An American agent, under false suspicion of disloyalty, must discover and expose the real spy without the help of his organization.
1 November 1930, Prague, Czechoslovakia [now Czech Republic]
29 June 1942
29 March 1927, Providence, Rhode Island, USA
26 April 1940, Islington, London, England, UK
24 May 1960, Redruth, Cornwall, England, UK
7 February 1958, Everett, Washington, USA
14 August 1963, Gassin, Var, France
8 February 1959, Toronto, Ontario, Canada
3 July 1959, West Berlin, West Germany
17 June 1957, Banbury, England, UK
27 September 1939, London, England, UK
2 August 1951, Bailesti, Romania
12 May 1962, New York City, New York, USA
1937, Prince Albert, Saskatchewan, Canada
3 July 1962, Syracuse, New York, USA
1969
12 November 1960, Birmingham, Warwickshire, England, UK
9 March 1942, Bucharest, Romania
6 October 1962, Ann Arbor, Michigan, USA
22 May 1963, London, England, UK
2 May 1969, Karlovy Vary, Czechoslovakia [now Czech Republic]
January 02, 2016
The film tries to push against its genre, and the auteurist flourishes are unmistakable.
January 18, 2002
Humorless, charmless and flat.
January 01, 2000
Too devious for its own good.
May 20, 2008
The most dour, sexless piece of escapism in memory.
January 01, 2000
There are just a few groovy special effects and a practically incomprehensible story which we finally can't work up enough energy to care about.
January 02, 2011
Sensational, implausible, irresistible to teens.
October 29, 2008
De Palma has a choppy, episodic sense of story, and he crafts individual scenes rather than telling a single unified story.
December 05, 2011
What used to be an IMF team effort turned into another star vehicle for Tom Cruise.
July 27, 2015
Still holds up as a fun, unique entry in the action spy genre and launched Tom Cruise's second career arc as an action megastar.
July 18, 2008
It's a mission De Palma shouldn't have chosen to accept.
June 24, 2006
Despite the snags, De Palma remains a virtuoso puppet-master, pulling the strings taut in a nail-biting robbery sequence, switching from micro to macro with Hitchcockian panache, and finally letting rip with a hell-for-leather climax.
January 01, 2000
An infinite trailer that is all effects, no affect.
