A lot of these people I think have shown range at various points in their careers...
Tom Cruise was astonishing in his earlier dramas like BORN ON THE FOURTH OF JULY, and check out MAGNOLIA if you want to see him give an amazing, ego-less, ugly performance.
Jennifer Aniston gets typecast a lot, but OFFICE SPACE, THE BREAK-UP and (from what I've heard sight-unseen) THE GOOD GIRL all offer lower-key, more subtle variations on her type.
Gene Hackman's range between his Oscar-winning scenery-chewers THE FRENCH CONNECTION and UNFORGIVEN is a marked difference from his Wes Anderson charming peculiarity in THE ROYAL TENENBAUMS.
Kevin Spacey definitely has his ticks (and maybe a limited bag of tricks) but I wouldn't call him monotonous. His niche is unsettling and maybe remorseless villains/antiheroes, and he hasn't strayed as much from that as the others, but I like what he does when he does it with good writing/directing to support him.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.