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Message Boards Recent Posts Happy Brthday John moonflame John Cusack in Breaking Bad? templesofice So Damn Cute Jasmine2010 i wonder what his most ideal date would be tcroofer They look alike.

JOHN CUSACK INTERVIEW BY RISKO VANITY FAIR-2008 OUR memory’S of JOHN Cusack holding a boom box above his head, but he will display his gravity in War, Inc., a political satire he also wrote and produced, which is featured at the Tribeca Film Festival this month.
JOHN CUSACK DRAWS US IN !!-We can’t obtain get enough of that modest, genuine, over-articulate character OF JOHN CUSACK ACTORSay Say Anything and High Fidelity, why all the psychopath characters? Watch John Cusack in the trailer for The Frozen Ground Yesterday he was in Australia.
JOHN CUSACK.NET JOHN CUSACK all about the actor, his movie career, john cusack biography,about john cusack latest movies and greatest movies.
JOHN CUSACK.NET – JOHN CUSACK all about the actor, his movie career, john cusack biography,about john cusack latest movies and greatest movies.
I found this interview from 2008 in vanity fair and i thought it showed parts of JOHN CUSACK i havent read before.
Join Lizzy Lovette to discover the long and successful career of John Cusack.
WARNING: Strong Content A few scenes with John Cusack playing Hillary Van Wetter in The Paperboy.
John Cusack has many people wondering why he has never been married.
John Cusack stops by to promote his new film The Raven.
John Cusack on Rachel Ray with Amanda Peet.

In Maps, Cusack plays Stafford Weiss, a therapist who got rich off a cocktail therapy (one part Freudian psychoanalysis, one part deep-tissue massage, a generous measure of bullshit) that’s guzzled by the showbiz elite.
After 25 years as a star, John Cusack has seen the movie industry’s dark side close up – from its misogyny to its treatment of young actors.
John Cusack with director David Cronenberg in Maps to the Stars.
The baseball scene is one that could have been plucked from Maps to the Stars, featuring Cusack as a millionaire self-help guru.
Cusack, born and raised in Evanston, Illinois, made his film debut at 16, was recognisable by 18 and a star by 22.
It’s also an ensemble drama parading some of the biggest names in Hollywood: Cusack, Robert Pattinson, Julianne Moore, Mia Wasikowska.
“LA seems to be a place where a guy can say he’s a ‘life-coach-channeller-masseur’,” says Cusack.
His eyes keep drifting to a poster for Maps to the Stars that has been propped up behind me – the film being sold to the leverage.
He works a lot (he’s up to 76 credited roles), fielding triumphs (Grosse Point Blank, co-written by Cusack, about a disillusioned hitman attending his school’s 10-year reunion) and slumps (Must Dogs).

Just as Say Anything was one of the most thoughtful of the John Hughes-style 80s teen movies, Grosse Pointe Blank was by far the best of a spate of 90s high-school reunion films, with Cusack playing a hit man on the cusp of 30, returning to his alma mater.
Our interview coincides with the news that Allen is in fact making a stage version of Bullets Over Broadway, the film in which Cusack did the "Woody role" of David Shayne, the idealistic writer passing off a gangster’s words as his own.
Cusack and Frears remained friends and it was the actor who called the director a decade later to persuade him to read a script he’d adapted from a British book, High Fidelity.
He’s been in more than 60 movies since 1983, from blockbusters such as Con Air and 2012 to genre-bending comedies Being John Malkovich and Grosse Pointe Blank as well as teen classics Sixteen Candles and Say Anything.
Thirty years after making his debut, John Cusack is still a Hollywood outsider.
Cusack was always different from the rest of the Brat Pack and while their careers have had highs and lows, it’s as if he has always been playing versions of those 80s characters.
Unlike, say, Nicolas Cage characters, who only exist within the confines of their particular movie, I always think of Cusack’s creations walking out of the screen and carrying on their story elsewhere, as if exiting a portal.
‘I was never a joiner’: John Cusack, photographed at the Dorchester Hotel, London, 29 February 2012.

