Review: "The Illusionist" Casts a Spell (Happy B'day, Jessica Biel)

TRASH IN MY EYE No. 36 (of 2007) by Leroy Douresseaux

The Illusionist (2006)
Running time: 110 minutes (1 hour, 50 minutes)
MPAA – PG-13 for some sexual and violent content
DIRECTOR: Neil Burger
WRITER: Neil Burger (based upon the short story “Eisenheim the Illusionist” by Steven Millhauser)
PRODUCERS: Michael London, Brian Koppelman, David Levien, and Bob Yari & Cathy Schulman
CINEMATOGRAPHER: Dick Pope, BSC
EDITOR: Naomi Geraghty
2007 Academy Award nominee

DRAMA/FANTASY/MYSTERY/ROMANCE

Starring: Edward Norton, Paul Giamatti, Jessica Biel, Rufus Sewell, Eddie Marson, Jake Wood, Tom Fisher, Karl Johnson, Eleanor Tomlinson, and Aaron Johnson

The subject of this movie review is The Illusionist, a 2006 period drama written and directed by Neil Burger. Burger loosely bases his screenplay on “Eisenheim the Illusionist,” a 1989 short story by Pulitzer Prize-winner, Steven Millhauser.

When he was a boy, Eduard Abramovicz (Aaron Johnson) fell in love with the Duchess Sophie von Teschen (Eleanor Tomlinson) an aristocrat well above his social standing. Her parents kept them apart, so Eduard left his home and traveled the world. Early 1900’s, Eduard returns to Vienna as Eisenheim the Illusionist (Edward Norton), an extraordinary conjurer and master magician. During one of his performances, Eisenheim fatefully encounters the Duchess (Jessica Biel), now a beautiful young woman engaged to marry Crown Prince Leopold (Rufus Sewell). Eisenheim employs his powers to win back her love, which is not necessary, as she never stopped loving him.

While Sophie is smitten with Eisenheim, Leopold feels threatened by the stage magician’s strange tricks, and attempts to apply cold logic to expose what he sees as Eisenheim’s scams. Leopold, however, has a history of abusing his female companions, and his apparent assault of Sophie during a jealous rage pits him against the illusionist extraordinaire in a duel of authority and stage magic. Caught in the middle of Eisenheim and Leopold’s feud is Chief Inspector Walter Uhl (Paul Giamatti), who deeply admires Eisenheim’s skills, but must serve Leopold if he wishes to advance socially and politically.

In his film, The Illusionist, director Neil Burger uses a mesmerizing performance by two-time Oscar nominee Edward Norton (Primal Fear, American History X) to deliver an enchanting supernatural mystery tale full of forbidden romance, imperial politics, and dazzling magic. Burger and cinematographer Dick Pope use autochrome photography to take the recognizable world and transfer it to the realm of mystery where everything is beautiful, but also has a disturbing undertone. Director and cinematographer saturate the world of The Illusionist in gold and green and then, allow the shadows to play ever so slightly on the edges of the picture’s frame. It’s a unique look that heightens the sense of magic, mystery, dreams, and that feeling of an otherness – the paranormal.

Not only did Burger build an enthralling world with his creative staff, but he also allowed his actors to play, guiding their considerable talents into selling this narrative. Paul Giamatti is excellent as the Chief Inspector Uhl, who admires Eisenheim, but is trapped between a rock and a hard place as Leopold’s strong-arm man. Giamatti wears his emotions on his face quite well – obvious, but with subtlety and grace, so he lets us see the struggle. Uhl admires Eisenheim even as he must control him. Sewell is super intense as Leopold, and he also allows to the audience to see the brilliant mind behind the face of a man with control issues. Jessica Biel is tolerable, but even her best moments seem weak compared to everyone else.

Still, this movie’s star is Edward Norton. Intelligent and intense, Norton always brings an air of elegance to his performances. Truthfully, he’s just too damn talented, and the fire of his abilities can burn through a weekly structured film. Here, there is no such problem. Norton’s Eisenheim is dark and mysterious, and we are drawn to this handsome creature who seems to have dark forces at play behind his placid face and his genial smile. Norton never lets us truly know Eisenheim, but he draws us to the character like moths to the magician’s exquisite flame. In the end, The Illusionist leaves so many questions unanswered, and it is indeed a great film that makes the viewer love the magic, mystery, and the great unknown of that which is supernatural. Neither The Illusionist nor its star character will let us know how a magician does “it,” but that won’t stop the audience from being spellbound and loving both.

