BORAT

Written by Hombre Divertido

Destined to be a college campus classic, Borat takes the standard fish-out-of-water concept and brings the comedic vehicle to some of the rankest levels seen in years.

Borat, 20th Century Fox's big-screen incarnation of Sacha Baron Cohen's Kazakh journalist from Da Ali G Show, travels to America to learn of our country. A premise ripe with comedic opportunities that stirred the emotions of the actual citizens of Kazakhstan, as reported in the news weeks before the release of the film, and rightfully so as this story depicts them as being far more backwards than anything we’ve encountered cinematically since Deliverance.

After briefly introducing us to Borat’s home and family, our story really begins in New York, as the actual trip to America is skipped all together which was an interesting directorial choice as it would have seemed to have been fraught with comedic opportunities. Nonetheless, we pick up our hero in the big city, as the camera follows him through many adventures, interviews, etc. Though most of the jokes we hear while meeting Borat’s family have been heard before, there are some gems delivered in the introduction of other town folk, and the interviews and footage of his experiences in the first few days in the big city are quite humorous. Unfortunately, the story then breaks down as does the film itself.

It is disappointing that the writer and director could not have stuck to their proverbial instinctive guns and delivered a mockumentary revolving around a foreign reporter traveling to our country full of subtle humor equal to the bear head in the refrigerator, rather than have so much potential get lost on a weak story filled with cheap jokes as Borat becomes obsessed with getting to California to find Pamela Anderson.

The final cut of this film plays like a cross between a mockumentary and a situation comedy, with the situation comedy scenes looking staged and sorely out of place. The cast takes tremendous risks in some of the improvised scenes and many of them pay off. Unfortunately some of the staged material comes off as simply offensive, though loved by many.

Recommendation: This film has some classic comedic moments in it as well as some that are classically offensive and absurd. It is sure to be a box-office bonanza, but cannot compete with classic mockumentaries of the past such as This is Spinal Tap where subtle humor reigned.

For better constructed fish-out-of-water tales regarding foreigners coming to the United States you might want to check out Moscow on the Hudson or even Crocodile Dundee, though it is apparent that today’s movie going audience prefers Borat bringing his fecal matter to the dinner table in a bag rather than Crocodile Dundee attempting to understand the purpose of a bidet.

THE BOSS OF IT ALL

FROM THE PUSAN FILM FESTIVAL
A report from Carlito de Corea

In his latest film, Lars von Trier uses a metafictional approach to deliver a satirical narrative. That is to say, he tells us that he’s telling us a story, and how. Sort of. The Boss of it All begins with the narrator, perhaps von Trier himself, letting us in on the joke, as he tells us his film is not to be taken seriously, nor is any serious meaning to be taken from it. Just another typical story with the usual parts and players, he continues, having fun as he once again blows apart the apparatus of conventional storytelling.

The boss of an IT corporation hires an actor to pretend that he is the boss of the company during an important negotiation to sell the company off. Circumstances become complicated as the real “boss of it all” and the actor pretending to be “the boss of it all” begin to butt heads about how things should be handled. Romance and sexual exploits also crop up as office workers in the company mistake the actor for someone else, and tensions between the owner of the Icelandic corporation intending to buy the IT corp. and “the boss of it all” escalate.

Von Trier lets us in on the game in this film as it periodically describes its own constructs. But this apparent self-consciousness is misleading. While the film gives the impression of letting the cat out of the bag, so to speak, the comedic tension is never lost and the narrative continues to move forward. The simultaneous accomplishment of poking fun at the process of drawing in an audience with all the typical and corny constructs of storytelling and then drawing the audience into a corny, constructed story, is quite a statement.

Another interesting effect in this film is the fine line between what the actors are going through and what the characters are going through. It is almost as if the actors are waiting for the director to fill them in on what the story is or where it is heading next, rather than the employees at the company being confused about who their boss is. This is a wonderful illusion, or perhaps not, that helps to create the feeling that no one knows what is going to happen next, neither the audience nor the actors, as the story whimsically and absurdly changes direction at various moments.

I thought the film was successful in managing these different elements, blending a seemingly loose and spontaneous style with a deceptively well-controlled narrative, and tight, well-acted scenes, all of which climax in a humorous and touching ending, albeit a self-conscious one. Well written and directed, this movie is just fun to watch, and at times laugh out loud funny. It was a big hit at the Pusan Film Festival this year and I recommend seeing it.