Early Edition: Nicolas Cage, John Cusack on ‘Frozen Ground,’ Emma Stone Joins ‘Gangster Squad’ Posted by Harley W.
After leaving the South as a young man and finding employment at an elite hotel in Washington, D.C., Cecil Gaines (Forest Whitaker) gets the opportunity of a lifetime when he is hired as a butler at the White House.
Weekend Update: John Cusack Channels Poe; 3D ‘Battle of Midway’ Set Posted by Harley W.

Originally a member of the notorious Brat Pack from the early 1980s, starring in the likes of "Better Off Dead" (1985) and "One Crazy Summer" (1986), Cusack managed to accomplish the rare feat of flourishing as a dramatic actor, beyond the confines of teen comedies.
Engaging and accessible onscreen, protective and guarded in private, actor John Cusack built an exceptional career by making unusual film choices and steering clear of the Hollywood machine.
Even during his height as a teen comedy star, Cusack had already been branching out, appearing in John Sayles’ "Eight Men Out" (1988) and forming his own Chicago-based theater company.
From then on the actor had his pick of the litter, typically choosing films that fell out of the mainstream, like "Grosse Point Blank" (1997), "Being John Malkovich" (1999) and "High Fidelity" (2000).

It’s an audacious display of handsomeness.’ I was like, ‘Wow, you really talk like that?’ ‘I certainly do.’ Also, I loved Howard Cosell,” Savage says, “and Woody Allen always made fun of Howard Cosell and Woody Allen was one of my early inspirations.” Savage’s friend wasn’t Asian, but he loved actor Yuji Okumoto when he met him.
“It’s so funny, I work at Paramount now, and so I saw a sign for [the Blu-ray], and I was like, ‘Wait a minute,’” says BOD writer-director Savage Steve Holland, who directs Big Time Rush episodes and movies for Nickelodeon.
“It was kinda funny, but obviously the audience was like, ‘Is this real or not? I just don’t get this movie.’” But the “weirdest one, where everyone went crazy,” according to Holland, was a cut scene involving Lane’s mother.
What about the actor who played Johnny the paperboy? Today, Demian Slade, who costarred in the short-lived 1987-88 TV series Second Chance with Matthew Perry and the 1987 movie Back to the Beach with Frankie Avalon and Annette Funicello, is writing and starring in a web series, Untreated, which he describes as “The Office, if The Office was a rehab instead of just an office.” He nabbed the paperboy role at the age of 12, he says, because “I approached it as if I was a serial killer with no intention of making it funny.
“It was horrible also because the producer was like, ‘You cannot go skiing, it’s against the rules because of insurance,’ and I’m like, ‘I promise, I won’t.’” (Fun fact: In the original script, the film was set at a ski resort.
“This movie is the most autobiographical movie ever made that’s just exaggerated,” Holland says (yes, his high school girlfriend dumped him for the captain of the ski team).
“But the budget was so low — it was about $3 million — it was like, ‘How about you make your story about a guy driving to a ski place?’” Holland says.
“I made a short film that Henry Winkler saw, and he gave me an office at his office at Paramount to write Better Off Dead…,” Holland says.

