Which one do I like? The Illusionist or the Prestige? This is a difficult question – both films deal with specific subject matter (magic), yet both are very different, and highly entertaining. I recommend you check them out – maybe even back to back. In this review I’ll be mentioning both, but please search our database for an exclusive Illusionist review. I also must mention here that Hugh Jackman can do no wrong – he’s brilliant in everything he does – so I may be a little bit biased. Of course, after seeing The Machinist and American Psycho, I’m a pretty big fan of Christian Bale. How about a double bias for you? Here’s an even bigger confession – when I saw the cast of The Prestige, I almost forgot all about The Illusionist. By chance, I got to see the two films back to back, and if I only saw the former, my “magic” experience wouldn’t be nearly as complete.
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The Illusionist (2006)
Usually when Hollywood churns out similar movies back to back, there’s a lot of confusion. The second film typically suffers, even though it might be the better one. Or, in some rare cases, the second one does much better because the first one makes just enough people interested in the subject matter, and “builds up” an audience. In vast majority of the cases, both films get very different reaction from audiences and critics. This past summer, two movies dealing with magic have entertained us – The Illusionist and The Prestige (just wait until we post our belated Pan’s Labyrinth review). Surprisingly, both were embraced by the critics, and, what’s even more unusual, despite being rather philosophical in nature (as opposed to typical summer fx-travaganza) they did solid business. We saw both, but with Toronto Film Fest, and other events, completely forgot about these fine films. The Illusionist is coming out on DVD – why not review it now, and quickly follow by The Prestige – after all, both films are worthy of your time. In spite of their similarities.
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Casino Royale (2006)
You know you’re getting old and cranky when an old movie franchise is revived to the delight of both fans and critics, but you sit back in the theater and ask yourself “so this is Bond?” I really liked Brosnan in this role (even though deep inside I bow down to Connery), and I have a hard time understanding how a 40-year-old novel can be adapted to post 9/11 world of international crime and spying. But I have to accept that actors can be replaced and novels – rewritten. Casino Royale is a solid action flick, but it’s missing so many trademark Bond elements that I don’t know if it’s an issue of “starting over” or “trimming down”.
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100 top TV catchphrases
Yes, the end of the year must be here – all kinds of lists are popping up. Here’s one list we just had to share with you. The TV Land cable network has compiled a list of the 100 greatest catchphrases in TV, from the serious — Walter Cronkite’s nightly sign-off “And that’s the way it is” — to the silly: “We are two wild and crazy guys!” The network will air a countdown special, “The 100 Greatest TV Quotes & Catch Phrases,” over five days, starting December 11. You should tune in – and memorize all these gems. Meanwhile, here’s an alphabetical listing.
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Robert Altman RIP
Robert Altman is no more. The famous director of Nashville, Gosford Park, MASH, Dr. T and the Women (and so many more movies) has died. He never got his Oscar – sure there was that lifetime achievement handout earlier this year, but for all the outstanding work he’s done, none has earned him that ultimate honor. Of course, Altman was the kind of guy who cared little for awards and ceremonies. He frequently said that hie biggest achievement was being able to work on movies (and with people) he picked. No assigned contractual obligations, no back-room deals. He saw a story, he asked for it, and he worked on it. In today’s climate, that’s not an easy task. For a guy who’s been in business since the 50s – that’s true honor.
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For Your Consideration (2006)
When this film premiered at the Toronto Film Fest, the director brought out the cast on stage. After Christopher Guest announced the last person to appear, he proceeded to talk about the film, how it was made, and who inspired it. Suddenly, from back stage, Eugene Levy appeared, shuffling quietly and slowly, as if he got lost on a school trip. There they were – about 15 people on stage, right in the spotlight, and in the darkness – Eugene, slowly wobbling towards the light. Christopher Guest stopped for a second, did a double take, and quickly announced “and here’s Eugene Levy, the co-writer of the movie”. By that time, the audience was roaring with laughter. Sure, it was a prepared bit, but it looked natural, unrehearsed. Funny as hell. Right at that moment, instead of joining the cast at the center of the stage, Eugene ran back behind the curtains, a second later a new spotlight hit that curtain, and he emerged again, this time waving his hands, smiling, and walking with confident big strides. The audience was in tears of laughter. We may have expected a bit from Guest and company, but to make a good punchline, and within seconds, to deliver another guaranteed laugh – that was class. And that set the tone for the entire film.
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Miami Vice (2006)
So what the hell went wrong with Miami Vice? Michael Mann’s latest film made about half of its cost at the box office. It was a solid, gritty cop thriller, with a plot you could follow, and with characters you could care for. It starred Jamie Foxx and Colin Farrell, and was released in the summer. A guaranteed blockbuster. What happened? Is this a new trend – summer blockbusters must be over-the-top loud and offensively dumb? The same thing happened a year ago with The Island – it was smarter than the usual Michael Bay picture and starred unusually compelling characters (as opposed to meatheads and dumb blondes). The audiences rejected it, and the subsequent DVD release was OK. Will Miami Vice follow the same pattern – too smart to make any money? Too stylish to appeal to wide audiences? Or was the film just too damn expensive? Read on to find out what we think (and what you should be thinking as well).
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Hollywoodland (2006)
I saw Hollywoodland as a sneak preview to the Toronto Film Festival all the way back in August. At the time the director of TIFF, Piers Handling, told the audience to look out for this movie as it has Oscar buzz all over it. He was right. The movie left me slightly dazed as I was walking out of the theater. It left so many questions unanswered. Just like the death of George Reeves. No one really knows what happened, and instead of speculating and creating an alternate universe the movie stays true to its subject matter. Because really we don’t know and sadly will never find out how the man that played Superman died on June 16, 1959.
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Death of a President (2006)
This movie was one of my top choices at Toronto Film Fest. Unfortunately, the media blew the controversy out of proportion as soon as the film was announced, and I could not get a ticket to see it back in September. The good news, I was able to see it before it rolls out in movie theaters this coming Friday. The bad news is that the media is still desperately trying to bury/boycott/kill this movie, all without a valid reason. The movie theaters might be empty – a real shame. Death of a President is an odd film, but it has a point to make, makes it splendidly, and despite the volatile subject matter, deals with it in a mature way. Anyone, and I mean ANYONE who dismisses it as a liberal propaganda, or an invitation for a real assassination of the president has not seen the movie and clearly doesn’t know what s/he is talking about. It’s as if a review was based solely on the title. Why I never…
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The Fountain (2006)
Somehow Darren Aronofsky has become the next big hit in Hollywood. Along with JJ Abrams (his status I just have to question, after MI3) and Christopher Nolan (ok, this guy knows what he’s doing) Darren is hailed as this decade’s Tarantino. Now I understand that a formulaic, stagnant world of Hollywood needs a regular shake, a revolution. So when a new kid on the block directs something unusual, he’s naturally going to be labeled as the next big thing. But I just didn’t get why Darren is such an outstanding director. I could see his unique way of writing (his earlier hits, Pi and Requiem for a Dream were also written by him), but as a filmmaker, a genius behind the camera – I didn’t get it. Until The Fountain, of course. While Pi was a bit unusual throughout, Requiem for a Dream had a weird plot and soundtrack, but not direction. It was good, but not excellent. Compelling but not exceptional. With The Fountain, I think Darren has reached a new level of storytelling – a unique plot, amazing score and focused, concise visual mastery of the story. This is a simple, straightforward movie told in a fantastic and memorable way.
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