As much as I loved Nicolas Cage in his weirder-than-weird “Willy’s Wonderland,” it was just too much of a struggle to love the even weirder “The Unbearable Weight of Massive Talent” (2022). Cage is a strange dude in real life (ask the IRS) who apparently isn’t afraid to parody himself and his film roles, which “Massive Talent” accomplishes to pull off this Escher drawing of a movie-inside-a-movie-about-a-movie. A trip to Spain for a quick buck and a script-reading takes an awkward turn toward guns-blazing hijinks. Cage is sooo uncomfortably strange, it’s hard to see where reality ends and parody begins.
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I didn’t know anything about “Willy’s Wonderland” (2021). I only saw a promotional photo of Nicolas Cage and some puppet-looking things. My jaw tensed. I stretched my index finger onto the mouse and clicked “rent.” I just didn’t know what I’d be getting myself into. As it turned out, I witnessed the kind of excellence in grindhouse cinema I hadn’t seen since “Machete.” Cage is the Man With No Name (and no voice – it entertains me to think his lack of dialogue was related to some kind of lawsuit or IRS thing) tasked with ridding a town of mechanical menace.
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