In an appearance on Charlie Rose in 1997, Cusack describes Martin Blank as “a very depressed international assassin who has lost his joy for his work…who doesn’t have any meaning in his life, and who’s in a bit of a spiritual crisis, but [who] doesn’t want to equate his with his self-image, and [who] doesn’t really want to stop what he’s doing.” Debi, a radio DJ, gives voice to Cusack’s ongoing interest in moral responsibility and hypocrisy (in Say Anything, for example, Lloyd is the designated “keymaster” at the party he takes Diane to on their first date) by asking her listeners to: “Ponder this: Where are all the good men dead? In the heart or in the head?” While Lloyd understands what is at stake for the head and heart, that the head and heart are indivisible; that who you are and what you do are inextricably linked, Martin, as Harold Ramis, Cusack’s director in The Ice Harvest observes, “has convinced himself that it doesn’t matter what you do.
“I never want to go back,” he told Crowe, “even on film.” But “because life is full of second chances,” as one character in Grosse Pointe Blank proclaims, Cusack recoups the utopia of Lloyd through Martin who rediscovers his real self and lost love when he goes home (to an arrested time) to Pointe Blank.
The viewer’s recovery of Roy that Westlake relays, then, is not only symptomatic of Hollywood indoctrination, but the resonant and indispensable subjectivity Lloyd Dobler has endowed Cusack with, and vice versa—what Ramis refers to as Cusack’s “perceived goodness.” So that even when Cusack has tried to forsake his participation in the sanctity of mainstream narrative by playing killers (Grosse Pointe Blank, War, Inc.) or staging his death onscreen (The Grifters and Max), fans can’t resist the urge to recuperate or resuscitate him, for without Roy, they believe, Cusack can still exist, but without Cusack, Lloyd (love, redemption) cannot.
The character has become Cusack’s idealized cinematic male alias; informing every movie role he’s done since, and “draw[ing] the spectator into a specific path of intertextuality,” to quote film historian Richard DeCordova, “that extends outside of the text as formal system.” On the blog Rap Sheet, writer Chris Knopf offers a description of Roy Dillon’s disaffected, yet charming con-man in Jim Thompson’s novel The Grifters that could just as easily be a description of John Cusack (who plays Dillon in the movie version of The Grifters, specifically Cusack as Lloyd Dobler: “The protagonist, Roy Dillon, is a natural at this game.
But who came up with the idea that the onscreen Cusack is the real Cusack? How does an actor, who by definition plays people he isn’t, get branded for playing himself (what critics and fans have dubbed “Cusackian,” a correlative of “Doblerism”), a self viewers don’t actually know; and how can Cusack be playing Cusack if the person he plays onscreen is reportedly nothing like him? Discussing his first movie Class (1983) on Fresh Air with Terry Gross, Cusack explains that acting, an ancillary to the self, ultimately “comes down to these very personal performances on this large scale…The first thing you do [as an actor], is play yourself, and if you can get comfortable as yourself in front of the camera, then you can start to play different aspects of yourself and different characters.
If we return to what Cusack told Terry Gross about playing oneself first, it might be useful to ask: When did Cusack transition into playing other people? Perhaps the better question might be: Is the “subjective” screen-self that Cusack’s invented his greatest dramaturgical contribution? In Picture Personalities, DeCordova argues that when a discourse on acting was established in the early 1900s, the player’s identity entered into the process of the film’s production of meaning.” And in Celebrity, scholar Chris Rojek notes that “celebrity status always implies a split between a private self and a public self, and that staging a presence through the media inevitably raises the question of authenticity…a perpetual dilemma for both the celebrity and the audience.” Cusack’s school of dramatics seems to validate both points.
Regressing into the crisis of male identity and male violence, Cusack’s charming psychotics (one is in therapy and one knocks back shots of hot sauce in an effort to simultaneously thaw and freeze his emotions) in Grosse Pointe Blank and War, Inc., are fractured, lost, disillusioned, and complicit in the morally compromising and bankrupt systems (the Reagan and Bush administrations) that Lloyd and Cusack explicitly eschew.

