It’s time for another edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film Trailers! These trailers … they don’t care. They do what they want, when they want! Celebrate the revolution…
1) Faster, Pussycat! Kill! Kill! (1965)
2) Switchblade Sisters (1975)
3) Foxy Brown (1974)
4) Cleopatra Jones And The Casino of Gold (1975)
5) Tick…Tick…Tick (1970)
6) Breaker! Breaker! (1977)
What do you think, Trailer Kitty?
The Iceman, a gangster biopic that stars the amazing Michael Shannon, came and went earlier this year. It got respectful, if not rave, reviews but it certainly didn’t get the attention that it deserved. That’s a shame because The Iceman is one of the best films of 2013.
Directed by Ariel Vromen, The Iceman tells the true story of Richard Kuklinski (Shannon), a Mafia contract killer who claimed to have killed anywhere from 100 to 250 people over the course of his three decade long career. At the same time that Kuklinski was murdering the equivalent of the population of a small rural community, he was also living a double life as a suburban family man. When he was finally arrested in 1986, neither his wife nor his daughters had any idea that he was a killer. After being sentence to spend the rest of his life in prison, Kuklinski gave countless interviews (and was the subject of a creepy documentary that still shows up on HBO occasionally) until he finally died, under mysterious circumstances, in 2006.
When Kuklinski is first seen in the Iceman, it’s the 50s and he’s flirting with Deborah (Winona Ryder). When another man speaks to Deborah, Kuklinski reacts by casually following the man outside and killing him. Kuklisnki goes on to marry Deborah before he eventually meets crime boss Roy DeMeo (Ray Liotta) and is recruited to kill for a living. It’s a good arrangement for Kuklinski because it turns out that killing is the only thing he’s good at and his marriage to Deborah allows him to tell himself that he’s just a blue collar family man doing his job.
As opposed to other cinematic sociopaths, Kuklinski is no glib charmer. Instead, as the film repeatedly demonstrates, he is a remorseless killer who feels neither shame nor joy as a result of his actions. Much like the character played by Michael Rooker in Henry: Portrait of a Serial Killer, Kuklinski is not defined by what hides behind his blank expression but by the fact that there’s nothing to hide because nothing’s there.
Even Kuklinski’s love for his family is, in one particularly harrowing sequence, revealed to be hollow and false. As becomes apparent, the only thing that keeps Kuklinski from taking out his homicidal impulses on his family is the fact that there’s a never-ending supply of Mafia lowlifes who need to be executed. Kuklinski and his associates exist in a moral vacuum and friendship and family life are ultimately a disguise as opposed to a reality.
If this makes The Iceman sound like a rather dark film, that’s because it is. And yet, the film is never less than watchable. It helps that Ariel Vromen gets excellent performances from his entire cast. Both Winona Ryder and Ray Liotta are perfectly cast. Robert Davi shows up as a mobster and James Franco has a very effective cameo as one of Kuklinski’s victims. Stephen Dorff plays Kuklinski’s brother, who is serving a life sentence because, unlike his brother, he never figured out a way to turn his dark impulses into a business. Best of all, Chris Evans plays an especially sleazy hitman who drives an ice cream truck in his spare time. When Evans first shows up, he seems almost like a comical character but, as the film progresses, Evans’ performance becomes more and more sinister until eventually, he’s calmly talking about killing his own children. For those of us who have been conditioned to associate Chris Evans with the clean-cut Capt. America, it’s a revelation of a performance.
However, the film is truly dominated by Michael Shannon. It’s not easy to make an empty character compelling but Shannon does so. Shannon is such a charismatic performer that you want to like him when he first appears on screen. As The Iceman plays out, you keep finding yourself hoping that Kuklinski will reveal some shred of human decency. You find yourself studying Shannon’s rigid stance and cold eyes and hoping to find some evidence of compassion. The genius of Shannon’s performance is that he makes Richard Kuklinski a fascinating character even as he slowly reveals just how hollow he actually is.
