The disappointment of Christopher Nolan’s enormously entertaining – and slyly provocative – The Prestige comes in its closing minutes, when it adds a fourth act to its illusion: the final reveal. As any magician will tell you – as the movie itself reminds the audience – knowledge of the secret robs the trick of its power and allure.
The temptation when writing about Tristram Shandy: A Cock and Bull Story is to try something really clever.
Much like the Boston Red Sox, the movie Game 6 hauls so much baggage that triumph seems nearly impossible. It’s akin to being down three games to none to the Yankees in a best-of-seven series. Lo-o-o-o-o-o-o-ong odds. But somehow … .
What’s unfortunate about Michael Haneke’s Caché is that the writer/director has created a movie that requires such intensive decoding at its terminals that it’s easy to overlook the rest of the movie – to, in fact, miss its entire point. By spending so much time and effort on the beginning and the ending, we neglect essential questions: What is the film trying to say? Is this an effective way to communicate that message?
In Calendar, writer/director Atom Egoyan offers a film version of musical minimalism, with its emphasis on long shots, repetition, and minor variation, and with just a handful of camera setups. Nothing is superfluous.
As an agnostic, the conclusion of Paul Schraeder’s Dominion: Prequel to The Exorcist was deeply unsatisfying. Evil is unleashed on an eastern African town, and it is expelled by the power of … God? You might reasonably ask: What the hell did you expect, asshole? It’s a fair question, but it’s not quite that simple.
The no-budget Primer is an austere rumination on something fantastic, rooted so deeply in the mundane that it seems plausible. Beyond that, it exists in a genre usually loaded with effects shots and races against the clock; it’s Back to the Future taken seriously.
Spider Forest is at once lovely and brutal, delicate and hard, sympathetic and unforgiving. It has a feel both foreign and familiar, like the image in the movie of a girl whose body rises into the air feet-first, as if God’s hand gently plucked her by the ankle and took her into the heavens.
A History of Violence is a bizarre, challenging film dressed up as a mainstream entertainment, a subversive work bordering on parody yet also deadly earnest. The movie confirms that David Cronenberg has grown into one of cinema’s most sophisticated, rigorous, and probing filmmakers.
In Batman Begins, Christopher Nolan uses the superhero mythology to create an epic study of ethics, evil, fear, and justice. It’s a bracing, dark, provocative, and serious work that at last transcends the juvenile roots of the comic-book genre. It’s not just the best superhero movie ever made, but likely also the best mainstream film of 2005.