Thompson on Film — 2006 The Besieged Fortress (La Citadelle assiegee) — 2006 0% The Contract — 2006 46% The Ice Harvest $8.8M 2005 36% Chicken Little $135.3M 2005 35% Must Love Dogs $43.8M 2005 72% Runaway Jury $49.2M 2003 63% Breakfast with Hunter — 2003 62% Identity $51.5M 2003 69% Max $0.2M 2002 91% Adaptation $22.2M 2002 59% Serendipity $50.0M 2001 31% America’s Sweethearts $93.0M 2001 91% High Fidelity — 2000 65% Cradle Will Rock — 1999 80% The Jack Bull — 1999 75% This is My Father — 1999 48% Pushing Tin — 1999 93% Being John Malkovich — 1999 Hellcab — 1998 79% The Thin Red Line — 1998 50% Chicago Cab (Hellcab) — 1998 Magical Journey of Anastasia — 1998 47% Midnight in the Garden of Good and Evil — 1997 86% Anastasia — 1997 55% Con Air — 1997 79% Grosse Pointe Blank — 1997 54% City Hall — 1996 96% Bullets Over Broadway — 1994 74% Mrs.
MOVIES RATING TITLE CREDIT BOX OFFICE YEAR 64% Love & Mercy — 2015 Tian jiang xiong shi (Dragon Blade) — 2015 Cell — 2015 67% Maps to the Stars — 2015 8% Drive Hard — 2014 0% Reclaim — 2014 10% The Bag Man $48.8k 2014 54% Adult World $16.7k 2014 77% Grand Piano $22.4k 2014 0% The Prince — 2014 59% The Frozen Ground — 2013 35% Salinger $0.6M 2013 32% The Numbers Station — 2013 23% The Raven $16.0M 2012 43% The Paperboy $0.7M 2012 95% Woody Allen: A Documentary — 2011 The Factory — 2011 Shanghai — 2010 63% Hot Tub Time Machine $48.9M 2010 39% 2012 $166.1M 2009 30% War, Inc.

Name of Movie (with link to IMDB info) Year of Movie Character Played Script or Transcript (If available) Serendipity 2001 High Fidelity 2000 Rob Gordon Script Arigo 2000 Life of the Party 2000 Being John Malkovich 1999 Craig Schwartz Script Cradle Will Rock 1999 Nelson Rockefeller Pushing Tin 1999 Nick Falzone Jack Bull 1999 Myrl Redding Thin Red Line, The 1998 Captain John Gaff This Is My Father 1998 Eddie Sharp Chicago Cab aka Hellcab 1998 Scary Man Anastasia 1997 Dimitri (voice) Script Midnight in the Garden of Good and Evil 1997 John Kelso Eastwood on Eastwood 1997 Narrator Con Air 1997 Vince Larkin Grosse Pointe Blank 1997 Martin Q.

Hollywood and indie film directors, actor John Cusack, actor Chris Tucker, comedian and philanthropist Dick Gregory, former Playboy chair Christie Hefner and the president of Sony Pictures Classics, and the lead critics from Variety, The Hollywood Reporter, and the Chicago Film Critics Association, will join other celebrities, friends and colleagues to pay tribute to iconic film critic Roger Ebert’s life and prolific career at “Roger Ebert: A Celebration of Life,” this Thursday, April 11, at 7 p.m. at the Chicago Theatre, 175 N.
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who’ve seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one’s rank and standing amongst coffee house cinephiles.
Marie writes: It’s that time of the year again! The Toronto International Film Festival is set to run September 6 – 16, 2012.
Conversely, I loved "Deconstructing Harry," found "A Midsummer Night’s Sex Comedy" amusing, and I may be the only sane person who liked "Hollywood Ending." These confessions may disturb die-hard fans, but before you vow never to read anything of mine again, you should watch American Masters’ "Woody Allen: A Documentary." There you’ll discover that Woody Allen dislikes most of his movies, even going so far as to offer to make a different movie for free if United Artists used "Manhattan" for kindling.
Sheila writes: Welcome to the "Life Itself" Special Edition of the Ebert Club newsletter! The film, directed by Steve James, opens on July 4 in select cities (and on demand), with more dates and cities to follow.