Is Michael Shannon the best American actor working today? That was a question that filmgoers were forced to ask after seeing Shannon’s performance in 2011’s Take Shelter. It’s a question that they should ask again after seeing his performance in The Iceman. Without Shannon’s performance, The Iceman would be just another gangster film. However, thanks to Shannon, it’s one of the best films of the year so far.
As I’ve stated in the past, I have a weakness for creepy old educational films. 1954’s The Show-Off is one of the creepiest.
The Show-Off begins with a creepy schoolgirl, who appears to have wandered right out of the pages of a Stephen King novel, staring straight at the camera and asking us for our help. It seems that a young sociopath named Jim has been giving the junior class a bad name. We watch as Jim disrupts a class preparing for a history class. In horror, we witness him disrupting rehearsals for the school play. By the end of the film, Jim is intentionally tripping his fellow students and, worst of all, hanging an unauthorized banner that reads, “Yay! Juniors!”
As the creepy girl asks us, “what would you do about the Show-off? What would you do?”
Judging from stark grayness of the school and the bizarrely blank faces of most of the students, I imagine Jim was probably sent to Room 23 and forced to watch a Dharma Initiative video. (Ah, Lost. How I miss you…)
Like a lot of educational films from the 1950s, this one was directed by Herk Harvey. Harvey would later go on to direct the classic horror film, Carnival of Lost Souls. The Show-Off shares its odd, dream-like atmosphere with Carnival of Lost Souls. I’m not sure if that’s intentional on Harvey’s part or if it’s just the fact that 50s were apparently a very creepy time.
Without further ado, here is Herk Harvey’s The Show-Off.
We are now at the halfway mark as far as 2013 is concerned. This is the time of year that self-important film critics (both online and elsewhere) tell their readers what type of year it’s been so far.
So, without further ado — what type of year has 2013 been so far?
(By the way, you can also check out my thoughts from last year, July of 2011 and July 2010 as well.)
(Also, please understand that my opinions do not necessarily reflect the opinions of the any other contributor here at TSL. And I reserve the right to change my opinion.)
Best Film Of The Year (So Far): Upstream Color (with The Bling Ring, This Is The End, Spring Breakers, Before Midnight, Frances Ha, Iceman, and Much Ado About Nothing as close runner-ups.)
Best Male Performance Of The Year (So Far): Michael Shannon in Iceman (with James Franco in Spring Breakers as a close runner-up).
Best Female Performance of the Year (So Far): Greta Gerwig in Frances Ha (with Emma Watson in The Bling Ring as a close runner-up.)
Best Voice Over Performance Of The Year (So Far): Steve Carell in Despicable Me 2.
Best Ending of the Year (So Far): Upstream Color
Best Horror Film Of The Year (So Far): Maniac
Most Underrated Film Of The Year (So Far): The Last Exorcism Part 2
Best Bad Film Of The Year (So Far): Safe Haven
Worst Film Of The Year (So Far): Tyler Perry’s Temptation, which was a guilty pleasure up until it turned out that Tyler Perry is apparently a messenger from God.
Biggest Example Of A Missed Opportunity For This Year (So Far): Man of Steel, which started out so strong before it became just another series of mind-numbing CGI sequences.
The Get Over It Already Award For The First Half of 2012: Disconnect. Hey, everyone, did you know that the Internet makes people feel disconnected from others? If this is news to you, then you’ll probably think Disconnect is a really profound movie.
The Cameron/Fincher Bandwagon Trophy (Awarded To The Upcoming Film That, Regardless Of Quality, Will Probably Be So Violently Embraced By People Online That You’ll Be Putting Your Life In Danger If You Dare Offer Up The Slightest Amount Of Criticism): Elysium
The Trailer That Has Most Outgrown Its Welcome: Elysium
The Sasha Award (Awarded To The Film That I Am Predicting Will Be The Most Overrated Of The Year): August: Osage County
The Stone Award (Awarded to the upcoming film that will probably get positive reviews based on the film’s political context as opposed to the film itself): The Butler
The Roland Emmerich/Rod Lurie Award For The Film That I’m Predicting Will Be The Worst Of 2012: Could any film possibly be worst than Tyler Perry’s Temptation?
