ardent Cruise fan that I am, I protested and stuck up for my boy Tom – but it was a futile attempt. The tribe had spoken; Cruise was an aging star whose onscreen persona was overshadowed by a divisive and highly publicised, couch jumping personal life. Take a hike Tom, don’t let the door hit you on the way out.

However, this got me thinking. For all his faults, isn’t Cruise still the closest we get to the concept of a ‘movie star’ nowadays? The kind of bankable actor who sells a film on name recognition alone, like Will Smith, Bruce Willis and Jim Carrey did in the late 90’s? Setting aside the weird personal stuff, Cruise has all the ingredients we ask for in an A-list action hero – and sometimes we need to be reminded of how unique that is in 2016.

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Across the last thirty years, Cruise has curated a successful acting career through an escalating game of one-upmanship against himself. Once upon a time he was the dashing, baby-faced fighter pilot in an oily homoerotic relationship with Val Kilmer in Top Gun; now Cruise is best known as the rogue superspy Ethan Hunt from the Mission Impossible series, a gig that has spanned 20 years and five movies.

Alongside a rotating door of directors like Brian de Palma, John Woo and JJ Abrams, Cruise has nurtured the series from its humble beginnings as an adaptation of a long-forgotten 60’s TV serial to a kickass platform for some of the most exciting action cinema seen this century. Each entry is defined by a stunt (or series of stunts) bigger than the last.

As both lead actor and producer, Cruise’s involvement with the series outlines his total commitment to crafting quality action. In 2011, Rolling Stone’s review of Mission Impossible: Ghost Protocol stated that “If someone asks you what a true movie star is, point to Cruise. He has it all”. It’s a quote that encapsulates Cruise’s mandate with the Mission Impossible series; to craft and serve up iconic, lasting cinematic magic. There isn’t another actor working today who does what Tom Cruise does.

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Of course, in this day and age dominated by superhero sagas and existing properties, the star power of Cruise (and almost every A-lister) is on the wane. Headlining a film just isn’t enough anymore; look no further than Robert Downey Jnr’s 2014 effort The Judge or the lacklustre return that 90’s powerhouse Arnold Schwarzenegger enjoyed with Sabotage or Escape Plan. Actors like Adam Sandler, George Clooney or Brad Pitt used to sell films just because their mug was on the poster – nowadays you need an existing property like Jurassic World or Suicide Squad to prop up a film lead by a Chris Pratt or a Will Smith.

Cruise himself has seen more than his fair share of knocks in recent years; 2012’s Jack Reacher, 2013’s Oblivion and 2014’s Edge of Tomorrow all dipped below expectations at the box office, irrespective of the fact that they range from decent (Oblivion) to straight-up instant classic (Edge of Tomorrow) in terms of quality. But you can’t fault the guy for trying; saying that Cruise gives 100% on each and every project he works on is like saying water is wet. Like, duh.

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Simply put, no-one else in the business conducts themselves with as much genuine eagerness and excitement as Cruise. Following the release of Mission Impossible: Rogue Nation in 2015, Paramount President Megan Colligan acknowledged the significant contribution Cruise had on the whole film, from start to finish: “He was a producer and the star of the movie, he was involved in the writing, the shooting, the set pieces, the postproduction work, calling in to check the tracking, everything”.

Like, damn son – leave some work for the rest of the crew why don’t cha? All kidding aside, Cruise remains a dedicated, hardworking consummate professional. In 2016, I struggle to think of another actor who routinely conducts himself with as much discipline and enthusiasm as Cruise, and it’s a damn shame that his legacy and work is continually overshadowed by the negative public perception of his personal life and beliefs. I’m not saying I agree with them – I’m just saying we shouldn’t let them distract from the work he does on set.

At age 53, we can’t expect Cruise to hang off of planes and skyscrapers forever – whose to say that the next Mission Impossible movie, due in 2018, won’t be Cruise’s last? It’s hard to imagine the series existing without him, and even if it could, who would replace him? Furthermore, who will fill the void left by Cruise when he eventually steps back from blockbusters entirely? Right now the closest thing we have is Dwayne ‘The Rock’ Johnson, but even he is prone to moments of uncharacteristic antagonism. Vin Diesel, maybe – but he can’t carry a film that isn’t called Fast and Furious.

Continue to hate on Cruise if you like; I’m not here to try and change your mind on the bloke. That really would be an impossible mission. Just know that too few actors apply themselves with the same vigour as he does, and even if you don’t like the guy off-screen, his feats of daring and presence onscreen should be commended and appreciated whilst they are still a thing.

Images courtesy of Paramount Pictures, United International Pictures and Roadshow Films

Quick Picks – The Age of Adaline, The Room & The Gunman

Movie Review – The Age of Adaline

Less Benjamin Button and more Nicholas Sparks; The Age of Adaline fails to deliver on its high concept, but is successful enough as an oestrogen fuelled, wish fulfilment romance.

