Not counting animated gigs (ranked by quality and in reverse release order: Spider-Verse, The Croods, Astro Boy) the last time I paid to see Nicolas Cage’s distorted face live on a theater screen was 2009’s Knowing, which I’d forgotten existed till just now. I suspect I’m not alone in having given up on Cage’s career after he descended from the ranks of Oscar-winning A-listers to join the Redbox human-running-gag lineup as the easiest possible means to solve his gargantuan tax and debt issues. Once upon a time it would’ve been the second-easiest means, right after “do an A-list film for an A-list paycheck”.
Now that he’s officially announced himself debt-free, the next obvious step is a comeback tour. For me that journey began last year with Pig, such a lovely little heartbreaker of a film that I wish I’d seen it sooner so I could’ve ranked it highly in one of my year-in-review lists. That apparently wasn’t enough to win back the hearts of millions of forsakers, though. Perhaps its sincerity and low violence quotient frightened and confused younger Cage fans who simply assumed he too was battling elder abuse and aphasia. Hence the comeback tour’s Plan B: whimsical self-deprecation.
Thus the face of the dude who might be the new Hardest-Working Man in Showbiz returns to theaters in The Unbearable Weight of Massive Talent courtesy of writer/director Tom Gormican (a creator of the short-lived Adam Scott/Craig Robinson misfire Ghosted) and co-writer Kevin Etten (Comedy Central’s Workaholics). Rather than stand aloof while the internet mocks him with every new release, why not lean into the mockery and subvert it from within? Then perhaps we can all laugh together, do some healing, forgive at least twenty of his last three dozen films, and start a useless change.org petition to get National Treasure 3 greenlit.