The Tom Cruise-headlined The Mummy reboot is on pace to lose $95 million for Universal, despite a strong overseas performance.

Tom Cruise height is 5ft 7.75in or 172.1 cm tall. Discover more Celebrity Heights and Vote on how tall you think any Celebrity is! This weekend, Universal’s latest opened at No. 2 domestically behind the second weekend of Wonder Woman. With Tom Cruise in.

What 'The Mummy's' Cursed Domestic Opening Means for Tom Cruise's Movie Star Appeal. Tom Cruise’s “The Mummy” seriously underperformed at the domestic box office this weekend, delivering just $3. It’s a rare miss for the 5. Universal franchise. Take the misfortunes of his Hollywood colleague Johnny Depp, who suffered five consecutive misfires (namely “Alice Through the Looking Glass,” “Black Mass” “Mortdecai,” “Transcendence” and “The Lone Ranger” before this summer’s rebound with “Pirates of the Caribbean: Dead Men Tell No Tales.”Also Read: 5 Reasons 'The Mummy' Flopped Domestically“You certainly can’t blame his . But as one of our last remaining movie stars, what does “The Mummy” say about Cruise’s legacy?“Nothing, thanks to his international appeal,” one top talent agent told The. Wrap, speaking on the condition of anonymity.

In 1976, if you had told fourteen year-old Franciscan seminary student Thomas Cruise Mapother IV that one day in the not too distant future he would be Tom Cruise. Directed by Alex Kurtzman. With Tom Cruise, Sofia Boutella, Annabelle Wallis, Russell Crowe. An ancient princess is awakened from her crypt beneath the desert. Tom Cruise tumbles around a nose-diving airplane, grunting impotently at gravity. His character, a rakish treasure-hunting soldier named Nick Morton, has accidentally. Brendan Fraiser in The Mummy (Photo: Getty Images), posters (Universal). Graphic: Jimmy Hasse. One thing you can say about South Korea is that it's Tom Cruise country. Universal's The Mummy just opened there and charted the biggest opening day ever in the.

READ MORESee Tom Cruise's latest POWER MOVE. More name stars are moving to movies on TV and streaming platforms, with A- list talent such as Brad Pitt making films for Netflix and others like Matthew Mc.

Conaughey and Nicole Kidman signing on to more prestige television shows like “True Detective” and “Big Little Lies.”An individual with knowledge of the film has told The. Wrap that “The Mummy” cost $1. P& A and will need to gross $3. With this opening, “The Mummy” will need a big international haul to hit that target.

The film was savaged by critics after the mid- week embargo broke, handing it one of the lowest Rotten Tomatoes scores of the summer with 1. Much like “Pirates of the Caribbean: Dead Men Tell No Tales,” the bad reviews have kept audiences away. But unlike “Pirates,” those who did go see the film, had mixed reactions, as “The Mummy” got a B- on Cinema. Score, a market research firm that surveys audiences to rate their viewing experiences.

All 4. 1 Tom Cruise Movies Ranked, From So- So to Phenomenal (Photos)Tom Cruise wasn't . The actor turned 5. Monday. We ranked his films, from the so- so to the phenomenal. But “Cocktail” is just . The work- hard play- hard clich.

Cruise smartly swiped away from roles like this. Touchstone Pictures. He stumbles off a soccer field, goes shirtless and shares a story with the protagonist about how he almost burned his house down. Watch The Hole Movie Dean (2017). You were probably sold at .

Universal. 38. Cruise's accent isn't great. Universal Pictures. After all, he’s playing a vampire.

This showy, flashy role would’ve been better suited for someone like Johnny Depp. Cruise’s Lestat doesn't feel as hungry as most Tom Cruise characters, just thirsty. For blood. Warner Bros. New Line Cinema. 31. Many who grew u with it consider it a classic. Warner Bros. 3. 0. Nelson in a classic and well- meaning but clich.

But by this point Cruise had already played the young hot shot too many times. Paramount Pictures. We all know how that went.

Thankfully, Cruise doesn’t belabor a phony German accent, but Bryan Singer’s drama is mostly historical set dressing. United Artists. 26. He almost steals the show from George C. Scott, Timothy Hutton and a young Sean Penn. Twentieth Century Fox. Cruise goes from playing the cocky, unstoppable Cruise archetype to a deformed, defeated man trying to figure out what matters. Cameron Crowe’s remake of a Spanish- language film shifts genres stunningly, and it’s proved a polarizing movie in both Cruise and Crowe’s catalog.

Paramount. 24. But Cruise is good enough to make it almost work. It’s a solid samurai epic with Cruise fighting out of his element, playing an American Civil War official overseas as a dynasty comes to an end. Warner Bros. 2. 2.

It all feels very '9. Paramount. 21. Abrams was brought in to reboot the franchise, so to speak, and he brought his signature lens flares, humor and gritty realism to the property.

The film’s high point isn’t Cruise, but Phillip Seymour Hoffman as the villain. Paramount. 20. The sci- fi premise has promise but loses steam as some of the Morgan Freeman- delivered twists and parables start to come out.

Universal Pictures. That ain’t Tom Cruise.

