Even in the golden age of muscled-up testosterone, the ’80s, Cusack found success in offbeat roles in movies like High Fidelity and Grosse Pointe Blank. And each role offers some timeless advice.
Photo Credit: Listal
John Cusack’s entire career is something of a life lesson: you don’t need to be conventionally macho to become a leading man. Even in the golden age of muscled-up testosterone, the eighties, Cusack found success in offbeat roles while seeding a career with far fewer rough patches than, say, Sylvester Stallone’s. This month, Sundance Channel is showing two of Cusack’s very best, SAY ANYTHING and HIGH FIDELITY; in those movies and others, Cusack has much to teach us.
Ever feel that twinge of nostalgia for those glory days of high school and college? Well, you may have forgotten the aimlessness and angst of post-graduation – but don’t worry, we’ve got two films to remind you of it this week. Also on tap, a sexy (but literary!) romp through Paris, one of the best Stephen King film adaptations ever, and Alan Cumming and Jennifer Jason-Leigh at each other’s throats.
The lovable losers in Stephen Frears’ HIGH FIDELITY waste their days sitting around the Chicago record store Championship Vinyl compiling Top 5 lists. Records to play on a Monday morning? Dream jobs? Songs about death? These elitist “experts” have got you covered.
As we prepare for Sundance Channel’s premiere of Frears’ relationship comedy — it airs Sunday, Dec. 2, at 10P, with encores throughout the month — we were inspired to create our own all-time, top 5, desert-island list of lovelorn, sad sack heroes of the heart. These guys have perfected the art of pining after the prettiest girls. In the best-case scenarios, they even win that girl’s heart.
And yes, we double-dipped on Cusack, because few in Hollywood are quite as masterful at the hangdog look of the broken-hearted, unfulfilled Romeo. It’s his calling card … as HIGH FIDELITY confirms.
2011 marks the 20th anniversary of Woody Allen’s SHADOWS AND FOG, meaning, among other things, that the prolific filmmaker has made 20 films since (actually, he’s made 21, but who’s counting?). In 1989 Allen made the much-loved CRIMES AND MISDEMEANORS, followed by the slightly less loved ALICE, and then SHADOWS AND FOG, which was, unfortunately, even less of a hit amongst audiences. The early 90s New York Times film critic Vincent Canby actually ended his review with a ridiculous “note of caution: SHADOWS AND FOG operates on its own wavelength. It is different. It should not be anticipated in the manner of other Allen films.”