Category Archives: Empire Top 500

The Prestige

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Fittingly, The Prestige is a trick of a movie, a plaything, director Chris Nolan toying with the audience like a cat with a ball of string. Everything, from character motivation to the narrative timeline is entangled for the audience to figure out, as the tale of two rival magicians, Hugh Jackman and Christian Bale, unfolds. Jackman’s Robert Angier is a showman, but lacks the skill of Bale’s Alfred Borden, himself too concerned with the technicalities of the illusions to be entertaining. Hell, even the film’s genre, seemingly a period drama, reveals itself to be more science fiction who-dunnit (not to mention what-dun-and-how). Nothing is as it seems, but on a repeat viewing you pick up the clues, noticing that Nolan did indeed signpost the way, but the plot, characters, setting and acting was too mesmerising, too engrossing for us to notice.

Choose film 8/10

The Shawshank Redemption

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This is one of the films I’ve seen more times than any other, up there with Armageddon and Die Hard with a Vengeance (criminally, neither of which appear on the list). Shawshank tells the story of Andy Dufresne (Tim Robbins), wrongly convicted of the murder of his wife and her lover. Really though, the film is about friendship, with Dufresne meeting Morgan Freeman’s Red, a man known to locate certain items from time to time, and the two form a firm bond. The film also shows how to make the best of a bad situation, as before imprisonment Andy was in a relationship with an unfaithful women, a successful but passion-less job as a banker and had few, if any, friends (none seem to visit him throughout his sentence), yet in prison he thrives, providing sound financial advice to the guards, making friends and finding peace within himself with the aid of a newfound routine and meaning. Andy never knew that all he wanted was freedom, until what little he had was taken away from him.

Choose film 9/10

X-Men 2

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With the consistently excellent Matthew Vaughn (Kick-Ass) releasing his upcoming X-Men First Class soon, a film about which I am very excited, and not just because it features January Jones and very little clothing, I thought it was apt to cross off X-Men 2. Although there were some excellent scenes, most notably the entrance of fan-favourite Nightcrawler (Alan Cumming) attempting to kill the President, the attack on the Mutant Academy and the fight between Wolverine and Lady Deathstrike, there were some plot holes I just couldn’t get past at the end of the film (spoilers).  Firstly, when Magneto (Sir Ian McKellen) breaks into Cerebro, where a brainwashed Professor X (Sir Patrick Stewart) is being used to locate and kill all mutants worldwide, we are shown the mutants writhing in pain for the 30 seconds or so they are being attacked, so when the machine is altered, to affect non-mutants instead, we can only assume that they (we?) are put under a similar level of duress. So we’re talking about everyone driving a car, every pilot flying a plane, every surgeon performing an operation, all these people would be unable to function for a few minutes, causing carnage worldwide, and probably a massive number of fatalities. Secondly, why did Phoenix (Famke Jannsen) die? Yes, she got off the plane to lift it into the air (I’m assuming there are some logistical difficulties with lifting something you yourself are inside), yet there is a period of time between the plane being up in the air and the flood of water, that she is holding back, from engulfing her. She knew there was a teleporter on the plane, as we are told she is preventing Nightcrawler from helping her, but why not let him bamf out and grab her after she’s lifted the plane? It is a completely needless death, present only so when Charles meets the president at the end of the film, he can say there were losses on both sides, even though we are shown she didn’t really die.
Other than that, Brian Cox makes an excellent Bond-like villain, complete with henchmen, underground lair and, ahem, crippling put-downs (remarking “don’t get up” to a wheelchair-bound Professor X), and making the film more of an ensemble piece, as opposed to the originals Wolverine-show , even though he is the most memorable and fleshed out character. I also approved of director Bryan Singer including elements of his own life, for example Iceman (Shawn Ashmore) ‘coming out’ to his parents as a mutant.
Choose film 7/10