But Christopher Mc. Quarrie extracts from Cruise a grizzled, angry action hero. Plus having Werner Herzog as your movie’s villain doesn’t hurt. Paramount. 17. But Cruise captivates with that infectious, cocky glint in his eye as he whips his cue around, knocking .

His fuming anger and profanity in this cameo makes him a pimple ready to burst, and his best dialogue isn’t even fit to print. Paramount. 15. Barry Levinson’s film is just a road trip movie with a showy Dustin Hoffman performance at its center. And yet Cruise revealed an untapped tender side. United Artists. 14.

Wells story, but the human element elevated this already tense sci- fi thriller. Paramount. 13. But it’s rightfully famous for Cruise’s balletic, expertly executed heist as he dangles from the ceiling and tries not to break a sweat. Paramount. 12. It culminates in a slick assassination inside an opera and a standout new foil for Cruise in Rebecca Ferguson. And Cruise is just awesome in it. Paramount. 11. Michael Mann transformed Cruise into a mysterious silver fox and silent killer, toying with his hostage Jamie Foxx’s mind and morality until the two form an unexpected bond.

Paramount. 10. There’s still no better popcorn movie that flaunts . The movie as a whole channels everything that made Cruise a star, including his hot- shot attitude and smirking charm. But he also subverts and challenges other teen films. Warner Bros. 8. Yes, that really was Cruise dangling off the side of the Burj Khalifa tower in Dubai, and it paid off. Paramount. 7. Cruise plays a captain in this sci- fi who sells a war to the public, but is privately a coward. When he’s killed in battle and brought back to life in an endless vicious cycle played for pathos and some laughs, he regains composure. Emily Blunt gives a fantastic, hard- edged performance as well.

Warner Bros. 6. But that icy demeanor in what presents itself as an erotic romance amplified the surreal mystery of the film and made Cruise vulnerable and human. Warner Bros. Cameron Crowe’s endlessly quotable screenplay wouldn’t be quite the same without Cruise’s comic timing as he bellows “Show Me the Money” and lampoons his own hot- shot persona. Tri. Star Pictures. It’s a rebuke to the blind patriotism flaunted in Cruise’s own “Top Gun” and is one of Stone’s best films. Universal. 2. Cruise looks so cool manipulating video in the Pre- Cog crime lab, he practically invented touch screens. Spielberg bakes endless fun and invigorating, futuristic chase sequences into a screenplay that contemplates big questions of fate and free will.

Twentieth Century Fox. He plays a vile, lascivious men’s right advocate named Frank T.

J. Mackey, whose mantra is “respect the cock.” Cruise made it possible to dislike, even loathe one of his characters, and yet he’s chillingly charismatic. New Line Cinema. Previous Slide. Next Slide. Happy 5. Tom Cruise. Tom Cruise wasn't . The actor turned 5. Monday. We ranked his films, from the so- so to the phenomenal.

Tom Cruise’s 1. 0 Best Films. If you chronicle his career starting with “Risky Business,” in 1. Losin’ It” fans), Tom Cruise has starred in 3. He has been a movie star for 3.

Cruise is a measured, meticulous, one- movie- a- year guy, and for a long time that worked for him. He made rousing popcorn crowd- pleasers, or he teamed up with prestigious directors and made artful movies — or, often enough, he did both at once. In recent years, the Cruise method hasn’t worked out as well, although it still yields occasional gems. What’s remarkable to see, when you sink into his best work, is what an indelible actor he is.

There are a number of words that he owns (like, you know. I should say that there’s a reason Oliver Stone’s “Born on the Fourth of July” didn’t make this list: I think it’s a bad movie, and that Cruise is woefully miscast in it.

The most famous line in the movie, of course, comes from Jack Nicholson: “You can’t handle the truth!” Yet if you go back and re- watch that scene from Rob Reiner’s solidly carpentered adaptation of Aaron Sorkin’s military courtroom drama, what you see is the slow build- up of confrontational energy between Nicholson, as a self- righteous Marine autocrat in thrall to his hidden code of ethics, and Cruise, as the Naval attorney who goads Nicholson into revealing his true colors. Throughout, what you see is that Cruise is an explosive actor because he’s such a great interactor.

After the washout of “Lions for Lambs” (2. Oprah Winfrey couch- jumping incident, Cruise, for the first time, really seemed to be on the ropes, and that required a maneuver that was either desperate or balls- out, or maybe a bit of both. In Ben Stiller’s very funny and close- to- the- bone movieland satire, Cruise scored a triumphantly scuzzy cameo as Les Grossman, a portly, bald, venomous, and vulgar studio head who tosses off lines like “Look, f— stick! I’m incredibly busy, so why don’t you get the hell out of here before I snap your d— off and jam it into your a—!” You could make a parlor game out of figuring out which fulminating, gold- chain- wearing meshugenah Hollywood power- monger Cruise was taking off on, but the beauty of the character is that he has so much DNA from so many abrasive Tinseltown monomaniacs. Cruise, in the ultimate cast- against- type stunt, nails the grandiose hostility with such hilarious petty glee that you can see why there was talk of a spin- off movie.

