El peso del talento

To give you insight into my relationship with Nicolas Cage, I will quote the end of my review for his movie Jiu Jitsu, which I gave 1 star:

"This is just a straight-garbage movie. Damn you Nick Cage!

... I wonder what movie of his I'll watch next."

I've been a fan of his for so long. I think he's very talented and has a certain crazy appeal that you don't see from other actors. And I keep watching most of his movies even as they plummet in quality and rarely make it to cinemas. He still makes them entertaining, even if they are awful. This is a huge contrast to other former A-list actors who have gone down the same path but with unwatchable movies. Like fellow Face/Off star John Travolta or Bruce Willis (we will miss you!).

So when they decide to make a movie that's essentially all about Nick Cage, of course I'm 100% in. And I have to say, this is his best movie in years. It's levels above the quality of his recent direct-to-video movies and is definitely cinema-worthy.

I laughed a lot. A couple parts had me crying from laughter. And when I wasn't laughing I was generally amused. It felt so refreshing to laugh with his movie rather than at it. And with the lack of comedy movies lately, this came at a perfect time.

Other than the comedy, this is a mostly well-made movie with a story and characters that kept me invested. I love the meta aspect. Nick Cage's performance in this role is perfect. It has a good supporting cast with the standout being Pedro Pascal. He's so likeable and has great chemistry with Nick Cage. Their relationship drives the movie. Pedro Pascal is a star.

I had a great time with this movie. I think most will enjoy it, but the ones who will appreciate it the most are the fans who are familiar with his work. (2 viewings, early screening 4/13/2022, 3/26/2023)

My favorite Nick Cage movies:

(1) Face/Off

(2) Kick-Ass

(3) Matchstick Men

(4) The Rock

(5) The Unbearable Weight of Massive Talent

(6) Con Air

(7) National Treasure

(8) Next

(9) Knowing

(10) Lord of War

I didn't know if I should count Spider-Man: Into the Spider-Verse since his role is so small.

Caught an advance screening tonight and I thought it was super fun. I'm a huge Nicolas Cage fan, and it was over the top and crazy and chaotic and heartwarming. And there's definitely some cuckoo stuff mixed in, I'm actually a little surprised he didn't take the weirdness even further. And he yelled a lot but I would've taken even more. Haha Definitely a light silly night at the movies :) LONG LIVE CAGE.

It's fair to say I haven't always been the biggest fan of Nicholas Cage, but it's not the talent, it's often the film choices, similar to Michael Cain, he really has made some shockers. What this film does however is poke a little fun at his past, it's tongue in cheek, but it's a cracking movie.

It's funny, it's energetic, it zips along, there isn't a single dull moment here, you don't need to be a fan or a critic, this movie is just really worth your time.

Loaded with irony, it's plain to see that Cage has a sense of humour, this really is a winner for him.

It wasn't what I was expected, but I am so glad I went to see it, I'd really recommend it. 9/10.

Over the course of the last decade, Nicolas Cage's career has taken a weird turn. The former Oscar winner seemed to be back on top, making the National Treasure movies and seemingly on his way to movie star status. And then all of the drama. Money was tight, he had terrible spending habits and had to keep the bread baking. Questionable choices on top of questionable choices. The only thing that seemed to be consistent was every few films, we get a pretty good performance. And then the revolution on social media of commenting on terrible films and appreciating there awfulness became a trend, and people started noticing that even Cage's "bad" films exuded a certain energy. People rightfully gave him credit for giving it his all even for the straight to video fare he did because he had a couple weeks off between other projects. The summation of this bizarre trajectory comes to a peak in this role.

Needless to say, this was the role Cage was meant to play...that being himself. It's always brilliant to see just how far someone will take their art and even lampoon themselves in the process. In the past, we saw Jean-Claude Van Damme do it with JCVD, which caused a bit of an eruption because it was a film about him, but the film was openly mocking him. If not for the heartfelt scene where Van Damme laid everything out and gave insight into his motivations, we understand just how difficult such self reflection can be. Michael Keaton also did this in Birdman, taking a swipe at his most famous character in an attempt to rid himself of his past and take on a new persona for his future. It worked, for he is back in big productions again and even won an Oscar. With Nicolas Cage, what is the commentary going to be?

For a Nicolas Cage super fan like me, this movie was a joy to watch. They whipped out some deep references in this film, and Cage seemed to take joy in lampooning his own performances. I forgot how much Cage goes "full Cage" in Guarding Tess, which is a helpful reminder that he was pretty much the guy that was in offbeat comedies for the longest time. And of course, Cage's inability to handle accents is lampooned hilariously, especially when the characters openly love Captain Corelli's Mandolin, an absolute train wreck of bad accents and over the top mannerisms.

What I especially love is how well Pedro Pascal and Cage interact with each other. You can tell they enjoyed the experience and had a boatload of fun with the material. Also, the bizarre interactions that Cage has with himself (you heard that correctly) are amazing.

Many will say his was a just an ego trip for Cage, but when you see his recent body of work you get the feeling that was the intent. The man loves to perform, regardless of the project. As long as he gets some top billing and as long as people keep watching, why wouldn't he get a little big headed? Cage has definitely walked a strange route and seems fully committed to that journey, and as long as he has the chance to keep making unique projects and bring his "nouveau shamanic" acting method to the forefront, I will continue to enjoy many of the strange outings he participates in.

Nick Cage: "Is that supposed to be me? It's ... grotesque."

The unbelievable part of The Unbelievable Weight of Immense Talent is that it's all true (in a figurative way). Nicolas Cage can play himself, Nick Cage, because the many films he's been in, some worthwhile (Moonstruck, Raising Arizona, Face/Off) and some terrible (take your pick), have prepared him for a true meta experience, like John Malkovich in Being John Malkovich or the cast playing themselves in Robert Altman's The Player.

Of course, it's hilarious because Cage is usually a witty version of himself and making fun of himself anyway (except when he wins the Oscar for Leaving Las Vegas). With the help of director Tom Gormican and writer Kevin Etten, Unbearable is a metanarrative of Nick as a burgeoning hero for his daughter, Addy (Lily Sheen), and a buddy for a drug kingpin, Avi (Pedro Pascal), with whom he writes a joke thriller, which Unbearable turns out to be.

Pascal's performance as a thorough Cage fan and possible drug lord emphasizes the often-close emotional bond between fans, star, and film. There is little difference between us and Avi in our love for the actor and his roles.

Throughout this comedy, the art of filmmaking turns out to take center screen as the principals dog out a workable script that they really are starring in here, more or less because the fusion of art and life is blurred. The varied facets of filmmaking and the actor's relationship with his audience are never far from the surface. Nor is it stagnant because each Cage film is a mirror for Hollywood's immediate needs and its actor's. In Unbearable Nick's striving for the "part of a lifetime," never far from a cliché.

For Nicolas Cage, such is his life, and the film makes fun of his accepting roles solely for getting cash to pay his bills, and maybe, just maybe, for the joy of acting, for which he's indicted when he loses the people closest to him because of his obsession for acting.

As Cage plays himself, he stumbles on the right script to reconcile him with his family and win the admiration of his audience. He's never far from his Oscar in Leaving Las Vegas or a "should-have-been-nominated" in Pig. A good will pervades this complex comedy, largely because Cage has a good heart hidden underneath his thespian ambitions, real or fictional.