Just now I googled “Tom Cruise best roles”, “Tom Cruise worst roles”, “Tom Cruise best movies” and “Tom Cruise worst movies”, partially because I’m interested to see where his role as Mitch McDeere in The Firm lands and partially because my boredom has reached carrying capacity. I found, unsurprisingly, that the internet does that thing where it reaches consensus about certain things being “good” and certain things being “bad”, which in this case is sometimes inarguable (A Few Good Men = “good”, Far and Away = “bad”) but sometimes weirdly unearned, as with the endless praise heaped upon Edge of Tomorrow or Cruise’s role in Tropic Thunder. The former is a fairly fun movie and the latter is a fairly funny movie, but to say that these number among Cruise’s best seems a stretch. Again, the common consensus surrounding mediocrity doesn’t exactly come as a shock.
What was surprising, though, is that not a single article or top ten list included Mitch McDeere or mentioned The Firm at all. “Good” and “bad” are complicated, sure, and you might even suggest that the overarching opinions of the internet’s burgeoning culture commentary is at fault for this, too, as if to say “those other guys didn’t claim The Firm to be a great Cruise movie, so we won’t either.” But not a single one mentioned The Firm. No outliers buried in a list to satiate the unconfessed desire of a film blogger, no mention of Mitch McDeere even in reference to another role. It’s like The Firm never registered as a Cruise flick. Putting aside common consensus and inescapable truth (Far and Away = “bad”), that just seemed strange.
Continue reading The Firm (1993) →
Edward Norton wowed audiences this past year with his supporting role in Birdman, one that earned him an Oscar nomination for Best Supporting Actor and, at times in the movie, stole the show, even from lead actor nominee Michael Keaton. It was an impressive, but not necessarily unexpected, performance from Norton. He has established himself over the past two decades as a great actor. But how did he get to this point? Where did he start? Two words: Primal Fear.
Truth be told, Norton’s start and end points in his journey have had identical impacts on audiences. On both ends of his career—in his first movie and his most recent one—he has absolutely captivated audiences with his performance. It is his first performance that seems more impressive, though, for the sheer fact that no one saw it coming. Continue reading Primal Fear (1996) →
A career retrospective on Alec Guinness runs at the Museum of Fine Arts Boston this week, starting with the Ealing Comedy The Lavender Hill Mob. There are a lot of actors and actresses today who get credit for switching between drama and comedy, and it seems there are more and more dark-and-gritty roles being taken by comedians these days (see: Jonah Hill, Chris Pratt, Jesse Eisenberg, Adam Sandler). It’s worked the other way, too, which is why Tom Cruise shows up in Tropic Thunder and ends up being the best part.
Guinness was something else. This isn’t a dramatic actor trying comedy any more than his role in Bridge on the River Kwai is a comedic actor attempting drama — it’s just Alec Guinness, for lack of a more detailed explanation, completely at home in both arenas. Granted The Lavender Hill Mob isn’t a laughfest of super-zany proportions (Guinness nailed those too, though, with Kind Hearts and Coronets and The Ladykillers), but it’s a far cry from Kwai.
Continue reading The Lavender Hill Mob (1951) →