All of us have, in the last few weeks, engaged in a period of readjustment – perhaps not back to our lives of two years ago, but certainly one in which, among other things, we are beginning to assess how to spend our leisure time and return to former means of entertainment.
As to live theatre, well, things are progressing, but only slowly. I was delighted to give the Metro theatre production of Nunsense a positive review. It will shortly announce its new season, as will the Arts Club. Both companies deserve our support.
I noted that Vancouver Opera was taking a hesitant step towards its usual programming with H.M.S. Pinafore, a Gilbert and Sullivan operetta that I have seen far too many times to relish seeing again, but which many doubtless welcomed. I am delighted to report that Bard on the Beach is returning this summer with productions of A Midsummer Night’s Dream and Romeo and Juliet as well as a variation of the Othello theme, with the play Harlem Duet. And, of course, Hamilton will be drawing in crowds at the Queen Elizabeth for much of the summer.
In the meantime, many of us will go back to the movie theatres. Netflix has already seen its number of subscribers decline. However, if Cineplex is going to woo us away from streaming services, it may have to work harder at providing a wider range of choices, including some truly attractive alternatives to Marvel epics and children’s animated films. Certainly, one of its current releases, The Unbearable Weight of Massive Talent, does not deserve our leaving the house and the convenience of the television set.
This film, with its unlikely title, testifies to either the egotism or the humility of Nicolas Cage. In large measure, it is inspired by the star’s life work. So it is that it portrays Nicolas Cage playing himself as an aging star, desperately trying to land a meaningful movie role. Rejected in his attempt to get a director to cast him in such a role, he is persuaded to fly to Spain, where a gangster, who regards Cage as the greatest film star ever to perform, wants Cage to co-write a script. What follows in this unlikely scenario seems to be an attempt to remind viewers of the many bad movies in which Cage has appeared, as well as a few nods in the direction of his good ones – in short, Cage’s whole and varied filmography. In doing so, it doesn’t seem to know exactly what kind of film it wants to be –reflecting that one never knows what to expect from any Nicolas Cage movie.
On one level, the film seems intent on satirizing not only Cage himself, but much of Hollywood’s wish to be significant. In this case, it churns out far too many pieces of formulaic inadequacies. In addition, this new Cage vehicle also aims at broad comedy, which for the most part is not at all funny. In the end, it simply settles for being just another action film with a preposterous climax involving car chases, movie stunts, and lots of violence. This melange of genres is set against a saccharine story of Cage attempting to mend his family relationships, especially with his teenaged daughter. In short, it is an attempt at covering all genres – like Cage’s own film history.
I suppose that some may find this confused mess entertaining, despite what seems to be a strained and failed effort to be all films in one. It is difficult to imagine why Cage would have participated in such a shambles, except for the claim he himself makes in the movie that he is determined always to continue to work. He must be desperate in this ambition. Perhaps his next script won’t make the audience feel embarrassed for him – and won’t immerse every member of the cast in a veritable tsunami of blasphemy, profanity, and vulgarity.
Oh, well, perhaps things will soon improve on the movie front. Meanwhile, you might want to reconsider cancelling your streaming service. We aren’t back to normal quite yet!
