Review of The Unbearable Weight of Massive Talent (2022) by Markhreviews — 28 Apr 2022

Two quick points: First, this film is not the long-awaited sequel to 1988’s “The Unbearable Lightness of Being,” in which it is posited that meaning can exist only alongside mourning. Second, if you’re going to saddle yourself with this title – as an actor or as a creative team – you are either profoundly arrogant or hilariously self-deprecating. Fortunately, the lead actor and Director Tom Gormican took the latter route.

“Unbearable Weight …” is a tour de force for Nicholas Cage. Currently, the man has 109 film credits, including four projects now in post-production. He won a Best Actor Oscar in 1996 for “Leaving Las Vegas” and a nomination for 2002’s “Adaptation.” He also participated in 2018’s “Mandy,” which was credited by the Alliance of Women Film Journalists for “Most Egregious Age Difference Between the Leading Man and the Love Interest.”.

In “Unbearable Weight…” Nick Cage (Nicolas Cage – see what they did there?!) is desperate to land the role that will re-establish him among Hollywood’s A-listers, although we are reminded, incessantly, that he never really left. He gets turned down for the role. In desperation, he accepts a $1 million fee to attend the birthday celebration of a devoted fan, Javi (an excellent Pedro Pascal – “The Mandalorian,” “Wonder Woman 1984”), who may also be a ruthless arms dealer. The CIA tries to enlist his help. Cage yells a lot. He drives cars – fast. He reminds us he did his own stunt driving in “Gone in 60 Seconds.” Things go boom. Cage is spurred along/tormented by his tragically digitally de-aged younger self Nicky (credited as Nicholas Kim Coppola). It’s all just fabulous.

The first half of this film is true movie bliss. It’s surprising, clever, filled with crackling dialogue, hilariously self-deprecating and has more laugh-out-loud moments than any film since “Booksmart.” These first 45 minutes make the entire enterprise totally worthwhile. It’s a letdown that the last half of the film devolves into a fairly by-the-numbers, plot-focused series of car chases and other escapades that detract from the tone of winking self-awareness.

The film includes regular references to Cage’s body of work, often involving bug-eyed high-decibel work by Cage himself. What makes the film inspired at points and sparkling throughout is that Cage is so entirely comfortable with self-deprecation, a man more than willing to explore his own mythology with a clear-eyed bemusement that’s much more than simple self-parody.

What’s completely unexpected is the genuine sweetness that perfuses the film. Cage and Javi seem bonded by genuine affection. But most of all, Cage communicates that he’s a movie star who wishes he’d been a better, less self-absorbed husband (possibly all five times). And he’s a clueless father who craves the love and respect of his daughter.

The tone of this project is best summed up by an interchange between Cage and his friend Javi: J: “Whether you like it or not, you have a gift. A gift that brings light and joy to an increasingly dark and broken world. And to turn your back on that gift, is to turn your back on the entire human race.”.

NC: “The human race?”.

J: “I’m afraid so.