The Unbearable Weight of Massive Talent
Several times throughout “The Unbearable Weight of Massive Talent,” Nick Cage and the person he’s sharing the scene with- be it his agent (Neil Patrick Harris) or a prospective director or a rabid fan- share words about how he’s about to get back on top. It’s almost invariably followed up with Cage saying, “Not that I went anywhere,” and the other person repeats it. It’s as though the other person feels the need to stroke Cage’s ego when he says that, and is afraid to be honest with him. Of course, in real life, whenever Nicolas Cage gives a performance like “Mandy” or “Pig” in the middle of the deluge of VOD work he does, the same thing happens, and those of us who follow him are saying the same thing Cage does in this film. In that, and many other ways, “The Unbearable Weight of Massive Talent” is made for modern fandom.
When an actor plays themselves in a movie, you can expect some self-referential humor and comments on the actor’s career. Part of that meta piece of casting will also, likely, involve them playing a heightened version of themselves. It’s natural to immediately think about John Malkovich in “Being John Malkovich,” but that is hunting bigger game in terms of the nature of identity, and reflecting on celebrity culture, and the desire to be in that person’s shoes. Even though Cage does not have a writing credit on “Massive Talent,” it’s hard to imagine him not giving input to director Tom Gormican and his co-writer, Kevin Etten, in terms of how Nick Cage, his on-screen alter ego, should be portrayed, whether it’s how he views his work, his method, or his family. I would love to hear a commentary where he discusses the process with them.
Pedro Pascal’s Javi- a businessman who invites Cage out to his home for a birthday party (and maybe a chance to get him to agree to a script he’s written)- is the glue that holds this film together. Pascal and Cage have effortless chemistry together, as Javi- a Cage megafan- tries to contain himself, but also knows this is the opportunity of a lifetime with an icon. The dynamic the two actors have is fantastic, and delivers much of the entertainment value in the film. Javi has some family baggage, though, and when the CIA (including an agent played by Tiffany Haddish) intercepts Cage as he’s headed to the party, it builds to involve the daughter of a presidential candidate, Nick’s family unexpectedly flown to see him, and a third act that devolves into silly action cliches like we’re watching “The Rock,” “Con Air” or “Face/Off,” just without the emotional stakes of those three.
The more I reflect on the film, the more I see just how much Cage and Pascal manage to hold the film together. The scenes with them- whether it’s discussing favorite movies, or them tripping on acid together, or Javi’s shrine to Cage, or them coming up with a movie together- are the driving force of this film’s entertainment value. The CIA plot feels like an absurd complication, and doesn’t really add anything to the film’s emotional core, which is to reflect on the nature of celebrity, and how people with out-sized personalities can sometimes be blind to other things that matter, even their own family. (Shoutout to Sharon Horgan and Lily Mo Sheen as Cage’s ex-wife and daughter, respectfully. They do good work in making us care about that part of the film.) As much of a celebration of the persona of Cage “The Unbearable Weight of Massive Talent” is, it’s ability to make me appreciate the more nuanced Cage of “The Weather Man,” “Pig” and “Bringing Out the Dead” a little bit more might be its biggest gift to Cage fans.
