432 Park Avenue | © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects Located in Midtown Manhattan, 432 Park Avenue is a prominent figure in the evolution of supertall residential towers. Completed in 2015, this 1,396-foot-high building by Rafael Viñoly Architects asserts a commanding presence over the city’s skyline. Its minimalist form and rigorous geometry have sparked considerable debate within the architectural community, marking it as a significant and controversial addition to New York City’s built environment. 432 Park Avenue Technical Information Architects1-8: Rafael Viñoly Architects Location: Midtown Manhattan, New York City, USA Gross Area: 38,344 m2 | 412,637 Sq. Ft. Project Years: 2011 – 2015 Photographs: © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects It’s a building designed for the enjoyment of its occupants, not for the delight of its creator. – Rafael Viñoly 432 Park Avenue Photographs © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Design Intent and Conceptual Framework At the heart of 432 Park Avenue’s design lies a commitment to pure geometry. The square, an elemental form, defines every aspect of the building, from its floor plate to its overall silhouette. This strict adherence to geometry speaks to Viñoly’s rationalist sensibilities and interest in stripping architecture to its fundamental components. The tower’s proportions, with its height-to-width ratio of roughly 1:15, transform this simple geometry into a monumental presence. This conceptual rigor positions the building as an object of formal clarity and a deliberate statement within the city’s varied skyline. The design’s minimalism extends beyond the building’s shape, reflecting Viñoly’s pursuit of a refined and disciplined expression. Eschewing decorative flourishes, the tower’s form directly responds to programmatic needs and structural imperatives. This disciplined approach underpins the project’s ambition to redefine the experience of vertical living, asserting that luxury in residential design can emerge from formal simplicity and a mastery of proportion. Spatial Organization and Interior Volumes The interior organization of 432 Park Avenue reveals an equally uncompromising commitment to clarity and openness. Each residential floor is free of interior columns, a testament to the structural ingenuity of the concrete exoskeleton. This column-free arrangement grants unobstructed floor plans and expansive panoramic views of the city, the rivers, and beyond. Floor-to-ceiling windows, measuring nearly 10 feet in height, accentuate the sense of openness and lightness within each residence. The tower’s slender core houses the vertical circulation and mechanical systems, ensuring the perimeter remains uninterrupted. This core placement allows for generous living spaces that maximize privacy and connection to the urban landscape. The interplay between structural precision and panoramic transparency shapes the experience of inhabiting these spaces. The result is a sequence of interiors that privilege intimacy and vastness, anchoring domestic life within an architectural expression of purity. Materiality, Structural Clarity, and Detailing Material choices in 432 Park Avenue reinforce the project’s disciplined approach. The building’s exposed concrete frame, treated as structure and façade, lends the tower a stark yet refined character. The grid of square windows, systematically repeated across the height of the building, becomes a defining feature of its visual identity. This modular repetition establishes a rhythmic order and speaks to the building’s underlying structural logic. High-strength concrete enables the tower’s slender profile and exceptional height while imparting a tactile materiality that resists the glassy anonymity typical of many contemporary towers. The restrained palette and attention to detail emphasize the tectonic clarity of the building’s assembly. By treating the structure itself as an architectural finish, Viñoly’s design elevates the material expression of concrete into a fundamental element of the building’s identity. Urban and Cultural Significance As one of the tallest residential buildings in the Western Hemisphere, 432 Park Avenue has significantly altered the Manhattan skyline. Its unwavering verticality and minimal ornamentation create a dialogue with the city’s diverse architectural heritage, juxtaposing a severe abstraction against a backdrop of historic and contemporary towers. 432 Park Avenue occupies a distinctive place in the ongoing narrative of New York City’s architectural evolution. Its reductive form, structural clarity, and spatial generosity offer a compelling study of the power of minimalism at an urban scale. 432 Park Avenue Plans Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects 432 Park Avenue Image Gallery © Rafael Viñoly Architects About Rafael Viñoly Architects Rafael Viñoly, a Uruguayan-born architect (1944–2023), founded Rafael Viñoly Architects in New York City in 1983. After studies in Buenos Aires and early practice in Argentina, he relocated to the U.S.. He established a global firm with offices in cities including London, Palo Alto, and Abu Dhabi. Renowned for large-scale, function-driven projects such as the Tokyo International Forum, Cleveland Museum of Art expansions, and 432 Park Avenue, the firm is praised for combining structural clarity, context-sensitive design, and institutional rigor across six continents. Credits and Additional Notes Client: Macklowe Properties and CIM Group Design Team: Rafael Viñoly (Architect), Deborah Berke Partners (Interior Design of residential units), Bentel & Bentel (Amenity Spaces Design) Structural Engineer: WSP Cantor Seinuk Mechanical, Electrical, and Plumbing Engineers: Jaros, Baum & Bolles (JB&B) Construction Manager: Lendlease Height: 1,396 feet (425.5 meters) Number of Floors: 96 stories Construction Years: 2011–2015

“Is that concrete all around, or is it in my head?” asked Ian Hunter in “All the Young Dudes,” the song David Bowie wrote for Mott the Hoople in 1972. Concrete is all around us, and we haven’t quite wrapped our heads around it. It’s one of the indispensable materials of modernity; as we try to decarbonize the built environment, it’s part of the problem, and innovations in its composition may become part of the solution. Understanding its history more clearly, the Skyscraper Museum’s new exhibition in Manhattan implies, just might help us employ it better. Concrete is “the second most used substance in the world, after water,” the museum’s founder/director/curator Carol Willis told AN during a recent visit. For plasticity, versatility, and compressive strength, reinforced concrete is hard to beat, though its performance is more problematic when assessed by the metric of embodied and operational carbon, a consideration the exhibition acknowledges up front. In tall construction, concrete has become nearly hegemonic, yet its central role, contend Willis and co-curator Thomas Leslie, formerly of Foster + Partners and now a professor at the University of Illinois, Urbana-Champaign, is underrecognized by the public and by mainstream architectural history. The current exhibition aims to change that perception. The Skyscraper Museum in Lower Manhattan features an exhibition, The Modern Concrete Skyscraper, which examines the history of material choices in building tall towers. (Courtesy the Skyscraper Museum) The Modern Concrete Skyscraper examines the history of tall towers’ structural material choices, describing a transition from the early dominance of steel frames to the contemporary condition, in which most large buildings rely on concrete. This change did not happen instantly or for any single reason but through a combination of technical and economic factors, including innovations by various specialists, well-recognized and otherwise; the availability of high-quality limestone deposits near Chicago; and the differential development of materials industries in nations whose architecture grew prominent in recent decades. As supertalls reach ever higher—in the global race for official height rankings by the Council on Tall Buildings and Urban Habitat (CTBUH) and national, corporate, or professional bragging rights—concrete’s dominance may not be permanent in that sector, given the challenge of pumping the material beyond a certain height. (The 2,717-foot Burj Khalifa, formerly Burj Dubai, uses concrete up to 1,987 and steel above that point; Willis quotes SOM’s William Baker describing it as “the tallest steel building with a concrete foundation of 156 stories.”) For the moment, however, concrete is ahead of its chief competitors, steel and (on a smaller scale) timber. Regardless of possible promotional inferences, Willis said, “we did not work with the industry in any way for this exhibition.” “The invention of steel and the grid of steel and the skeleton frame is only the first chapter of the history of the skyscraper,” Willis explained. “The second chapter, and the one that we’re in now, is concrete. Surprisingly, no one had ever told that story of the skyscraper today with a continuous narrative.” The exhibition traces the use of concrete back to the ancient Roman combination of aggregate and pozzolana—the chemical formula for which was “largely lost with the fall of the Roman Empire,” though some Byzantine and medieval structures approximated it. From there, the show explores comparable materials’ revival in 18th-century England, the patenting of Portland cement by Leeds builder Joseph Aspdin in 1824, the proof-of-concept concrete house by François Coignet in 1856, and the pivotal development of rebar in the mid-19th century, with overdue attention to Ernest Ransome’s 1903 Ingalls Building in Cincinnati, then the world’s tallest concrete building at 15 stories and arguably the first concrete skyscraper. The exhibition includes a timeline that depicts concrete’s origins in Rome to its contemporary use in skyscraper construction. (Courtesy the Skyscraper Museum) Baker’s lectures, Willis reported, sometimes pose a deceptively simple question: “‘What is a skyscraper?’ In 1974, when the World Trade Center and Sears Tower are just finished, you would say it’s a very tall building that is built of steel, an office building in North America. But if you ask that same question today, the answer is: It’s a building that is mixed-use, constructed of concrete, and [located] in Asia or the Middle East.” The exhibition organizes the history of concrete towers by eras of engineering innovation, devoting special attention to the 19th- and early-20th-century “patent era” of Claude Allen Porter Turner (pioneer in flat-slab flooring and mushroom columns) and Henry Chandlee Turner (founder of Turner Construction), Ransome (who patented twisted-iron rebar), and François Hennebique (known for the re-inforced concrete system exemplified by Liverpool’s Royal Liver Building, the world’s tallest concrete office building when completed in 1911). In the postwar era, “concrete comes out onto the surface [as] both a structural material and aesthetic.” Brutalism, perhaps to some observers’ surprise, “does not figure very large in high-rise design,” Willis said, except for Paul Rudolph’s Tracey Towers in the Bronx. The exhibition, however, devotes considerable attention to the work of Pier Luigi Nervi, Bertrand Goldberg (particularly Marina City), and SOM’s Fazlur Khan, pioneer of the structural tube system in the 1960s and 1970s—followed by the postmodernist 1980s, when concrete could express either engineering values or ornamentation. The exhibition highlights a number of concrete towers, including Paul Rudolph’s Tracey Towers in the Bronx. (Courtesy the Skyscraper Museum) “In the ’90s, there were material advances in engineering analysis and computerization that helped to predict performance, and so buildings can get taller and taller,” Willis said. The current era, if one looks to CTBUH rankings, is dominated by the supertalls seen in Dubai, Shanghai, and Kuala Lumpur, after the Petronas Towers (1998) “took the title of world’s tallest building from North America for the first time and traumatized everybody about that.” The previous record holder, Chicago’s Sears (now Willis) Tower, comprised steel structural tubes on concrete caissons; with Petronas, headquarters of Malaysia’s national petroleum company of that name, a strong concrete industry was represented but a strong national steel industry was lacking, and as Willis frequently says, form follows finances. In any event, by the ’90s concrete was already becoming the standard material for supertalls, particularly on soft-soiled sites like Shanghai, where its water resistance and compressive strength are well suited to foundation construction. Its plasticity is also well suited to complex forms like the triangular Burj, Kuala Lumpur’s Merdeka 118, and (if eventually completed) the even taller Jeddah Tower, designed to “confuse the wind,” shed vortices, and manage wind forces. Posing the same question Louis Kahn asked about the intentions of a brick, Willis said, with concrete “the answer is: anything you want.” The exhibition is front-loaded with scholarly material, presenting eight succinct yet informative wall texts on the timeline of concrete construction. The explanatory material is accompanied by ample photographs as well as structural models on loan from SOM, Pelli Clarke & Partners, and other firms. Some materials are repurposed from the museum’s previous shows, particularly Supertall! (2011–12) and Sky High and the Logic of Luxury (2013–14). The models allow close examination of the Burj Khalifa, Petronas Towers, Jin Mao Tower, Merdeka 118, and others, including two unbuilt Chicago projects that would have exceeded 2,000 feet: the Miglin-Beitler Skyneedle (Cesar Pelli/Thornton Tomasetti) and 7 South Dearborn (SOM). The Burj, Willis noted, was all structure and no facade for a time: When its curtain-wall manufacturer, Schmidlin, went bankrupt in 2006, it “ended up going to 100 stories without having a stitch of glass on it,” temporarily becoming a “1:1 scale model of the structural system up to 100 stories.” Its prominence justifies its appearance here in two models, including one from RWDI’s wind-tunnel studies. Eero Saarinen’s only skyscraper, built for CBS in 1965 and also known as “Black Rock,” under construction in New York City. (Courtesy Eero Saarinen Collection, Manuscripts, and Archives, Yale University Library) The exhibition opened in March, with plans to stay up at least through October (Willis prefers to keep the date flexible), with accompanying lectures and panels to be announced on the museum’s website (skyscraper.org). Though the exhibition’s full textual and graphic content is available online, the physical models alone are worth a trip to the Battery Park City headquarters. Intriguing questions arise from the exhibition without easy answers, setting the table for lively discussion and debate. One is whether the patenting of innovations like Ransome bar and the Système Hennebique incentivized technological progress or hindered useful technology transfer. Willis speculated, “Did the fact that there were inventions and patents mean that competition was discouraged, that the competition was only in the realm of business, rather than advancing the material?” A critical question is whether research into the chemistry of concrete, including MIT’s 2023 report on the self-healing properties of Roman pozzolana and proliferating claims about “green concrete” using alternatives to Portland cement, can lead to new types of the material with improved durability and lower emissions footprints. This exhibition provides a firm foundation in concrete’s fascinating history, opening space for informed speculation about its future. Bill Millard is a regular contributor to AN.

How the 54-storey tower (centre) would look when built Architect Patel Taylor has unveiled images of what one of London’s tallest residential towers in Canary Wharf would look like. The 54-storey 77 Marsh Wall scheme is being developed by Areli Developments on behalf of British Airways Pension Trustees and would contain around 820 homes above a mixed-use podium which will include retail, restaurant and café space. It would be Canary Wharf’s third tallest tower if built, behind the 235m One Canada Square and 233m Landmark Pinnacle. The scheme would require the demolition of the site’s existing building, a 17-storey office block built in the early 1990s known as Sierra Quebec Bravo. The 77 Marsh Wall scheme would include restaurants and retail at ground floor level Areli said the existing building offers “very little in the way of benefits to the community” and that it wanted to maximise the “unique and exciting” potential of the waterfront site with new public spaces, shops and restaurants. The podium would contain around 4,000sq m of retail, leisure and workspace along with a cinema and cycle parking under early plans aired in a public consultation. Green space is also included in the plans which saw two public consultation events held last month. Homes in the tower above the podium would be of a mix of tenures including shared ownership, build to rent, social rent, apart-hotel and co-living. The site’s existing 17-storey office block would be demolished An environmental impact assessment scoping report has been drawn up by consultant Trium for to Tower Hamlets council with a planning application expected to be submitted later this summer. Other firms currently on the project team include planning consultant DP9 and communications firm Kanda Consulting.

The University of Pennsylvania has announced the completion of Amy Gutmann Hall, a six-story, 116,000-square-foot facility for data science and artificial intelligence programs. Designed by Lake|Flato Architects in collaboration with KSS Architects, and rising 88 feet, the building is the tallest mass timber academic structure on the East Coast. Image credit: Jeffrey TotaroImage credit: Jeffrey TotaroNamed in honor of the university’s longest-serving president, the building was designed as a hub for cross-disciplinary collaboration in emerging technological fields. The design approach sought to reflect a dual commitment to innovation and sustainability, incorporating biophilic design principles and advanced building systems. Image credit: Jeffrey TotaroImage credit: Jeffrey TotaroThe scheme is constructed through a mass timber structural system, which contributes to a significant reduction in the building’s embodied carbon: 52% less than a concrete structure and 41% less than a stee...

The Book Club gives their verdict on Larry Niven’s RingworldEugene Powers/Alamy It was quite an experience, moving from the technicolour magical realism of Michel Nieva’s wild dystopia, Dengue Boy, to Larry Niven’s slice of classic science fiction, Ringworld, first published in 1970 and very much redolent of the sci-fi writing of that era. Not a wholly bad experience, mind, but quite a jolting change of pace for the New Scientist Book Club. I was a teenager when I last read Ringworld, and a hugely uncritical sort of teenager at that, so I was keen to return to a novel I remembered fondly and see how it stood up to the test of time – and my somewhat more critical eye. The first thing to say is that many of the things I loved about Ringworld were very much still there. This is, for me, a novel that inspires awe – with the vastness of its imagination, the size of its megastructures, the distance it travels in space. I was reminded of that awe early on, when our protagonist Louis Wu (more on him later) recalls standing at the edge of Mount Lookitthat on a distant planet. “The Long Fall River, on that world, ends in the tallest waterfall in known space. Louis’s eyes had followed it down as far as they could penetrate the void mist. The featureless white of the void itself had grasped at his mind, and Louis Wu, half hypnotized, had sworn to live forever. How else could he see all there was to see?” Advertisement That hugeness, that desire for exploration and knowledge and discovery, is one of the main reasons why I love science fiction. What else is out there, and what can we find out about it? From that field of murderous sunflowers on the Ringworld – what a scene! – to Niven’s image of our crew in space, looking at the bottom of the Ringworld and the huge bulge of a deep ocean protruding towards them, Ringworld has this in spades, and I lapped it up. “A man can lose his soul among the white stars… They call it the far look. It is dangerous.” I also very much enjoyed how Niven makes us pick up the breadcrumbs of where we are in time and in technological developments; at one point, Freeman Dyson, he of the Dyson spheres that inspired the Ringworld, is