John Cusack's Return inFog of WarSparks Nostalgia and Mixed Reactions
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So, let’s talk about Fog of War —yeah, that new WWII mystery flick that just dropped on streaming. And guess who’s back in the frame? John Cusack. Yup, the man who brought us unforgettable performances in Say Anything , High Fidelity , and Grosse Pointe Blank —he’s stepping into darker territory this time as Uncle Bob, a character wrapped in secrets, suspicion, and vintage fedoras. But before we dive into the film, let’s take a moment to appreciate just how much weight Cusack's presence still carries, even if the film doesn’t exactly give him room to breathe.
Fog of War is an intriguing setup on paper: a wounded U.S. Air Force pilot named Gene (played by Jake Abel) returns stateside after being shot down over Germany. He’s quickly recruited by the OSS to sniff out Nazi infiltrators in a quaint New England town. Of course, things aren’t as peaceful as they seem—especially when Gene moves in with his fiancée’s mysterious aunt and uncle, played by Mira Sorvino and, yes, Cusack.
Now here’s where things get interesting: despite the star power, Cusack and Sorvino are oddly underused. They show up, deliver some strong early impressions, disappear for a long stretch, and then return just in time for the climax. It’s a strange choice that feels more like a budget constraint than a creative one. And honestly, for fans of Cusack, it’s kind of a letdown. You keep expecting the screen to light up with his signature edge or quiet intensity—but the film keeps him at arm’s length.
That being said, his presence does still manage to bring some gravitas to the scenes he’s in. There’s something inherently watchable about Cusack, even when the material doesn’t quite match his caliber. The quiet menace in his performance keeps you guessing about Uncle Bob’s true allegiance—and though the script is a little too eager to give the game away, Cusack leans into the ambiguity with that calm, calculating vibe he’s so good at.
The film overall? Let’s just say it’s got atmosphere, but not a lot of payoff. Too many clues too early, a mystery that solves itself, and a setting that’s left frustratingly vague. And don’t get me started on how characters just pop in and out of scenes like they’ve mastered teleportation. Still, watching Cusack stroll around in a WWII drama, looking like he’s about to drop a literary quote or a sharp line any second, gives a nostalgic kick—even if the script doesn’t let him do much of either.
So is Fog of War worth your time? If you’re a die-hard Cusack fan, probably yes. You’ll enjoy spotting those subtle touches he brings—the smallest gestures, a glance, the way he holds back just enough to keep you guessing. For everyone else, it might feel like a missed opportunity. But hey, it’s John Cusack. Even when he’s underused, he still makes you lean in.
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