Movie Loner

Every magic trick has three acts. The first act is called The Pledge: the magician shows you something ordinary. The second act is called The Turn: the something ordinary is turned into something extraordinary. The third and final act is The Prestige: you see something you’ve never seen before. One of the most amazing tricks I’ve ever seen is how quickly The Prestige disappeared from theaters. The best film of 2006 that nobody saw asks one very simple question: “Are you watching closely?” If you are, you may be able to unravel the many secrets of The Prestige.

Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) are competing magicians in late 19th century London. Angier is a born showman, handsome and charismatic, filled with ambition. Borden is a dark, moody genius, fiercely dedicated to his craft. Both are bent on becoming the greatest illusionist of their time. Once partners, the two go their separate ways after the tragic death of Angier’s wife. Angier blames Borden. Borden refuses to accept responsibility. Rivalry soon turns to vengeance as each man embarks on destroying the other’s livelihood. Borden starts a family and consumes himself with inventing a trick the world has never seen. Angier’s jealousy mutates into obsession as he attempts to unlock the mystery behind Borden’s grand illusion.

While Borden’s fame and reputation grows in England, Angier travels to America to perfect his masterpiece. He settles in remote Colorado Springs where he pursues the brilliant physicist Nikola Tesla to help him create a machine that will define his career. Tesla’s groundbreaking electricity experiments reveal a scientific conundrum only a wizard could imagine. Tesla leaves his findings with Angier, warning him of the potential dangers of playing with the unknown. Hubris and compulsion guide Angier as he returns to London armed with the knowledge to quench his vengeful thirst and ruin Borden once and for all. The tables flipped, Borden must now discover Angier’s shocking secret. As Angier’s plot nears its fruition, the superior Borden unveils one final riddle that will prove him to be the master illusionist.

Writer/Director Christopher Nolan has garnered much acclaim for his miraculous resuscitation of the Batman franchise, but without question The Prestige is the most complete film of his young career. Adapting from Christopher Priest’s novel, Nolan and brother Jonathan craft a clever script that gradually builds to a stunning crescendo. Beautifully lit and shot by Oscar nominated DP Wally Pfister, the film assumes an appropriately mysterious air that defines its perplexing subject matter. Jackman and Bale are perfectly cast portraying men of similar ilk, driven by ambition and ego. Bale in particular stands out, deftly embodying the duplicitous Borden. The always-great Michael Caine provides terrific support playing Cutter, an aged insider who represents the story’s superego. The greatest trick is often the most obvious. We never see it because we never bother to look. Don’t be fooled, see The Prestige.

The trailer for The Prestige:

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Writer/Director David Mamet has had his hand in some of the most acclaimed films of the last twenty-five years. The Verdict, The Untouchables, House of Games, Glengarry Glen Ross, Hoffa, Wag the Dog, Ronin and Hannibal all feature Mamet’s signature stamp. Known for his sharp, curt dialogue Mamet has the reputation of being one of Hollywood’s best scribes. However, he has also proven to be an adept Director focusing on dark mysteries steeped in betrayal. One such movie is the little seen Spartan, an intense, tightly woven thriller about a government cover-up.

The President’s daughter has been kidnapped. The FBI, Secret Service and a “lone wolf” operative named Scott (Val Kilmer) converge to crack the case. Scott, a tough, no questions asked kind of guy accepts the role of enforcer to ensure the girl’s safe return. The team is on a strict timetable. If the media catches wind of the abduction the impending reelection campaign will be placed in jeopardy. Speedy detective work and a couple rough interrogations reveal the girl has fallen victim to an international sex slave ring. Scott is called upon by the powers that be to do whatever it takes to bring her back.

Scott, and a special ops unit are ordered to Dubai to rescue the girl and break-up the slave trade ring. But before they can lift off news of the girl’s death is released. Apparently, she and one of her professors drowned in the ocean following a cocaine binge. The dogs are called off and Scott is sent home. Soon after, new evidence surfaces that the girl’s death was a fabrication. She is alive and in Dubai. Scott’s probing makes him a target. He must go off the reservation to expose a government conspiracy and extricate the girl. All alone in his quest, Scott will put himself in the line of fire to do what’s right.

Mamet employs all his tools to tell this intricate story. Power corrupted is often a central theme in his films and here he takes solid aim at the White House, even though it’s only implied. To what extremes would an administration go to secure reelection? It’s only fiction, but it makes you wonder if a leader would be capable of this type of moral perversion. Kilmer effectively seizes the reigns playing Mamet’s typical strong male lead. Scott is driven and loyal, but his robotic persona doesn’t lack a conscience. A credible supporting cast includes Derek Luke, Clark Gregg, Ed O’Neil and Mamet regular William H. Macy. If you’re looking for a quality suspense-filled movie, give Spartan a watch.