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But while promoting his latest film Maps To The Stars – a damning account of celebrity culture in LA – Cusack said actresses are considered ‘menopausal at 26’, and that the industry is constantly looking to ‘open up another can of hot 22’ for the sake of cinema capital.
John Cusack has unleashed an attack on the ageism and misogyny that surrounds today’s Hollywood film industry, speaking out in defense of the treatment of women and a system that ‘eats young actors and spits them out’.
The satirical drama, directed by David Cronenberg, gives a dark and scathing account of celebrity culture as it follows an archetypal Hollywood dynasty – two former child stars, a psychotherapist father and a pushy momager.

Funny when asked to be and always making Gordon a character you really empathise with, no matter how much of a total shit he’s being, Cusack’s turn is what has me returning to the film time and time again.
Playing small-time conman Roy Dillon with all the self-assuredness we’ve come to expect from Cusack now, The Grifters represents a career high that has left many to question why he failed to really capitalise on the film’s success over the course of his career.
This makes Cusack’s turn in the movie all the more impressive and proves once more that, no matter what film you put him in, no matter what role you give him, Cusack will deliver the goods.
An ensemble cast for an ensemble film, Cusack plays his part as Captain John Gaff, a seen-too-much, thoughtful soldier trying to do his best in appalling circumstances.
Other highlights of the film include Joan Cusack’s turn as Marcella and a decent outing for Minnie Driver.
What is also worth mentioning, though, is just how comfortable Cusack is throughout the film, once again, playing the leading man with an almost lackadaisical self-assurance that has since become the hallmark of his.
My personal favourite Cusack film, it’s only beaten to the number one spot by virtue of Con Air’s big screen sensibilities.
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.
Perhaps most famous for that iconic ghetto blaster moment, the film is pure Cusack.

He has appeared in films such as Say Anything…, Grosse Pointe Blank, High Fidelity, Con Air, Being John Malkovich, 1408, and 2012.
John Paul Cusack (born June 28, 1966) is an American actor, producer, and screenwriter.

And once a famous rapper smashes the movie out of the park with one word, you realize that even though Rock might lack a degree of formal precision or control, he does have a sense of adventure and a tremendous generosity of spirit.
You watch Morgan and Jay Pharoah and Sherri Shepherd and the singeing Leslie Jones sit around insulting each other, shouting out their starting hip-hop teams — a top five and one alternate — and wonder what Rock could have done with a movie just about these people.
When the movie is fully firing, it’s a combination of Albert Brooks, 1970s François Truffaut, late-’80s/early-’90s Woody Allen, and a whiff of the middle-age anxiety in Philip Roth’s 1980s novels — less than the sum of those parts, but hardly the disaster such a stuffed comparison implies.
With the Oscar decks inadvertently cleared, the festival is free to resume being a place that takes chances on up-and-comers like, um, Chris Rock, whose third outing as a director, Top Five, arrives without a distributor.
Rock wrote this romantic satire, in which he stars as Andre Allen, a recovering alcoholic and comedy star being trailed by the least-likely-ever culture reporter for the New York Times.
(He casts Adam “Ad-Rock” Horovitz as one of Stiller and Watts’s culturally over-the-hill friends, using him like Holofcener used Tavi Gevinson as a generational marker in Enough Said, but in the opposite manner.) Long ago, Baumbach and his sense of coolness could have floated toward the dollhouses and tableaux vivants that obsess Wes Anderson, but he seems committed to the exploration of what cool even is anymore, of shaking down the bourgeoisie self-obsessions of right now.
This movie is Kanye West, Eddie Murphy, and the Tracy Morgan of 30 Rock on the one hand, and Before Sunrise on the other.
The movie opens with the older Wilson visiting a Los Angeles Cadillac showroom in the early 1980s, with Landy and his helper lurking behind like alien mobsters.