⭐ ⭐ ½
Review by Corey Hogan

Michiel Huisman and Blake Lively in The Age of Adaline

The Age of Adaline’s premise is an intriguing one, ripe with potential; a young woman (Blake Lively) becomes immune to the power of age in the early 20th century, and continues to live with the appearance of a 29 year old to this day. It is a shame then, that such an interesting concept is wasted on a fairly daft love story. Minutes into the film, director Lee Toland Krieger (Celeste & Jesse Forever) asks a large suspension of disbelief from his audience, as narration explains the agelessness, a result of Adaline being struck by lightning in a car accident. Setting quite a ridiculous tone for the events to come, we fast forward to present day, where Adaline is seduced by rugged Ellis Jones (Michiel Huisman, tip-toeing the line between hopeless romantic and borderline stalker) and finally considers settling down after decades of identity change in fear of becoming a science experiment.

Things improve a great deal once Harrison Ford enters as Ellis’ father, who recognises Adaline as a former lover from the 60’s. This twist comes far too late in the film though, and is gold not mined nearly as much as it needs to be; Ford winding up submerged as the focus shifts back to the dull romantic leads. Perhaps I am simply the wrong audience for such a film – surrounding me were women of all ages gasping and sighing, clearly immersed in this wish-fulfilment fantasy. Undeniably classy, this at least boasts some fine performances from Lively, Ford and Ellen Burstyn (as another daughter reaching old age before her parent after Interstellar), but is too vanilla to earn the status of romantic epic.

The Age of Adaline is in Australian cinemas as of Thursday April 16th
Images courtesy of EntertainmentOne

 


 

Movie Review – The Room

It’s difficult to believe a film can be so intrinsically terrible, on so many levels, that it can bury itself (one plastic spoon-full at a time) into the world’s collective consciousness. Alas, The Room exists.

½
Review by Stephanie McGann

Tommy Wiseau and Greg Sestero in The Room

For the past twelve years The Room has been consistently selling out screenings, captivating hoards of cult film buffs, and unsuspecting punters alike. Perhaps you have that one friend who keeps banging on about how you really need to see it; meanwhile, your frustrated eye-rolling grows more and more exaggerated. Well, I’m channeling that friend right now, because it doesn’t matter who you are or what you’re into; you need to see this train wreck at least once. And bring along a barrage of plastic spoons. They’re necessary – trust me.

Johnny (Tommy Wiseau) is a successful banker who lives in San Francisco with his fiancé Lisa (Juliette Danielle). The two are quite happily together; as evidenced by their rampant and decidedly un-sexy love making, until, for no apparent reason, Lisa seduces Johnny’s best friend Mark (Greg Sestero). Incomplete subplots involving the main characters’ family and friends flail about aimlessly, and serve no other purpose than to throw the audience off the true crux of the movie; that a group of guys wearing tuxedos can toss a football about if they like.

You really are doing yourself a disservice if you see The Room anywhere other than the cinema. It is made bearable for the audience through a deep sense of camaraderie, as punters are encouraged to call out, jeer, and throw spoons at the screen. You don’t need to be a film aficionado to appreciate the extent to which cinematography, scriptwriting, plot consistency are treated as mere trivialities by Wiseau, who also wrote, directed, and produced the film. The Room is so obliviously bad, it’s good. And as such, I rate it with a triumphant half star.

The Room screened at Luna Cinemas this past weekend, and will most likely be featured again in a few month’s time
Images courtesy of Wiseau-Films

 


 

Movie Review – The Gunman

Three strikes and you’re out; Sean Penn spreads himself far too thin as producer, cowriter and leading man in this predictable action film.

Sean Penn in The Gunman

⭐ ⭐
Review by Cherie Wheeler

Eight years on from participating in a covert operation to assassinate the Minister for Mining in the Congo, mercenary turned humanitarian Jim Terrier (Sean Penn) finds himself at the top of a hit list that aims to eradicate every man who was involved in the mission.

Although Penn delivers a rock solid performance as the aging, ex-soldier who struggles with a form of early onset Alzheimers, his on-screen work pales into insignificance alongside the convoluted, and at times, utterly preposterous script. Its most glaring weakness lies in the construction of the character of Felix (Javier Bardem) whose unhealthy obsession with Terrier’s lover (Jasmine Trinca) sets the main conflict of the film in motion. Whilst Bardem strives to engage his inner psychopath for yet another villainous role, his efforts are completely wasted on this sham of a character whose actions and motivations are completely lacking in credibility.

As Terrier’s friend and mentor, the foul-mouthed Stanley, Ray Winstone nails it (as always), managing to turn even the most woefully written dialogue into gold, and Trinca is also satisfying as the feisty love interest. Thankfully, there are some well-shot, tightly choreographed action sequences that offer respite from the Hollywood clichés and paper thin plot.

In the end, if you imagine The Bourne Identity (2002), crossed with a less comedic version of Red (2010), you essentially have The Gunman; a film that treads over what is now well-worn territory, and will only please those loyal to the genre.

The Gunman is in Australian cinemas as of Thursday April 16th
Images courtesy of Studiocanal