Films I’m Looking Forward To Seeing In The Future (An incomplete list): American Hustle, Anchorman: The Legend Continues, Carrie, Dallas Buyers Club, Foxcatcher, The Hunger Games: Catching Fire, Inside Llewyn Davis, Insidious Chapter 2, Nebraska, Only God Forgives, Oldboy, Pacific Rim, Thor: The Dark World, The Wolf of Wall Street
Let’s hope that the second half of 2013 is better than the first.
Seriously, just because the Mayans were wrong, that’s no excuse for bad cinema.
Today is the one-week anniversary of a historic social media event: the #SyFyDaysaster.
For the past year, I’ve been a proud member of a group of film lovers known as the Snarkalecs. Every Saturday, we would meet up via twitter and we would watch whatever film happened to be playing on the SyFy network. Every week, we would look forward to the chance to live tweet films with titles like Jersey Shore Shark Attack, Chupacabra Vs. The Alamo, Two-Headed Shark Attack, and Piranaconda. Often times, we would be joined by actors like Gerald Webb and directors like Griff Furst. One of my best memories remains the time that Greg Grunberg replied to one of my tweets while we were watching End of the World.
Incidentally, every time that the Snarkalecs would start to live tweet a movie on Saturday, that movie would soon start trending. As a result, other twitter users would have an incentive to change the station over to SyFy and see what everyone was talking about. By showing original movies on Saturday night, SyFy kept the Snarkalecs entertained and we, as a result, then helped SyFy get better ratings.
What could be more American than that?
However, a few months ago, the SyFy network announced that they would no longer be showing original movies on Saturday night. Instead, the movies moved to Thursday and Saturday night became about showcasing a rather forgettable show called Sinbad.
Unfortunately, Thursday is not a convenient night for many of the Snarkalecs. Some Snarkalecs have to be at work on Friday morning. Other Snarkalecs have family obligations during the week. As for me, Thursday doesn’t work because that’s when CBS airs the weekly eviction episode of Big Brother.
As a result, the Snarkalecs have found other things and other networks to watch on Saturday night and Sinbad hasn’t trended once.
Two Thursdays ago, the snarkalecs decided to make a point. As a group, we DVRed the SyFy original film, Independence Daysaster, off of the SyFy network. We then watched and live tweeted the film on Saturday night.
Within fifteen minutes, just as a result of a handful of Snarkalecs live tweeting the film, #SyfyDaysaster was the number one trending topic in the world. And it stayed at number one for the next two hours. And when the tweets started to show up from people wanting to know just why exactly #SyFyDaysaster was trending, we let them know that it was trending because it was a film that the SyFy Network could have been showing instead of broadcasting the latest episode of Sinbad.
As a result of our act of social media protest, for two hours, #SyFyDaysaster was an even more popular subject than Amanda Bynes calling Drake ugly.
As for Sinbad, it trended not once.
The fact of the matter is that people don’t love the SyFy Network because of shows like Sinbad. Instead, we love the SyFy network because SyFy gives us a chance to watch movies like Super Shark and Tasmanian Devils. By showing those movies, the SyFy network has given me a chance to meet and get to know people who I may not have ever met otherwise. SyFy Saturday movie nights introduced me to the snarkalecs and, for that, I will always be thankful.
Let me put it like this — if you tell me you watch Sinbad, I’ll smile politely. Ff you tell me that you love Jersey Shore Shark Attack, I’ll be your friend forever and I’ll probably end up making out with you depending on how much I’ve had to drink beforehand.
In short, I’m proud of us! I only hope that the SyFy network noticed and that they’ll reconsider their decision to make Saturday night all about Sinbad.
