2006

Christopher Nolan has done it again. If I didn't love him enough after Memento and Batman Begins, he is certainly endeared to me now that I have witnessed The Prestige. The story is that of two magicians in late 19th century England who began as colleagues but became bitter rivals following a terrible stage mishap. The narrative twists in and out, back and forth through time in a way that is effective and rarely ever disorienting. Like a great magic trick, it shows you enough to keep your interest but saves the shocker for later on. One of the great things about this movie, though, is that even if you figure out the primary twist long before the film's conclusion, it is still powerful based on the characters and their sacrifices, and the story is intriguing and watchable even on repeat viewings (I have seen it twice so far). Also, there is not only one twist, but several, and some, at least, are likely to catch you off guard - yet all make sense in hindsight. I, like many viewers, was taken out of the film by one pivotal development that I simply found too unbelievable to fit with the context of the rest of the picture. Some try to deny that this plot point is true. However, they must read into the story using clues we are not really given to reach this conclusion, so I can only assume that the story relies on a certain fantastic science fiction element. It was so outlandish that it could have ruined the final act - and yet, somehow Nolan pulls it off. To me, it is the only real flaw in an otherwise exceptional film. Performances are great all around with Bale, Jackman, and Caine all playing their parts wonderfully. Guaranteed to keep you on the edge of your seat whether you think you know the end or not, The Prestige is easily my favorite movie of 2006 and I recommend it highly.

Will Ferrell can be funny, yet sometimes he is not. You need only read the opposing reviews for Anchorman and Talladega Nights to see that not everyone enjoys his antics. In Stranger Than Fiction, his humor and that of the rest of the script is understated, and that is a very good thing. You appreciate the humor, but you don't depend on it. It's not heavy handed, begging you to laugh - and so it helps the story along in a very pleasing and interesting way. The story itself is the selling point, and it's a fantastic one. One day, Harold, a man living a drab life hears a voice narrating his day, and comes to discover that he is actually a character in a story that an author is writing - and she means to kill him off. This sets into motion a quaint and touching tale laced with dark wit that brings to the table some sobering questions about life and death. Emma Thompson was the highlight of the film for me and does a wonderful job as the frazzled novelist. There were also some great scenes with Dustin Hoffman as the professor who tries to determine what type of story Harold is in. I could have done without Maggie Gyllenhaal as the baker, but I suppose she couldn't be someone too affable or glamorous or else we'd never believe the developments that occur with Ferrell's character (though I had my doubts in any case). The ending seems uneven, and I think it turned rather abruptly from the tone of the rest of the film - and yet, given its context and the events that drive it, that seems perfectly fitting.

Unless you've been out at sea for the past few years, you've heard of Pirates of the Caribbean. After the success of the first installment, Captain Jack Sparrow, Will Turner and Elizabeth Swan are now back in Dead Man's Chest, with a new adventure that begins more or less where the other left off. This film is a bigger spectacle than the last in almost every way. The battle sequences are expansive. The digital effects are pervasive and technically involved. The humor is plentiful in the style of its predecessor. The plot is even more intricate and convoluted, playing on yet another old sea legend by introducing us to Davy Jones, the Flying Dutchmen, and the writhing terror of the black depths, the Kraken. With all this, Pirates 2 is certainly bigger but not at all better than the first film. For one thing, Jack's novelty has worn off. Johnny Depp still disappears into the character and endues his swaggering, self-seeking captain with charisma to burn. Yet we now know what kind of a pirate he is, and his eccentricities fail to capture us as before. More importantly, the movie is too long. Everything about it is overblown. The action sequences, while good for a few "that's cool" moments, suffer less from unbelievability than from simply being too played out. The plot line has a lot of promise and made more sense to me on a second viewing, but I still find that I have lost sympathy for both Jack and Elizabeth by the end of the film for reasons I can't elaborate on without giving away plot points, and the strained relationships at the end make for a very uncertain and somewhat sour feeling. It's not a terrible movie by any means, but it's a disappointment considering the triumph that Curse of the Black Pearl was.

First off I'd just like to say that this is an excellent movie to watch during the Christmas season. Any time, sure, but I wish I had gone to see this on Christmas Eve rather than the day after. It would have set the stage for celebrating the day quite nicely. Of course, most are aware that Christ wasn't born in December, and there's certainly no snow in this film's depiction of first century Palestine. The Nativity Story is a straightforward account of the events surrounding Christ's birth, and this it mostly does very well. The cinematography is flawless, the music is well done, and the actors are fine all across the board. Most of the story is accurate, and a few exchanges of dialog are taken right out of the Scriptural account (the meeting between Mary and Elizabth comes to mind). Unfortunately the makers succumb to several instances that stand out as departures from the source material and occasionally anachronisms. Mary's dismay over her betrothal by her parents to a man she hardly knew would not come as a shock - that was the practice of the times. Additionally, much of the subplot involving the wise men is in error. They did not appear at the manger, but much later at a house after the family had returned from Egypt. Also they were warned by an angel not to return to Herod, rather than merely deciding this on a whim. Mary, out of all the characters, is a little reserved and wooden in her acting. With all this criticism, though, the movie's spirit soars above its limitations and provides a fairly fresh potrayal. Joseph's character is handled very well, and the strength and power of the message to which this movie is testimony manages to shine through. It's a vastly imperfect but sincere movie worth seeing at Christmas.