The Illusionist

Tags

2000's, Edward Norton, Fantasy, Jessica Biel, Mystery, Neil Burger, Paul Giamatti, Romance, Rufus Sewell, The Illusionist

Film Title

The Illusionist

Director

Neil Burger

Starring

• Edward Norton as Eisenheim
• Paul Giamatti as Chief Inspector Uhl
• Jessica Biel as Duchess Sophie Von Teschen
• Rufus Sewell as Crown Prince Leopold

An intriguing blend of mystery, romance and hints of fantasy, The Illusionist like its protagonist casts a spell on you from beginning to end. Handsomely directed and visually arresting, it burns itself into the memory with its sleight of hand events and effective performances.

In turn of the century Vienna, the magician Eisenheim thrills audiences with his performances that seem to defy the odds and point at possible supernatural talents. As a child, Eisenheim came from a poor family and he became interested in magic tricks and similar things. He also fell in love with Sophie, a young duchess from a prominent family. Their relationship was forbidden when discovered because of the difference in social standing. As a result, a teenage Eisenheim traveled the world, honing his craft with the art of magic. Now back in Vienna, he is the centre of attention for his audience. During one specific performance, the Crown Prince Leopold attends with a now grown up Sophie, who he is engaged to. During the performance, Eisenheim requires a volunteer and finds one in Sophie. Both recognize each other immediately and remember how their love was thwarted. An obvious candle still burns between them after meeting again. But the Crown Prince is not one to be competed with, as he exercises strict and sadistic control over the people around him, mainly Sophie who sees more as a possession than as a lover. Eisenheim also gives a private performance for the Crown Prince in which he humiliates him. Angered by what he sees as an attack on his authority, the Prince tasks his Chief Inspector Uhl to investigate Eisenheim and prove he is nothing but a money-making fraud. But Uhl, while loyal to the Prince and his job, begins to respect Eisenheim and his act, becoming very curious about how he does it. As Eisenheim and independently minded Sophie secretly start their relationship again due to the thwarted passion that separated them, a battle of wills ensues between the magician and the prince, leading to shocking consequences. But in this game of trickery and love, all is not as it seems.

From the opening frames of mist and golden curtains, you just know that The Illusionist is going to draw you in. And so it does with its plot and execution. Writer and director Neil Burger conjures up a mysterious atmosphere of stifled emotions and repressed romance eventually breaking through with aplomb. Burger successfully keeps the audience on their toes regarding the mystery over Eisenheim and his talents. Is he really channeling something not of this world or not? That is where the effectiveness of this movie lies, in the intriguing mystery surrounding the eponymous magician. A huge highlight of The Illusionist has to be the sumptuous cinematography. It cloaks the movie in hues of burnt gold and shadows, enhancing the magical aura that Eisenheim brings and also the lavish but restricted lives of those in power. You couldn’t have asked for better cinematography for a film like this, it is that awe-inspiring to view as you feel like you’ve stepped back in time to turn of the century Vienna. A swirling score from Philip Glass gives romance to The Illusionist, while effectively giving us many pieces that enhance the overall mystery that hangs over Eisenheim.

In terms of acting, The Illusionist succeeds thanks to a talented cast giving their all to their roles. Heading the proceedings is the ever intense Edward Norton portraying the elusive Eisenheim. Filled with intelligence, passion and glints of mystery, Edward Norton has fun with the part that doesn’t reveal too much but just enough to keep us curious over whether Eisenheim is supernaturally talented or merely just a clever conjurer fooling his audience. The always reliable Paul Giamatti contributes nervous energy and a sense of conflicted loyalty as his character feels obliged to do the Prince’s bidding but is very curious about Eisenheim as well. Giamatti successfully blends those two components to make a great performance. I’ve spoken in the past about how Jessica Biel for a while didn’t do much for me as an actress. I always found she was in loads of action movies and not given enough to do. It’s then I realized that it wasn’t Biel I had the problem with, it was the films she was lumbered with. When given the right material she really flourishes and that’s exactly what she does in this movie. Luscious, composed and filled with an  imprisoned desire, Biel makes quite an impression as Sophie; the object of affection who still carries a deep love for her childhood friend. Rounding out the impressive quartet of performers is Rufus Sewell as the sadistic and cruel Prince. Sewell emits this immediately slimy quality that makes the audience feel revulsion towards and he does it well.

