Last night, American Hustle won the BAFTA for Best Original Screenplay and that got me thinking: “How the hell did American Hustle win the BAFTA for Best Original Screenplay?” I’ve also been contemplating “Why is American Hustle nominated for Best Director at so many awards shows, including yesterday’s BAFTAs and the upcoming Oscars?” They’re questions I can’t really fathom an answer to because, as far as I can recall, it wasn’t a very good film, and the main aspects that let it down were the direction and the script. Continue reading
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.