described as “one of the ancient natural philosophers, pre-Belt, almost pre-atomic”. I find that sort of thing delightful, and I was also (largely) amused by Niven’s aliens, from the cowering terror of the Puppeteers to the brilliantly named Speaker-To-Animals (we, the aliens, are the animals). I pictured Speaker as a huge version of our large ginger cat, and rather liked him. As I wrote earlier, though, this is a piece of writing that feels very much of its time, in terms of the somewhat plodding prose and sexist overtones, even if it succeeds (for me) in the wonderful, star-spanning maths and physics of it all. Niven’s characters are pretty one-dimensional. Louis Wu is quite annoying. There could be so much more to Teela, our token woman. And once the crew are on the Ringworld, it all feels a bit “then they went here, then they went there”, rather than being tightly plotted. Join us in reading and discussing the best new science and science fiction books Sign up to newsletter There has been some intense discussion about this novel on our Facebook page, and many of you felt similarly. “While I enjoyed it very much, I kept getting pulled out of the interesting scientific aspects of the story as well as the rollicking adventure by the sexist, boys club aspects. It’s a little sad that Larry Niven’s view of the distant future didn’t involve any advancement in men’s views of women,” said Jennifer Marano. “It reminds me of early spy movies. Beautiful woman who hasn’t sense enough to not be enamored by less than interesting or intelligent male with pretty huge ego,” said Eliza Rose. Alan Perrett was even less impressed with Louis Wu’s behaviour: “I have to admit to finding Louis Wu absolutely creepy. He treats the woman that he professes to love with contempt. He laughs finding out that she’s the result of a eugenics experiment and then, when looking at her, sees her dismay and then keeps laughing. I hope when I’m 200 years old I’ve learned a little more empathy than that.” Gosia Furmanik grew up reading science fiction from Niven’s era because that was what was available – but “eventually, the sexism and lack of female/diverse protagonists put me off sci-fi for a good 15 years”. She only got back into sci-fi when she discovered “that nowadays it’s easy to find books of this genre written by non-white non-men that don’t have this pitfall”. “Ringworld brought me back, not in a good way,” Gosia writes. “While not as blatant as in some of its contemporaries, cringy sexism nevertheless seeps out of this book.” It’s definitely true that Teela’s character arc was the biggest issue for most of us with this book. “I loathed the ending of Teela’s story and the explanation of how her luck led her to come on the mission. It seems a woman can’t have a meaningful existence without a man!” wrote Samatha Lane. Samantha also makes a great point about how “the male human is the most perceptive creature in the universe” created by Niven. “This arrogance about the sheer cleverness of humans stems from traditional humanism which puts humans at the centre of everything – as rational, special, superior beings. Combine that with the recent conquest of space (man landed on the moon the year before) and it’s like a bonfire of the collective ego,” she writes. New Scientist book club Love reading? Come and join our friendly group of fellow book lovers. Every six weeks, we delve into an exciting new title, with members given free access to extracts from our books, articles from our authors and video interviews. Sign up Onto the positives, however: Niall Leighton “enjoyed the sheer scale of the novel” and thinks it hasn’t “dated as badly as much science fiction of this era”, while for Andy Feest, “the science was probably the most interesting thing” (he found the characters “unenjoyable” and the chauvinism “a bit jarring”). Some readers approved of Niven’s heavy hand with the maths – it “definitely added to my enjoyment”, wrote Linda Jones, while Darren Rumbold “especially liked” the Klemperer rosettes. It didn’t work for all of you, though: Phil Gurski “was excited to read this classic sci-fi novel and really, really wanted to enjoy it but the technobabble kept getting in the way. I found it hard to keep up.” Overall, I think the book club found it an interesting exercise to dig into this science fiction classic and hold it up to the light of today. I think we’ll do another classic soon enough, and I’m listening to suggestions from readers who have tipped books by Ursula K. Le Guin, N. K. Jemisin and Joanna Russ as possible palate cleansers. Next up, though, is something a little more modern: Kaliane Bradley’s bestselling time travel novel, The Ministry of Time. Yes, it has a woman as its protagonist, and yes, it passes the Bechdel test. You can read a piece by Kaliane here in which she explains why (and how) she wrote a novel about time travel, and you can check out this fun opener to the book here. Come and read along with us and tell us what you think on our Facebook page. 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After spending several months doing not much besides watching Tom Cruise movies, I now spend a lot of time wondering about Tom Cruise running. The Mission: Impossible star is a high-cadence runner. He’s famously short of stature, low to the ground and with short legs. But that build is perfect for cinema, because those arms swing and those legs churn and convey a viscerality, a violence, a constant labored activity that translates perfectly to the screen. What they convey is a man of action, a man summoning all of his energy and will in a single direction: to move as quickly as he can. What is he thinking about when he’s running? I like to think the answer is nothing. That Tom Cruise is able to empty his head when he runs, blanking out his career, his cultural meaning, his past and present personal relationships, and move in a state of pure being. Maybe he’s doing one of his infamous stunts, a run towards a large dangerous vehicle, or off the side of a cliff. Maybe that makes him run faster. Maybe he feels a drive toward oblivion (and for Oblivion), to make the ultimate sacrifice to cinema, resulting in a cultural afterlife even longer than eternal stardom allows. This, in many ways, has been Tom Cruise’s career-long relationship with action movies. They’re his port in the storm, a safe harbor, a place to go and find love and acceptance when there seemingly is none to be had elsewhere. When the press is digging into your religion or snickering about your failed marriages or accusing you of being awkward or crazy or scary, you can find refuge in a MacGuffin to track down, a bad guy’s plot to foil, a world to save. The challenge each writer and director must face is how to handle Cruise’s well-known persona. Do they lean in or subvert? And to what end? When gifted with perhaps the most charismatic, committed movie star ever, are you willing to grapple with this stardom, how it explains the actor at a given point in his career, and what our response to him means? Or do you run? The following is a ranking of Tom Cruise’s greatest action films. In the interest of gimmicky symmetry, we’ve once again capped ourselves at 26 titles. We didn’t cheat… much. The films below all contain shootouts, fistfights, corpses, and missile crises. Most importantly, they are (mostly) tense, suspenseful, violent, escapist popcorn, not to be confused with the other half of Cruise’s equation: the pool-playing, the bartending, the litigating, and the deeply felt character work with auteurs, intended to get him the ultimate prize, which has eluded him for nearly half a century. Let’s run the numbers. 26. Valkyrie (2008) Director: Bryan SingerWhere to watch: Free on Pluto TV, Kanopy, Hoopla You could make a decent argument that this piece of shit doesn’t even belong on this list. It’s mostly a plodding chamber drama about “good Germans” ineffectually plotting to not kill Hitler at the end of World War II. But there’s an explosion, a dull shootout, and a bunch of executions at the end, so it seems to qualify as an action movie. Making Valkyrie is one of the most baffling decisions in Cruise’s entire career. And yet it’s also one of the most important films of his career, one that arguably defines his late period, because it’s how he first met his future M:I steward Christopher McQuarrie. Run report: Ominously, Tom Cruise doesn’t run in this movie.   25. Oblivion (2013) Director: Joseph KosinskiWhere to watch: Rent on Amazon, Apple Like Valkyrie, Oblivion technically qualifies as an action movie, but there’s little actual action or narrative tension to any of it. Cruise essentially plays the source code for a clone army created by a weird super-intelligence in space that runs Earth via killer droids, and the clones to service them. It comes out of a filmmaking period packed with sci-fi puzzlebox movies that were all atmosphere and often led nowhere, though this is probably the “best” example of that tiresome trend. The silver lining is that, like Valkyrie, this film led to Cruise meeting an important future collaborator: Top Gun: Maverick director Joseph Kosinski. Run report: Cruise literally exercises by running on a giant sleek modern hamster wheel in this. It’s the physical manifestation of everything I hate about this film. 24. Legend (1985) Director: Ridley ScottWhere to watch: Rent on Amazon, Apple This 1985 fantasy movie has its defenders, but I am not one of them. The action is completely disjointed and chaotic, a fractured fairy tale composed of an incoherent, weird/horny unholy union of J.R.R. Tolkien, Jim Henson, Peter Greenaway, Ken Russell, and a handful of psilocybin mushrooms. Legend looks like something pieced together by Jack Horner on a camcorder, so it’s hard to fault Cruise for looking clunky and uncomfortable. Who knows what a good performance in that role would look like?  