The trailer for Spartan:

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Back in 1997 Writer/Director Andrew Niccol created one of the best sci-fi movies I’ve ever seen. That movie was Gattaca, a masterful and prescient glimpse into a future controlled by genetics. It showed a world where perfect humans were manufactured prior to conception and those unfortunate enough to be conceived without science were deemed “Invalid”. The following year Niccol penned The Truman Show, then he pulled a Keyser Soze and disappeared. He resurfaced in 2002 with the forgettable S1m0ne but would redeem himself three years later with this overlooked gem, Lord of War.

Nicolas Cage plays Yuri Orlov, a Russian immigrant growing up in the Little Odessa enclave of Brooklyn. In the early 80s Yuri decides that the gun trade will be his profession of choice. He cuts his teeth selling to local mobsters before taking his business overseas. Partnering up with his brother Vitaly, Yuri spans the globe becoming a major player in the international arms dealing game. Money and power boost Yuri’s confidence, so much so that he pursues his dream woman, a famous model named Ava (Bridget Moynahan). A successful courtship leads to marriage, landing Yuri on top of the world.

The fall of the Soviet Union proves fruitful for Yuri as one of the world’s largest weapon caches is at his disposal. A growing reputation comes with a price. Yuri makes enemies with a competing dealer named Simeon who doesn’t take kindly to losing customers. Personal problems also rear their heads. Vitaly becomes a cokehead and leaves the business. Ava grows suspicious of Yuri’s time away. A dogged FBI agent named Jack Valentine vows to take Yuri down. Yuri seems impervious to danger and raises his cred by building a profitable relationship with a lunatic African warlord. However, the walls soon close in on Yuri and everything in his life begins to crumble.

I find it disconcerting that socially relevant, albeit simplified, films are largely ignored. Lord of War acts as a step-by-step manual on how third world countries acquire weapons. Africa and South America don’t manufacture guns, the United States and Russia do. How these armaments end up in the hands of warring factions is both fascinating and unsettling. Cage, who has been wildly inconsistent since winning an Oscar in Leaving Las Vegas, is quite good playing a man skilled at his job with questionable morals. Yuri justifies his actions at every turn and never allows guilt to raid his conscience. Looking for a nice sleeper movie? Check out Lord of War.

The trailer for Lord of War:

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Do you remember Keith Gordon? As a young actor he carved a nice little niche in the 80s in such films as Dressed to Kill, Christine, The Legend of Billie Jean and Back to School. Around 1988, Gordon decided to quit acting to pursue directing. His resume behind the camera is an impressive list that includes The Chocolate War, A Midnight Clear, Mother Night and the sadly overlooked Waking the Dead. Relegated to TV projects since 2003, here’s hoping the skilled Gordon returns to the big screen soon.

In 1973, Fielding Pierce’s girlfriend Sarah is killed by a car bomb while assisting the Chilean resistance. The idealistic Sarah was devoted to fighting injustice which clashed with Fielding’s conservative views. Despite differences, Sarah was Fielding’s great love and dealing with her sudden death proves difficult. Nine years later, during a Congressional campaign, Fielding is haunted by memories and visions of Sarah, who may or may not be alive. Through a series of flashbacks Fielding and Sarah’s tempestuous relationship comes into full view, revealing the powerful hold that Sarah maintains on Fielding.

As the race for a Congressional seat tightens, Fielding’s sanity begins to erode. Voices in the night, strange sightings, and puzzling phone calls strengthen Fielding’s belief that Sarah has returned from the dead. Friends and family dismiss his erratic behavior in an effort to help him focus on achieving his dream. However, Fielding’s obsession for Sarah consumes his every thought, threatening his run for Congress. Is Sarah’s presence a reality, or does her appearance serve as a subconscious reminder to Fielding not to lose his morals on his climb up the political ladder? It is a mystery not easily solved.

Gordon’s gloomy style is perfect for this dark, intricate story. Deftly weaving the plot between 1973 and 1982, the film disallows any level of comfortability. It’s apparent that Fielding is losing his mind, but we’re never quite certain if Sarah is real or not. Billy Crudup as Fielding and Jennifer Connelly as Sarah are both convincing in their performances. Accepting their nuanced relationship is the key to understanding Waking the Dead. From heated debates to moments of passion, Fielding and Sarah keep the intriguing story conjoined. Waking the Dead is perhaps Gordon’s best film yet, so if you like it check out some of his other movies.