As for Independence Daysaster, it was actually something of a lesser SyFy film. A bunch of aliens invade Earth on the 4th of July. The President (played by Tom Everett Scott) teams up with a bunch of hackers to defeat them. It was all pretty predictable and, under any other circumstances, rather forgettable. Still, I will never forget the #SyFyDaysaster and I look forward to engaging in future acts of civil disobedience until, hopefully, the movies return to where they belong, back on Saturday night.
Here’s just a few of the tweets from #SyFyDaysaster:
Ok #SnarkAlecs 1 hr 45 minutes until #syfydaysaster let’s tweet the heck out of it, trend it and end up in twitter jail! — @Holidill
It’s just another day in Canada. — @LisaMarieBowman
Canada should annex us. #SyFyDaysaster — @LisaMarieBowman
Oh damn, does that mean Biden’s President now? #SyFyDaysaster — @LisaMarieBowman
I find it amusing that the alien invasion happens in a place called Mooseridge. #Syfydaysaster — @Karmic9
is it true most #SyFy movies are watched 3 day later with at least 10 #SyFyDaysaster tweets?” — @KellyThul
So #SyFyDaysaster is tending a movie #Snarkalecs are watching on dvr , but Sinbad isn’t #SyFy are you paying attention — @ScottMcDonald3
“Nick’s hurt pretty bad. Can we just leave him here and pretend we didn’t find him?” #SyFyDaysaster — @LisaMarieBowman
“You can’t fight here! This is the War Room!” — @LisaMarieBowman
I thought they were led by a Mimeminister RT @LisaMarieBowman Were we really hoping to get any help from President of France? #SyFyDaysaster” — @KellyThul
#WhoTheHellIsSinbad? #SyFyDaysaster — @HelenMcGe
He’s the President of Sexyville — @LisaMarieBowman
Redheads have no use for Presidents. #SyFyDaysaster — @LisaMarieBowman
Red barns: replacing gas stations as new source of magic wifi #syfydaysaster — @DawnSnarks
Sound effects courtesy of airzooka #syfydaysaster” — @murderalotta
Gingers do to have souls! Haven’t you seen that YouTube video? #SyFyDaysaster — @LisaMarieBowman
“What is that?” It’s the moon, you moron. #syfydaysaster — @LisaMarieBowman
Is that Ben Gardner’s alien invasion stock footage? #syfydaysaster — @LisaMarieBowman
The real fans of @SyfyMovies got #syfydaysaster trending 3 days after #indenpendencedaysaster — @TonySolo
She put on her big glasses b/c she knew she was going to have to do smart stuff. #syfydaysaster — @LisaMarieBowman
Nick is like a cockroach wearing an American flag. — @LisaMarieBowman
Stop insulting cockroaches — @KellyThul
The VP is thinking, OH shit, my evil plan has been foiled. All because of those meddling kids! #syfydaysaster — @PirateMel
“@LisaMarieBowman: I have to admit that I have no idea what’s going on in #syfydaysaster.” You’re at least a step ahead of me.. — @DocZeke71
There has been a serious lack of trees and vines in #syfydaysaster. I’m not lichen it.” — @LisaMarieBowman
Hey @SyFy, even though I am tweeting your movie on the “wrong” night, I am open to you sending me that power source thing #SyFyDaysaster — @KellyThul
Been a long day, a lot of short tempers, we could all use a Snickers #syfydaysaster — @PinkyGuerro
My milkshake brings all the balls to the yard. #syfydaysaster — @GGFletcher
#syfydaysaster If she were a real scientist she would be in a halter top by now. — @MJCaan
You have to ask if the world is really worth saving. I’d like to at least meet the aliens before dismissing them. #SyFYDaysaster — @LisaMarieBowman
I’m comforted to know that 2 hackers from Mooseridge can fire a nuclear missile. #Syfydaysaster” — @Karmic9
Make love to the camera Mr. President! Seduce it! #syfydaysaster — @DawnSnarks
The President should resign & let the redheads run the country #SyFYDaysaster” — @LisaMarieBowman
I haven’t seen a ball take a licking like that since the Jodi Arias trial. #syfydaysaster — @MJCaan
The balls went from suck to blow! #syfydaysaster — @Crunch_Ops
Wow, the aliens are dropping faster than Paula Dean sponsors #SyFyDaysaster — @bgardnersboat
Congrats, #Snarkalecs! Y’all had a lot of balls tonight. Now I have to fly away. #SyFyDaysaster — @Killer_Skippy
Tonight, the #snarkalecs made this goatsucker proud! #SyFyDaysaster — @HappyChupacabra
Flame-haired one is all excited because she made something trend in some place called Dallas. Meh. #SyFyDaysaster — @Doc_Bowman
It all seemed like such a no-brainer, didn’t it?