Passionate and laced with enigmas, The Illusionist is well-crafted film making that gains power from striking visuals and stellar work from the cast.

 

Shoot Em Up

Tags

2000's, Action, Clive Owen, Michael Davis, Monica Bellucci, Paul Giamatti, Shoot Em Up

Film Title

Shoot Em Up

Director

Michael Davis

Starring

• Clive Owen as Mr. Smith
• Paul Giamatti as Karl Hertz
• Monica Bellucci as Donna Quintano

Balls to the wall set pieces, brutal shoot outs and outrageously dark humour mix in the hugely enjoyable action extravaganza Shoot Em Up. Subtlety and overall logic goes out the window and this movie is all the better for it as it revs up the gears and doesn’t pause for breath. Think of a dozen action movies put in a blender and mixed to the highest speed and you get the general idea of what Shoot Em Up is promising you.

Carrot-munching loner Mr. Smith is minding his own business one night when he sees a heavily pregnant woman being chased by a pack of men with guns. Intervening and showing his own killer skill with any form of firearm, Smith manages to help the woman deliver her baby as he slays the bad guys. Sadly, the woman dies but Smith manages to escape with the baby boy. The leader of the goons after the baby is the crazed  psychopath Karl Hertz, who doesn’t take kindly to Smith coming along and taking the child he wanted to get. Now in a game of violent cat and mouse, Smith flees as Hertz and his tooled up buddies come following at every turn. Smith enlists the help of prostitute Donna Quintano, who specialises in providing lactating services to her clientele. She is initially reluctant to help as her and Smith have history, but eventually comes around when Hertz attempts to find the baby and tortures her. As bullets fly and the chase begins, Smith and Donna must protect the baby from the harm that is coming very close to him in a crazy plot of seedy dealings and blood-splattered carnage, headed by the unstable Hertz.

From the get go, Shoot Em Up announces itself as a movie that moves at a hundred miles an hour and isn’t one for people who are looking for depth and substance. Words like audacious, over the top and outrageous were practically invented to describe a movie like this. Michael Davis successfully directs with daring flair, moving from one shocking set piece to the next while underscoring it with a perverse and mordant humour. And those set pieces are thrilling rides to say the very least; a battle while skydiving, a shootout during a passionate bout of lovemaking between Smith and Donna and Smith’s ingenious use of carrots as weapons. Many will take issue with the sheer preposterous nature of the film, but it is best to just surrender to the action spectacle and let your faith take a leap if you really want to revel in it. A cracking editing format of slow motion combining with razor-sharp cuts makes Shoot Em Up a kinetic movie of the highest order. And a fantastic soundtrack of heavy metal perfectly matches the dark events on the screen and the always on the move characters.

Clive Owen is the perfect person to play the role of the enigmatic but highly skilled Smith. He imbues the part with a cynical attitude and a chivalrous core, not to mention immense athletic prowess and marksmanship. I really couldn’t think of anyone better to play the role of this hero. Paul Giamatti essays the part of the crazed and know it all villain with delicious finesse and barely contained droll humour. To say he is a riot to watch would be a huge understatement to how off the wall he is in this movie. Monica Bellucci is excellent as the seductive prostitute with a heart of gold and a calming influence on Smith, who becomes something of a surrogate mother to the baby boy thrust into her protection from evil. Her chemistry with Owen is marvellous and the way they play off one another is quite something.

Over the top, unabashedly shocking and a complete thrill ride, Shoot Em Up is a crazy film that plays by its own rules and delivers action in spades.

 

 

Duplicity

Tags

2000's, Caper, Clive Owen, Denis O'Hare, Duplicity, Julia Roberts, Paul Giamatti, Romance, Spy, Tom Wilkinson, Tony Gilroy

Film Title

Duplicity

Director

Tony Gilroy

Starring

• Clive Owen as Ray Koval
• Julia Roberts as Claire Stenwick
• Tom Wilkinson as Howard Tully
• Paul Giamatti as Dick Garsik
• Denis O’Hare as Duke Monahan

A devilish romantic spy caper, Duplicity is bolstered by the star appeal of Clive Owen and Julia Roberts. And while enjoyable and witty, it become too convoluted and complex for its own good, that seriously leaved you feeling a bit duped by the end. Still it does have a lot to be enjoyed, it just thinks it’s cleverer than it is.