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Make Cusack some sort of hit man or crook, a variation on his "Grosse Pointe Blank" character, and Jane a semiretired and over-extended race car driver who is abducted to be the crook’s getaway car driver.
Here’s the sort of scruffy action comedy that suits the careers of onetime hipster John Cusack and fading action star Thomas Jane.
The American never takes off his gloves, black baseball cap or shades and only slowly lets on that, aside from sitting on the wrong side of the car and driving on the wrong side of the road, he doesn’t need lessons.

$57,452,700 $23,686,027 5/4/84 – Class Orion $56,061,100 $21,667,789 7/22/83 10 Must Love Dogs WB $55,810,100 $43,894,863 7/29/05 11 Hot Tub Time Machine MGM $51,552,700 $50,287,556 3/26/10 12 Grosse Pointe Blank BV $49,866,600 $28,084,357 4/11/97 13 Midnight in the Garden of Good & Evil WB $44,576,900 $25,105,255 11/21/97 14 Say Anything Fox $42,662,000 $20,781,385 4/14/89 15 The Sure Thing MGM $41,635,100 $18,135,531 3/1/85 16 High Fidelity BV $41,259,800 $27,287,137 3/31/00 17 City Hall Sony $37,505,100 $20,340,204 2/16/96 18 Being John Malkovich USA $36,210,900 $22,863,596 10/29/99 19 One Crazy Summer WB $29,506,500 $13,431,806 8/8/86 20 Bullets Over Broadway Mira.
$50,899 7 $13,880 4 41 11/2/07 Martian Child NL $7,500,310 2,020 $3,376,669 2,020 28 6/22/07 1408 MGM/W $71,985,628 2,733 $20,617,667 2,678 5 11/23/05 The Ice Harvest Focus $9,016,782 1,555 $3,740,799 1,550 26 7/29/05 Must Love Dogs WB $43,894,863 2,505 $12,855,321 2,505 10 10/17/03 Runaway Jury Fox $49,443,628 2,815 $11,836,705 2,815 9 4/25/03 Identity Sony $52,159,536 2,733 $16,225,263 2,733 6 12/27/02 Max Lions $539,879 37 $30,157 6 37 10/5/01 Serendipity Mira.

Things turn pretty ugly, and it seems that straggly-haired John Cusack is to blame, if all his ominous monologues and gun-wielding and duct-taping of peoples’ mouths shut are any indication.
In Reclaim, Ryan Phillippe and Rachelle Lefevre star as a couple who travel to Puerto Rico to adopt a child, only to discover that they have been lured in by a black-market-adoption scam.

What happened on the set of Con Air in 1997? Judging by recent evidence, stars John Cusack and Nicolas Cage were so surprised and delighted to find their quirky selves co-starring in a mainstream action picture they vowed to appear in any future genre pictures that would have them, even if it meant doing movies that look like tax scams for release in unspecified foreign markets.
That a bored husband and father might acquiesce to a criminal adventure is a mild comic notion the movie smothers with a loud, yammering odd-couple routine full of vamping that’s supposed to sound pithy and offbeat but actually just involves talking in circles (“You cannot trust criminals, they’re untrustworthy in every way”).
He’s introduced in the movie as a potential student for driving instructor Peter Roberts (Thomas Jane, looking more than ever like a gone-to-seed Aaron Eckhart), who used to race professionally but has since decamped for Australia (presumably after hearing about their generous tax incentives for film productions).
Maybe they happily compared notes on the set of the seamy, barely released thriller The Frozen Ground, and maybe they’re equally delighted to have two more low-budget thrillers out on the same day: Cage’s Left Behind reboot and Cusack’s Drive Hard, which even manages to sound like a knockoff of the disreputable Cage vehicle Drive Angry.
The same year as Con Air’s release, Cusack had great success playing a hitman in Grosse Pointe Blank; maybe that also explains why he’s taken such a wealth of recent parts as hitmen, creeps, and Richard Nixon.

