Popular John Cusack Products

An oppressively long cinematic oddball.

A singular, powerful experience.

[Fat Man] is not resoundingly disastrous. That would imply a certain energy.

It's a period re-created with a whoosh of energy and a redeeming vein of irony.

The ensemble performances are of such a uniformly high caliber that our interest in the story never wavers.

Even by Mr. Ward's own high standards in the area of idiosyncrasy, this is a daringly peculiar tale.

A film of incantatory intensity and moment by a prodigiously gifted young filmmaker.

A darkly cynical and uncompromising gem.

Best to savor The Grifters for its handsome design -- the picture looks as clean as a Hockney landscape -- and its juicy performances.

Cusack always manages to underscore panic with irony.

I'm very hard to please when it comes to the horror genre, but pleased I am with 1408, a dread concoction from Stephen King, sharply committed to film by a clever screenplay, solid direction and terrific performances.

One of the true delights of 1990s American cinema.

Despite some early indications from the two Cusacks and Arkin that it's going to be funny, it winds up an unholy mess that becomes steadily more incoherent -- morally, dramatically, and conceptually.

John Cusack is the best and main reason to see this mediocre film about a self-confessed oddball and successful sci-fi writer David who adopts a misfit.

The entire cast is fully committed to this squishily sentimental tale, which is especially impressive given that it's the kind of generic dramedy you'll swear you've seen a thousand times before.

Like a good song that makes you think it sounds familiar, when it is actually brand new, this girl meets boy story is simply crammed with appealing elements

Cusack in particular seems to have embellished his role with an assortment of verbal quirks that suggest he wasn't too happy with what was on the page.

If you can put up with all the archness and self-consciousness--there's quite a bit of both--this is an enjoyable romantic comedy.

Mr. Frears has managed for the most part to retain the velocity of the narrative without sacrificing the psychological coherence of the characters.

Its chief pleasure is the acting of the big cast, notably Pacino. At 55, he has a haggard, life-wrestling beauty and a street eloquence that has more innocence than De Niro and more sincerity than Nicholson.

A watchable but never pulsating portrait of mayoral wheeling-dealing.

Pushing Tin loses track of itself, and the source of its dramatic, manic energy.

A refreshing, funny character-driven treat.

[T]his film ranks just below The Firm and The Client on the list of John Grisham-inspired thrillers, thumbs up.

A lot of famous faces populate the courtroom in this overplotted and farfetched tale of jury-tampering, but they and the horse they rode in on are all so mired in illogical, head-scratching incoherence, they need lawyers of their own.