8 Actors Who Went To Extreme Lengths For Films No One Watched

some good drama, some very high melodrama, and acting across the board

The deeply pleasing result of many talents

It's been over a decade but the talent is still prominent

Otis House, Fairview Riverside State Park - 119 Fairview Drive, Madisonville, Louisiana, USA

Nicolas Cage and David Caruso in Kiss of Death (1995)

Nicolas Cage and Samuel L. Jackson in Amos & Andrew (1993)

Nicolas Cage and Elijah Wood in The Trust (2016)

Nicolas Cage and Willem Dafoe in Dog Eat Dog (2016)

Nicolas Cage and Russell Brand in Army of One (2016)

Nicolas Cage, Guy Pearce, and January Jones in Seeking Justice (2011)

Nicolas Cage and Shirley MacLaine in Guarding Tess (1994)

Damn stupid girl! She'd GIVE it away if I didn't stay on top of her all the time.

Concerto in D Minor, after 'Alessandro' BWV 974

Mena Suvari and James Franco in Sonny (2002)

James Franco

Brenda Blethyn

Mena Suvari

John Carlen

An honorably discharged soldier returns home to New Orleans, hoping to break away from his upbringing as a trained prostitute, but his brothel-madam mother has other expectations.

Nicolas Cage

Sonny

8/10

I guess it&apos;s hard to address serious issues when you&apos;re dealing with a plot about a flamboyant southern belle who raises her son to be a natural-born-whore, because this movie is considered to be a failure even though it really isn&apos;t. It&apos;s neither the ready-made slice-of-life that Sundance specializes in, nor is it an innovative film like &quot;Pi,&quot; so casual independent fans have little reason to like this (they probably dislike Paul Morrissey, too). So there&apos;s already a few misconceptions about the film, but add to that that it&apos;s an actor&apos;s film: what else are we supposed to expect from Nicolas Cage? The movie is a mix of piano music and prostitution, and it&apos;s just like Cage&apos;s acting -- hyper-real and over-the-top, classy and trashy at once.

The movie is partially a series of differing acting styles -- Blethyn&apos;s comic exaggeration, Franco&apos;s sleepy mysteriousness, Stanton&apos;s quiet control, Cage&apos;s funhouse tricks. But I think Cage deserves a certain amount of credit -- he doesn&apos;t scuzzify the material or romanticize it; he creates some interesting scenes (and handles most of the more potentially offensive ones with as close to grace as possible); he indulges all of his actors. And there is some real pain in the story, about not being able to switch jobs, and how vagabonds have nothing to show for their life. There are times when this goes where few films do in terms of honesty, yet the script does have increasing problems as it goes along. A scene like the one where Cage makes his appearance, seen through Sonny&apos;s drunken haze, works only because of the oddness of it; it feels stolen from other films because it&apos;s supposed to be there for the type of movie this is. But the film is at its best when it resists any &quot;type.&quot; 8/10

Trailer

https://m.media-amazon.com/images/M/MV5BOTNkYzljMjEtNmZhOS00ZjJmLTg0ZjItNjFhZWJhYzcyZDRmXkEyXkFqcGdeQWRpZWdtb25n._V1_.jpg

I guess it's hard to address serious issues when you're dealing with a plot about a flamboyant southern belle who raises her son to be a natural-born-whore, because this movie is considered to be a failure even though it really isn't. It's neither the ready-made slice-of-life that Sundance specializes in, nor is it an innovative film like "Pi," so casual independent fans have little reason to like this (they probably dislike Paul Morrissey, too). So there's already a few misconceptions about the film, but add to that that it's an actor's film: what else are we supposed to expect from Nicolas Cage? The movie is a mix of piano music and prostitution, and it's just like Cage's acting -- hyper-real and over-the-top, classy and trashy at once.

The movie is partially a series of differing acting styles -- Blethyn's comic exaggeration, Franco's sleepy mysteriousness, Stanton's quiet control, Cage's funhouse tricks. But I think Cage deserves a certain amount of credit -- he doesn't scuzzify the material or romanticize it; he creates some interesting scenes (and handles most of the more potentially offensive ones with as close to grace as possible); he indulges all of his actors. And there is some real pain in the story, about not being able to switch jobs, and how vagabonds have nothing to show for their life. There are times when this goes where few films do in terms of honesty, yet the script does have increasing problems as it goes along. A scene like the one where Cage makes his appearance, seen through Sonny's drunken haze, works only because of the oddness of it; it feels stolen from other films because it's supposed to be there for the type of movie this is. But the film is at its best when it resists any "type." 8/10

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Sonny

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