John Cusack will revisit his classic films in special screenings both Dallas and Fort Worth.
Photo courtesy of John Cusack
Actor John Cusack will thrill kids of the 1980s when he hosts two screenings of popular movies of his from that decade, with both Fort Worth and Dallas on the agenda.
Cusack will screen Sixteen Candles at Will Rogers Auditorium in Fort Worth on Friday, June 23 and Say Anything at the Music Hall at Fair Park on Saturday, June 24. Both films will be followed by a live conversation about Cusack's career and the making of the film, as well as a Q&A.
Additionally, Cusack will travel to Houston on June 25 for a screening of his 2000 film, High Fidelity.
Cusack was just getting his start in Hollywood when he scored the supporting part of Bryce in 1984's Sixteen Candles, serving mostly as a sidekick to Anthony Michael Hall's character. He had established himself as a leading man by the end of the decade when he tried to woo Ione Skye in Cameron Crowe's 1989 classic, Say Anything.
The actor has enjoyed an enviable career over the past 40 years, starring in a wide range of dramas, thrillers, and comedies, including The Grifters, Eight Men Out, Being John Malkovich, High Fidelity, and Grosse Pointe Blank. He was most recently seen in the Amazon sci-fi series Utopia.
Tickets for all screenings will be available starting Friday, April 21 at 10 am through Ticketmaster.com, with presale options starting April 19.
Of all the ways that movies depict people trying to steal money and other valuables, safe cracking is among the least exciting. By design, it’s a laborious process that only those with a very certain set of skills can do. While clever editing and the right music can enhance scenes of safes being cracked, there’s a reason that the method is among the least used in heist films.
In the new film Tuner, Niki (Leo Woodall) has a job and a condition that just happens to lend itself well to committing that specific crime. He works as an apprentice piano tuner for Harry (Dustin Hoffman), usually doing the hard work while Harry schmoozes the client. Niki is well-suited for the job because he has a rare condition called hyperacusis, which makes him both sensitive to loud noises and able to hear subtle things that others cannot.
When he runs across a trio of criminals trying to break open a safe at a house where he’s tuning a piano, he helps them more out of frustration than avarice. But when Harry goes into the hospital and racks up huge bills, Niki decides to join the group to make some quick money. They soon want more than he’s willing to give, and he must find a way to extricate himself from them without losing himself completely.
Written and directed by documentary filmmaker Daniel Roher (making his narrative feature debut) and co-written by Robert Ramsey, the film has a nice pace to it despite there being relatively little action. Roher and Ramsey spend the first third or so establishing Niki, Harry, and Harry’s wife Marla (Tovah Feldshuh) as characters, letting the audience understand their relationships and how they interact with each other.
The time they devote to the personal storytelling pays dividends when Niki starts to descend into crime, as his divided loyalties - not to mention the danger of the thefts - insert tension into the plot. That stress is heightened even more when Niki starts a relationship with piano student Ruthie (Havana Rose Liu), as getting closer to her necessitates a series of lies.
There comes a point, though, where the plot stagnates to a degree. Niki’s end goal, if he has one, is never clear, and it’s obvious that it’s only a matter of time before things start to fall apart. After starting strong in their character development, Roher and Ramsey take shortcuts as the film rushes toward its conclusion. This is most notable in a weird argument scene between Niki and Ruthie that comes out of nowhere and seems to serve no purpose in the story.
Woodall, who had a memorable turn in season 2 of The White Lotus, is on the cusp of breaking out, and this understated-but-compelling lead role should help him become an even bigger name in Hollywood. Hoffman has a small role, but he remains as interesting as ever despite the lack of screentime. Liu (Bottoms) is also an up-and-coming actor who should become a star with more roles like this one.
Tuner is a low-key thriller that succeeds because of the way the filmmakers approach the under-used method of robbery. Even if it doesn’t quite reach its potential, the film maintains a high quality throughout thanks to its storytelling and acting.
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Tuner will screen seven times, June 12-14, at the Modern Art Museum of Fort Worth.