Run report: A lot of odd almost skipping around in this, which adds to the “high school play” quality of the film. Cruise has a proper run toward the end, but it’s not fully baked yet.  23. The Mummy (2017) Director: Alex KurtzmanWhere to watch: Rent on Amazon, Apple Rewatching 2017’s The Mummy actually made me slightly disappointed we didn’t get the Dark Universe Universal Pictures briefly promised us. The setup had potential: Cruise as Indiana Jones, with Jake Johnson as Short Round and Courtney B. Vance as the archetypal no-bullshit sergeant? Potential. But Alex Kurtzman’s take on Karl Freund’s 1932 Boris Karloff Mummy needed less plot and more screwing around. This is an instance where Spielbergian pacing actually ruins a blockbuster, because it entirely lacks Spielberg Sauce. It becomes a horror movie after the first act, with Cruise as a largely personality-free, mentally unsound Black Swan/Smile protagonist. Then they spend all this time with Russell Crowe as Dr. Jekyll, introducing this universe of monsters that never gets off the ground. No fun! Run report: Notable because co-star Annabelle Wallis did a ton of press speaking to how much thought Cruise puts into his on-screen running. She specifically said he initially didn’t want to run on screen with Wallis, because he doesn’t like to share his on-screen run time. He relented, to little effect.  22. Mission: Impossible II (2000) Director: John WooWhere to watch: Free on Hulu, Paramount Plus Folks, I rewatched this recently. I really wanted to love it because some close and valued colleagues sing its praises, and I love a good, hot contrarian take. Respectfully, I don’t know what the hell they’re on. The camera work in Mission: Impossible II is so berserk, it borders on amateurish. The series hadn’t figured out what it was yet, but not in an interesting exploratory way: This installment is more like trying on a pair of pants that are not your vibe. The idea that Ethan Hunt lost his team in Mission: Impossible and now he’s a broken lone wolf (plus Ving Rhames’ Luther and Thandiwe Newton’s Nyah), an agent with the weight of the world on his shoulders, is not a bad premise. But in the role that ruined his career, Dougray Scott is a wooden, toothless bad guy. And somehow, the stakes feel impossibly low, even with a world-killing bioweapon on the line. Mission: Impossible II does, however, get points for being far and away the horniest movie in the franchise. Run report: Unsurprisingly, Woo is great at filming running, and there’s a lot of clay to work with here: Cruise’s long hair flopping in the wind, slow motion, a rare mid-run mask-rip, the inevitable dove-release: It’s all good! A definitive ranking of love interests and partners in the Mission: Impossible movies 6. Claire Phelps (Emmanuelle Béart) in Mission: Impossible5. Julia Meade (Michelle Monaghan) in Mission: Impossible III and Fallout4. Grace (Hayley Atwell) in Mission: Impossible – Dead Reckoning and The Final Reckoning3. Nyah Nordoff-Hall (Thandiwe Newton) in Mission: Impossible II2. Ilsa Faust (Rebecca Ferguson) in Mission: Impossible – Rogue Nation, Fallout, and Dead Reckoning1. Jane Carter (Paula Patton) in in Mission: Impossible – Ghost Protocol 21. American Made (2017) Director: Doug Liman Where to watch: Rent on Amazon, Apple It’s a funny idea: What if Top Gun’s Maverick was a schmuck pilot turned drug-runner? It’s clearly Cruise reaching for a Blow of his own, but decades into this type of narrative, we know the beats by heart. American Made is sorely lacking in depravity. Cruise’s affected good ol’ boy Southern accent both has nothing to do with the film’s disposability, and explains everything. It’s a sanitized drug narrative in which we never see Cruise blow a line or fire a gun. We don’t even see his death on screen — Cruise dying in a movie is a big deal, and has only happened a few times. It’s almost like he knew this nothingburger wasn’t worth the distinction. Run report: Not much running, which is indicative of a larger problem with this film. But at one point, Cruise runs after a car with Caleb Landry Jones in it, and it explodes, in arguably the highlight of the film, for whatever that’s worth.  20. The Last Samurai (2003) Director: Edward ZwickWhere to watch: Rent on Amazon, Apple The one’s a weird movie about a mercenary who, after participating in the genocide of Native Americans, goes native in 19th-century Japan, in the wake of the Meiji Restoration. But it’s a somewhat unusual approach to the standard Cruise narrative arc. In this, he begins as a broken, drunken husk, a mercenary arm of the growing American empire who belatedly regains his honor by joining up with some samurai. The aspects of that plotline which feel unusual for a Cruise movie don’t make up for all the story elements that have aged terribly, but they’re something.  Run report: Less running than you’d expect, but running with swords while wearing leather samurai armor. 19. Jack Reacher: Never Go Back (2016)  Director: Edward ZwickWhere to watch: Rent on Amazon, Apple A lot of the films in the lower ranks of this list suffer from the problem of filmmakers settling, simply putting Cruise on screen and letting his iconography do the heavy lifting, sans interesting backstory or dialogue. In this sequel, thanks to Lee Child’s blunt dialogue, the deep-state rogue-army plotting in the source material, and Cruise’s typical level of meticulous fight choreo, it’s simply really entertaining, solid, replacement-level action. This sequel to 2012’s Jack Reacher gives the title troubleshooter (played by Cruise) a surrogate daughter and a foil in Cobie Smulders, which is great. But its primary sin is replacing Werner Herzog, the villain from the first movie, with a generic snooze of a bad guy. Run report: Some running and sliding on rooftops with guns, as fireworks go off in the night sky. Impressive for some action movies, a bit ho-hum compared to the bigger hits on this list.  18. Taps (1981) Director: Harold Becker Where to watch: Rent on Amazon, Apple Fascinating film. A Toy Soldiers riff interrogating the military-school system, and suggesting that it’s probably not a bad thing that former American ideals like patriotic honor, duty, and masculinity are fading. It’s Cruise’s first major role (with George C.Scott, Sean Penn, and baby Giancarlo Esposito!), and you’ll never believe this, but he plays a tightly wound, thrill-addicted, bloodthirsty maniac. Run report: Great characterization via run here. Cadet Captain David Shawn is a hawkish conservative dick, and Cruise’s running reflects that. He’s stiff, carrying an automatic rifle that he looks like he’s going to start firing wildly at any minute.  17. Mission: Impossible III (2006)  Director: J.J. Abrams Where to watch: Free on Hulu, Paramount Plus In the last Mission: Impossible installment made before the filmmakers really figured out what the series was doing, J.J. Abrams assembles a mostly incoherent, boring clunker that has a few very important grace notes. It’s a film about Ethan Hunt trying to carve out a normal life for himself, with the great Philip Seymour Hoffman playing the bucket of ice water dumped on his domestic fantasy. Hoffman’s Owen Davian is the greatest bad guy in the Cruise filmography, and there’s really no close second. (I suppose, if there was a gun to my head, I would point to Werner Herzog in Jack Reacher, or Jay Mohr in Jerry Maguire.) There are many moments I could point to in Hoffman’s wonderful performance, but the one I’d recommend, if you want to feel something, is when Hoffman gets to play Ethan Hunt playing Owen Davian with a mask on for a few scenes during the Vatican kidnapping, roughly 50 minutes in. He was so fucking great.  Run report: A lot of running, but none of it is very good. No knock on Cruise, but Abrams is doing perfunctory work, shot poorly via shaky cam that has trouble keeping Cruise in the frame, from a perfunctory director making a perfunctory action film. There are two notable exceptions. “The Shanghai Run,” which we may have more on later, and Cruise running straight up a wall. A definitive ranking of Mission: Impossible villain performances 10. Dougray Scott in Mission: Impossible II9. Eddie Marsan in Mission: Impossible III8. William Mapother — that’s right, Thomas Cruise Mapother IV’s cousin! — in Mission: Impossible II7. Lea Seydoux in Mission: Impossible – Ghost Protocol6. Sean Harris in Mission: Impossible – Rogue Nation and Fallout5. Jean Reno in Mission: Impossible4. Esai Morales/The Entity in Mission: Impossible – Dead Reckoning and The Final Reckoning3. Jon Voight in Mission: Impossible2. Henry Cavill in Mission: Impossible – Fallout1. Phillip Seymour Hoffman in Mission: Impossible III 16. Mission: Impossible – The Final Reckoning (2025) Director: Christopher McQuarrieWhere to watch: In theaters The franchise potentially falls with a thud — or is it an AI-generated death fantasy that plays out entirely in Ethan Hunt’s head when he gets trapped in a digital coffin early in the movie? Either way, the resulting film is something the McQuarrie-Cruise collaboration has never been before: clunky and imprecise, a disjointed watch that delivers some high highs, but is unfortunately thin on story. McQuarrie seems unconcerned with character arcs, or any substantive grand narrative that might land in any meaningful way. This movie plays out like an aimless succession of beats, allowing boredom to creep in. That hasn’t been a part of the franchise since M:I 3. It’s a Simpsons clip show masquerading as a Mission: Impossible film, signaling that this iteration of the franchise is exhausted, with little left to say or explore. Perhaps there was no other way for this series to go out than on its back.  Run report: A run through the tunnels to save Luther, oddly reminiscent of the run attempting to save Ilsa Faust, followed by the run out of the tunnels, allowing Ethan to escape the film’s first trap (or does he?) A definitive ranking of Ethan Hunt’s “best friends/allies” (non-love interest/boss division) 17. Wes Bentley16. Greg Tarzan Davis15. Aaron Paul14. Jonathan Rhys Meyers13. Maggie Q12. Shea Whigham11. Hannah Waddington 10. Katy O’Brian9. Pom Klementieff8. Rolf Saxon7. Vanessa Kirby6. Keri Russell5. Simon Pegg4. Jeremy Renner3. Emilio Estevez2. Bogdan (Miraj Grbić)1. Luther (Ving Rhames) 15. War of the Worlds (2005) Director: Steven Spielberg Where to watch: Free on Hulu, Paramount Plus A curious movie I liked better on a rewatch than I did on my initial watch 20 years ago. Indiana Jones and the Temple of Doom is often misremembered as Spielberg’s darkest movie, but I’d argue that War of the Worlds beats it: It’s a divorced-dad-anxiety horror movie that has the most nightmare-inducing, traumatic, post-9/11 visuals in the master’s oeuvre. It can be read as Spielberg wrestling with his relationship with his son Max, who would’ve been around the age of Cruise’s disgruntled, estranged son in the movie. War of the Worlds has issues: Cruise never works when he’s cast in a “just some guy” role, as he’s meant to be here, and the plot goes off the rails in the third act. But it has some of the best set pieces Spielberg ever directed. What will haunt me for the rest of my life is a scene where Cruise’s character is forced to essentially make a Sophie’s Choice between his son and daughter (a great Dakota Fanning), and lets his son go. The ominous music at the end when he’s magically reunited with his son is completely bizarre and unsettling, and I don’t think is meant to be taken at face value.  