Co-starring Ryan Phillippe, Rachelle Lefevre, Jacki Weaver and Luis Guzman, the story follows an American couple who travel to Puerto Rico to finalize an adoption and pick up their seven year-old adoptee, only to they realize that (all together now, class!) things aren’t what they seem.
While Nicolas Cage tends to get the brunt of criticism/derision for jobs likely accepted based on how many zeros appear on his paycheck, let’s pour one out for John Cusack.
While Nicolas Cage tends to get the brunt of criticism/derision for jobs likely accepted based on how many zeros appear on his paycheck, let’s pour one out for John Cusack.
He has been sliding into a comfortable groove of forgettable movies ("Drive Hard," "The Prince"), and so it goes with "Reclaim," which you probably didn’t know existed.
He has been sliding into a comfortable groove of forgettable movies ("Drive Hard," "The Prince"), and so it goes with "Reclaim," which you probably didn’t know existed.

@johncusack #ICYMI- The Holder of Secrets @LauraPoitras’s closeup view of Edward #Snowden.
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Jason so great!!“@csoghoian: Another impressive victory for FOIA terrorist @JasonLeopold.

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.
If I’m in something that I think is kinda good, it stays with me like a fever dream for a long time afterwards.
I mean, I don’t want to proselytize but I do feel some sort of duty to participate in the process in some way other than just blindly getting behind a political party.
Any time you stop looking at evil as a black and white thing, it’s helpful.
I force people to have coffee with me, just because I don’t trust that a friendship can be maintained without any other senses besides a computer or cellphone screen.
I don’t tend to think in terms of a moral authority – be a good boy, do good things – more in terms of what feels right.
But a good chunk of them will lie for no reason at all – it’ll be ten o’clock and they’ll tell you it’s nine.

List of the best John Cusack movies, ranked best to worst with movie trailers when available.
The order of these top John Cusack movies is decided by how many votes they receive, so only highly rated John Cusack movies will be at the top of the list.
John Cusack’s highest grossing movies have received a lot of accolades over the years, earning millions upon millions around the world.
I can appreciate something in regards to john cusack movies list.
The greatest John Cusack performances didn’t necessarily come from the best movies, but in most cases they go hand in hand.
John Cusack has been in a lot of films, so people often debate each other over what the greatest John Cusack movie of all time is.
If you and a friend are arguing about this then use this list of the most entertaining John Cusack films to end the squabble once and for all.

The film has an ensemble cast, including John Cusack, Amanda Peet, Danny Glover, Thandie Newton, Oliver Platt, Chiwetel Ejiofor, and Woody Harrelson.

"I think it’s very wise—and speaks highly of Robert that he’s formed a thing with David," Cusack explained to the publication.
One young Hollywood actor who is handling the spotlight well is co-star Robert Pattinson.
"People are looking to turn their pain into beautiful art, but they also want to be famous," Cusack explained.
And while Cusack may have a few concerns and complaints about Hollywood, he understands the positives the industry has given him.
The 48-year-old actor credits legends like Al Pacino and Rob Reiner for getting him on the right track when he was a young actor.
Trend Tracker: White Lace Skirts as Seen on Shay Mitchell, Jamie Chung, Taissa Farmiga & More! Fri., Sep.

When Horowitz grabbed the prop, an uncomfortable Cusack immediately said, “no, no, no, no, no, no no,” wagging his finger and adding, “I don’t have to do anything.” Horowitz tried to explain that outside his office just days before he’d seen a sea of young men paying tribute to Cusack’s Dobler on the occasion of the 20th anniversary reissue of the movie.
“Don’t make him do it again,” Peet asked Horowitz after the interrogator wondered if Cusack had a line in his contracts that prevented him from having to re-live the moment.
That was way further than we got with Cusack in November 2009 when MTV Movies’ Josh Horowitz surprised the star during an interview about the movie “2012″ with a cardboard boombox that he was hoping John would grab and throw up in the air like he just didn’t care.

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