And in a body of work amounting to over 50 movies, some of them diverse risks without
much box office appeal, we always feel a sense of familiarity with John Cusack.
A Fremantle Club doesn't have to play all its games in Freo, but it has to have at least some, particularly against sides that do not have the
same box office appeal.
Arguably the only true movie star that Hollywood has produced in the 21st century (he may not be able or willing to launch an original property, but his
personal box office appeal is on par with many of today's major franchises), Johnson has proven that he's one of the most charismatic performers on the planet.
Calls of Hollywood whitewashing and whatnot dampened excitement about the film, while others accepted Johansson's casting because of her
global box office appeal.
Some of this could be forgiven if these thespians brought great performances, or even
added box office appeal, but none of that applies, so it's a mystery why Scott went that route.
Platt (Working Girl) is an odd choice, given his character doesn't figure in to the story very strongly, and he doesn't lend
much box office appeal, but I like his inclusion; it's good to see that at least one person had trepidations about the flat - lining experience after seeing how it affects the others.
But trusting him to co-write her scripts, leveraging
her box office appeal to get him behind the camera, directing «The Boss» and «Tammy?»
Even if his film is one of the more sexually explicit R - rated films of the year (it was originally rated NC - 17 in its initial Sundance cut), he still retains his friendly, good - guy image, which shows how adept Gordon - Levitt is in navigating the tightrope, skirting the edges without losing
his box office appeal in the process.
The warehouse in question is filled with an eclectic bunch of actors clearly chosen for their skill and suitability rather than
their box office appeal.
Despite
the box office appeal of Tom Cruise and Russell...