Disney snaps up the cinematic rights to the most famous Western hero of them all — one that hasn’t been “rebooted” since 1981’s disastrous Legend Of The Lone Ranger — and turns it over, naturally enough, to Jerry Bruckheimer, who “gets the band back together,” so to speak, by hiring Gore Verbinski to direct and Johnny Depp to star as Tonto. Pirates Of The Caribbean Goes West, anyone?
It goes without saying that budget wouldn’t be a concern here — special effects, production values, sets and costumes — all would be state-of-the-state-of-the-art. Turn it loose on the public over the extended July 4th holiday weekend, sit back, and collect all that cold, hard cash. What could possibly go wrong? This was fool-proof.
Except for the fact that, well, it hasn’t been. The Lone Ranger has landed at the box office with a thud — not as big a thud as it did back in ’81, but a thud nonetheless. The critics seem to despise it, and while audiences have been considerably kinder in their appraisal of the film, they haven’t been large enough for Disney to come anywhere close to recouping their considerable investment in this rapidly-unfurling boondoggle.
All of which is kind of a shame because, as with last year’s panned (but considerably more successful at the box office) Men In Black 3, I honestly can’t figure out where all the hate is coming from. Simply put, The Lone Ranger is a damn fun movie, full of exactly the kind of kick-ass, jaw-dropping CGI, solid “out for justice” storytelling, tight, pacy plotting, and charismatic acting that makes for a sure-fire crowd-pleaser. Even if the crowds aren’t proving to be all that big.
Not exactly a “revisionist” take on the legend of John Reid (confidently played by Armie Hammer), a Texas Ranger who, when his life is turned tragically upside-down, dons a mask and adopts a new persona. this flick nevertheless provides a different spin on things by telling the tale from the point of view of an older, wiser, and maybe even somewhat broken-down Tonto (Johnny Depp in, quite honestly, one of the finest performances of his career), who earlier in life threw his lot in with Reid to bring to justice the source of all our hero’s troubles, renegade quasi-militia leader Butch Cavendish (William Fichtner, who makes for a terrific bad guy) and ,more generally, to put a stop to all the various shenanigans this good-for-nothing had a hand in.
If this sounds like your idea of a simple-minded, non-stop thrill ride full of all the excitement, adventure, humor, and yes, even human drama that you want in summertime popcorn fare, rest assured — it is. Good supporting turns from the likes of Helena Bonham Carter, Tom Wilkinson, and Ruth Wilson don’t hurt matters any, either.
Yeah, there are some gaping plot holes large enough for an entire herd of cattle to stampede through, but has that stopped folks from liking, say, World War Z or Man Of Steel, both of which are at least as guilty of counting on you to put your suspension of disbelief completely on hold for a couple of hours? If you can do it for them, surely you can do it for this, right?
Look, I won’t kid you — some small, petty, vengeful little corner of my dark and twisted soul is always happy to see a mega-budget Disney project end up costing the studio untold millions in losses. They’re bastards and they deserve it. But truth be told, if you join the legions of people who have already evidently decided to take a pass on The Lone Ranger, you’re not hurting the evil empire much — they’ve already got Monsters University to more than compensate for any bite this takes from their corporate balance sheet. The only thing you’re really doing by skipping it, then, is robbing yourself of a good time.
