The Prestige's Prestigious films to immerse you

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It is. If I remember correctly, Kieslowski used it (them) not only as a way to theme each of the ten programmes (Dekalog consists of ten one-hour episodes) but also of commenting on the state of Poland at the time, as it was still a communist country and part of the Warsaw Pact, so freedom of speech still wasn't something you'd hear on State television.

I've not seen it myself, but some say that it's Dekalog that's Kieslowski's real masterpiece, and I know that "A Short Film About Killing" and "A Short Film About Love" are both extended versions, as it were, of the corresponding episodes in the Dekalog. He used the same actors and many of the same locations when he shot the films.

Very happy to see Death Proof. Being a fan of that type of film I absolutely loved it and you're only the second person I've seen who's said that they thought it was better than Planet Terror. Which it was, of course. Out of interest, what's the Tarentino film that you think's better? For me it's Reservoir Dogs which, for some reason, people seem to be turning away from at the moment.

I've never liked Blade Runner though. Like Mark, it's the coldness of the film that I don't like. I've never been able to connect with it. Thinking about it, it has a Kubrick feel to it (and I've never liked his work either) but I'm sure that most would take that as a compliment.

Whilst it's almost certainly one of the most influencial films of the last 30 years, I'd also say that, on it's merits as a piece of entertainment, it's one of the most overrated.
 
You should probably stop abusing the reputation system by neg repping every post I've made in this thread after I give you negative rep. It's kind of lame and makes you look childish ...(incidentally, I neg repped you because you insist on dragging me into a further argument after I've clearly walked away...so seriously, stop).
 
I thought Large Marge and James Brolin deserved to sweep the Best Supporting Awards, and the Bicycle deserved an Honorary Oscar. I won't even use this time. (Oops!)
 
"Are you watching closely"

11. The Prestige (Christopher Nolan, 2006)



Good gosh. That Nolan fella is truly a man who has a taste for theatrics. And in 2006, no film felt more theatrical and operatic than this thought provoking, spellbinding mystery drama based on the Christopher Priest novel of the same name. For those who have seen the film, I want to discuss my feelings regarding it's now infamous ending. I'm aware that at least 85% of the members who have seen the film felt robbed at the climax. I mean, most people seem content with Borden's revelation but, clearly, Angier's reveal riles people up. However, to write the ending off as cheap and unfathomable is to overlook the key themes of The Prestige.



The film is consistent in suggesting that very often, the spectator finds themselves so obsessed with trying to decipher the trick that when the inevitable happens, the trick is thus disappointing. That's what people miss with The Prestige. It's not really about unraveling a mystery but more of a film that is designed not to necessary deceive the spectator, but make us complicit in the illusion. So y'see, it is a film that is very much defined by the spectator's response to it.



It may seem odd to people that Nolan would purposefully conjure up a disappointing trick, but I find it cryptically masterful and particularly daring because Nolan DOES manage to manipulate our feelings so that our reactions reflect the reactions of all those little boys and girls who find out the method of a trick they have been obsessed about for ages. So, if anything, Nolan manages to prove his point really well. A bit arrogant of him, true, but very skillful imo. Something more is at work here, though..



Nolan has often stated that he doesn't like DVD commentaries and even making of's and such (He only did commentaries for his first three films because he felt it would help film students) because he feels that there are certain aspects of filmmaking that should be hid from the audience. That revealing too much about the illusion of film damages the appeal of those illusions ultimately. While I don't necessary agree with his point of view, I understand and respect it. Obviously I have already said that this is a strong theme in the film, and even stronger when you consider Angier's reveal. Nolan's basically saying how 'film magick' doesn't always have to be deconstructed and explained. And I guess that's true to an extent.


Another idea that really excited me was the metaphor of the magician as director. Angier and Borden represent different types of magicians: The Showman who happens to lack genuine skill and talent (Angier) vs the technically sound yet rather boring and unappealing magician. It's when the film dives into these themes of the disparity between showmanship and substance that it really starts to shine and stand out. These are dilemmas that Nolan and most other talented filmmakers have to deal with on each project - the purist aesthetic vs the more flashy flamboyant way of approaching a film. Nolan is clearly predominantly the former, but this film and his Batman efforts suggest that he can be a bit of a show off when he wants to. Now THAT'S magic.
 
63. Three Kings (David O'Russell, 1999)



What do you get when you pair up eccentric director David O'Russell, George Clooney, Mark Wahlberg and Ice Cube together? The answer isn't as simple as you think. If you had to describe this Three Kings to somebody, how would you go about it?

