It was a supporting turn by the biggest movie star in the world that blindsided all of us and then had us in stitches. Cruise had shown comedic chops in many of his performances, yet it was in the Hollywood / war satire Tropic Thunder which saw him don the prosphetics and go all out as the no bullshit Hollywood mogul Les Grosman. It was a move which saw him win the favour of the public and made cursing cool again.

Has there been a more maligned performance in Cruise’s resume? Regardless of the criticism and cynism thrown Cruise’s way, his turn as David Aames in Cameron Crowe’s divisive Vanilla Sky proved the talented thesps willingness to throw himself into new territory, and delivering a complete performance full of love, sadness, hope, and despair. Redemptive tales are a stock in trade in cinema, yet Vanilla Sky earns its place as one of the best, and Cruise’s performance is a big reason why.    

Dustin Hoffman deservedly received all of the pundits, but in terms of rounded performances it was Cruise who excelled, stepping up to the challenge of working alongside one of the greatest actors of all time, delivering a fulfilling turn from hustler car dealer to compassionate and humble younger brother to Hoffman’s autistic Raymond “Rain Man”.

It was the film that broke Cruise into the mainstream and solidified his stature as a movie star unlike no other. Risky Business exhibited Cruise’s boyish charm, quiet intensity, and flashy smile in his turn as straight laced college boy Joel Goodsend, whose one night of throwing caution to the wind saw this American teens fantasy turn into a nightmare. Much sex, capitalism, and dancing in underwear follows.  

In Michael Mann’s gallery of hard men, Cruise’s silver fox hitman Vincent stands tall. Cruise always had a great villain in him, and Mann expertly taps into the thesps intense persona to create a chilling portrayal of dogged determination made flesh, cruising from one hit to another via Jamie Foxx’s way over his head taxi driver. For an example of expert ease under pressure, Cruise in Collateral is the only way to go.  

Cruise’s turn as haunted civil war veteran turned at peace warrior Nathan Algren in Eward Zwick’s The Last Samurai may just well be his most complete performance, with its coupling of action and drama combined with a quiet yet powerful soulfulness. Above all else it showed the discipline of Cruise’s craft in both its physicality and spirituality, with Cruise’s work ethic felt in every frame.    

Many a Cruise film (Risky Business, Top Gun) have been encrusted into popular culture, yet none more so than Cameron Crowe’s sports agent movie Jerry Maguire, which saw Cruise receive his second Oscar nomination for a turn which is equal parts romantic, dramatic, and comedic. Cruise delivers Crowe’s dialogue as if it was damn near second language, and hits the right emotional buttons while sharing earnest chemistry with his equally fantastic co-stars (Cuba Gooding Jr., Renee Zelwegger).  

If Cruise has proven anything in his storied career, it is that he should not be taken for granted. Interview with the Vampire author Anne Rice did just that when news broke that Cruise was cast as the famed nosferatu Lestat, and would go on to eat her words when his portrayal saw all doubters falling over themselves. Cruise’s turn was biting menace coupled with pitch perfect theatrics, giving life to an undead character whose first for blood is never appeased. Could still be his most ambitious performance to date.   

It is a testimony to Cruise’s talents that in a cast which features the likes of Phillip Seymour Hoffman, Julianne Moore, and William H.Macy, he would be the one remembered for his outstanding performance in Paul Thomas Anderson’s ensemble drama Magnolia. And what a beast of a role it is, all swaggering, all swearing, and emotionally compelling as misogynist self help guru Frank T.J. Mackey. Many surprises are revealed in this one, not the least Cruise’s ability to shift gears between humour, rage, and sadness. Just try and keep a dry eye at the end of this one.

Cruise’s turn as Vietnam veteran Ron Kovic in Oliver Stone’s Born on the Fourth of July was nothing short of stunning in both its physical transformation and its impassioned devotedness to the character and his journey.
Kovic’s life story of eager army volunteer to disabled ant-war activist fell into the capable hands of writer/director Oliver Stone, who wisely saw the potential in Cruise to inhabit the role with that special brand of tenacious dedication seen throughout his career, yet never felt with as much impact than here.
Cruise would go on to lose the Oscar to a worthy Daniel Day Lewis in My Left Foot, yet that does not diminish the emotion felt in every frame of this most powerful of performances.