It’s summer! Get out there and have some fun — by sitting on your ass in a cool, air-conditioned mega-plex and catching what’s most likely the best action-adventure film of the year so far.
It’s been a slow week but there’s always room for some new AMV.
This latest “AMV of the Day” comes courtesy of 2012. It was a hit from pretty much the moment it hit the convention scene and beyond. It’s won so many AMV awards from 2012 that it’s probably been forced to retire from competition to give other videos a chance at winning. It’s the big comedy AMV of 2012 from l33tmeatwad and it dares to turn one of the greatest anime characters ever created into one of the sexiest ones by way of LMFAO’s “Sexy and I Know It”.
It’s one of the shorter AMV’s I’ve chosen, but what it lacks in length more than makes it up in awesome sexiness.
Anime: Dragonball Z
Song: “Sexy and I Know It” by LMFAO
Creator: l333tmeatwad
Past AMVs of the Day
Okay, I get it — fans of Max Brooks’ best-selling “zombie apocalypse” novel World War Z are pissed off about director Marc (Monster’s Ball, Quantum Of Solace) Forster’s big-budget, big-screen “adaptation” of it because the finished product bears essentially no recognizable similarity to its printed-page predecessor. Heck, some are even going so far as to say that they actually like the film, they just feel that it should be called something else.
On the other hand, it seems that more or less everyone who hasn’t read the book loves the movie.
Much as I’d enjoy picking a side in this, the latest great “genre geek debate,” I honestly can’t, simply because I don’t really fit into either of the “warring” camps, seeing as how I neither read the novel nor loved the film with the kind of awestruck wonder its most fervent partisans seem to be brimming over with.
Oh, sure, it was pleasantly entertaining enough — United Nations bad-ass-for-hire Gerry Lane (Brad Pitt — who, let’s face it, is probably contractually obligated to always play somebody at least a little bit cooler than the Average Joe) races against the clock, and around the globe, to keep his wife, Karin (Mireille Enos of TV’s The Killing) and their kids safe from a massive viral plague that essentially mashes together elements of the scenarios George Romero laid out in both The Crazies and his seminal “Living Dead” flicks, only with a much larger budget that enables the filmmakers to give us a more international perspective on the goings-on. Governments are strained to breaking point and/or collapse entirely, WHO and the world’s various military forces struggle to get a handle on things, no area is left unaffected, no one is safe —you get the picture.
The script went through four sets of hands — Babylon 5 creator and frequent comics scribe J. Michael Straczynski gave way to former Lost head honcho and occasional comics scribe Damon Lindelof who in turn gave way to Drew Goddard who in turn gave way to Matthew Michael Carnahan — and, as you can imagine, is something of a mess as a result. Fortunately, it never slows down long enough for you to fully realize that fact, and instead keeps you on the edge of your seat with its PG-13-level action and semi-violence (notice I don’t say anything about gore — sorry, die-hard zombie-holics) from the time it clocks in to the time it knocks off and heads for the bar around the corner.
The end result is something of a hustle — it’ll slowly dawn on you as you make your way home from the theater that what you just saw really wasn’t anything too special, but what the hell — you were too busy having fun to notice.
And that was probably the whole point, really. I don’t think Forster and his literal army of screenwriters set out to reinvent the wheel here or overturn the sacred “Romero Rules” permanently. They were just the guys brought in to make something of a damn popular book that Paramount bid a fortune to obtain the rights to and if, at the end of the day, all that survived of World War Z as most folks knew it was the title, well — that’s pretty much all they were paying for, anyway. Beyond that the only edicts from the studio “suits” were probably to land a huge star, load up on the CGI, and deliver a product that the average summertime movie-goer would find to be a reasonable enough investment of ten bucks and (roughly) two hours.