Ray Koval and Claire Stenwick are both former agents; him for MI6 and her for the CIA. They now work as corporate spies for two rival companies, headed by the smart Howard Tully and the over exaggerated Dick Garsik who are constantly in competition and trying to get one up on the other. The thing is that Ray and Claire both have a past together romantically, as we see in flashback when their cases have crossed over the years. Yet both of them have a mutual distrust for one another because of the spy business and the playing of each other during these various encounters around the globe. Now, they both have a plan to con their respective companies for some major new product that could be super lucrative for each of them. This con that they plan to pull is extremely complex and tense as it could go very wrong if someone is caught. But with unease over trust and double crosses along the way in this dangerous game, who is playing who and will Ray and Claire’s personal feelings of sparky romance get in the way of the job in hand?

Now it must be said that Tony Gilroy contributes stylish direction Duplicity. Through split screens and visuals, he crafts an atmosphere laced with deception and humour. There is a lightness to his direction that ties in with the caper aspects of the tale. His script is slickly written and contains many a great scene of romantic banter and innuendo along the way. The wit is a clear highlight of the movie as it crackles between Ray and Claire whose relationship is mutually distrustful and doubting. Though I’m a big fan of twists, Duplicity ultimately goes overboard with them. Yes some of them come off as effective, but there really wasn’t any need for so many as it causes the film to feel cluttered. What should have really been a breezy film with a couple of double crosses becomes something of a muddled mess that could have been trimmed down. On a technical side, Duplicity at least looks great and has that old-fashioned feel of a caper from the 50’s or 60’s. A jazzy score, punctuated by exotic waves romance and cool suspense, manages to keep interest even when the story gets out of hand.

Despite the complicated nature of Duplicity, the cast assembled shines and brings a sense of credibility to it. Clive Owen does the smooth-talking, handsome guy shtick very well while bringing dashes of dry humour to the character of Ray. The chemistry he shares with Julia Roberts is electric and filled with sexual tension as the two dance a tango of uncertainty and passion. Julia Roberts also walks away with a great performance as Claire, who is smart, efficient and can be very calculating when it comes to the business.Tom Wilkinson and Paul Giamatti as feuding business heads have a clear hoot here and their distinguished presence is felt in the scenes in which they are present. The two guys are real gems of the supporting cast and their slow motion fight that covers the opening frames is comedic fare to say the very least. Denis O’Hare is on great form as another corporate spy involved with the dangerous game of cat and mouse at stake.

So it may be a slickly done spy film and boast some very engaging performances, I just wish that Duplicity hadn’t tried to be so overly clever because it really detracts from the good parts of the movie.

12 Years a Slave

Tags

12 Years a Slave, 2010's, Alfre Woodard, Based on a true story, Benedict Cumberbatch, Brad Pitt, Chiwetel Ejiofor, Lupita Nyong'o, Michael Fassbender, Paul Dano, Paul Giamatti, Sarah Paulson, Solomon Northup, Steve McQueen

Film Title

12 Years a Slave

Director

Steve McQueen

Starring

• Chiwetel Ejiofor as Solomon Northup
• Michael Fassbender as Edwin Epps
• Lupita Nyong’o as Patsey
• Benedict Cumberbatch as William Ford
• Paul Dano as John Tibeats
• Paul Giamatti as Theophilus Freeman
• Sarah Paulson as Mary Epps
• Brad Pitt as Samuel Bass
• Alfre Woodard as Mistress Harriet Shaw

Unrelenting, visceral and staggeringly powerful, Steve McQueen’s 12 Years a Slave is based on the true story of Solomon Northup, a free black man who was kidnapped into slavery and unimaginable cruelty. It won’t be the easiest film to watch, but it shouldn’t be as it shows the horrifying constitution of slavery and one mans quiet bravery in order to survive.