Run report: This is why Cruise is the king. He’s playing a supposed normal, everyday schmoe in this movie. When you focus on the running, compared to other roles, you can see he’s running like a mechanic who is still a little athletic, but doesn’t know where he’s going, or what is happening from one moment to the next. It’s building character through running. Incredible. 14. Knight and Day (2010) Director: James Mangold  Where to watch: Free on Cinemax; rent on Amazon, Apple Knight and Day is a sneakily important film in the Cruise action canon because it’s the first time a movie really puts Cruise into the role of the creepy, charismatic, psychotically intense, beleaguered, put-upon invincible cartoon character he became in the Mission: Impossible franchise as of Ghost Protocol. This movie is based around a funny idea: It’s basically a Mission: Impossible movie from the perspective of a clueless civilian. It helps that the civilian is phenomenal, physical, funny, and fucking ripped: Cameron Diaz plays the world’s hottest mechanic, and makes me wish she had gotten her own Atomic Blonde-style vehicle. Run report: Some co-running with Cameron Diaz here, which is as you might imagine, is good.  13. The Firm (1993) Director. Sydney PollackWhere to watch: Free on Paramount Plus It’s easy to put The Firm on a pedestal because of Sydney Pollack, the jazz score, the ’90s outfits, Gene Hackman, and every other significant gravitas-oozing “That Guy” as a mobster, shady lawyer, or Fed in a great “They don’t make them like that anymore” legal thriller. But what really stood out to me on a recent rewatch is this movie is two and a half hours about the now laughably quaint notion of rediscovering purity in the law. It isn’t much more than a story about a shady law firm that gets hit with mail-fraud charges, plus several deaths and a few smartly tied up loose ends. Run report: A clinic in Tom Cruise running, a draft-version highlight reel of his running scenes. In my memory, this contains some of his most iconic early runs, and it signals the moment when “Tom Cruise running” became a whole cultural thing.  12. Top Gun (1986) Director: Tony Scott Where to watch: Free on Paramount Plus Top Gun set the template for Tom Cruise’s on-screen narrative, and it took a decade before filmmakers were willing to start subverting that narrative again. This is straight-up hero porn, without any of the humbling that the sequel eventually dishes out. Tom Cruise as Maverick is the best pilot on Earth. He loses his best friend and co-pilot Goose, due to a combination of a mechanical failure and another pilot’s fuck-up. He then has to find the courage to fly with the exact same lack of inhibition he did at the outset of the film, which he finally does, based on essentially nothing that happens in the plot. Scott makes the wise decision to center the action (or non-action) of the film on pure Cruise charisma and star power, and it works. Run report: Believe it or not, Tom Cruise does not run in this movie.  11. Days of Thunder (1990) Director: Tony Scott Where to watch: Free on Paramount Plus Scott and Cruise’s Top Gun follow-up is essentially Top Gun with cars instead of jets — but yes, it’s marginally better. Why? Because this is a quintessential “We didn’t know how good we had it” classic. It’s the film where Cruise met his future spouse Nicole Kidman on set. Robert Duvall is swigging moonshine. It’s Randy Quaid’s last performance actually based on planet Earth. Plus there’s John C. Reilly, Michael Rooker, Cary Elwes, Fred Thompson, Margo Martindale, and a rousing Hans Zimmer score. Need I say more? Run report: They cut the climatic race off, but Cruise’s character Cole potentially gets smoked by 59-year-old Robert Duvall?! 10. Mission: Impossible – Dead Reckoning (2023) Director: Christopher McQuarrieWhere to watch: Free on Paramount Plus The metaphor that the Mission: Impossible franchise is a manifestation of Tom Cruise’s deep-seated need to save blockbuster filmmaking and the Hollywood star system has never been more overt. Cruise is literally up against AI, which is always a step ahead of him, dismantling his every gambit. It’s an update/remix of Ghost Protocol’s premise: The only antidote to the world-spanning AI known as The Entity is becoming a refusenik anti-tech Luddite in the spirit of John Henry, and using the raw materials of humanity to defeat an invincible machine.  Run report: Cruise running in confined spaces is a lot of fun, but the heavily CGI’d running up the side of a train losing its battle with gravity isn’t.  A definitive ranking of Mission: Impossible MacGuffins 8. Ghost Protocol’s Russian launch codes7. Fallout’s plutonium cores 6. Rogue Nation’s $2.4 billion Syndicate bankroll5. M:I2’s Chimera Virus4. Final Reckoning’s Sevastopol3. M:I’s NOC list 2. Dead Reckoning Part One’s cruciform key1. M:I3’s rabbit’s foot 9. Jack Reacher (2012)  Director: Christopher McQuarrie Where to watch: Free on Paramount Plus I loathe hyperbole: it’s a shortcut for unimaginative writers. I’ve never resorted to it in my entire life. So I hope you’ll take me at my word when I say that this movie is a fucking masterpiece. Amazon’s great Reacher series is made more in the image of Lee Child’s books, with a distinctive breakout lead in Alan Ritchson, who appears to have been designed in a lab to draw striking contrast to Tom Cruise in this role. But Reacher made us forget how good Jack Reacher gets. It’s a perfect elevated action programmer with a remarkable cast: David Oyelowo! Richard Jenkins! Rosamund Pike! A Days of Thunder reunion with Robert Duvall! Werner Herzog showing up in a completely brilliant, bonkers heel turn! McQuarrie made this one in vintage Shane Black ’90s style, with a dash of Don Siegel and Clint Eastwood. I totally get why Cruise decided to turn his career over to McQuarrie after this. I don’t understand why he didn’t let McQuarrie direct the sequel. Run report: There isn’t much running in this. At one point, Cruise is darting from shelter point to shelter point because a sniper is trying to pick him off, but that’s it. It’s because Jack fucking Reacher doesn’t have to run, which is simply good writing and filmmaking.  8. Mission: Impossible – Rogue Nation (2015)  Director: Christopher McQuarrieWhere to watch: Free on Hulu, Paramount Plus This film famously opens with Tom Cruise hanging from the side of a plane as it takes off. But to me, the key moment comes when he’s broken into the plane, attached himself to a package which isn’t named, but looks like a crate of rockets the size of a minivan. He gives a final raised eyebrow and shrug to a gobsmacked henchman, who watches helplessly as Cruise deploys a parachute and falls out the back of the plane’s cargo bay with a ton of atomic weapons, and no plausible way to land without killing himself and creating a Grand Canyon-sized nuclear crater in Belarus. This scene was practically drawn by Chuck Jones, which sets the tone for a film that repositions Ethan Hunt on the border of superherodom, in a film about Tom Cruise as the literal manifestation of destiny.  It also marks the return of Alec Baldwin, the first (but not last) M:I handler who carried over from one film to the next. Evaluating the handlers’ position in the franchise (see below) is challenging: They’re constantly shifting allegiances, at times working in service of Hunt’s mission, at times in direct opposition to it, either attacking him with governmental red tape, or colluding with nefarious forces. Run report: A lot of different looks when it comes to the running in this. Shirtless running, running with Rebecca Ferguson, running across the wing of a moving plane. It’s all good. A definitive ranking of the “most fun” M:I handlers 6. Theodore Brassel (Laurence Fishburne) in Mission: Impossible III5. Erika Sloane (Angela Bassett) in Mission: Impossible – Fallout and The Final Reckoning4. Eugene Kittridge (Henry Czerny) in Mission: Impossible3. John Musgrave (Billy Crudup) in Mission: Impossible III2. Commander Swanbeck (Anthony Hopkins) in Mission: Impossible II1. Alan Hunley (Alec Baldwin*) in Mission: Impossible – Rogue Nation and Fallout * One of my only lingering complaints about the M:I movies is that aside from Ving Rhames and Simon Pegg, we don’t get enough big family continuity. The Fast & Furious franchise is an exemplar/cautionary tale of how found-family dynamics can be a great source of fun and emotion — and also tank the series, if creators keep piling on new recurring elements. It sounds like Baldwin didn’t want to stay on board, but I would love to live in a world where he didn’t jump ship — or where, say, Henry Cavill’s August Walker joined Ethan’s team at the end of Mission: Impossible – Fallout, as he would have if he’d had a similar role in an F&F installment. 7. Minority Report (2002) Director: Steven SpielbergWhere to watch: Free on Paramount Plus I’m guessing this placement on this ranking will upset some people. I’m surprised it’s this low in the rankings too — but that’s how good the next six films are. And honestly, Minority Report doesn’t hold up as the masterpiece I remember it being. It’s a very cool story. It marks the first fantasy-team matchup of Tom Cruise and Steven Spielberg. They’re adapting a paranoid Philip K. Dick story, and largely delivering on the promise that implies. Minority Report is an inventive, dark, weird future horror movie, made with Spielberg’s standard stunning visual economy. But among the perfect elements in this film, I have to call out some aspects that didn’t age well. Janusz Kaminski’s lighting effects feel like the whole movie is stuck inside an iPod halo. and this dutch-angled high melodrama, sauced with a dash of Terry Gilliam dystopian/gross wackiness, which lends the film a degree of occasionally atonal, squishy gonzo elasticity you’ve likely forgotten.   