Word: cusackã
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Dates: during 2001-2001
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...complicates matters by kookily insisting they need to be re-brought together by destiny and boom—after a series of mishaps, the happy couple is reunited at the end. Rarely is real life so simple. If you stop to think about the logistics of the film, both Cusack??��s and Beckinsale’s characters leave perfectly lovely fiancées at the altar. Jonathan deserts a girl who’s thoughtful enough to remember his favorite book, and Sara’s fiancée visits every hotel in New York City alphabetically...
...really argue? Cusack??��s on quite a roll right now, deftly walking the leading-man middle ground like a cute date balancing on the side of a fountain. He can do savvy without resorting to “I’m-Slick” posturing (e.g., Pierce Brosnan, whose tie-adjusting characterizations all suffer from acute Bond Envy), and he can do sensitive, but without the moistened doe-eyes (e.g., Nicholas Cage, whose recent turns in Family Man and Captain Corelli’s Mandolin have proved that he can do insufferable mournfulness like no other). Looks...
...downside, of course, is finding the balance between that time-tested inverse relationship between mainstream acceptance and creative free reign. Held as he is to a standard of consistent pleasantness, Cusack??��s character range has become more and more limited, and his idiosyncracies as an actor now have a distinctive familiarity...
...course, limitations in genre or character type don’t have to equal boring movies. In the hands of a skilled writer, such limitations often yield greater creativity, as writers come up with new twists on old conventions. In Cusack??��s case, witness Gross Pointe Blank, which took the romantic comedy genre (in which Cusack most comfortably walks) and tweaked it, hilariously, by making Cusack??��s leading man an assassin. Unfortunately, for every inspired screenplay, there are hundreds of others that are content to play by the rules, re-staging old scenes and re-hashing...