Judging it on that scorecard, you’d have to say they can all pat themselves on the back, say “mission accomplished,” and go home. Those hoping for a movie that would revolutionize the genre on celluloid the same way the book did in print are bound to be left feeling a bit disappointed, as is anyone who bothers to actually think about what they’re seeing while they’re seeing it, but for anyone and everyone else, hey — it’s a decent enough little thrill ride. Grab some popcorn, sit back, and please don’t struggle against your inner 12-year-old.
Now, as to the other raging debate splitting the internet about whether or not this is actually a horror movie or just a “thriller” with some genre trappings —
Forget it. I’m sooooo not going there. One nerd-controversy per review is my limit.
Maybe it’s unfair to saddle director Louis (Transporter) Leterrier’s new-ish “caper” drama Now You See Me with the “blockbuster” label, since it obviously doesn’t have the budget (or hype machine surrounding it) of an Iron Man 3 or a Man Of Steel, but its surprisingly healthy take at the box office in recent weeks has it hedging into “blockbuster” territory in terms of its gross ticket receipts, it’s got a “blockbuster”-caliber cast, and it definitely falls into the category of lightweight, fun, summer entertainment, so — let’s just roll with it.
And let’s not take that “lightweight, fun, summer entertainment” statement as a jab, either, please, because Now You See Me is a solid little piece of film-making that anyone associated with it can (and should) be damn proud of. It’s just not particularly “deep” in any thematic sense.
But so what? It’s been awhile since Hollywood served us up a good “caper”-style thriller — the last genuinely superb one that comes to mind is Roger Donaldson’s criminally-underappreciated The Bank Job, and that’s getting to be a good few years ago now — and even though this is a film that doesn’t aim for the same level of “ooh”s and “aah”s of the latest Marvel or DC celluloid comic-book adaptation, it’s got more genuine heroics than most of them, and is every bit as finely-calculated a crowd-pleaser as anything they’ve sent down the pipeline in recent years, as well.
The all-star cast definitely helps to elevate a script that at times belabors its points with admittedly necessary but occasionally clumsy “info-dump” scenes and features a smattering of dialogue that can best be described as “clunky,” and while none of the actors involved are exactly stretching their abilities into new and unexplored territory, there’s something to be said for knowing what the folks you hire are best at doing and then getting out of the way and letting them do it.
To that end, Jesse Eisenberg tackles his role as fast-talking, arrogant illusionist J. Daniel Atlas with aplomb; Woody Harrelson delivers a solid, workman-like piece of acting as mentalist Merritt McKinney; Isla Fisher gives us a nice turn as former-magician’s-assistant-turned-headliner Henley Reeves; Dave Franco projects cool confidence as safe-cracker/lock-picker/con artist extraordinaire Jack Wilder; Mark Ruffalo gives another “believable everyman” performance as Special Agent Dylan Rhodes, the man tasked with somehow getting some charges to stick on our intrepid foursome, who have come together and billed themselves as “The Four Horsemen,” after they apparently rob a bank in front of a Las Vegas show audience (or do they?); Michael Caine gives it his usual grade-A “go” as the group’s multi-millionaire benefactor/promoter/future victim; Morgan Freeman essentially plays himself in his guise as Through The Wormhole host, albeit with quantum physics being replaced with magic trick “debunking” as his gig; Melanie Laurent cuts a satisfying European-woman-of-mystery figure as Alma Dray, Ruffalo’s reluctant Interpol partner/potential love interest — heck, there are even notable minor performances here from Michael Kelly and Common as two of the cops who are down a few rungs on the investigative totem pole.
It’s not like the film doesn’t have any sort of statement to make about the general state of the world, either — to the contrary, “The Four Horsemen” take great pride in ripping off those who have ripped off society, and represent the kind of folk heroes the world could surely use in the wake of the mortgage crisis and the atrocious Wall Street bailout it gave birth to. Think of them as modern-day Robin Hoods with a flair for the dramatic and plenty of flat-out amazing tricks up their sleeves.
Still, the art of deception being the constant theme here, don’t be shocked if the reasons for our protagonists’ “crimes” turn out to be a lot more personal than they first appear to be (hey, I did say this movie wasn’t particularly “deep,” remember? Not even when it looks like it might be.) . I think I’ll just leave it at that, which might even be saying a little too much already.