Run report: Mileage may vary on white pools of light, but running through them in futuristic uniforms is decisively cool.  6. Mission: Impossible (1996) Director: Brian De PalmaWhere to watch: Free on Hulu, Paramount Plus Because MI:2 and MI:3 struggle with tone (and long, listless patches), and because it’s actually Brad Bird that sets the template for the McQuarrie era of the franchise, you could argue the first Mission: Impossible is the strangest, most personal vision of what this series is and what it can be. DePalma is asserting himself with every practical mask and stylized shot. Your mileage may vary with that approach to what has become this Swiss set piece machine, I love it. A few things stand out nearly three decades on: Of course, how ridiculously young Cruise looks, but perhaps crucially, how collegial, intimate, and even tender the first act is before his first team is eliminated and the movie becomes a DePalma paranoid thriller. It’s an element we never quite get from Mission: Impossible again, one that brings the arc of the franchise into focus and explains Ethan Hunt if you extend continuity: He’s a character betrayed by his father figure and his government in the first film, and spends the rest of the franchise running from this largely unspoken trauma, determined to never let that happen again. In the wake of this, he reluctantly pieces together a life, semblance of a family, and all the risks that come with those personal attachments. In honor of my favorite set piece in any of the films, one of DePalma’s finest taught masterpieces: A definitive ranking of the top 10 M:I set pieces  Honorable Mention: The Sebastopol Extraction- (Tie) The Train Fights– MI:1 & Dead Reckoning 10. The Plane Door- Rogue Nation9. The “Kick In The Head” Russian Jail Break- Ghost Protocol8. The Water Vault Ledger Heist Into The Motorcycle Chase- Rogue Nation7. The Handcuffed Car Chase- Dead Reckoning6. The Red Baron Plane Fight- Final Reckoning5. The Burj Khalifa- Ghost Protocol4. Kidnapping At The Vatican- MI:33. The Opera House Hit- Rogue Nation2. The Louvre Halo Jump Into the Bathroom Fight- Fallout1. The NOC List Heist- MI:1 Run report: Fitting that this franchise opens with Cruise putting on a running clinic, as that first op falls apart, then of course his run away from Kittridge and the massive fish tank explosion.  5. Mission: Impossible – Ghost Protocol  Director: Brad Bird (2011) Where to watch: Free on Hulu, Paramount Plus Nothing is working like it’s supposed to. Not the Impossible Mission Force, not the mask machine, not the radio comms, not the magnet gloves keeping Ethan Hunt tethered to the side of the world’s tallest building, not the Mission: Impossible franchise, and not Tom Cruise’s at-the-time fading movie stardom. But somehow, one incredible film made by a career animation director solves all of these problems, by stripping down, getting back to basics and reminding us what we always loved about these films and its star. It was supposed to be the beginning of a franchise reboot, with Jeremy Renner stepping in. Bird (and McQuarrie, in for a pass at the troubled screenplay and on deck to become Cruise’s Guy For Life) fights this decision off, gets away from trying to figure out the character Ethan Hunt and lets him be a superhero, more annoyed than concerned by the escalating difficulty of the impossible problems he has to solve. Through this, Bird correctly identifies the difference between Cruise and these other Hollywood candy asses: He’s a reckless warrior with a death wish who will do whatever is necessary to win, and he does. The team concept is back in full force with a genuinely showstopping stunt, and without the masks and tech, Cruise has to do it all with his wits, his hands, and his pure bravado. The series, and Cruise, never looked back.  Run report: Some of the most fun, imaginative set pieces built around running in this installment. A definitive ranking of who should replace Tom Cruise in the inevitable M:I reboot 10. Aaron Taylor Johnson9. Charlie Cox8. Sterling K. Brown7. Florence Pugh6. John David Washington5. Haley Atwell4. Miles Teller3. Jeremy Renner2. Aaron Pierre 1. Glen Powell 4. Top Gun: Maverick  Director: Joseph Kosinski (2022) Where to watch: Free on Paramount Plus It’s a death dream, it’s red meat nationalist troopaganda, it’s the greatest legacyquel ever made that no one asked for and you didn’t realize you desperately needed, it’s nostalgia porn, it saved the movie going experience post-COVID, it’s a finely calibrated joy machine. Cruise is downright mystical, shimmering in the sun’s reflection off the surf, dominating an endless football game with no rules that doesn’t make sense. He has actual chemistry with Jennifer Connelly, and he has the grace to cede the floor to his old nemesis — both in the first Top Gun and as a once contemporary Hollywood star/rival — the late Val Kilmer, to drive home the crush of time and destroy everyone in the theater, no matter how many times they went to see this monster hit that first summer back in theaters.  Run report: Immediately coming off of the stunning, emotional high point of the film, we get Cruise running in salt water soaked jeans shirtless on the beach. Are you not entertained? 3. Collateral  Director: Michael Mann (2004) Where to watch: Free on Paramount Plus An elemental, visceral faceoff that is radical in its simplicity of purpose. A film made by the second-best director on this list, and on a very short list of Cruise’s finest performances ever. He’s the salt and pepper terminator in a taxi, playing a pure evil bad guy, a classic Mann anti-hero samurai nihilist that also lives by a code and values being good at his job. Of course Cruise retains a kind of charm, but is also willing to get slimy and be deeply unlikeable and die on screen. Well worth the sacrifice.  Run report: Incredible running on display here. Once again he is running like a professional killer probably runs, almost always holding a gun, the hair matches the suit, so fucking bad ass.  2. Mission: Impossible – Fallout  Director: Christopher McQuarrie (2018) Where to watch: Free on Hulu, Paramount Plus As much time and energy as I just expended exalting Ghost Protocol, at a certain point you have to eschew poetic narratives and tip your cap, by the slightest of margins, to a fucking perfect movie. Ghost Prot is close, but you can feel its lack of a nailed-down shooting script at certain points towards its conclusion, as the action begins to wind down. McQuarrie becomes the first director in the franchise to get a second bite of the apple, and the result is a finely cut diamond. Fallout is about exhaustion and the impossibility of that manifestation of destiny idea from Rogue Nation. It makes the argument that you can’t actually save the day and save everyone without making any sacrifices forever, and because of that, sets up The Trolly Problem over and over again to try and get Ethan Hunt to compromise and/or give up. But, of course, he won’t, and neither, seemingly, will Cruise.  Run report: You can tell McQuarrie loves watching Cruise run as much as we do. He frames the runs in these wide shots and takes his time with them. It’s not conveying any additional information, a beat or two less would suffice, but the camera lingers and you get to just sit and appreciate the form and it really connects. It’s why he was the logical choice to take control of this franchise. He understands how a Tom Cruise action flick operates and what makes it special. And of course: A definitive ranking of the best runs in the franchise 10. The Opening Plane Run- Rogue Nation9. The Sandstorm Run- Ghost Protocol8. The Mask Rip Run- MI:27. Running through the alleys of Italy- Dead Reckoning6. Running Through the Tunnels for Luther (then out)- Final Reckoning5. Running down the Burj Khalifa- Ghost Protocol 4. Running from the fishtank explosion- MI:13. The Rooftop Run- Fallout2. The Shanghai Run- MI:31. The Kremlin Run- Ghost Protocol 1. Edge of Tomorrow  Director: Doug Liman (2014) Where to watch: Rent on Amazon, Apple Edge of Tomorrow is the best Tom Cruise action film had to be made in his late period of action stardom. You need the gravity and the gravitas, the emotional baggage earned through those decades of culture-remaking roles, the toll that exerted effort took on him, and the time spent and time passed on his face. The late, largely perfect Mission: Impossible films that dominate the top 10 of this list do much of that work: They feint, they allude, they nod to the realities of stardom, of life and death. But Ethan Hunt is a superhero, an inevitability, so the outcome is never in doubt — until, perhaps someday, it is. But for now, the masterpiece from Doug Liman — a director who either hits dingers or strikes out looking, with no in between — is a movie that punctuated Cruise’s post-Ghost Prot action renaissance: Edge of Tomorrow, or Live. Die. Repeat. It’s the unlikely on-paper melding of Starship Troopers and Groundhog Day, but in practice it’s the action film equivalent of Jerry Maguire, a movie that relies on your history with Maverick, and Mitch McDeere, and Ethan Hunt, and uses it to dismantle and subvert Tom Cruise, the infallible hero.  Liman is at the top of his game, particularly in editing, which uses repetition and quick cuts masterfully to convey the long and slow transformation of a public relations major named Cage — who becomes trapped in a disastrous, endless intergalactic Normandy scenario — from a marketing clown in a uniform to an alien killer badass while he falls in love and saves the world. We watch as Cruise has all his bravado and bullshit stripped away by “a system” (maybe the single best Paxton performance?!) with no time for that, a woman smarter and stronger than he is and immune to his charms, and an invading force that tears him to pieces over and over again. We watch the five-tool movie star — robbed of all his tools — regroup, rebuild, and in the process, grow a soul. It’s the platonic ideal of what a great blockbuster action film can be, one that only could’ve been made by one of its most important, prolific, and talented stars.  Run report: A beautiful physical metaphor for this film is watching the evolution of Cruise’s ability to move in that ridiculous mech suit. 

