Word: cusack
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...wrestlers in this film, ostensibly, are Craig and Lotte Schwartz (Cameron Diaz and John Cusack). You'd scarcely know that it was either of these actors just from looking at the images; the photogenic stars have been outfitted for the film with the scraggliest wigs, worst make-up, and dowdiest clothes in greater New York City. They look awful, and it looks fantastic. You can practically savor Diaz's joy at proving that she's a "real" actress and not just another pretty face. Craig and Lotte are an absurd, sexless married couple - pet store junkie and street puppeteer - fighting...
...with dying and abandonment, issues we all face," says Jeup. "Woody's choice is between his friends and immortality." Everyone had a say about plot and characters. The two female producers, Helene Plotkin and Karen Robert Jackson, insisted on a strong girl character--something lacking in the original. Joan Cusack signed on as the voice of Jessie the Cowgirl and turned the character into a showstopper--one with a lesson for Woody. "She knows what it's like to be abandoned. She's been jilted," says Jackson...
...John Malkovich. It's no secret that the guy is the weirdest man in Hollywood-- but it's good to see that he recognizes his own eccentricity. Look for our mega-feature on Being John Malkovich on Oct. 22, when we give you interviews with Malkovich, Cameron Diaz, John Cusack and lots more mega-celebrities...
...successfully for him in Pretty Woman. They're all good at diversionary sleight-of-hand. Roberts' tentativeness is charming; she knows what she's doing, fights it, then succumbs with sad but perky resignation. Gere puts a nice flaky edge on his incisiveness. The supporting cast, led by Joan Cusack, surrounds them with funny common sense that doesn't fully assert itself until the happy end of this deft, if disposable, movie...
What Ehren Kruger's script doesn't do so well is suspensefully build Faraday's suspicions about his new neighbors, Oliver and Cheryl Lang (Tim Robbins and Joan Cusack), and their creepy kids. There's always something eerie about Robbins' geniality--in his screen persona he's never been a guy from whom a sensible person would buy a used car--and almost from the outset you agree with Faraday that he and his kin are surely up to something distinctly antisocial. One-two-three, Faraday acquires the evidence suggesting that Oliver has taken over another man's identity...