Come to think of it, maybe it’s time. Thirty years later, it’s hard to recapture just how exotic it was to see Cruise, the shark- grinned teen- idol megastar of “Risky Business” and “Top Gun,” team up with a filmmaker as prestigious as Martin Scorsese to make a sequel to “The Hustler.” It was Scorsese’s inspiration to realize that Cruise could bring the same peacock effrontery to the role of Vincent Lauria, a nine- ball hustler crowned with an ironic ’5.

As a character, Vincent is crafty but callow, and that makes him both a video- game- era heir to “Fast” Eddie Felson in the original version of “The Hustler” (1. Eddie, played by an older- wiser- but- just- as- wily Paul Newman. The scene in which Vincent, in an unbroken rotating shot, sinks every ball to “Werewolves of London” remains an apotheosis of Cruisian bravura. This gritty and gripping Michael Mann two- hander- on- wheels is a very good movie that, at the same time, is ludicrously overrated (a lot of critics seem to feel it’s one of the greatest works of art in the history of cinema). Yet it allowed Cruise, playing a contract killer who takes a Los Angeles cabbie (Jamie Foxx) hostage, forcing him to chauffeur him to a series of hits (yes, the plot is a transparent contrivance), to display a brand a new color — a sociopathic malevolence. Everything about him is literally steely: hair, suit, stubble, attitude. But Cruise doesn’t just wallow in stone- cold violence.

He lets you see the icy tick- tock of his mind. Head bowed, with his back to us, he slid out from the edge of a suburban foyer, in sweat socks and a floppy dress shirt, as though he were on the concert stage of his dreams, and when he began to lip sync to Bob Seger’s “Old Time Rock and Roll,” using a candlestick as microphone, you could feel an earthquake happening. What was it about those two minutes that announced the birth of a movie superstar? It had a lot to do with what a clean- cut, clear- eyed preppie the former seminary student Thomas Mapother was: This wasn’t exactly the first lip- sync scene in history, yet it was the first time in a movie that someone who looked like this had let himself go in such a delirious, unguarded, dancing- with- myself way. That dance told you something about the spirit that was alive in Tom Cruise — bolder, fiercer, and rock- and- rollier than you might ever guess.

The whole movie was about the secret reveries of Cruise’s Joel, who gets involved with Rebecca De Mornay’s dream- girl prostitute but learns that he has to pay the price. Paul Brickman’s 1. The Graduate” for Gen- X, and it did for Cruise what that film did for Dustin Hoffman: made him a whole new species of movie hero. In recent years, Cruise has turned doing his own stunts into a kind of PR shtick, but when he did it here, in the most outrageously inspired of all “Mission: Impossible” films, it was comparable to Buster Keaton’s acrobatics in “Sherlock Jr.” — a daredevil coup that became integral to the actor’s artistry. The extended sequence in which Cruise slithers across the surface of the Burj Khalifa, the towering skyscraper in Dubai that’s the world’s tallest building, is an action- suspense epiphany at once jaw- dropping, terrifying, and exhilarating. It’s all about IMF agent Ethan Hunt’s implacable crazy valor, a quarter mile up in the air with suction cups on his hands, and that boldness — thrillingly — becomes inseparable from Cruise’s. But if that’s all there was to the film, it wouldn’t be on this list.

Director Brad Bird sustains a mood of death- defying trickery, where audacity trumps fear and nothing is what it seems, and Cruise is like a heat- sinking arrow shooting through each scene. This is his most fully realized thriller performance, worthy of comparison to the actors who killed as James Bond. How do you interact with someone who can’t? That was the challenge Cruise faced in Barry Levinson’s ticklishly offbeat and bittersweet buddy movie, in which Cruise’s Charlie Babbitt winds up on a road trip with his older brother, Raymond (Dustin Hoffman), an autistic savant who’s got the math skills of a computer. Hoffman’s performance is genius (he gives us a glimpse of Raymond’s soul without ever once cheating the limits of his perception), but it’s Cruise’s work — now coddling, now arrogant, now frustrated, now sorrowful, now face- to- face with his past — that makes Hoffman’s possible. The beauty of “Rain Man” is that by the time the film is over, you can’t imagine either of these characters without the other.

It’s tempting to call Tony Scott’s slickly irresistible joystick war- game rouser the quintessential Cruise film. That’s because it embodies, for all time, the myth of Tom Cruise: the high- fiving rebel hotshot who can cruise through any situation, all grins and bravura and trouble- shooting attitude, because he isn’t held back by the psychological conflicts that ground the rest of us. He’s a born high- flier — the dude who would be king. Many think of “Top Gun” as a guilty pleasure, but actually it’s a terrific movie: a new- fangled version of old- fashioned corn, with dogfight sequences that now look nearly classical in their precision. What gives the action its glow is Cruise’s effortless belief in the power of his stardom. That’s a quality you can’t bottle or fake — it’s just got to be there.

Another thing you might call it is the quintessence of Hollywood. Too many Cruise films spin around a love- interest factor that’s central yet, in the end, forgettable (Elisabeth Shue in “Cocktail,” Nicole Kidman in “Days of Thunder,” Cameron Diaz in “Knight and Day”).