This article contains some Mission: Impossible – The Final reckoning spoilers. In the most recent and supposedly final Mission: Impossible film, Ethan Hunt receives his briefing on a VHS cassette tape. That is a marvelous wink to the era in whichMission: Impossible, but these films have remained consistently at the zenith of quality blockbuster cinema. And through it all remains Tom Cruise, running, gunning, and smoldering with his various, luxuriant haircuts. Indeed, the first M:I picture was also Cruise’s first as a producer, made under the banner of Cruise/Wagner productions. Perhaps for that reason, he has stayed committed to what was once viewed as simply a “television adaptation.” It might have begun as TV IP, but in Cruise’s hands it has become a cinematic magnum opus that sequel after sequel, and decade after decade, has blossomed into one of the most inventive and satisfying spectacles ever produced in the Hollywood system. The final decade of the series’ run in particular has been groundbreaking. After five movies with five very different directors, aesthetics, and sensibilities, Christopher McQuarrie stuck around—alongside stunt coordinator Wade Eastwood. Together with Cruise, they turned the series into an old-fashioned, in-camera spectacle that harkens back to the earliest days of cinema. In the process, Cruise has added another chapter to his career, that of an onscreen daredevil like Harold Lloyd or Douglas Fairbanks. It’s been an amazing run, and honestly it’s a bit arbitrary to quantify it with any sort of ranking. But if we were going to do such a thing, here is how it should go… 8. Mission: Impossible II (2000) It’s hardly controversial to put John Woo’s Mission: Impossible II dead last. From its overabundance of slow-mo action—complete with Woo’s signature flying doves—to its use of Limp Bizkit, and even that nonsensical plot about manmade viruses that still doesn’t feel timely on the other side of 2020, MI:-2 is a relic of late ‘90s Hollywood excess. On the one hand, it’s kind of marvelous that Cruise let Woo completely tear down and rebuild a successful franchise-starter in the Hong Kong filmmaker’s own image. On the other, it’s perhaps telling of where Cruise’s ego was at that time since Woo used this opportunity to transform the original all-American Ethan Hunt into a god of celluloid marble. And make no mistake, there is something godlike to how Woo’s camera fetishizes Cruise’s sunglasses and new, luxuriant mane of jet black hair during Hunt’s big introduction where he is seen free-climbing across a rock face without rope. It would come to work as metaphor for the rest of the movie where, despite ostensibly being the leader of a team, Ethan is mostly going it alone as he does ridiculous things like have a medieval duel against his evil doppelgänger (Dougray Scott), only both men now ride motorcycles instead of horses. The onscreen team, meanwhile, stares slack-jawed as Ethan finds his inner-Arnold Schwarzenegger and massacres entire scores of faceless mercenaries in multiple shootouts. While gunplay has always been an element of modern spy thrillers, the Mission: Impossible movies work best when the characters use their wits (and the stunt team’s ingenuity) to escape elaborate, tricky situations. So there’s something banal about the way M:I-2 resembles any other late ‘90s and early ‘00s actioner that might’ve starred Nicolas Cage or Bruce Willis. Technically the plot, which involves Ethan’s reluctance to send new flame Nyah Hall (Thandiwe Newton) into the lion’s den as an informant, has classical pedigree. The movie remakes Alfred Hitchcock’s Notorious (1946) in all but name. However, the movie is so in love with its movie star deity that even the supposedly central romance is cast in ambivalent shadow. 7. Mission: Impossible – The Final Reckoning (2025) Yes, we admit to also being surprised that what is allegedly intended to be the last Mission: Impossible movie is finishing near the very bottom of this list. Which is not to say that The Final Reckoning is a bad movie. It’s just a messy one—and disappointing too. Perhaps the expectations were too high for a film with “final” in the title. Also its reportedly eye-popping $400 million only fueled the hype. But whereas the three previous Mission films directed by Christopher McQuarrie, including Dead Reckoning, had a light playfulness about them, The Final Reckoning gets lost in its own self-importance and grandiosity. Once again we have a Mission flick determined to deify Ethan Hunt with McQuarrie’s “gambler” from the last couple movies taking on the imagery of the messiah. Now the AI fate of the world lies in his literal hands. This approach leads to many long expository sequences where characters blather endlessly about the motivations of an abstract artificial intelligence. Meanwhile far too little time is spent on the sweet spot for this series: Cruise’s chemistry with co-stars when he isn’t hanging from some death-defying height. In fact, Ethan goes it pretty much alone in this one, staring down generals, submarine captains, and American presidents—fools all to think for one instance Ethan isn’t the guy sent to redeem them for their sins. The action sequences are still jaw-dropping when they finally come, and it is always good to see co-stars Simon Pegg, Hayley Atwell, and an all too briefly used Ving Rhames again, but this feels less like a finale than a breaking point. If Mission does come back, it will have to be as something wildly different (and presumably less expensive). 6. Mission: Impossible III (2006) Before he transformed Star Trek and Star Wars into remarkably similar franchises, writer-director J.J. Abrams made his big screen debut by doing much the same to the Mission: Impossible franchise. With his emphasis on extreme close-ups, heavy expository dialogue dumps, and intentionally vague motivations for his villains that seem to always have something to do with the War on Terror, Abrams remade the M:I franchise in the image of his TV shows, particularly Alias. This included turning Woo’s Übermensch from the last movie into the kind of suburban everyman who scores well with the Nielsen ratings and who has a sweet girl-next-door fiancée (Michelle Monaghan). Join our mailing list Get the best of Den of Geek delivered right to your inbox! Your mileage may vary with this approach, but personally we found M:I-3 to be too much of a piece with mid-2000s television and lacking in a certain degree of movie magic. With that said, the movie has two fantastic aces up its sleeve. The first and most significant is a deliciously boorish performance by Philip Seymour Hoffman as the franchise’s scariest villain. Abrams’ signature monologues have never been more chilling as when Hoffman cuts through Cruise’s matinee heroics like a knife and unsettles the protagonist and the audience with an unblinking declaration of ill-intent. Perhaps more impressively, during one of the franchise’s famed “mask” sequences where Ethan disguises himself as Hoffman’s baddie, the character actor subtly and convincingly mimics Cruise’s leading man charisma. That, plus introducing fan favorite Simon Pegg as Benji to the series (if in little more than a cameo), makes the movie worth a watch if not a regular revisit. According to more than a few critics in 2023, the then-newest installment in the series was also the best one. I respectfully disagree. The first half of writer-director Christopher McQuarrie and Cruise’s Dead Reckoning In terms of old school spectacle and breakneck pacing, Dead Reckoning is easily the most entertaining action movie of summer 2023’s offerings. However, when compared to the best entries in the M:I franchise, Dead Reckoning leaves something be desired. While McQuarrie’s counterintuitive instinct to script the scenes after designing the set pieces, and essentially make it up as they went along, paid off in dividends in Fallout, the narrative of Dead Reckoning’s first half is shaggy and muddled. The second act is especially disjointed when the film arrives in Venice, and the actors seem as uncertain as the script is over what exactly the film’s nefarious A.I. villain, codename: “The Entity,” wants. That this is the portion of the film which also thanklessly kills off fan favorite Ilsa Faust (Rebecca Ferguson) does the movie no favors. Elsewhere in the film, Hayley Atwell proves a fantastic addition in her own right as Grace—essentially a civilian and audience surrogate who gets wrapped up in the M:I series’ craziness long enough to stare at Cruise in incredulity—but the inference that she is here to simply interchangeably replace Ilsa gives the film a sour subtext. Still, Atwell’s Grace is great, Cruise’s Ethan is as mad as ever with his stunts, and even as the rest of the ensemble feels underutilized, seeing the team back together makes this a good time—while the unexpected return of Henry Czerny as Eugene Kittridge is downright great. 4. Mission: Impossible – Ghost Protocol (2011) There are many fans who will tell you that the Mission: Impossible franchise as we know it really started with this Brad Bird entry at the beginning of the 2010s, and it’s easy to see why. As the first installment made with a newly chastened Cruise—who Paramount Pictures had just spent years trying to fire from the series—it’s also the installment where the movie star remade his persona as a modern day Douglas Fairbanks. Here he becomes the guy you could count on to commit the most absurdly dangerous and ridiculous stunts for our entertainment. What a mensch. And in terms of set pieces, nothing in the series may top this movie’s second act where Cruise is asked to become a real-life Spider-Man and wall-crawl—as well as swing and skip—along the tallest building in the world, the Burj Khalifa in Dubai. It’s a genuine showstopper that looms over the rest of the movie. Not that there isn’t a lot to enjoy elsewhere as Bird brings a slightly more sci-fi and cartoonish cheek to the proceedings with amusing gadgets like those aforementioned “blue means glue” Spidey gloves. Even more amusingly, the damn things never seem to work properly. This is also the first Mission: Impossible movie where the whole team feels vital to the success of the adventure, including a now proper sidekick in the returning Pegg and some solid support from Paula Patton and Jeremy Renner. For a certain breed of fan that makes this the best, but we would argue the team dynamics were fleshed out a little better down the road, and in movies that have more than one stunning set piece to their name. 3. Mission: Impossible (1996) The last four entries of the series have been so good that it’s become common for folks to overlook the movie that started it all, Brian De Palma’s endlessly stylish Mission: Impossible. That’s a shame since there’s something admirably blasphemous to this day about a movie that would take an ancient pop culture property and throw the fundamentals out the window. In this case, that meant turning the original show’s hero, Jim Phelps (played by Jon Voight here), into the villain while completely rewriting the rulebook about what the concept of “Mission: Impossible” is. It’s the bold kind of creative move studios would never dare make now, but that’s what opened up the space to transform a novelty of ‘60s spymania TV into a ‘90s action classic, complete with heavy emphasis on techno espionage babble and post-Cold War politics. The movie can at times appear dated given the emphasis on floppy disks and AOL email accounts, but it’s also got a brisk energy that never goes out of style thanks to De Palma’s ability to frame a knotty script by David Koepp and Robert Towne (the latter of whom penned Chinatown) into a breathlessly paced thriller filled with paranoia, double crosses, femme fatales, and horrifying dream sequences. In other words, it’s a De Palma special! The filmmaker and Cruise also craft a series of set pieces that would become the series’ defining trademark. The finale with a fistfight atop a speeding train beneath the English Channel is great, but the quiet as a church mouse midpoint where Cruise’s hero dangles over the pressure-sensitive floor of a CIA vault—and with a drop of sweat dripping just out of reach!