A scene from Waking the Dead:

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It’s high time I pay tribute to one of my favorite actors. Action, comedy, drama, this guy can do it all. Versatile and steady, Kurt Russell has been kicking ass in Hollywood since he was 6 years old. His impressive list of credits includes Escape from New York, The Thing, Silkwood, Big Trouble in Little China, Backdraft, and Tombstone. One of his first big screen successes was Used Cars, a legit gut-buster set in the shady world of automobile sales. Grab your popcorn and enjoy the ribald antics of this sleazy gang of shysters who sell cars for a living.

Russell plays Rudy Russo, a hack used car salesman who dreams of becoming a state Senator. To buy his way into the race Rudy needs $10,000, so he approaches his boss Luke Fuchs. Luke agrees to loan Rudy the cash, but Luke’s untimely death at the hands of his brother Roy leaves Rudy in a lurch. Roy, who owns the competing car lot across the street, needs the deed to Luke’s property to take advantage of a new interstate highway being constructed. To ensure Roy doesn’t take over, Rudy and his car lot cronies conceal Luke’s condition.

Rudy still lacks funds for his Senatorial run so he and his pals devise a series of schemes to drum up business. Illegal television commercials, topless women, and a dog who plays dead are just a few of the methods utilized. The unexpected arrival of Luke’s daughter Barbara tosses a monkey wrench in Rudy’s plans. Rudy falls for Barbara but can’t bring himself to tell the truth about her father. Meanwhile, a suspicious Roy amps up his efforts to take control of his brother’s land. Rudy’s dishonest behavior soon lands himself and the lot in a heap of trouble. In order to save the business and his relationship with Barbara, Rudy must lead a mad-dash of 250 cars back to the lot before a judge turns it over to the devious Roy.

Before he became one of Hollywood’s top whiz-kids Robert Zemeckis directed and co-wrote this comedy classic. In the tradition of Animal House and Caddyshack, Used Cars fires an unabashed shotgun blast at one of America’s most duplicitous professions. Gratuitous nudity, foul language and a bevy of politically incorrect references place this joyous romp among the best comedies I’ve ever seen. Russell is perfect playing the morally challenged Rudy and he gets stellar support from Jack Warden, Gerrit Graham, Frank McRae, and a beagle named Peanuts. If you missed out on Used Cars until now do yourself a favor and see this raucous laugher.

The trailer for Used Cars:

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I love a good Hollywood mystery: A Tinseltown puzzler, a La La Land conundrum, a Glitz and Glam whodunit. There’s something fascinating about movies that shine the spotlight on the movie-making industry, especially when the subject is murder. Films like Sunset Boulevard and Body Double turn the lens around to reveal the silly and tragic elements of Hollyweird. Screenwriter Shane Black, the guy who wrote the Lethal Weapon franchise, makes his directorial debut with this crafty noir parody starring two of Hollywood’s top thespians, Val Kilmer and Robert Downey, Jr.

While eluding the NYPD petty thief Harry Lockhart (Downey Jr.) ducks into a movie audition which scores him a ticket to L.A. for a screen test to play a detective. To help research the role, Harry is introduced to Gay Perry (Kilmer), an ace private eye who may or may not be gay. Harry’s big Hollywood adventure also reintroduces him to his childhood crush, would-be actress Harmony Lane (Michelle Monaghan). When not fawning over the lovely Harmony, Harry takes gumshoe lessons from Gay Perry. Their nights of sleuthing eventually land the two smack dab in the middle of a murder case involving the body of a young girl found in a lake.

Things get harrier for Harry after Harmony’s little sister ends up dead. Distraught and desperate for help, Harmony enlists Harry’s neophytic investigative skills to solve her sister’s death. Meanwhile, Harry and Perry uncover the identity of the girl in the lake and stumble on a connection to the daughter of ex-actor/mogul Harlan Dexter. Along the way our reluctant hero Harry meets some unfortunate circumstances that include losing a finger, shooting a vicious thug, and getting electrodes attached to his nether-regions. Oh yeah, he also falls in love with Harmony.

Kiss Kiss, Bang Bang is just plain fun to watch. Shane Black does an adequate job directing, but it’s his proficiency as an accomplished screenwriter that shines through. Fresh characters, smart dialogue and an abundance of inside jokes fill a clever script that pays homage to movie classics like Lady in the Lake, My Friend Flicka, The Natural and RoboCop. Downey Jr. and Kilmer are hilarious together playing unlikely partners who clash at every turn. Known more for their dramatic work it’s a pleasure to observe these guys nail comedic performances. Kiss Kiss, Bang Bang requires undivided attention but I promise you won’t be disappointed.

