2006, Yari Film Group, Dir. Neil Burger - Starring Edward Norton, Paul Giamatti, Jessica Biel, Rufus Sewell, Eddie Marsan, Erich Redman, Tom Fisher, Brian Caspe, James Babson, Ellen Savaria, Jake Wood, Matthew Blood-Smyth, Aaron Johnson, Eleanor Tomlinson

“Maybe there’s truth in this illusion,” says Inspector Walter Uhl, in Neil Burger’s Illusionist. And what a fantastic illusion this is - not one that leaves an audience feeling cheated, but enlightened at its finish. Behind the curtain, it’s quite a simple story, but director Burger makes the most out of his star-studded cast and adapted script. Filmed in rotochrome color of fainted sepias, Illusionist is a unique period piece, but has the mind of a New Age thriller. I watched the trailer shortly before arriving at the premiere, and never would I have realized what an intimate and entertaining movie I was walking into. Based off the short story of Pultizer Prize winner Steven Millhauser, the story examines some magical characters - all with different motives, and one grand finale. I can assure all uncertain audience members out there - the last thing you will be is bored. Burger’s exercise with the realms of realism and fantasy is a different one in comparison with his debut Interview with the Assassin, as he retconed any government explanations about the JFK assassination. Here is a fashionable - and professional - follow-up, which is sure to send chills up all moviegoers’ backs.

Our story begins with a young man named Edward (Johnson), who became skilled in the dark arts after a chance encounter with a vagrant magician. Edward fell in love with the young Sophie (Tomlinson), but their economical differences (upbringings, moreover), left them pulled apart from one another. Edward went on to travel the world, learning more about magic until he could become a master. This is where we meet Edward in the early 1900s, who goes under the moniker Eisenheim (Norton), and is to perform a promising magic show for the city of Vienna. The fantastic show captures the eyes of the town, and especially the eye of Walter Uhl (Giamatti), the city’s police inspector. Uhl works diligently under the iron fist of the Crown Prince Leopold (Sewell), who has decided to attend Eisenheim’s show on Uhl’s request. The tricks of the young magician are not ordinary parlor tricks, but tend to cross the lines of life and death. Leopold brings his abused lover to the show, who Eisenheim recognizes as an aged Sophie (Biel). The two begin to cavort, much to Leopold’s dismay. But Leopold is to overthrow his father soon from the throne, and Uhl has been offered as a chief minister to the future king - so both furiously work against Eisenheim, to halt his influence on the town and on Sophie. Little do they know, Eisenheim always carries a few cards up his sleeve…

Edward Norton and Paul Giamatti counteract flawlessly, creating polar opposites for one another and fueling the film’s tension. Norton returns to the screen with flair, carrying out the role of Eisenheim with a determined stare and a macabre style. There’s something different about this magician, as Norton’s character sulks the streets of Vienna like a nightlight shadow, emanating a brooding sense of genius. You’d think he’s Aleister Crowley reincarnated, but you side with him anyway. The audience knows he’s smart and innocent, so we stick by him, no matter how bizarre his act may be. Paul Giamatti shines again with the sly yet bumbling Inspector Uhl. His character leaves the remnants of worthy comic relief for The Illusionist, but they are necessary and very funny. Uhl is everything Eisenheim is not - clumsy, narrow-minded, and selfish. But he is a well-spoken gentleman, despite not being as clever as his opponent. Regardless of his selfish behavior, Uhl is beyond tame when it comes to the ferocious Prince Leopold. Rufus Sewell gives the character that appropriate swagger, one associated with a drunken fool and a reckless Roman emperor. Jessica Biel works fine as the love interest Sophie, towering her past performances with a sense of caution and pride.

The Illusionist is far from an epic piece, but it never hides this fact. Filmed in Prague with a love for late Rococo architecture, director Burger embraces its style along with the story. There is great periodic detail, especially for theater buffs to take note upon. The theater proves to be more important than one would imagine. Since much action takes place during the sly magician’s performances, the working space has transformed into something claustrophobic and haunting. Purchasing a ticket for an evening show is akin to walking out of reality and into imagination. Burger has a ball with the moviegoers’ minds - as I felt duped and puzzled by Eisenheim and his secret quarters. And since a good magician never reveals his secrets, so does the director - everything we know will soon manifest. Even the sparse CGI effects are a marvel to watch, as Norton shadows the audience with his stunts. Needless to say, this is the movie that I’ve been waiting for a long time - an original piece, driven solely by its story and characters, rather than a hefty budget and a negotiated cast.

When the curtain rises, you’re sure to not be disappointed with Eisenheim’s greatest trick. This is the summer spectacle you may not want to miss, especially for fans of Norton and Giamatti. Don’t be fooled by the advertisements - The Illusionist is one helluva show.