—is the stuff of popcorn myth. It’s how M:I also became as much a great heist series as shoot ‘em up. Plus, this movie gave us Ving Rhames’ stealth MVP hacker, Luther Stickell. 2. Mission: Impossible – Rogue Nation (2015) In retrospect there is something faintly low-key about Rogue Nation, as ludicrous as that might be to say about a movie that begins with its star literally clinging for dear life to the outside of a plane at take off. Yet given how grand newcomer director Christopher McQuarrie would take things in the following three Mission films, his more restrained first iteration seems charmingly small scale in comparison. Even so, it remains an action marvel in its own right, as well as the most balanced and well-structured adventure in the series. It’s the one where the project of making Ethan Hunt a tangible character began. Rightly assessing Ethan to be a “gambler” based on his inconsistent yet continuously deranged earlier appearances, McQuarrie spins a web where Hunt’s dicey lifestyle comes back to haunt him when facing a villain who turns those showboat instincts in on themselves, and which pairs Ethan for the first time against the best supporting character in the series, Rebecca Ferguson as Ilsa Faust. There’s a reason Ferguson’s MI6 double (triple, quadruple?) agent was the first leading lady in the series to become a recurring character. She gives a star-making turn as a woman who is in every way Ethan’s equal while keeping him and the audience on their toes. She, alongside a returning Simon Pegg and Ving Rhames, solidify the definitive Mission team, all while McQuarrie crafts elegant set pieces with classical flair, including a night at the opera that homages and one-ups Alfred Hitchcock’s influential sequence from The Man Who Knew Too Much (1956), as well as a Casablanca chase between Ethan and Ilsa that’s the best motorcycle sequence in the series (if only they stopped by Rick’s). Also McQuarrie’s script ultimately figures out who Ethan Hunt truly is by letting all those around him realize he’s a madman. And Alec Baldwin’s Alan Hunley gets this gem of a line to sums the series up in total: “Hunt is uniquely trained and highly motivated, a specialist without equal, immune to any countermeasures. There is no secret he cannot extract, no security he cannot breach, no person he cannot become. He has most likely anticipated this very conversation and is waiting to strike in whatever direction we move. Sir, Hunt is the living manifestation of destiny—and he has made you his mission.” 1. Mission: Impossible – Fallout (2018) If one were to rank these movies simply by virtue of set pieces and stunts, pound for pound it’s impossible to top Mission: Impossible – Fallout (forgive the pun). A virtuoso showcase in action movie bliss, there are too many giddy mic drop moments to list, but among our favorites are: Tom Cruise doing a real HALO jump out of a plane at 25,000 feet and which was captured by camera operator Craig O’Brien, who had an IMAX camera strapped to his head; the extended fight sequence between Cruise, Henry Cavill, and Liam Yang in a bathroom where the music completely drops out so we can hear every punch, kick, and that surreal moment where Cavill needs to reload his biceps like they’re shotguns; and did you see Cruise’s ankle bend the wrong way in that building to building jump?! For action junkies, there was no better adrenaline kick out of Hollywood in the 2010s than this flick, and that is in large part a credit to writer-director Christopher McQuarrie. As the first filmmaker to helm more than one M:I movie, McQuarrie had the seemingly counterintuitive innovation to meticulously hammer out all of the above action sequences as well as others—such as a motorcycle chase across the cobblestones of Paris and a helicopter climax where Cruise is really flying his chopper at low altitudes—with stunt coordinator Wade Eastwood and Cruise, and then retroactively pen a surprisingly tight and satisfying screenplay that continues to deconstruct the Ethan Hunt archetype into a man of flesh and blood. McQuarrie also reunites all the best supporting players in the series—Rhames, Pegg, and his own additions of Rebecca Ferguson as the ambiguous Ilsa Faust and Sean Harris as the dastardly Solomon Lane—into a yarn that is as zippy and sharp as you might expect from the screenwriter of The Usual Suspects, but which lets each action sequence unfurl with all the pageantry of an old school Gene Kelly musical number. Many will call this the best Mission: Impossible movie, and we won’t quibble the point.

Photographer Who Scales Buildings to Get the Perfect Shot Arrested at Opening Night of His First Solo Exhibition Isaac Wright was detained for climbing the Empire State Building’s spire in 2024. The photo he took during the climb was on display at the show in New York City Lillian Ali - Staff Contributor May 21, 2025 2:01 p.m. And When We Die It Will Feel Like This (2023), one of Wright's photographs on display at the exhibition Drift / Robert Mann Gallery At the opening for his first solo gallery exhibition, photographer Isaac Wright was speaking with the crowd when a woman tapped him on his shoulder. She revealed that she was a plainclothes officer and told him he was under arrest. “I really thought it was a joke,” Wright, who is known as Drift, tells the New York Times’ The incident occurred just after 8 p.m. on May 15, the opening of Wright’s show, titled “Coming Home,” at the Robert Mann Gallery in New York City. After the plainclothes officer informed him of his arrest, uniformed officers entered the exhibition and led Wright to the back of a squad car. Wright’s lawyer, Priya Chaudhry, tells the Cincinnati Enquirer’s Cameron Knight that the artist has been charged with misdemeanor criminal trespassing. The charges are linked to a photograph on display at the exhibition, which Wright shot after climbing to the top of the spire of the Empire State Building in 2024. “Ansel Adams probably trespassed in his day to get a great photo; plenty of photographers did,” gallery owner Robert Mann, who has exhibited works by renowned photographers including Adams and William Eggleston, tells the Times. “But in all my years, I have never seen an artist taken out of an opening in cuffs.”Urban explorer Vitaliy Raskolov expressed a similar disbelief to Now Media’s Matt Medved, saying that over 16 years of scaling buildings and photographing his escapades, he had “never seen anything like this before.” Wright began climbing buildings in 2018 to cope with post-traumatic stress disorder resulting from his years of service in the Army. When he was stationed with a battalion in Louisiana, he started acting as an “ad hoc chaplain, filling in as needs dictated,” as the Cincinnati Enquirer reported in 2022. “Part of my job was helping our soldiers reintegrate into life at home after deployment,” Wright told the publication. “Without a chaplain in the unit, many soldiers came to me for counseling and to talk about their struggles with suicide.” At the end of his service, he was diagnosed with PTSD and depression. He decided to take up photography, and he found solace in the hobby. One day, he took the stairs to the roof of a skyscraper in Texas to get a more interesting shot. “[I] just ended up sitting there for two or three hours, all by myself, taking in the view,” he tells the Times. “And this wave of catharsis and peace came over me. I was so present and alive, and I remember thinking, ‘Oh my God, I don’t know what this is, but I have to keep doing it.’” The recent gallery opening wasn’t the first time Wright’s art has led to encounters with police. In late 2020, the artist, who is from Ohio, sneaked onto the rooftop of the Great American Tower, the tallest building in Cincinnati.Weeks later, police shut down an interstate to arrest him in Arizona. They had been told that he was a veteran with specialized military training and PTSD, and that he might be armed. “Five to ten officers approached my vehicle with handguns and assault rifles pointed at me,” he told the Cincinnati Enquirer After a judge set his bond at $400,000, Wright spent months in jail. He ultimately accepted a plea deal, agreeing to pay $5,500 in restitution and enroll in a treatment program. At that time, the artist had around 13,000 followers on Instagram. Today, he has about 225,000. Wright regularly posts and sells photos taken from the tall buildings he scales. In 2022, he donated $500,000 from his art sales to the Bail Project, which helps low-income Americans pay bail. Wright was released last week and is scheduled to return to court on June 4. The artist explains that this encounter with the law has been less harrowing than his previous arrests. “I had always been treated as some sort of dangerous weapon for what I do, even though I had never hurt anyone,” he tells the Times. “This time, the cops were very respectful. In the cop car, they even told me they liked the art.” “Coming Home” is on view at the Robert Mann Gallery in New York City through June 28, 2025. Get the latest stories in your inbox every weekday.

The tallest 3D-printed building in the world has been completed in Switzerland. Named Tor Alva (The White Tower) and located in the alpine village of Mulegns, the project was undertaken by the Origen Cultural Foundation in collaboration with ETH Zurich to understand the relationship between digital fabrication, cultural heritage preservation, and rural revitalization. Image credit: Benjamin Hofer and Nova Fundaziun OrigenImage credit: Benjamin Hofer and Nova Fundaziun OrigenThe five-story tower’s defining feature is its 32 unique, load-bearing 3D-printed concrete columns. The Y-shaped columns contain intricate detailing at three distinct scales, made possible by a novel fabrication process involving two cooperating robots, with one extruding concrete while the other places steel reinforcement. Image credit: Benjamin Hofer and Nova Fundaziun OrigenImage credit: Benjamin Hofer and Nova Fundaziun OrigenMeanwhile, the interior is composed of vertically stacked rooms accessed via a spira...