A scene from Kiss Kiss, Bang Bang:

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I offer this as a companion piece to my review of Indochine. Vietnam in the 1950s was, to the say the least, a powder keg of political turmoil. The French were engaged in a desperate fight to maintain their colonial rule against the burgeoning Communist influence. Caught in the middle was an innocent populace unaffiliated with either side. Then there was America, not confident in the French’s staying power and vehemently opposed to Communist rule. America’s initial role was both subversive and coercive, but ultimately would become one of history’s biggest political blunders. Too bad we can’t learn from our mistakes.

Saigon, 1952, British journalist Thomas Fowler (Michael Caine) has built himself a comfy little existence, complete with a beautiful young mistress named Phuong. However, a lack of relevant stories means Thomas’s days in Saigon are numbered. Then Thomas meets young American Alden Pyle (Brendan Fraser), a mysterious fellow supplying economic aid to the embattled Vietnamese people. The two men form a quick bond, but their budding friendship is tested once Alden is introduced to the enchanting Phuong. Alden falls hard, preying upon Thomas’s insecurities as they both vie for Phuong’s affections.

Romantic conflict gives way to military conflict with the French vs. Communist war escalating. Thomas and his local informant Hinh begin to craft hard-hitting journalism which provides Thomas and extended stay. As Thomas digs he discovers a third-party ascending with covert American support. Violence increases and Alden’s identity is brought into question. Alden’s association with a CIA presence as well as his vigorous pursuit of Phuong leads Thomas to become untrusting of his new friend. Thomas’s little world starts to collapse, sending him into a tailspin that ends in betrayal and murder.

Director Phillip Noyce weaves an incendiary plot based on Graham Greene’s acclaimed novel. A tumultuous love triangle morphs into an intriguing chronicle of America’s early involvement in Vietnam. Eventually, everyone must choose a side and deal with the consequences which are often dire. Michael Caine hits another home run playing the disillusioned, forsaken Thomas Fowler. High praise for Brendan Fraser, an underrated actor, for his convincing portrayal of the enigmatic Pyle. The Quiet American is a compelling look at the complex puzzle that was Vietnam in the 1950s.

The trailer for The Quiet American:

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Ever watch a movie and afterwards find yourself muttering, “What the hell was that?” Personally, I love when that happens. Some of the coolest films I’ve seen are head-scratchers. Slacker, Donnie Darko, and David Lynch’s Lost Highway and Mulholland Drive have all baffled me despite repeated viewings. Movie puzzles that force you to exercise your brain are often misunderstood and dismissed due to their ambiguities. Well, not by the Movie Loner. Add The Nines to the list of films that will leave you with more questions than answers.

Story 1: The Prisoner. Ryan Reynolds plays Gary, a hunky young TV star who just got dumped by his girlfriend. His reaction is to burn down her house then delve into a day-long booze and crack bender that ends with his incarceration. Bailed out by bubbly publicist Margaret (Melissa McCarthy), Gary is placed under house arrest at the abode of one of Margaret’s friends. Gary’s confinement soon gets weird, complete with strange noises and hallucinations. Making things odder is Gary’s new neighbor Sarah (Hope Davis) whose over-friendly behavior hints at her knowing him. The chapter concludes with Margaret telling Gary he’s not who he thinks. She reveals he is a 9, a higher being that can destroy existence with a single thought.

Story 2: Reality Television. Episode two has Reynolds playing Gavin Taylor, a TV writer attempting to launch his own series while being followed by a reality TV crew. Gavin casts his best pal Melissa (McCarthy), an overweight actress, in the starring role. Network exec Susan (Davis) loves the show but tells Gavin that Melissa will be a tough sell. Gavin’s loyalty to his friend collides with his desire for success. His decision proves costly both personally and professionally. Once again the number 9 appears bringing into question Gavin’s true identity.

Story 3: Knowing. The final segment puts Reynolds in the role of Gabriel, a video-game creator married to Mary (McCarthy) with a daughter named Noelle. After a hike in the hills, a dead car battery leaves the family stranded. With no cell phone reception, Gabriel runs up to the highway for help. He reaches the road and meets Seirra (Davis), who reluctantly decides to lead Gabriel to her car. An innocent walk in the woods turns bizarre as Sierra confronts Gabriel and tells him it’s time to leave this world and return home.

Did you get all that? Probably not, but The Nines isn’t easy to break down. Writer/director John August creates a metaphysical journey chock-full of religious connotations, from names like Gabriel and Mary, to the concept of a god-like being. Basically, the movie poses this idea: What if God lived as a human in the world HE created? It then asks this question: Is God real, or is HE a product of human imagination? Weighty stuff for sure, but well worth exploring. Reynolds, Davis, and McCarthy deserve high praise for portraying multiple characters whom to varying degrees are all interconnected. The Nines will stay with you awhile even if you fail to completely decipher all its mysteries.

The trailer for The Nines:

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