8 of 10
A

NOTES:
2007 Academy Awards: 1 nomination: “Best Achievement in Cinematography” (Dick Pope)

Friday, February 16, 2007

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Review: "The Thing" 2011 Suffers Next to "The Thing" 1982

TRASH IN MY EYE No. 17 (of 2012) by Leroy Douresseaux

The Thing (2011)
Running time: 103 minutes; MPAA – R for strong creature violence and gore, disturbing images, and language
DIRECTOR: Matthijs van Heijningen Jr.
WRITER: Eric Heisserer (based upon the story “Who Goes There” by John W. Campbell, Jr.)
PRODUCERS: Marc Abraham and Eric Newman
CINEMATOGRAPHER: Michel Abramowicz
EDITORS: Peter Boyle, Julian Clarke, and Jono Griffith
COMPOSER: Marco Beltrami

SCI-FI/HORROR/THRILLER/MYSTERY

Starring: Mary Elizabeth Winstead, Joel Edgerton, Ulrich Thomsen, Eric Christian Olsen, Adewale Akinnuoye-Agbaje, Paul Braumstein, Trond Espen Seim, Kim Bubbs, Jørgen Langhelle, Jan Gunnar Røise, and Stig Henrik Hoff

One thing that becomes clearer to a budding writer as he or she develops writing skills is the importance of conflict. Sometimes horror movies are less about conflict than they are about cheap scares.

Who Goes There? is a novella written by John W. Campbell, Jr. under the pen name Don A. Stuart. It was first published in the August 1938 issue of Astounding Science Fiction. The story is about group of scientific researchers in Antarctica and their encounter with an alien that assumes the shape, memories, and personality of any living thing it devours. The Howard Hawks/Christian Nyby film, The Thing from Another World (1951), is a loose adaptation of the Who Goes There? The 1982 John Carpenter movie, The Thing, was a remake of the 1951 film, but Carpenter’s version (written by Bill Lancaster) was more faithful to Campbell’s novella. There is a third film adaptation of Who Goes There?

The Thing is a 2011 science fiction horror film that acts as a prequel to the events depicted in Carpenter’s 1982 film. Not only are the Hawks and Carpenter films among my favorite movies, but I also consider them two of the great science fiction and horror movies of all time. The Thing 2011 pits scientists against a sneaky alien menace, but much of the movie lacks conflict or struggle.

The Thing 2011 is set in and around Thule Station, a Norwegian research station in Antarctica. The scientists and researchers at the station have just discovered a spacecraft buried deep beneath the ice. One of the scientists recruits American paleontologist, Kate Lloyd (Mary Elizabeth Winstead), to come to Thule, where Kate learns that the scientists have also discovered a survivor from the spacecraft buried in the ice. The scientists return the alien to the station in a block of ice, but they soon learn that the alien is still alive. Now, it is consuming and replicating people in the station, and Kate seems to be the only one who truly understands the situation. But will she be able to tell the difference between the real humans and the copies?

The Thing 2011, directed by Matthijs van Heijningen Jr., is loving and respectful of John Carpenter’s 1982 film. In some ways, Heijningen’s film is as much a remake of Carpenter’s film as it is a prequel, but I think that’s why the new film comes out being a fairly average science fiction horror film. The first hour of this movie seems like nothing more than procedure, as if the director and screenwriter were more determined to set up a scenario rather than tell a story. I could feel the weight of Carpenter’s classic film weighing down the narrative of this new movie. Perhaps, Universal Pictures would have been better off remaking Carpenter’s movie or making (dare I say) the more daring choice and producing a sequel to the 1982 movie.

It doesn’t help that the characters are not interesting. They seem like a bunch of dull people standing around a boring party hoping that something will happen to liven up things. That “something” is the alien, and when it finally starts attacking like a mad-monster big dog, Kate and a few other characters suddenly seem interesting. That’s because the story finally embraces conflict and struggle. The human/alien conflict creates a struggle to live, and when human characters struggle to live in fiction, we pretty much always pull for them. The alien’s struggle to survive (which means killing humans) certainly makes the story more interesting.

