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After a few hours and numerous rounds, all of the guys went home except Jimmy and the boss.

John cusack on dating

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In truth, though, the true stars of Terrence Malick's meditation on war and loss are the cinematography and the wonderful turn from Jim Caviezel, something he has failed to live up to ever since.Released in the same year, that was bringing broad comedy to the big screen and it was John Cusack who was playing against type in many ways as John ‘Gib' Gibson. He is, of course, John Cusack, the man whose appearance in a movie means that, if nothing else, you're guaranteed at least one strong a more interesting film than it was initially felt to be.MJ: Do you think America’s ready for a dark satire about the war on terror?Often the satires that reverberate with the public are at least a decade behind actual events. My job is to just express something that I want to express. MJ: This is also the first press release that’s ever come across my desk touting the role of a “sexy left-wing journalist.” Speaking for all of us, I have to thank you for that.The interplay between the two is the real draw in this witty tale of assassins and school reunions that takes high concept to great heights.They're not on screen together too much, but no matter.

Other highlights of the film include Joan Cusack's turn as Marcella and a decent outing for Minnie Driver. Cameron Crowe films have a tendency to divide audiences.

It gets better the more times you see it and that comes principally down to the strong set of performances from Billy Bob Thornton, Cate Blanchett and, of course, Cusack.

This is all about the interplay between air traffic controllers Falzone and Bell, of course, and with both trying to out-cool and outdo each other, the flat, deadpan performances are perfectly in tune with the manner and feel of the film.

The prospect of talking with John Cusack was almost as exciting at 40 as it would have been as a teen. Mother Jones: I’ve got a cold, so if I start sneezing, just know that the 16-year-old on the inside is dying of embarrassment. MJ: Yeah, I’ve been watching you since then; we’re basically the same age. And probably something about being an artist, feeling like you’re not a part of the pack. JC: I don’t think people knew that the Bush agenda was going to be as radical as it was in implementing the Milton Friedman playbook of radical privatization—what Naomi Klein calls “disaster capitalism.” As Iraq was still on fire, literally, Paul Bremer rode in, dressed like my character in his Brooks Brothers suit with his military boots, the uniform of the disaster capitalist.

After all, he has embodied every phase of angst of those of us who grew up in the ’80s, from teen dating dilemmas, to horrific high school reunions, to making lifetime commitments (which he hasn’t, at least publicly). But this film—in which his character fixes problems for a Halliburtonlike company that runs the “first war ever to be 100% outsourced”—is much darker, angrier, and so jam-packed with obscure references to the war on terror, venal corporate-branding strategies, and private military contractors that even this editor of devotee could easily make one a deadly annoying jerk, and I worried he’d shatter expectations 25 years in the making. He seems just as smart, and smart-assed, as the characters he plays. Speaking of which: Perhaps more than any actor, you symbolize the angst and ambivalence of our generation, Generation X. There’s also some element of coming of age during the Reagan administration, which everybody has painted as some glorious time in America, but I remember as being a very, very dark time. It was a messianic fantasy where Iraq was going to be a free-market utopia.