Is it a generic war film? A satire? A western? How about a road movie? Or, how about we get creative and combine all these elements into one fresh, enjoyable and exciting film and give it it's props. That's the secret to Three Kings appeal. It feels so unique that you really can't describe it without spending 5 mins pondering. That said, most of the time the film does stick to conventions of the classic western genre.

Despite it's constant comedic tone, Three Kings does seem to deal with serious subject matters in a sensitive and reasonable way, which is another reason I like it so much. For example, its one of very few to show Iraq citizens as human victims rather than the enemy.

This, of course, was pre 9/11, but it's still a bold thing to do, specially considering the studio backing it. The balance between humour and harsh reality has never felt so stable in this flick.

62. Bound (Wachowski Bro's, 1996)



Before they were making film history with the outstanding Matrix, the Walchowski's Bro's stamped their tasty signatures all over this unbearably sexy noir.

The film is mostly notable for it's admittedly steaming hot sex scenes, but the Walchowski's displayed a knack for texturing scenes dramatically as the cinematography really is superb and is what I think a neo noir should look like generally. It's another one of my favourite lookin' films as far as photogoraphy goes. It's just so noir 'n' sexy and without that mood and atmosphere it probabnly would have been a lesser film. A noir without mood and atmosphere is a pretty disappointin' film to watch, imo.

Everybody has a lot of fun with their characters, too. Jennifer Tilly is on femme fatale form while Gina Gerson makes for a credible masculised anti-heroine. But my favourite performance comes from Joe Pantoliono's mob subordinate. Slimy, violent yet strangely sympathetic. Joe Pants adds more dimensions to a character that was clearly written as two dimensional.

The editing is skillful, to say the least and makes you wish that the Walchowski's would go down the noir route more often.

61. 25th Hour (Spike Lee, 2002)



Spike Lee is a world class filmmaker, whether it be Malcom X or Do The Right Thing, the man knows how to pull some strings. This is one of the most interesting films on his CV. One last day of freedom for Edward Norton's self proclaimed Irish Mother****er is damn good couple of hours of fine filmmaking for us.

It's my favourite of Lee's from a visual standpoint, but the film is about moral choice and redemption, but it's done in a very non smug way. Edward Norton is reliably good as usual, but Pepper makes the star turn. The 9/11 subtext is mildly interesting, but that's all there is to it- 9/11/. Oh, and EVERYBODY remembers this film for the brilliant monologue.

60. Stander (Bronwen Hughes, 2004)




If anybody ever had any doubts about Thomas Jane's acting or his ability to lead a film, then Bronwen's Hughes' great film about the true life of South African copper ,Andre Stander, should put all those doubters in the corner because Thomas Jane owns this film in every way.

For those who don't know, Andre Stander was a police who was against the aparheid in South Africa. He shows his views by becoming a criminal and robbing banks. At first he got away with it for about a year or so. He would don a disguise and rob a bank, only to come back later and investigate the crime scene. I won't mention anymore but he becomes a cultural icon. An anti-hero of some sort.

I have always admired Thomas Jane. I felt that he has always had this iconic look to him. He just oozes class and seems like the type of bloke i'd go for a drink with. But anyways, this is about Stander and this film delivers. There's a riot scene near the beginning of the film that would put any of those other 'gritty realist' directors to shame. It's such a memorable and ruthless scene that you're almost exhausted by the time you get to the real meat of the film.

The film has many moments of humour. The most funniest bits for me is seeing Andre Stander pretend to investigate a scene of a crime whilst knowing full well he commited it, lol.

Before she helmed this film, Bronwen never had anything on her CV to suggest she could make something so profound, exciting and engaging like Stander. This film is visually lovely too with some great music that recalls early Tarantino. I may have to rethink this film's position, as i'm thinking it's worthy of a Top 50 spot.

More to come in this very post in a bit.
 
OK Adi, you're right. What would I know? I ain't gay therefore I my opinion is invalid. You win, you're smarter than me for thinking Brokeback Mountain is a simply a film about men who love to duff each other up the arse. Yeah, what was I thinking in thinking beyond such things? Yeah you win Adi, you alpha homosexual you.
 
Gah, two films starring my two least liked actors (Cusack and Norton). Incidentally i do quite like both films but 25th Hour will never top Do The Right Thing on Lee's CV. And from what i remember of Identity it was let down by one of those typical twists that has let several horror films down- i.e. Haute Tension.
 
Damnit, was hoping you'd make a post before starting your list so i could make the "but Christopher Nolan hasn't made 100 films" joke.
 
Looks like I was wrong about The Prestige making it into your top 10. It's still quite an amazing movie.
 