Robert Plant and the Strange Sensation

Written by Fantasma el Rey

Robert Plant and his backing band The Strange Sensation reel, rock and sway their way through this Sound Stage performance, covering some of his solo tunes as well as reworked Led Zeppelin classics, on this first ever music DVD from Robert Plant. The Strange Sensation was handpicked from some of the best and most varied musicians that England had to offer, from electronica to brit pop and all held together by Plant’s passionate vocal wail. These classics are approached with a world music vibe that shines and carries the day, expanding the groove where the Plant and Page project left off.

The Strange Sensation has a wonderful world music sound, percussion heavy and rhythmically funky, spitting out all kinds of keyboard tricks while holding fast to a solid rock drive. The expanded-upon Zeppelin songs include “No Quarter,” “Black Dog,” “Four Sticks,” “Gallows Pole,” and a jamming version of “Whole Lotta Love.” Sticking with the blues/rock base and expanding them by the addition of keyboards and more percussion/hand drums than you can shake four sticks at.

The music becomes funkier and a bit spacey at times, but that’s alright because it’s a new take on old favorites and Plant’s vocals remain the same. The drums are jazzier too yet still thunder when they should. The guitar drives are hard and heavy, while new instruments like the gimbri and darbouka only add to the rockin’ cocktail that is The Strange Sensation. “Whole Lotta Love,” done as it should be, a long jam, is the perfect example of this band at its creative best. The entire band comes together very well here and the tune is the perfect closer for the original broadcast performance.

“Tin Pan Valley” and “The Enchanter” are the two songs where drummer Clive Deamer and keyboardist John Baggott, both from the electronica/trip-hop unit Portishead get a chance to shine and bring forth their style and brand of pop/rock. “Tin Pan Valley” opens with Baggott’s keyboard mastery, and Deamer’s steady drumming put the band in a trip-hop mood, while the guitar soars around them. The song s structure allows the band to break this vibe by kicking everything up and then bringing you back down to mellow out and chill. The drum machine soaked beat on “The Enchanter” takes a page right out of the Portishead book, while the sitar-esque guitar, darbouka rhythms (a Turkish conga/bongo type of drum) and Plant’s echo-laden moans send this one spinning into orbit.

The bonus tracks are two old favorites made popular by Plant contemporaries Jimi Hendrix and Bob Dylan. “Hey Joe” is a tune best associated with Hendrix, although not one of his originals, while “Girl From The North Country” was written and recorded by Dylan. Both are essentially folk tunes, one rocked up a bit more than the other. The Strange Sensation rework them yet maintain the true feel of the songs. Guitarist Skin retains the driving force on “Hey Joe,” meanwhile second guitarist Justin Adams picks up the gimbri (a North African lute-like string instrument) and the infused keyboard samples take the song someplace it’s never been before. For “Girl From The North Country” bassist Billy Fuller switches to the upright bass, Adams rocks the mandolin and Baggott shows us how well he can tickle the ivories. Which all make for a wonderfully mellow closer to the show and DVD.

Robert Plant shows that he can still rock at close to sixty years of age and that his musical vision is still fresh. Plant’s energy is perfectly matched by his band, who help bring his vision to life while leaving their own fingerprints on the overall sound. The sound stage audio is awesome and the camera angles give you the feeling of being right there in the mix, on stage next to the band, a wonderful place to record Robert Plant’s first music DVD.

The Very Best of Jerry Garcia

Written by Fumo Verde

I meet this CD with mixed emotions. First, I love Jerry: the way he plays, his voice, the lyrics written by him and Robert Hunter over the years, the entire Jerry Garcia experience. There was no doubt that when I received this two-disk set that I would totally dig on what was waiting for me inside.

Yet, I had to wonder why music companies keep pumping out music by dead artists. I know that Jerry made a lot of music in his time, and I am grateful that it keeps coming to light, but Jerry needs to take a break. Shit, man, the poor Kat has been working harder now than he did when he was a live, or so it seems.

On a more professional note, this is a two-disk set with twenty-six tracks that catch Jerry at peak moments. Now don't start complaining to me out about what is better and what is best and all that; I didn't name this set. Do I think it’s the very best? Like I said above, Jerry made so much music with so many people aside from his work with The Grateful Dead. What might be one of his best performances to one might seem "phoned in" by someone else.

The way I take this as being the "very best" is like this: here on these CDs, Jerry is at one of his peak moments. He's in the zone and to catch any musician in one of those moments is like watching a shooting star from beginning to end. These tracks here do that. Jerry is right in the pocket and you can hear it and sense it.

