Solely, because of the performances of its two protagonists, The Color of Money has a certain charisma and charm to it that is brought by the seasoned experience of Newman, and the playful, showy youthfulness of Cruise, making this a movie a rewatchable joy.Ī film that Martin Scorsese has confessed was inspired by the 2002 Hong Kong crime thriller, Infernal Affairs. The Color of Money pitches together two iconic actors at very disparate stages of their careers, with Paul Newman well into the twilight of his acting tenure, and Cruise only really just getting started.

This is a lighthearted, easygoing picture and a far departure from the heavy-hitting nature of his previous sports drama. A sequel to 1961’s The Hustler, the film follows Fast Eddie Felson (Newman), who uncovers a pool-playing prodigy in Vincent (Cruise) and decides to teach him the ways of pool hustling, with the pair striking a mutually beneficial deal. Having come off the back of Raging Bull with an Academy Award for Robert De Niro, the likes of Cruise and Newman surely had the gold statuette in their sights when taking on this gig.

Tom Cruise and Paul Newman pair up in this irresistible sports drama. Despite the film occasionally dipping into incoherent confusion every now and again, this underrated ‘70s gem is tied nicely together by its legendary musical elements and wholehearted acting displays, rendering it a rewatchable lesson in love, determination, and irreconcilable personal disparities. New York, New York is brought to life by the complexity of its characters, and the organically strained relationship at its heart. Of course, this is a Scorsese flick, so it isn’t all smooth-sailing, with the pair’s relationship tested to its limits by their respective successes when conquering the world of music. The musical drama starring Robert De Niro and Liza Minnelli follows the story of a talented saxophonist and singer, who, through their shared passion for music, fall in love. However, it’s thanks to Martin Scorsese’s 1977 picture, New York, New York, that this jazz anthem ever saw the light of day, having been composed specifically for the director’s screenplay. The swooning bellow of the brass instruments is often associated with Frank Sinatra.

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