Terminator 2: Judgement Day

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How do you make a sequel to Terminator? It seems like the perfect movie to create a franchise with, featuring the possibilities for labyrinthine time-travel plotting, self referencing paradoxes and a villain who can be killed, but can also always return, but therein lays the biggest stumbling block. The villain from the original, Schwarzenegger’s unstoppable mechanical monster, the main draw of the first film, surely must return for the second, especially seeing as, in 1991, he was one of the biggest stars in the world. But how could the same robot come back as the villain? The sequel must somehow build upon the original, develop it further, else why bother? Having the same villain, with essentially the same plot, would seem a waste of time. So, proving that necessity is indeed the mother of invention, director James Cameron pulled a full character flip on not just Arnie’s T-800, now here as protector rather than foe, but also of Linda Hamilton’s Sarah Connor, discarding the ditzy 80s hairdo for some badass fighting skills, tank tops and a permanent ticket to the gun show. The introduction of John Connor (Edward Furlong) as a ridiculously irritating teenager spouting laughable phrases (Asta-la-vista, baby? Seriously?) is also a diversion from the expected, as he’s the so-called saviour of mankind, but he’s so goddamn annoying that whenever he was onscreen I found myself rooting for the bad guy.
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Good Will Hunting

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Is anyone else waiting for the second Oscar-winning screenplay from Matt Damon and Ben Affleck? I know they’ve been busy (until recently, Damon more so than Affleck), and that they essentially wrote the script because they weren’t getting the roles they wanted, but the guys obviously have talent, and I hope they start tapping away again soon. Affleck could even direct this time, as he’s shown great promise with Gone Baby Gone and, apparently, The Town (I’ve not seen it yet but am looking forward to, I’ll keep you posted).
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Election

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Apologies, I watched this over a week ago, but haven’t had a chance to write anything until now, sorry. I’ve got a soft spot for Election that is also one of the reasons I don’t necessarily get on well with the film. Growing up, I was always a Tracy Flick kind of student. If there was ever a hand up in class, chances are it would be mine, I took my schoolwork very seriously and wasn’t necessarily the most popular person at school (shock horror),  although I can’t say I distinctly remember sleeping with any members of staff, but I’ve blocked out a lot of my formative years so who knows what happened. So although I empathise with Flick, pitch-perfectly played by the Golden Globe nominated Reese Witherspoon, I feel sorrier for Matthew Broderick’s ethics teacher Jim McAllister, and even more so for my own previous teachers, who had to endure a real life version of Flick’s character.
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Miller’s Crossing

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As I’ve previously mentioned in my post about the remake of True Grit, I’m a massive Coen brothers fan, so when my girlfriend selected Miller’s Crossing from the DVD stack to watch last week, I was overjoyed.

Glengarry Glen Ross

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Glengarry Glen Ross has an excellent ensemble cast that cannot be ignored, featuring Al Pacino, Ed Harris, Kevin Spacey, Alan Arkin, Alec Baldwin, Jonathan Pryce and the great Jack Lemmon, all sharing the screen and delivering award-worthy performances. In particular, I was very impressed by the mesmerising cameo from Baldwin as corporate ball-breaker Blake, brought in to motivate the employees of the real estate firm (or make them feel about 2 inches tall, whatever works) and Kevin Spacey’s weasel-like manager Williamson, knowing he has no right to his job and sticking firmly to the rules and regulations to make sure he keeps it. I was reminded of 12 Angry Men whilst watching, with the confined locations, all-male cast and stage origins of the story, as well as the heightening tensions, hot and wet climates and outbursts of anger from its central cast. Harris and Arkin, as the angry Moss and deflated Aaronow respectively, seemed a little one-note, but their characters were still vital to the story, and each had their highlights.
Choose film 8/10

Pixar Day

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Had a bit of an accident this morning, got knocked off my bike on the way to work. I’m fine, but my bike’s wrecked, and I was confined to the sofa for the day, and couldn’t think of a better way to cheer myself up than watching nothing but Pixar films, and all off the list!
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Battleship Potemkin

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Famous for the pram rolling down a staircase, famously ‘homaged’ (stolen?) by Brian de Palma in the Untouchables and parodied in the Naked Gun series, Battleship Potemkin is a silent film about the crew of a Russian battleship who mutiny over the poor food, ultimately causing a mass revolution. There are certain images from the film that are more well known than the film itself – the meat crawling with maggots, the hordes of people mourning the death of a man “killed for a plate of soup” and of course the Odessa staircase scene, that the rest of the film is lost between these set pieces. I think that there are supposed to be parallels between the plot and the Russian revolution, but I’m afraid I don’t know my Russian history as well as is required to appreciate these, so this went over my head a little.
Choose Life. 5/10