2006, Paramount Pictures, Dir. Oliver Stone - Starring Nicolas Cage, Michael Peña, Maria Bello, Maggie Gyllenhaal, Jay Hernandez, Armando Riesco, Donna Murphy, Patti D’Arbanville, Brad William Henke, Lucia Brawley, Stephen Dorff, Michael Shannon, John Bernthal, Wass Stevens

Ever since the day it was greenlit by Paramount, Oliver Stone’s World Trade Center has been the recipient of pummelling left and right. “Disrespectful” and “Political” are words that have been stapled to the film - all which can be easily disposed. This is not a trademark Stone film, as the director shies away from the writer’s desk and rather showcases his movie-making abilities. However, this is a tricky move. Despite his past experiences dealing with controversial political events and figures, Stone knew WTC would require a steady hand and a careful eye as to not glorify or exploit anything dealing with September 11th. The movie works, but not close to the same startling degree as this year’s United 93, a much more skilled and riveting piece. World Trade Center is a slow-moving, sentimental piece that has heart, but may not connect with audiences. The public are so accustomed to 9/11 as a dark day, but Stone gives a sense of hope from the destruction. However, the performances (which again, may provide disconnect) and its overall tone are commendable in their own right. But for those moviegoers wary of watching the movie industry “profitting off 9/11″, you may all be surprised at the outcome of Stone’s film.

World Trade Center follows two Port Authority police officers, Sgt. John McLoughlin (Cage) and Officer Will Jimeno (Peña), on that fateful day. The day starts off like any other ordinary day, until their ground is shaken by the two hijacked jetliners. Rushing to the scene, McLoughlin, Jimeno, and their fellow troops Pezzulo (Hernandez) and Rodrigues (Riesco) head to the lower concourse below both towers. But once the north tower collapses, the four jump into a doorway and black out. Before they know it, they’re trapped beneath layers of rubble, broken wires, and other debris from the destruction. And due to cabin fever and the loss of hope, the premises lead Pezzulo to immediate suicide and Rodrigues dead, with John and Will stuck together with no way out. They can’t force themselves out, but begin to contact with one another to keep alive. Back at their respective houses, Will’s pregnant wife Allison (Gyllenhaal) worries for the safety for Will - wanting him to be alive for their second child. And Donna McLoughlin (Bello) remains pensive as John’s disappearance begins to affect her and the entire family. The story delves into the narratives of both families, while a faithful Marine (Shannon), put on a test of faith, attempts to rescue the missing officers.

Nicolas Cage’s performance of Sgt. McLoughlin is outstanding, furthering himself as one of the era’s most accomplished actors. Although audiences may have a hard time connecting Cage with the events of September 11th, he does his best to be as persuasive as possible - focusing on realism rather than traditional staging. Also commendable is Michael Peña, coming fresh from a equally brilliant role in Crash, to an encore performance in WTC. Peña feels comfortable in the role, allowing him to soak up the paternal attributes of Officer Jimeno, as well as provide a lighter, more hopeful side to the story. Stone captures only the smudged, aching faces of both officers, limiting the damage and focusing intently on personal hope and courage. The two make a great team, and win over the audience with some heartwarming performances. Maria Bello pales in comparison from past roles, as she does not explore the character enough. Donna is generally silent (and I can’t argue that), but Stone never gives her a good opportunity to tell her side of the story. Only towards the end of the film, there is a dream sequence between her and Cage that really strikes cinematic gold. Maggie Gyllenhaal also gives a splendid performance as Allison Jimeno, Will’s wife. Her neurotic behavior gives the role a new dimension, as her fretting mind releases much subconcious thought - and the audiences get a good glimpse of this.

Don’t expect any talk about Al-Qaeda, terrorism, or criminals in World Trade Center. Unlike the larger perspective that United 93 offered of the day, Stone provides exactly what the movie’s tagline promises: “a true story of courage and survival.” The audience will be shaken by the chaos near Wall Street, as innocent people are seen lying dead on sidewalks and running for cover. But the director recognizes the wounds are still raw, and his intent is not to cut any deeper. Audiences who argue that they’re not ready to see 9/11-related films may be troubled by the sense of loss, but WTC argues for hope. Again, I say, no time is too soon - to look evil in the eye and grit your teeth. Stone is not afraid to handle this, and after his spectular failure with Alexander, he’s back on track. The film has an orderly Hollywood feel, which is what I believe makes it simply a “good” film. It was easy to connect with Greengrass’ United 93 because it’s what we all saw - not two officers in the rubble. No matter which, it’s harder to connect with a personal story rather a worldwide crisis. I watch, try to imagine what it’s like, but Hollywood is still pumping its veins.