66. The Thin Red Line (Terrence Malick, 1998)



Released simultaneously with Saving Private Ryan , Terrence Malick's beautifully rendered film subtly encompasses both the harsh nature of war with poetic images of natural environments. It's vintage Malick. I hope i'm not the only one who disliked this film at first.

I just wasn't prepared for how slow and how thought provoking it would be. I hadn't watched a Malick film prior to watching this film, and I think I was expecting Saving Private Ryan 2 or something. But unlike that overrated film, Malick is more concerned wait truthfulness, and he does not sugarcoat anything at all.

Yes, the film sometimes portrays the soldiers as anti-heroic, but so what? Does every war film have to be patriotic? Some soldiers were cowardly, ruthless, selfish and human. The Thin Red Line acknowledges that. And it does a damn good job of it an all.

65. Eden Lake (James Watkins, 2008)



I thought long and hard about including this one at such a high spot, specially considering i've only seen it like a week ago and just the one time, too. But it had such a profound impact on me that I couldn't help myself. In fact, most of the films screened at the 'Fright Fest' had an impact on me. Even the silly ones. But that's for another thread.

This film was disturbing to say the least. It's such a highly intelligent yet vicious little film that I am almost certain that i'd react the exact same way as I did the first time round. I don't want to go into too much detail as the less you know about the film the better.

But it's about a couple who go on a small little holiday in the lakes and are confronted by a gang of youths...that is all i'm saying. Just watch the film. I still can't get it out of my head. Great and intelligent debut by Mr Watkins who I also briefly met at the festival.

64. Edward Scissorhands (Tim Burton, 1990)



When it comes to Burton's CV, this film is often highly regarded. Why? Because it's a beautifully crafted fairy tale of a peculiar human being (?) and his unpeculiar girlfriend. What's most remarkable about this film is Burton's attemps to show the titular character's interactions with the real world around him. These scenes are the most fascinating in the film and really helps the spectator feel and care for Edward.

C'mon, who didn't cry when Depp's lonely soul replies to Winona's plea to hold her with a sombre 'I can't'? I have to say that this is my favourite of the Depp/Burton collaborations - and the most touching. Beautiful film that I might even have to place higher in the future.
 
He wants to make his writeup of The Assassination of Jesse James by the Coward Robert Ford perfect. Seriously.
 
Well to be fair most off his best work was during the 70's. Holden outlines it very well Here, if you're interested. I imagine though you probably meant that he hadn't done anything significant lately. Yes? Because he certainly had some pretty memorable roles during the 70's.

Great job so far, keep them coming.
 
Excellent write-ups Pres. The only part of your Trainspotting write-up I could agree with was that I really can't see how it glamourises drugs. The film bored me for most of it's length and was populated by people I truly despised and wouldn't piss on if they were on fire. Especially Begbie and Sick-Boy, who are just cnuts, but that probably says a lot about the quality of the performances, as they are able to extract such hate from me.
 
Being the diplomat I pretend myself to be, I was going to leave this post alone because you mostly left me alone, but I just find it difficult, sometimes, to understand where you're coming from. Maybe I should rephrase that; I probably understand where you're coming from better than most, but I have a difficult time believing that you either know where I'm coming from or believe that you do. You have brought up, in a couple of posts, how you somehow disagree with what appears to be my general way of looking at films. Both times, you took a single sentence, out of context, not only in the specific post, but in everything I've ever posted here at this site for nigh on a year now. You seem to think that I'm somehow a bleeding heart who lets his emotions rule his perspectives. I've gotta tell you that everybody I know thinks I'm a cold SOB (sound familiar?), and I was actually told by somebody that I only look at films intellectually and cerebrally. It was at that point that my wife Brenda stepped in and said, "No, he cries at movies all the time." Yep, that made me smile, and I rarely smile (sound familiar?)

Anyway, I love your wacko ideas and perspectives. You seem to almost go out of your way to herald the "weird, less-popular" films, so in that way, I truly appreciate your perspective because you obviously have your own way of seeing, and, dare I say it, "feeling" movies. "You are not bought and sold in the market place" even if the market place is one for underachieving bums.

What do I consider substance? To me substance is an antonym for bullsh!t. If a fillmmaker is putting out a personal vision, I'll applaud that artist for not putting out BS, but that doesn't mean that their "substance" is any better, at least to a rational being, than what you or I might consider BS. I don't need a film to be super deep. Just look at my favorites. Go ahead, and call me an emotionally-retarded child for liking Spielberg more than Altman (not that you ever have). However, I'll say that I find some "childish" movies far more substantive than some highly intellectual ones. Hell, you even put Popeye in your top 10. That's fine with me. Prospero's Books is obviously a deep movie, meaning that it probably has more going on than any other film. But I ask you, to what purpose? Why does Prospero's Books exist in its form, and how does it make you "feel", compared to every other film watcher, when you know that it has far more personal significance to you than most all other humans on the face of the earth?