CD number one has sixteen tracks, all recorded in studios over various times in various places. This is what the Garcia sound is like in a studio: crisp, clear, and all the notes are played well. One can perceive the true sound of Garcia. His professionalism shines through and can stand up to any soundboard mixer around.

Let me also be clear that none of the songs on either of these CDs are played with the Dead. This is all the Jerry Garcia Band and the JGAB (Jerry Garcia Acoustic Band), with two exceptions. On disc two, track 1 is played by Old & In The Way, a collective with Vassar Clements, David Grisman, Peter Rowan, John Kahn, and, of course, Garcia. The other is track number seven, "Dear Prudence" played by Reconstruction, a John Kahn jazz band.

As disc one was the studio Jerry, disc two, with its ten tracks, is the concert Jerry. Here's were the real magic happens. Once again, different venues at different times, but each song has the same flair. I enjoy live recordings because the energy from the audience can sometimes creep through the speakers and electrify you, give you the chills, and bring back good memories.

The downside to live tracks happens when the singer sings away from the microphone. You miss some of the lyrics, which is one of the main reasons you are listening. This happens on track number three, "Ripple," but for the most part, these songs have been around and most of us Deadheads, Jerry freaks, or whatever already know what's about to be sung, so in truth, I'm just being a whiner.

The Very Best of Jerry Garcia is great for a collector or a fan of Garcia. It is also a great mix of bluegrass and blues and with songs like "Run For the Roses," "Cats Under the Stars," and "Sugaree" you can't go wrong. I'm not going to say that this is Garcia's "very best", but it comes pretty damn close.

SAW III

Written by Hombre Divertido

I don’t remember the last time I Saw a movie where the audience clapped at the beginning, but not at the end. Such is the case with Saw III. Unfortunately, the audience was not happy with what they Saw.

In this installment, Jigsaw (Played with great restraint, and relying totally on his ability to speak in a frightening tone, by Tobin Bell) is close to death. In order to see what might be his last “test” (Worry not; Saw IV should be on its way) play out; he has his protégé (Shawnee Smith; Who is more psycho than diabolically evil) kidnap a doctor (Bahar Soomekh). Dr. Lynn Denlon is then fitted with a collar set to explode should Jigsaw's heart stop beating, or if she gets too far from his life-support equipment.

As Dr. Denlon goes about trying to keep Jigsaw alive, which includes graphic brain surgery, we are witnesses to the previously mentioned “test”. In said test, we are introduced to Jeff (Angus Macfadyen) who is depressed and considering suicide due to the death of his daughter and the light sentence given to the man deemed responsible for her death. Jeff is put into situations where he must decide if he wants to risk his own well being to save the lives of people involved in either the death of his daughter or the subsequent legal proceedings.

In the case of Jeff, this is the weakest attempt at manipulating an audience to care about someone in a motion picture since we were introduced to Kurt Russell’s’ character in Stargate.
Though some of the situations we see Jeff deal with are certainly as gratifying as previous Saw endeavors, as a whole this film does not work. The failure is primarily due to the fact that the writers forgot from whence they came. Saw III simply fails to build on the success of its predecessors.

Saw III spends far too much time dealing with Jigsaw and too little time dealing with the predicaments of his captives. The success of the previous films was far more enthralling because we could understand the fear of the victims, the intensity of the situations they found themselves in, and the mystery of not knowing who put them there or why. This time out, not enough time is dedicated to allowing us to appreciate all the above mentioned elements. Jigsaw was more frightening when we knew less about him. Now he just seems like the guy who worked at the record store in an episode of Seinfeld.

It may appear inconsistent to say this about a film from the Saw series, but the violence this time was too gratuitous. We see people die early in the film that we are barely even introduced to, so it comes off as the writer saying: “I’ve got a creative way to kill someone, but I can’t work it into the story, so I’ll just show it to you at the beginning to get you warmed up.”

We are left with a clear setup for Saw IV, and can only hope that the writers will return to their roots now that Jigsaw has failed his last test.

Recommendation: You would better off watching Saw three times than watching Saw III.

JINDABYNE

FROM THE PUSAN FILM FESTIVAL
A report from Carlito de Corea

Director Ray Lawrence takes a longer look at some of the questions raised by Raymond Carver’s short story, “So Much Water So Close to Home.” The same story was covered, but in less detail, by Robert Altman’s 1993 film, Short Cuts.