Beginning in 1841, Solomon Northup is a free black man living in Saratoga Springs, New York with his wife and two young children. He works as a carpenter and is highly skilled at playing the fiddle. He is offered a two-week job as a musician by two men, who proceed to drug him and place him in chains in preparation for being sold into slavery. Stripped of his freedom and renamed Platt he is first sold to William Ford, who is relatively benign and benevolent towards Solomon. The same can’t be said about John Tibeats, the weasel like worker of Ford’s takes every opportunity to voice his racist attitudes and tensions soon come to a shocking head. In order to help Solomon, Ford sells him to Edwin Epps. Solomon realises that in order to survive he must hide the fact he is an educated man and be as quiet as possible. Unfortunately, Epps is a violent,unpredictable slave owner who believes he is doing the work of God by abusing his plantation workers. Epps lusts after Patsey, one of his best workers who he also abuses many times. His lusting after her doesn’t sit well with his wife, who takes every opportunity she can to inflict pain on Patsey. As the years go by, Solomon attempts to survive by holding onto his hope. Prepare for a brutally honest, harrowing but also hopeful tale of the quiet courage of one man against the odds.

The first thing that deserves praise is Steve McQueen’s refusal to sugarcoat any of the torture that happens to the slaves. Whereas other movies shy away from it, McQueen lets his camera linger on the brutal scenes to show us the inhumanity of it. Two scenes that are hard to watch but staggeringly powerful and brutal are Solomon struggling with a noose around his neck as we hear his breathing become little more than a gasp and the horrifying whipping of Patsey, her back covered in lacerations and her face streaming with tears. I admire the way McQueen shows the unflinching detail and lets the audience feel the emotional and physical pain endured by the slaves. He doesn’t let the audience sit comfortably and makes them really squirm with the showing of human suffering. Hans Zimmer contributes an evocative score to match the emotional intensity of the film. The cinematography captures the twilight beauty of the bayou as the willow trees gently blow in the breeze but juxtaposes these with sickening images of torture and pain, creating the notion that there may be beauty in the world but the reality is a harsh and brutal eye-opener. To think that these inhumane actions really happened to people is horrifying to think of.

What really makes 12 Years a Slave a powerful and important film is the uniformly excellent cast. Heading this is the powerful performance of Chiwetel Ejiofor. He embodies the quiet, stoic bravery of Solomon with immense emotional dexterity. Even when he isn’t speaking, his intense eyes radiate the emotions his character endures as he attempts to survive the utter horror he has been thrown into. His performance is a marvellous and subtle piece of work that deserves all the praise it is getting. Tearing up the screen is McQueen regular Michael Fassbender as the evil Edwin Epps. Fassbender intensely plays this man of cruelty who uses religion as a way to justify his treatment of his slaves. He shows us the unpredictability of Epps as he wrestles with his desire for one of his workers. Lupita Nyong’o in her debut performance is a powerful presence in what has to rank as one of the best debut performances in cinema. She is heartbreaking, sincere and devastatingly powerful as Patsey, the slave who endures an immense amount of cruelty at the hands of her owners. Benedict Cumberbatch plays the benign slave owner who respects Solomon, whilst Paul Dano is a slimy, rat like presence as the insecure racist Tibeats. Paul Giamatti is the unscrupulous man who sells slaves without a care in the world. Sarah Paulson adds a frightening and vindictive dimension to her character, the spurned wife of Epps who unable to handle the love he has for one of his workers takes her anger out in horrifying fashion on the object of his affections. Brad Pitt has a small role as the abolitionist who listens to Solomon’s tale of survival. Pitt isn’t really given much to do in the film and his presence can be a little distracting. Alfre Woodard in a small but memorable role plays a former slave who is married to her former owner and now has servants to wait on her. The only flaw I can really think of is concerning the passage of time which isn’t really addressed that much. But with that being my only quibble, the film is still one of the most powerful and eye-opening films I’ve seen in a long time.

Raw, visceral and full of emotional impact, 12 Years a Slave is a powerful and haunting achievement in filmmaking that should be seen at least once by everyone for its examination of slavery and the courage of one man thrown into it.