Sure, movies are more than emotions, but if you ask the watcher and the artist what they are trying to communicate, I would think that most will say that they are looking for something to relate to. You can relate to it on an intellectual level just as easily as an emotional level, but since movies are popular "entertainment", I would find it difficult to argue that the true nature of film is somehow for it not to be embraced by the masses, but rather "appreciated" by the elite. I realize in these "end times" we're living in (HA! ), popularity is a dirty word, but c'mon now, film appreciation is an enormously satisfying experience, and that's why, although I've been brainwashed into appreciating film mostly "intellectually" that I've been triumphing the idea that interpreting them "emotionally" can sometimes breed better results, depending on the film.

Anyway, I hope this makes sense to somebody besides me. I wouldn't count on it, and maybe I didn't even answer the question, but then again, I have no way of understanding (100%) why anything I said would generate such a question. Love ya, lines. I know you like me. Buster rules. (What do you think of this video's soundtrack?)

[youtube]http://www.youtube.com/watch?v=j-dDPViQSXs[/youtube]
 
42. Alien (Ridley Scott, 1979)



Putting the C in Claustrophobia, Ridley Scott's sublime science fiction tale is still a masterclass in sustained and taut tension. On paper, the Alien films may come across as nothing more than a monster horror set in outer space, but the series has been somewhat lucky in that it's always had a strong, highly imaginative director embellishing on the script. As a result, each Alien film has it's own distinct style both visually and thematically. And that's what i've always loved about the films.

This first installment pertains more to the horror genre than the others, which means that this one has the most references to psychoanalytical themes with HR Giger's Freudian resonances providing those heavy thinkers with a lot to ponder for two hours.

Two things REALLY make this film, though - the beyond perfect pacing of the film, which is patient and confident in allowing the spectator to get to know the characters, and Sigourney Weaver's wily and iconic Ellen Ripley who turns out to be the 'Final Girl' and manages to avoid the alien's phallic bio weapon. Speaking of which, theres a scene involving the alien's tale doing a lot of explicit stuff to the other female onboard the ship - lets just say that Sam Raimi's Evil Dead trilogy needs to sort out their debt...

41. Goodfellas (Martin Scorsese, 1990)



Highly regarded auteur, Martin Scorsese, uber fast and flashy thriller is no stranger to most people's Top 100 list. It's a LONG and open look into the rise and fall of real-life mobster Henry Hill and his dodgy 'wiseguys'. The film is really expansive, covering everything from Hill's years as a wide eyed teen in the 50s until his turn in the 80s. It's a biographical film of sorts, one told firmly from the point of view of the Italian Stallions.

Scorsese's desire to glamourise his ethnic lineage is (typically) non too subtle. But all that seems distasteful ends up really immersing you into his world of organised crime. Scorsese uses the power of his ever kinetic camera to produce some great whip panning whilst simultaneously zooming in on the the art on display. Combined this with some expertly timed cutting sequences and you've got a film that powerfully emphasizes a hectic and fun lifestye that always seems on edge. Because of Scorsese's directorial choices, we find ourselves excited by these people's lifestyle, which I guess is the films point. Their excitement is contagious despite it being very violent at times.

Joe Pesci's psychotic gangaster is generally rated among most people and a lot of them feel that he helps add a star to this film and yes, he is the stuff of legends. But this is Scorsese's film. And his flair for colourful language and energetic direction is off the charts.

40. Don't Look Now (Nicholas Roeg, 1973)


As a study of dislocation and time fracturing, Nicholas Roeg's near masterpiece deserves an gade A*. The Hitchcockian style production design adds to what is essentially a haunting piece of work.

Roeg's use of the colour red, reflections and strong light/dark contrasts amount into a hypnotic journey into the unknown, as Donald Sutherland finds out. I could go on and on about this film, but i'm a bit jaded and theres just so many complex themes at the same time too. I don't think I can finish. I'll edit this post later and give out a more stronger point of view. I just can't do it any justice right now.

EDIT - Sorry, it just came to my attention how APPALLING the typos and grammar was in this post. In fact, a lot of my reviews have been like that. I'm going to do a clean edit in a bit and edit everything i've written. I was a bit drunk and physically exhausted last night, so that's why it was almost incomprehensible. But yeah, my other stuff - i tend to type fast and i'm usually quite lazy in looking back and re-editing my posts. But i'll do that now. So I apologise again peeps.
 
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