The film revolves around the racist killing of an Aboriginal woman, and the subsequent mistakes made by a local group of fishing buddies, led by Gabriel Byrne, who find her body. You may remember the part in Short Cuts where Fred Ward is on a fishing trip and finds a dead girl, and the troubles he faces with his wife when he gets home.

Lawrence does a great job of showing how something innocuous can become a serious indictment in the blink of an eye. What seems a harmless decision by the four friends about what to do with the dead girl’s body, later takes on enormous implications where much more is read into their actions by the media, the Aboriginal community, and even the people closest to them.

Back in civilization proper, the men begin to realize the seriousness of what they’ve done, emerging from the spell of their trip. As their deeds come to light, and they are assailed by their community, we realize that we too have been seduced into forgetting for a moment what the right and proper thing would have been to do. We are almost complicit in their actions.

As with all great stories, Jindabyne makes us understand both sides of the dilemma. There are no villains, only real people, with the exception of the killer who remains unrecognized in their midst, and whose presence we feel implicitly throughout the film.

Interestingly, I found the tone of this film reminiscent in some ways of Short Cuts, the stark natural sound at times underscored with an ambient, and alternately menacing, soundtrack. But for me there was something in Jindabyne, in tone and feel, beyond the dry quirky feel of Short Cuts, something richer, even reverent. With Lawrence there is a heavy reliance or trust in the environment, a willingness to foreground the natural elements to create a deeper experience, utilizing nature as a character in itself.

And in Jindabyne I wondered if Lawrence wasn’t suggesting that we are missing something that perhaps native peoples are in touch with—the animate, or animus, in what we often do not think of as alive, such as the often-shot wind in the trees, or the thrum of the power lines over the heads of the men as they descend into the gorge toward the river to begin their fishing expedition. We don’t just watch Jindabyne, we feel it.

Like his previous film, Lantana, Jindabyne is slow but steady. The plot is not as intricate, but is equally suspenseful. Even when nothing is happening, you find yourself engrossed in his images somehow. Lawrence has the patience to study a scene, a character, for longer than the average director, and yet without leaving the viewer with the impression that it is mere indulgence. There is always something behind what we are seeing, an underlying tension that Lawrence is so good at sustaining, both through the creation of characters we feel and care about and well-layered storytelling.

The Australian cast lends a lot to the authentic, small town feel of Jindabyne, and the Irish auto mechanic, played by Gabriel Byrne, is especially interesting to watch in this film. Jindabyne held my interest from its violent start to its emotional finish. I recommend it.

MONTY PYTHON'S THE MEANING OF LIFE

Written by El Mono Santo

The Monty Python troupe... You either love them or hate them. In my youth, I adored them. I formed and was President of the Monty Python Club (officially the Dead Parrot Society) senior year of high school. I never laughed harder in my life than the first time I saw that bovine get launched in Holy Grail. And who among us will ever forget the penalty for saying “Jehovah” from Life of Brian? But I never liked Meaning of Life.

Meaning of Life is not horrible... The soundtrack is hilarious and the film has its moments. But overall, I've always thought of this as their big flop. Considering that its artists speak multiple languages, are educated at some of the most prestigious institutions, and have an exceptional knowledge of everything from philosophy to history to art, I hoped for their erudite sophistications to come through in a film which purposes to answer “the big question”. Except for a brief mention of Schopenhauer, my hopes were frustrated. In the end, the answer to the question of the meaning of life is this:

“Try and be nice to people, avoid eating fat, read a good book every now and
then, get some walking in, and try to live together in peace and harmony with
people of all creeds and nations.”

I, of all people, know the Pythons better than that. The real meaning of life that the Python's preached--the meaning that is presupposed in the songs, skits, and actual structure of the film itself—is that life is ultimately absurd. The Pythons used comedy as an expression for their view of reality. Since the vast, empty, impersonal cosmos is ultimately greater than man and there is nothing beyond or greater than that, the film focuses on all the different so-called “stages of life” in humanity (from birth to death and the big Christmas party at the end) that are the only things that make man who and what he is. Therefore the meaning is simply to be as you are. A man lives, breathes, shits, and hopefully has some fun along the way, therefore go and do so, amen.

It is ultimately an anti-philosophy or an anti-meaning. The Pythons have failed to find an answer because they never believed there was one. The film is a mockery of life, not an attempt to find its meaning. Along the way, it turns this anti-philosophy on the most special moments of life in order to show them up as fraudulent. Before the credits roll, even the voice of the Pythons is silenced in the great meaningless nothing of space.

