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Tag: Youth in Revolt (1-2 of 2)

Michael Cera, old soul

Just because I think Youth in Revolt is less than daisy fresh as a coming-of-age story doesn’t mean I don’t dig the unique comedic talents of the movie’s star, Michael Cera. And in thinking about what makes Cera so arresting a screen presence, I keep coming back to the notion of contradiction: He looks so young (he is so young) and vulnerably, virginally mid-chrysalis, with that pale skinny bod and cute chickpea head. Yet Cera possesses the expert comic timing and physical stillness of a man of experience. And certainly of a seasoned character actor. Very few young performers know how to convey hormonal frenzy and accompanying romantic confusion as well as he does, just by standing still and speaking in a soft, clear voice; even fewer know how to demonstrate what’s simultaneously funny and tender about such male emotional disarray.

Cera’s got that going on. The challenge, should he care to rise to it as he enters his 20s, is how to play guys who are no longer stuck pining for young women – they’ve Done It – but now face the (inevitably hilarious) challenges of sustaining relationships with chicks.

Your turn: Do you like the species known as Michael Cera Dude?

Image credits: Doane Gregory (l); Bruce Birmelin

Toronto: Nicolas Cage makes an inspired 'Bad Lieutenant,' plus bad boy Michael Cera

Bad-Lieutenant_lIn his schlocky paycheck movies, of which there are way too many, Nicolas Cage often pumps up his energy in a false, blowhard way. He glowers and throws tantrums and over-italicizes his emotions, as if trying to prove to his audience (or maybe to himself) that he’s still got it, that he really means it, man. He does the same thing in Bad Lieutenant: Port of Call New Orleans, Werner Herzog’s demon-rich, loopy, fascinating, and improbably entertaining remake of the 1992 Abel Ferrara dark-side-of-everything cult classic. The difference is that Cage is now doing his strenuous, bug-eyed intensity thing in character. READ FULL STORY

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