Legendary actor Paul Newman (Message In A Bottle) and Academy Award nominee Tom Cruise (Best Actor, 1996, Jerry Maguire) ignite the screen in this powerful drama. Brilliantly directed by Martin Scorsese (Bringing Out The Dead), Newman re-creates one of his most memorable roles, "Fast Eddie" Felson from The Hustler. As Fast Eddie, he still believes that "money won is twice as sweet as money earned.
Age restriction: R (Restricted)
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Legendary actor Paul Newman (MESSAGE IN A BOTTLE) and Academy Award(R)-nominee Tom Cruise (Best Actor, 1996, JERRY MAGUIRE) ignite the screen in this powerful drama. Brilliantly directed by Martin Scorsese (GANGS OF NEW YORK), Newman re-creates one of his most memorable roles from THE HUSTLER. As Fast Eddie Felson, he still believes that "money won is twice as sweet as money earned." To prove his point, he forms a profitable yet volatile partnership with Vince (Cruise), a young pool hustler with a sexy, tough-talking girlfriend (Mary Elizabeth Mastrantonio, THE PERFECT STORM). But when Vince's flashy arrogance leads to more than a few lost matches, all bets are off between Eddie and him. THE COLOR OF MONEY will electrify you with its suspenseful story, dazzling cinematography, and dynamic performances. Martin Scorsese handles directing duties in this 1986 sequel to the classic 1961 film The Hustler, which marks the return of Paul Newman to the role of pool shark Fast Eddie Felson. Anxious to break into the big time again, Eddie finds a talented protégé (Tom Cruise) to groom; but with the addition of the latter's manipulative girlfriend (Mary Elizabeth Mastrantonio) and the wild streak in Cruise's character, the trio make for a fascinating portrait in group psychology. The cast is brilliant, the script by Richard Price (Clockers) is a paragon of tightly controlled character study and drama (at least in the film's first half), and Scorsese and cinematographer Michael Ballhaus make an ornate show of the collision and flight of pool balls through space--something of a metaphor for the dynamics among the three principals. The film is generally regarded as weaker in its second half, and rightly so, as everything that was interesting in the first place disappears. Still, Newman won a deserved Oscar for his performance. --Tom Keogh