To quote an earlier film, "you come from nothing, you're going back to nothing, what have you lost? Nothing."

TUPAC SHAKUR LEGACY by Jamal Jospeh

Written by Fumo Verde

A few months ago, I thought I put in for a request to see a DVD on Tupac Shakur. I received the conformation from the contact that "the book will be sent to you as soon as the publisher gets it out." Huh?! I wouldn't mind spending 60 or 70 minutes watching a documentary about Tupac, but to read another book, whoa. Babies, I'm reading three books now, but I had already accepted the assignment to do the review. Then, a very large package arrived. I recognized the area of origin, and thought "Shit, is this that Tupac book or frackin' War and Peace?"

Katz and Kittenz, let me tell you, when I opened this package up, well the phrase "blown away" is an understatement. To start off, I really can't say I am a Tupac fan. I don't have any of his music, but I know his voice when I hear it coming through the speakers. I always liked what I heard, but just never got into him and I don't really know why.

Sliding the hardbound book out of the case, the first thing you see is a full cover of Tupac dressed in white on a soft-colored background made my mind race. "Wow, this is going to be sweet!" and babies, it is. This book isn't just another bio about the untimely death of an American icon, but a pictorial history of a man, who, through all his triumphs and tragedies never forgot where he came from or what the words “respect” and “family” mean. There are over 60 pages filled with pictures of Tupac, his family and friends, and copies of poems, song lyrics and other ideas that filled the mind of such an interesting young man.

There are photos of Tupac at school, in the streets with his buddies, hanging out with his mom, and working in the studios. There's even one with him and Janet Jackson on the set of Poetic Justice. But that isn't all, kiddies. There are pullouts reminiscent of Nick Bantock’s Griffin & Sabine trilogy. Let me explain, throughout the book, there are pages inside of the pages. Some are slid into a slit cut into the page itself, which can be easily pulled out, such as Tupac's letter to Interscope Records naming Suge Knight as his manager and David Kenner as his lawyer. Other pullouts are paper envelopes that contain items such as Tupac's inmate I.D. card from New York’s Clinton Correctional Facility. Although they are obviously not the authentic items, both have been recreated to look and feel like the real deal.

This book is full of surprises on every page. Like, I didn't know that his mom was Afeni Shakur, the Black Panther Activist. She gives a foreword and if you do get this book, please read what this amazing woman has to say concerning her son and his life, and one can see where Tupac gained his incredible knowledge and insight about the world.

Author Jamal Joseph also has a note on the foreword page. He explains how he is related to Tupac and how he watched him grow up. The story he relates to the reader throughout the book is about his close friend and how he watched this young boy turn into such a great and talented man. Joseph ends his author's note with, "It is what I miss the most. Those eyes that could see the past, present and future at the same time, and that smile that could re-arrange time and space into endless possibilities."

With a beginning that ends like that, get ready to not only read the story of Tupac Shakur, but to see it in images that the mainstream media couldn't even touch. He was not only a talented rapper, but also a political activist, entrepreneur, artist, chef and so much more. Tupac once said, "I'm not saying I'm going to change the world. But I guarantee that I will spark the brain that will change the world," and if he hasn't yet, this book just might be the spark that starts that flame.

This is a great book, and one hell of a collector’s item. For those of you how are fans, you will be overjoyed by what this book contains. For anyone who likes the history of music and the people who make it, put this book out on the coffee table. It needs to be in place where it can be appreciated, like the man who it’s about. Better than any Behind The Music episode could explain and with no commercials, Tupac Shakur Legacy brings to light the soul of an artist, a friend, and a man.

This is Fumo Verde, keeping it real.

P.S. I was going to let this be a surprise, but it’s hard to keep this mouth shut. Behind the front cover, taped inside, is a DVD, with over 60 minutes of interviews with Tupac and more.

The White Stripes: Rhinoceros

Written by Fantasma el Rey

The White Stripes, as we all know, are bad to the candy-striped bone; not even a Seven Nation Army could hold them back. And I might not hold back on picking up Rhinoceros, if I found it for a very low price.

