Tom Cruise to Be Celebrated at MoMI with ‘Above and Beyond' Retrospective Festival
Patron saint of theaters Tom Cruise will be at the center of a well-deserved retrospective at the Museum of the Moving Image (MoMI). IndieWire can announce that starting June 20, 22 of Cruise's most iconic films will screen at the museum. Titled 'Tom Cruise, Above and Beyond,' the retrospective festival will 'capture the full range of Cruise's charismatic star performances from the 1980s to present,' as the description teases. 'Tom Cruise has been so central to our conception of Hollywood for so many decades that he's more than a movie star — he encourages us to ask: what is it that makes a movie star? Cruise's entire captivating career speaks to his legacy as a singular movie star, and all the contradictions— of mystery and emotional transparency, of relatability and untouchability, of strength and vulnerability— that entails.'
From '80s classics such as 'Risky Business,' 'Top Gun,' 'Cocktail,' and 'The Color of Money' to '90s genre benders like 'The Firm,' 'Jerry Maguire,' and 'Interview with the Vampire,' and auteur works 'Eyes Wide Shut' and 'Magnolia' — not to mention Cruise's Oscar-nominated turn in 'Born on the Fourth of July' — Cruise's career is legendary. Festival highlights further include Ridley Scott's 'Legend,' Francis Ford Coppola's 'The Outsiders,' Barry Levinson's 'Rain Man,' Michael Mann's 'Collateral,' and Rob Reiner's 'A Few Good Men.' Both 'Top Gun' and 'Top Gun: Maverick' will screen, as well as 'Tropic Thunder;' Cruise has teased more respective franchise installments for both.
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The 'Tom Cruise, Above and Beyond' festival concludes August 17. But that's not all the Cruise programming this summer: The king of blockbusters will be back on the MoMI big screen for the annual 'See It Big: 70mm!' festival at the museum. Both 'Edge of Tomorrow' and 'Top Gun: Maverick' will be presented in 70mm. The weekly 'Summer Saturdays with Dolby Atmos,' presented by MUBI, additionally will showcase 'Top Gun.' Cruise's 'Mission: Impossible' franchise will also be celebrated with the 'Mission: Impossible — Story and Spectacle' exhibition; Cruise is both the producer and star of the film franchise, which concludes with 'Mission: Impossible – The Final Reckoning.'
While Cruise's 'Mission: Impossible' career may be over (or, at least for now), the actor turned stuntman told The Hollywood Reporter that he has no plans to ever retire. 'I will never stop. I will never stop doing action, I will never stop doing drama, comedy films — I'm excited,' Cruise said when asked about his former statement that like Harrison Ford, he will keep acting into his 80s. Cruise also had one amendment: 'I actually said I'm going to make movies into my 80s; actually, I'm going to make them into my 100s.'
He added, 'There's been so many levels of reward with the filmmakers that I've collaborated with, the crews, the people, the cultures that we've worked in. Everything that I've learned and continue to learn about storytelling, about life, about leadership, about character and every aspect of filmmaking. It's been exceptional, it really is exceptional. I feel very fortunate to be able to make the films that I make and I love it. I love just making movies.'
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Newsweek
20 hours ago
- Newsweek
Tom Cruise Posts Emotional Throwback to Iconic NASCAR Film Amid Sequel Rumors
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Yahoo
21 hours ago
- Yahoo
‘F1' Sequel Should Reunite Brad Pitt and Tom Cruise in a ‘Days of Thunder' Crossover, Says Joseph Kosinski: ‘Who Wouldn't Pay to See Those Two on the Track?'
'F1' director Joseph Kosinski spoke to GQ Magazine UK and said his dream for a sequel to his Brad Pitt-racing drama is to actually bring in Tom Cruise for a 'Days of Thunder' crossover. Kosinski previously directed Cruise in 'Top Gun: Maverick,' which earned $1.4 billion at the box office, and the duo are currently developing a third 'Top Gun' movie together. 'Well, right now, it'd be Cole Trickle, who was [Cruise's] 'Days of Thunder' character, we find out that he and [Brad Pitt's] Sonny Hayes have a past,' Kosinski said about his dream pitch. 'They were rivals at some point, maybe crossed paths… I heard about this epic go-kart battle on 'Interview With a Vampire' that Brad and Tom had, and who wouldn't pay to see those two go head-to-head on the track?' More from Variety New Movies Out Now in Theaters: What to See This Week Micheal Cera Says Tom Cruise Called Him Out on Set for 'Talking During a F‑‑‑ing Take,' Trolled Him While in Character as Les Grossman From 'Tropic Thunder' Brad Pitt's 'F1' to Top the Box Office but Projections for Apple's Big-Budget Racing Drama Are All Over the Place Kosinski originally planned to bring Pitt and Cruise together on the big screen in his own version of 'Ford v Ferrari.' The actors were going to do all of their own racing in the movie, but the studio would not approve Kosinski's desired budget. James Mangold ended up directing 'Ford v Ferrari' with Christian Bale and Matt Damon instead. 'Yeah, I got close with that,' Kosinski told GQ UK. 'But yeah, you know, everything worked out for the best. I got to do 'F1.' But anything's possible.' Pitt and Cruise haven't starred together in a movie since 1994's horror classic 'Interview With the Vampire,' although they have remained friends. Pitt recently showed up at the 'F1' London premiere and posed for photos with Pitt, who told E! News earlier this month that he's interested in acting with Cruise again on one condition: 'I'm not gonna hang my ass off airplanes and shit like that.' Cruise said on Today Show Australia in May while promoting 'Mission: Impossible – The Final Reckoning' that he's 'thinking and talking about what could we do and what's possible' when it comes to a proper 'Days of Thunder' sequel. News broke last November that Cruise was developing a follow-up to his 1990 NASCAR drama. As for the 'Top Gun: Maverick' sequel, Kosinski told GQ: 'I think we've found a way to do it, not only in the scale of what we're proposing, but the idea itself of the story we're telling. We're thinking much bigger than… It's a really existential crisis that Maverick has in this, and it's much bigger than himself. It's an existential question that Maverick has to deal with, that would make Maverick feel small, I think, as a movie, compared to what we're talking about.' 'Yeah, there's still more story to tell for him,' he added. 'There's one last ride. So we're working on it now… we'll only do it if we feel like we've got a strong enough story.' Kosinski's 'F1' opens in theaters June 27. Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar
Atlantic
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A Sports Drama Told at 200 Miles an Hour
The stakes are almost embarrassingly simple: A man needs to win a race. F1 is a loud sports epic that thrusts the viewer into the high-octane, technocratic world of Formula One racing. These competitions are decided by complex car engineering and tactical pit stops; individual drivers are only as important as the car companies they work for. The film's director, Joseph Kosinski, best known for the box-office sensation Top Gun: Maverick, accounts for this system's intricacies by stripping the plot of any complications. Instead, in collaboration with Formula One's regulating body, he creates a straightforward underdog tale, made compelling by its fidelity to the world's fastest races. Brad Pitt plays Sonny Hayes, an over-the-hill, salt-of-the-earth gearhead who washed out of Formula 1 decades ago and has since taken on any racing challenge that he can. (He even drives a New York City cab at one point.) He returns to the sport when another former competitor, Ruben Cervantes (played by Javier Bardem), recruits Sonny to bolster the flailing, upstart team that Cervantes now owns. If his crew doesn't win at least one race this season, the governing board can fire Cervantes, so Sonny joins up for one last rodeo. In real life, Formula One is defined by the companies (known as 'constructors') that sink seemingly unlimited resources into getting to the top year after year—well-known brands such as Ferrari and Mercedes. F1 sticks them in the background (alongside actual racers such as Lewis Hamilton and Max Verstappen) while focusing on the fictional crew run by Cervantes, called APX. 'I wanted to tell the story of the team at the bottom,' Kosinski told me. And rather than villainize any particular corporation—as James Mangold did in his period piece Ford v Ferrari —the director said that he was more intrigued by a quirk of Formula One, where constructors have multiple drivers in the field for each race. The big competition, then, is an internal one. That means Sonny's biggest obstacle isn't trying to overcome a champion such as Hamilton (who is listed as a producer on the film). His struggle is learning to work alongside one of his younger peers, Joshua Pearce (Damson Idris). 'This notion of your teammate being your enemy, to me, that's great for drama,' Kosinski told me, defining it as 'that meta thing of a veteran and a rookie.' Whereas in Top Gun: Maverick, he explained, he was exploring a father-son dynamic, in F1, he sought to examine the relationship between two rivals. This clever conflict helps the film upend the usual, dull stakes that have befouled so many works of its ilk in the past. The most successful racing movies of late have leaned more artistic than mainstream, while more extravagant attempts have failed either commercially or critically. F1 doesn't quite slot into either category; it's more of a long-shot sports saga with the peaks and valleys of joy and despair that come with it. (Think Hoosiers or Rocky, except with scenes set in Monaco and Abu Dhabi.) It's familiar, but pleasantly so. The film still manages to dig into the peculiarities of Formula One within its big, meaty character study. The sport is well suited for that type of intimate storytelling. 'I can't think of another sport like that, where the sport is literally engineered to create that internal team conflict,' Kosinski said. 'That sense of internal competition brings the best and worst out of people.' The director discovered Formula One by watching the popular documentary series Formula 1: Drive to Survive, which brought greater visibility to the sport. He recalled how the first season focused on the last-place finishers, not the top ones: 'What's it like to be the team that goes and knows they're going to lose every weekend?' Questions like this one seem to undergird much of Kosinski's work. The director has long struck me as something of an under-sung auteur of big-budget features; he takes on brand-name franchises that are huge, technical challenges (such as his debut feature, Tron: Legacy), injecting humanity wherever possible. Top Gun: Maverick followed a plot befitting a legacy sequel—the growth of Tom Cruise's protagonist into someone older and wiser—but Kosinski made it seem like it was, on a deeper level, about Cruise's superhuman desire to stay relevant in Hollywood. The director similarly molds F1 around his star's more reluctant image: Pitt portrays a man of few words who seems nostalgic for simpler times in his industry. The specifics of Formula One border on arcane, and Kosinski gleefully plunges the viewer into all of its minutiae: the balance between aerodynamics and engine power in building the cars; the strategies behind taking a pit stop or passing another driver. Sonny is the viewer's tether to reality; he's happy to practice his steering-wheel grip using a common object—tennis balls—instead of an expensive contraption. (Joshua, meanwhile, employs a more intricate workout device.) Kosinski wanted to accurately depict the sport without losing viewers who are unfamiliar with or even intimidated by it. 'It's not just about people going around in circles,' he told me, pushing back against the mainstream image of Formula One as a bunch of rocket cars zooming around a track. 'It really is chess at 200 miles an hour.' F1 succeeds when it emphasizes that side of the sport, and as long as you can accept the well-trod beats of its plot. Pitt is there to glower and exude experience, and Idris brims with youthful, charismatic arrogance. Kosinski handles the racing scenes with the mechanical prowess he showed off in Top Gun: Maverick, mounting cameras to cars and highlighting their velocity in surprising ways. Sonny's quest to prove his doubters wrong resembles the arc of many a sports drama. But Kosinski elevates that journey by capturing racing in all of its gorgeous, peculiar glory—there's never been a portrait of Formula One quite like it.
