In Character: John C. McGinley

You can’t not love John C. McGinley. As one of the most consistently hilarious characters actors in the business, there is no role that McGinley can’t bring to life with his unique humor. But McGinley’s craft certainly extends beyond chuckles. There’s a particular depth that McGinley frequently brings to his characters that I find captivating. Occasionally, you don’t know whether to laugh at the guy, or feel sorry for him. I’ll never tire of exploring the many facets of McGinley’s work.

Five Essential Roles

Point Break (1991)

Ben Harp

Want to know how to entertainingly crank out a shit load of script exposition? Do it all in one tracking shot, never let your camera stop moving, and hire John C. McGinley to deliver all the dialogue. This early scene in Point Break may not seem like much of an achievement to some viewers, but the technical proficiency in which it was pulled off is quite impressive. But don’t take my word for it, McGinley himself has said that when he shot this scene, it was the hardest thing he had done up to that point. 

Still not sold? Okay, well, any actor who can amaze with lines like: “You’re a real blue flame special, aren’t cha son? Young, dumb, and full of come,” and “Why don't you astonish me, shitface?” always deserves specific praise.

Surviving the Game (1994)

John Griffin

Surviving the Game is one of my favorite trashy action flicks. A handful of wealthy good old boys invite a homeless man (Ice-T) to join them at a cabin for the weekend. They arrive, enjoy a pleasant (if not slightly ominous) dinner, and go to bed. The next morning, the men inform Ice-T that they are going to hunt him to the death. They give him a brief head start, and we’re off and running.

The highlight of the film is that dinner scene the night before the big hunt. As a first time viewer, we’re not entirely sure why the mood is so eerie. But I just love McGinley in this scene, studying Ice-T with a sort of erotic homicidal desperation. I’m not sure if he wants to eat him, hunt him, or fuck him. Who knew McGinley could play such an entitled psychopath so well?

Office Space (1999)

Bob Slydell

“Michael… Bolton. Are ya any relation to the pop singer? Because I’ll be honest with ya: I love his music! I do. I’m a Michael. Bolton. Fan.”

How can you not love those two Bobs? What makes me appreciate McGinley’s work in Office Space is the fact that his character didn’t exist when filming began. McGinley and scene partner Paul Willson improvised all of their dialogue. They just sat in that crappy little office for three days and hashed it all out. How can you not love that?

Scrubs (2001-2010)

Dr. Perry Cox

I’m an intermittent viewer of Scrubs at best. The show’s distinct farcical tone isn’t for me, but I will admit that it is nothing short of delightful to watch McGinley seriously ham it up as Dr. Perry Cox. The ceaseless sarcasm, the rapid wit, and vast arrogance – it can be difficult for a noted character actor to excel so quickly in a sitcom (the writing is usually to blame for this), but McGinley truly made Cox his own. Beyond Cox’s dark humor, I always enjoyed his more heartfelt moments of reflection. It was rare for Cox to let his guard down, but when he did, I always felt that Scrubs couldn’t be better.

Identity (2003)

George York

Every character on this list is known for his humor. Whether dark, morbid or nonsensical, John C. McGinley plays funny often, and he plays it damn well. Which is why his quiet and WASPy George York is such a refreshing change of pace. George is the kind of guy who prefers to stand in the back of the room with his head down, casually observing. Even when his poor wife is moments away from dying in a shitty motel room, George never lets anger get the better of him. He sits, he thinks, he prays – he’s an emotionally tortured but undeniably kind everyman that I am utterly drawn to.

The Best of the Best

Platoon (1986)

Sgt. O’Neill

Sgt. O’Neill is one hell of a persistent ass kisser. The way he constantly tries to please Tom Berenger’s Sgt. Barnes – lighting his cigarettes, laughing at his jokes, agreeing with everything he says – it’s all so desperate and pathetic. The fact that we’re constantly laughing at him matters little; what’s important is that McGinley managed to convincingly sneak a little levity into such a serious film.

Now, everyone knows what an ass kisser is up to. They play the Yes Man, hoping in return to be given favors. When O’Neill finally does ask Barnes for a favor, it makes for one of Platoon’s most heartbreaking scenes. Directly before a major battle begins, O’Neill pulls Barnes aside and asks if he can cash in on his leave. He’s due for some R&R, and there’s no time like the present. Barnes brushes him off and begins to walk away. O’Neill stops him. “I got a bad feeling about this one,” O’Neill pleads, barely fighting off tears. “A bad feeling.” And in an instant, the wiseass, pathetic, ass-kissing douchebag turns into a scared shitless soldier trying to save his own life.

In the Making Of documentary on the DVD, McGinley remembers that Oliver Stone directed him to play the scene straight. But McGinley couldn’t stop himself from crying. Take after take, his voice kept cracking. I’m so glad Stone didn’t push McGinley to “get it right.” Because damn if it isn’t right as is.

Other Notable Roles

With Jim Brown in Any Given Sunday

Wall Street (1987)

Talk Radio (1988)

Car 4, What Are You? (1994)

On Deadly Ground (1994)

Se7en (1995)

The Rock (1996)

Mother (1996)

Set It Off (1996)

Nothing to Lose (1997)

Any Given Sunday (1999)

Get Carter (2000)

Justice League (2001-2006)

Burn Notice (2012)
42 (2013)