The DVD has no real interviews with The White Stripes yet does have early footage of Jack and Meg. It’s not much; maybe a total of five minutes but it’s better than the Cure documentary put out by this same company. (Support a Snob and check out my review for The Cure: Lost In The Labyrinth. While you’re looking around our site, buy some merchandise too. We have many cool and hip things to choose from. Jack White wears Snob merch. It’s true! I have fake photos to prove it!). There are interviews with people who actually know The Stripes: club owners, producers, friends and a few members of the Detroit bands that Jack played with. These people were there before the levee broke and The Stripes began their conquest of the known world. The documentary, actually titled Candy Coloured Blues, is informative and sheds some light on their early years and formation, although this disk “contains no original music by The White Stripes”.

John Anthony Gillis was dubbed “Jack” after joining the country/rock band Goober And The Peas as drummer, and it was during this time that he met and would eventually marry Meg White, adopting her surname and becoming Jack White. Shortly thereafter The Peas broke up. Jack then taught Meg to play drums and The White Stripes were born. Though dedicated to The Stripes, Jack would still play in two other bands, the alt. country-sounding Tabernacle and solid rockers The Go, even appearing on the latter’s debut single. Jack would fade from these bands as The Stripes began to hit and as he turned his thoughts to recording their first album, The White Stripes.

Some time after that they began to tour the U.S. with bands Pavement and Sleater-Kinney as well as recording their second album De Stijl, which led to more success and tours of Japan and Australia. Yet it wasn’t until their third release, White Blood Cells, that the world at large began to know their name. Rhinoceros then quickly stumbles into and glosses over Elephant and ends about there as well. The closing chapter on the disk is about the “future” of The White Stripes and where the people interviewed think the band will go?

On the whole, Rhinoceros is an all right disk for the casual fan; it does contain good information about their early years, though it’s not very entertaining. On the other hand, the visual gimmicks on this disk can be annoying. The split/striped screens and red tint in every other shot, which makes the titles a bit hard to see, gives these not so fresh eyes a hard time and a mild headache to boot. The production quality is not as bad the previously mentioned Cure documentary, but at least there is footage rather than close-ups of still photographs and actual music used in the background between segments instead of muzak. If you know all this information already, then this disk is not for you. If you must own everything White Stripes, then you’ll get it anyway.

Where does Fantasma think The White Stripes will go? The White Stripes will have a big hit on their next effort, something to do with a flower, perhaps an oddly colored orchid? Things get a little hazy here, but Jack’s love for country music will shine and I see him climbing a cold mountain. The Stripes will bring a new band on tour, real greenhorns and from them Jack will pick two to be in his new project, their name will be…the excellent tellers of anecdotes. And they too will score big hits and tour the nation and beyond.

THE PRESTIGE

Written by Hombre Divertido

Though it has much Prestige, it is still extremely unsatisfying.

I cannot think of another occasion where seeing one film had made me wish I had reviewed another, but that is the case here. Seeing The Prestige made me wish I had not been too wrapped up in other projects, and thus unable to find the time to write up a review after seeing The Illusionist. We were graced with two period pieces on the subject of magicians this movie going season, and The Illusionist was much better than The Prestige.

In the Prestige, we are introduced to Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale), both aspiring magicians. They, along with Angier's love Julia (Piper Perabo), are working for a professional magician while learning the craft. An accident occurs, Julia is killed, and Angier blames Borden. Borden and Angier become professional magicians respectively, and a war ensues not only as one attempts to better the other, but also as Angier seeks retribution for the death of Julia.

Ah, if the story had been told that simply. Instead the story jumps from one time period and location to another in an editing job worthy of Jason Voorhies. Even more disappointing is the payoff at the end, where our questions are answered in not only a disappointing fashion but with ridiculous explanations as well.

The Prestige has great qualities. The sets are wonderful, costumes excellent, effects leave you thinking that you’ve seen a magic trick, and not camera or computer magic, and the performances are top notch. Scarlett Johansson as Olivia Wenscombe, the new assistant of Angier and eventual center of a lover triangle, is mesmerizing, and David Bowie gives a stoic performance as Tesla, the scientist from whom Angier seeks true magic. Michael Caine seems a bit confused in his role as the voice of reason, though it had more to do with the script than his performance.

It is the editing and direction that let us down here as the choice was made to tell the story in a way that leaves the audience to wonder if they missed a reel of the film somewhere in the 130 minutes that they did see.

Like an elaborate trick by a magician with great showmanship, most will like what they see here, but find themselves waiting for the payoff, or to use magician vernacular, the prestige, and be disappointed when it’s over as all they saw was a lot of misdirection and flair, but little substance.

Recommendation: Wait for both The Illusionist and The Prestige to come out on DVD and…well, you don’t need to be a magician to figure out which is the recommended rental.