When there is no conflict, the movie is a bust, but for about 20 minutes during this movie’s second half, it is actually first-rate science fiction-horror. Then, it starts to misfire again, alternating ridiculous and cool. The Thing has such cheap scares as what’s-around-the-corner, the monster attacks, and the ambiguous shadows, etc. There is potential here, but most of it is wasted. The Thing 2011 is mostly just an awkward love letter to a better movie, so please watch John Carpenter’s The Thing, if you haven’t seen it already. Or if you have, see it again; it’s always a pleasure to watch.

5 of 10
C+

Thursday, March 01, 2012

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Shyamalan Begins Shooting "After Earth" with New Camera System

"After Earth" Is First Motion Picture to Be Shot with Sony's F65 Camera

Sony Pictures Entertainment's Upcoming Science Fiction Epic Gets True 4K Production Treatment Using Groundbreaking New Camera System

PARK RIDGE, N.J., Feb. 29, 2012 /PRNewswire/ -- The latest film from the production company Overbrook Entertainment and acclaimed director M. Night Shyamalan, "After Earth," scheduled for release next year by Sony Pictures Entertainment's Columbia Pictures, is the first major motion picture to be shot using Sony's groundbreaking F65 CineAlta(TM) digital production camera.

Shyamalan commented, "I couldn't be any happier with the F65, which is amazing since I'm a 'film guy' and I thought I'd die a 'film guy.' It's a digital media that's warm and has humanity in it which is obviously the most important thing to me."

"The F65 is like a great leap forward," said director of photography, Peter Suschitzky. "As soon as I did testing of the F65, I was immensely impressed by the amount of detail it captures, by its incredible flexibility, from low lights to high lights, and its great contrast range. It really is a camera for the future and I'm going to use it again on a number of films."

In January 2012, Sony began worldwide deliveries of the F65 camera to meet the incredibly high demand from production professionals. Approximately 400 units were pre-ordered, and several other high-profile productions are also planned to be shot with the F65.

"This movie is the perfect first project for the F65," said Alec Shapiro, senior vice president at Sony Electronics. "The combination of an innovative moviemaker and a script with incredibly high production values will test the limits of this camera and its powerful feature set. The result is sure to be a unique and visually immersive entertainment experience for the movie-going consumer."

The F65 camera's unprecedented 8K image sensor, with approximately 20 total megapixels, offers higher image fidelity than any other digital cinema production camera. With 16-bit Linear RAW file output capability, the F65 creates the gateway to an end-to-end 4K file-based mastering workflow.

In response to the strong interest in Sony's new F65 CineAlta(TM) camera from the filmmaking community, Sony Pictures Studios plans to host workshops on digital workflows supporting the F65. The workshops, beginning in March, are designed to educate qualified directors, cinematographers and other film industry professionals.

Review: "Lady in the Water" is a Beautiful Storybook Fantasy (Happy B'day, Bryce Dallas Howard)

TRASH IN MY EYE No. 163 (of 2006) by Leroy Douresseaux

Lady in the Water (2006)
Running time: 110 minutes; MPAA – PG-13 for some frightening sequences
WRITER/DIRECTOR: M. Night Shyamalan
PRODUCERS: Sam Mercer and M. Night Shyamalan
CINEMATORGRAPHER: Christopher Doyle, H.K.S.C
EDITOR: Barbara Tulliver, A.C.E.

FANTASY/DRAMA/MYSTERY/THRILLER

Starring: Paul Giamatti, Bryce Dallas Howard, Jeffrey Wright, Bob Balaban, Sarita Choudhury, Cindy Cheung, Freddy Rodriguez, Bill Irwin, Jared Harris, M. Night Shyamalan, June Kyoto Lu, Mary Beth Hurt, and Noah Gray-Cabey

M. Night Shyamalan’s films have been thoughtful and profound. His characters fight pitched battles with their inner demons as they wage war with the outside forces that would destroy or enslave them. We’ve seen that in everything from the heart-rending ghost story, The Sixth Sense, to the story of a lapsed minister who finds his way back to his faith while battling an alien invasion in the 2002 hit film, Signs. Shyamalan’s films are also known for their twist endings – surprising finales that not only change the tone of the film, but also frustrate audiences who bought into one kind of story and find a shock ending ruins their expectations – Unbreakable (2000) and The Village (2004) being the best (or worst) examples.