Leterrier, as we’ve come to expect, keeps things moving at a fairly expert clip, throws in some nifty little visual tricks along the way, and most definitely delivers the goods in the film’s more action-heavy scenes, and while he handles the script’s quasi-trippy/metaphysical conclusion quite nicely in my view, I think a lot of folks will still find it a bridge too far, and frankly, for a movie that’s all about sleight of hand, you’ll still most likely see the “surprise character revelation” at the end coming from a mile off.
But ya know what? This is such an expertly-crafted piece of populist entertainment that I don’t think you’ll mind its admittedly-glaring weaknesses, simply because you’ll be too busy smiling from ear to ear. And that, perhaps, is its greatest trick of all.
There will surely be better films than Now You See Me released in 2013. Heck, there already have been. But I doubt there will be any that are more fun.
Decade of last.fm scrobbling countdown:
40. Ensiferum (782 plays)
Top track (38 plays): One More Magic Potion, from Victory Songs (2007)
Ensiferum descended on metal in 2001 with a force sufficient to crush any lingering doubts that folk metal was a genre in its own right. Their self-titled debut coincided with the first instance in which I was aware enough of metal music to fully recognize the birth of something new, and for that I’ll always view them with a sense of nostalgia. When I was first encountering the likes of Finntroll and Thyrfing, metal in general was still something of a novelty for me. The fledgling trend towards incorporating folk-centric fantasy and pagan themes graced my ears uncontextualized and thus timeless. When I first heard Ensiferum, I finally realized that this was an emergent process. The clerics of musical trendiness had been persuaded to change allegiance, and Odin and Thor would have their day in place of Satan for a time.
Ensiferum’s discography is not the sort of thing that ought to necessarily make them the hallmark of that glorious and now fading trend we call folk metal. Their history is a bit more rocky, oscillating between excellence and something less. Iron (2004) frankly bored me, and I could never quite get beyond the feeling that From Afar (2009) was a collection of Victory Songs (2007) b-sides–outstanding to be sure, but extremely similar and never quite as perfect. Unsung Heroes (2012) stands taller, I think, and its negative reviews are likely a consequence of a forgivably weak ending and single-minded fans looking for Victory Songs 3.0. But no, it’s not consistency of quality that makes “Ensiferum” one of the first names to pop into my head when I think of folk metal. It’s more a matter of timeliness–of peaking when it mattered most. Ensiferum (2001) sounds a little washed out now, but it was a triumph in its day, and it appeared at the cusp of the genre’s transition from an underground pulsation to a self-declared musical movement. Victory Songs (2007), their best album (I think most fans can agree to this), emerged at the pinnacle of the genre, when the original artists were coming into their mid-career highs and the best of the bandwagoners were leaving their marks. It was supported by a grand-slam of folk metal tour bar none here in North America the following year: Ensiferum playing in the USA for the first time, closing for a mind-blowing opening line-up of Eluveitie, Týr, and Turisas at Paganfest 2008.
Unsung Heroes (2012) appeared in time to claim ownership of folk metal’s end. I’ve been getting the sad feeling lately that 2011 marked the style’s grand last hurrah. It was a loaded year for metal, with a huge number of releases. The new trend away from earthy folk towards ethereal post-black was ever present, 2000s legends duking it out for album of the year with metal newcomers like Krallice, Liturgy, Altar of Plagues, and Deafheaven–those bands I’ll wax nostalgic about ten further years from now. Ensiferum got their two cents in a year late, in a sense, but perhaps this amounts to the honor of writing the final post-script. Sure, folk metal bands aren’t going away, but the spark of collective musical inspiration has moved elsewhere. Ensiferum happened to leave their greatest marks in the opening chapter, climax, and epilogue.
I’ll leave you with a really beautiful song from Unsung Heroes: Burning Leaves.
Through the Shattered Lens 