one of my favorite stills. We've arrived at the end of a pan-- one of the few not of the subject's POV-- that i find especially beautiful. The scene begins as angled parallel to Cruise's profile and to the facade of buildings behind him. The camera pans out and the scene ends here.
By bringing more attention to the dimension depth while denying us any ground beyond the building fronts (The sky is never shown save through windows and as glimpses through trees when Cruise returns to the scene of the crime... as it were), the angle makes especially theatrical these staged streets of Greenwich Village. Moreover, the frame is only perfectly parallel with the club's marquee at center made two dimensional by the intensity of its neon signage (even though we know it shouldn't be, rather it should be at the same angle relative to the frame as the rest of the storefronts).
The frame is also parallel with the reflection of Cruise's feet on the building.
Get excited, cause apparently some important schtuff is about to go down in the Sonata Cafe. Have fun, Tommy