In his new film, Lady in the Water, Shyamalan eschews the twist ending for a yarn that can be taken figuratively as a fairytale or literally as a tale of people who find their destiny in a fairytale made real. Or maybe the viewer can see it as both figurative and literal. Regardless of how one views it, Lady in the Water is one of the most lovely and heartfelt tales told in recent years – a thing as beautiful as its sparkling blue movie poster.

Modest and humble, Cleveland Heep (Paul Giamatti, in a performance that solidifies his place as a great American actor), manages an apartment building named “The Cove.” One night Cleveland is investigating the noises from the apartment’s swimming pool when he falls in by accident. He awakens to find that a pale, young woman with deep blue eyes, who says her name is Story (Bryce Dallas Howard), has rescued him from drowning. Cleveland discovers that Story is a “narf,” a creature from an old bedtime story, and she is trying to make the treacherous journey from our world back to her own, the “Blue World.” Cleveland and the rest of The Cove’s collection of oddball tenants realize that they have suddenly been drawn into Story’s fable. Young Soon (Cindy Cheung), a go-getter college student, Mr. Dury (Jeffrey Wright), a serene crossword puzzle fanatic and his son, Joey (Noah Gray-Cabey), Mr. Leeds (Bill Irwin), a housebound TV watcher, and Vick (M. Night Shyamalan), a writer and Anna Ran (Sarita Choudhury), his talkative sister, among many others, accept this strange story of which they are a part. With their help, Cleveland must protect this fragile young woman from a deadly creature hell-bent on keeping Story from returning home.

By now, many reviewers and audiences have turned on Shyamalan for this picture. However, where others see Lady in the Water as boring or mystifying, I see it has a simple fairytale. Yes, Shyamalan’s script is a bit artsy and pretentious at times, and the story (based upon a bedtime tale he wrote for his children) is stretched to the breaking point and challenges credibility. Still, for all that we might take it literally, much of the story is symbolic The characters, setting, and incidents are meant to remind us of a bedtime story, or to put it bluntly – “Once upon a time... Lady in the Water is a metaphor about people taking up their place in destiny, of the difficulty in taking up the journey to get to one’s place, and that each person does indeed have a purpose.

While the subject matter and characters might not make sense on the surface, they and the tale in which they exist have a deeper meaning. We’re supposed to see past the trappings and see the core – lives driven by purpose for the good of humanity. In Lady in the Water, the title character, but especially Cleveland Heep, have to break out of the protective shells they’ve made for themselves using their own fears, grief, and insecurities as building material. Thus, it’s no wonder that the other characters were so quick to embrace their part in this bedtime story – they’ve also hungered for a life of meaning. An enchanting fairytale filled with magical characters and dark fantasy, Lady in the Water is the most meaningful fable mainstream Hollywood has given us in a very long time.

8 of 10
A

Monday, July 31, 2006

NOTES:
2007 Razzie Awards: 2 wins: “Worst Director” (M. Night Shyamalan) and “Worst Supporting Actor” (M. Night Shyamalan); 2 nominations: “Worst Picture” ((Warner Bros.) and “Worst Screenplay” (M. Night Shyamalan)

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Happy Birthday, Phil

Since 50+ candles might anger a fire marshal, I'll just wish you the best and hope you have many more high-numbered birthdays.

The Ides of Negromancer

Welcome to Negromancer, the rebirth of my former movie review website as a movie review and movie news blog.  This is the blog version's third March, and I didn't think I'd get this far.

I’m Leroy Douresseaux, and I also blog at http://ireadsyou.blogspot.com/ and write for the Comic Book Bin (which has smart phones apps and comics).

All images and text appearing on this blog are © copyright and/or trademark their respective owners.

Paul Walker to Narrate IMAX 3D Documentary, "Air Racers 3D"

Paul Walker to Narrate New IMAX 3D Theatre Film "Air Racers 3D" Slated For Release in April 2012

Latest 3D Entertainment Distribution title is first IMAX theatre film to explore the Reno National Championship Air Races

LOS ANGELES, PARIS and LONDON /PRNewswire/ -- 3D Entertainment Distribution announced that actor Paul Walker (The Fast and the Furious franchise, Takers) will narrate Air Racers 3D, the first-ever IMAX 3D theatre film devoted to the fastest race in the world: the legendary Reno National Championship Air Races. With stunning aerial photography filmed entirely in 3D and unprecedented access granted to the course, Air Racers 3D takes audiences into Nevada's Valley of Speed to experience the intensity and high-speed thrills of a sports event like no other combined with spectacular air show entertainment.

"We are truly honored and delighted to have Paul Walker lend his storytelling talents to this action-packed 3D film, which will hit IMAX theatres in the US beginning this April," said Francois Mantello, Chairman and CEO of 3D Entertainment Distribution. "His passion for racing and high-adrenaline sports makes him a perfect fit for this celebration of aviation."

"I have always been fascinated by the sheer power, precision and skills of these tremendously talented pilots who race just 50 feet off the ground at twice the speed of a Nascar race," said Paul Walker. "I was further drawn to the film by its unique historical view of this legendary sport and for the educational insight into the science of flying that it provides."

"We are delighted to have Paul Walker be such an integral part of this film," said Air Racers 3D co-directors Christian Fry and Jean-Jacques Mantello. "His ability to connect with moviegoers of all ages, and teenagers in particular, as well as his genuine love of motor sports unquestionably enhances this ultimate air show experience."

Having captured the attention of audiences and industry executives alike with his undeniable on-screen presence in a string of supporting roles, Paul Walker's breakout role was as undercover cop Brian O'Conner in the 2001 hit film The Fast and The Furious. Since then, he has managed a balance of box-office films and dramatic roles to cement his leap to leading man status. Walker has demonstrated his on-screen versatility by transforming into a soldier under the direction of Clint Eastwood, an Arctic research scientist in a Disney family adventure, and a New Jersey mobster in a gritty independent feature. Walker, who also made a return in the fifth installment of The Fast and The Furious franchise, recently starred in and executive produced Vehicle 19, an indie thriller set for release in 2012.

From the pits to the roaring sky, Air Racers 3D explores the highly competitive world of air racing through the eyes of rookie pilot Steve Hinton as he attempts to fly his P-51 Mustang fighter plane to victory in the most highly-anticipated and unpredictable race class. Audiences will discover today's elite pilots in their World War II-era aircraft as they fight for position, wingtip to wingtip, and skim 50 feet (15 m) above the ground around an oval course at 500 mph (805 km/h). The film also features rare archival footage and performances by many of the world's top aerobatic pilots, including the Royal Canadian Air Forces Snowbirds.

Produced by 3D Entertainment USA and Pretend Entertainment in association with Stereoscope, Air Racers 3D is directed by Christian Fry and Jean-Jacques Mantello (Sharks 3D, Ocean Wonderland 3D and Dolphins and Whales 3D) and features a screenplay by Christian Fry and Rick Dowlearn. The musical score is by Christophe Jacquelin. The film is produced by Christian Fry and Raul Leckie, and executive produced by Francois Mantello, John Constantine and Jeffery Pierce. Two years in active production, principal 3D photography for the film took place during the 2009 and 2010 Reno National Championship Air Races and was completed in June 2011.

Visit the official film website at http://www.airracers-thefilm.com/

Follow all the latest news on Twitter at http://www.twitter.com/AirRacers


About 3D Entertainment Distribution
Founded in 2001, 3D Entertainment Distribution is the marketing and theatrical sales arm of 3D Entertainment Films and 3D Entertainment USA. Affiliates of 3D Entertainment Films Holdings, the companies are focused on the production, postproduction, sales and theatrical distribution of innovative 3D films for IMAX theatres and Digital 3D cinemas worldwide. The cornerstone of the Company's film catalogue is a unique underwater film trilogy presented by Jean-Michel Cousteau that has grossed over USD 84 million at the box office. In 2010, the company successfully launched its first acquisition, the USD 13 million-grossing Sea Rex 3D: Journey to a Prehistoric World which was named the Best Earth Sciences Program at the 2011 Jackson Hole Wildlife Film Festival. The Company's current line-up of 3D films includes Kenya 3D: Animal Kingdom (February 2013), Patagonia 3D: Into the Wild and Time: The 4th Dimension, starring Christopher Lloyd and Deep Roy. The Company maintains offices in London (UK), Los Angeles (California) and Paris (France). For more information, please visit http://www.3defilms.com/