World Trade Center is a fine film, if not a celebratory piece for those embraced their loved ones after that terrible day. Stone’s objective is not nationalism or patriotism, but of brotherhood - how two strangers can help each other out in times of need. The final product is a new - but respectful and reverent take on that warm September morning.

2006, Columbia Pictures, Dir. Adam McKay - Starring Will Ferrell, John C. Reilly, Leslie Bibb, Sacha Baron Cohen, Gary Cole, Jane Lynch, Michael Clarke Duncan, Houston Tumlin, Grayson Russell, Amy Adams, Greg Germann, Molly Shannon, Andy Ritcher

Simply put, Talladega Nights is Anchorman with half a tank of gas. This sophomore effort from Adam McKay and Will Ferrell is, well, sophomoric - and never achieves the same fiery humor that made his last production so memorable. Ferrell has shown in the past how he can take one-dimensional characters and make the most out of them, but he literally does nothing with his character Ricky Bobby. It’s got flair here and there, but lacks focus and structure. Whereas Anchorman was a period piece, thrashing down misogyny and chauvinism with biting jokes and outrageous supporting characters, there’s little to be impressed with here. That isn’t to say I didn’t enjoy it, because I could appreciate a few hearty chuckles. But what McKay and Ferrell chose as a target - the NASCAR outlet and American pride - has been a target for so many comedians in the past, it just feels like old game. Rarely does it feed off its own pointlessness and tries to crack a joke at the character’s flagrant stupidity. Ignorance can be funny, mind you, but this is objectiveless ignorance. Talladega Nights entertains in sputters, with a couple good performances, but the engine still needs a tune-up.

Ever since he was a kid, Ricky Bobby (Ferrell) wanted to go fast. Working on the NASCAR circuit for a terrible racer as part of the pit stop, Ricky got his chance to go big time after he replaces the driver on a whim, winning a race, and saving their sponsorship. Ricky is awarded with his own team, along with lifelong friend Cal Naughton (Reilly). Things are going just fantastic for Ricky, having married a “smoking hot” fan (Bibb), having a top-notch pit stop run by friend Lucius (Duncan), and catching a flow of cash from commercial work. But NASCAR didn’t see it coming - a homosexual French Formula 1 racer, Jean Girard (Cohen) - has come to the tracks to challenge Ricky, the seemingly perennial #1. This does not bide well with our hero, and his ego inflates to the point of silliness. His car crashes, leaving him in a delusional state where he believes he’s always on fire and is paralyzed from the hip down. Yes, this is bizarre, but stick with me. Anyway, Ricky meets his estranged father Reese Bobby (Cole), who begins to give him lessons to return to the racetrack. Throughout the journey, Ricky learns a little something about friendship, fear, and family. Sort of.

Let me just say first that I feel Will Ferrell is an immensely talented actor-comedian, and an actor that will be connected with this genre’s era. However, much like Ricky Bobby, it seems like Ferrell’s ego inflated with his character. Gone is the spark that made Ron Burgundy and Frank Ricard such funny guys to watch, but rather Ricky’s stupidity isn’t too funny. It rarely breaks boundaries, leaving the jokes to dwindle within the subjects of patriotism, sex, and homophobia. Ricky should have been more like the character of Cal, played by the talented John C. Reilly. In a turn from recent, much darker characters, the stage-actor Reilly brings that welcomed factor of bizarre humor to light. It’s apparent that like Ferrell, Reilly also has a penchant for improvisation. Gary Cole steals the scene as the obnoxious, drugged-out father of Ricky, Reese Bobby. It’s like watching a lost character from Easy Rider during a stand-up session - he pulls off one gag after another flawlessly. Also, Sacha Baron Cohen - everybody’s lovable ‘Borat’ - channels the aforementioned character through Jean Girard. But the character can bring a good number of laughs to the scene anyway, providing a bizarre (if not stereotypical) nemesis to the All-American hero.

Talladega Nights works best when it’s not going for straight, cliched blows to the NASCAR world. Redneck jokes and other moldy oldies feel out of place and uncultured, especially for Ferrell’s forte. The indirect, not-so-obvious gags are always winners. The finale surprised, but made me laugh - the music felt right, it just seemed back in touch. But what didn’t make sense was how they muddled through the first half so hastily. The story dives into Ricky’s life so quickly, and never takes a breath showing Ferrell up to his old cracks here and there. A “prayer scene” towards the very beginning is praiseworthy, as I couldn’t have imagined laughing at child actors so much in such a long time. Also worth mentioning are the action scenes, filmed at startling speeds on the racetrack. This may have been the work of studio execs - filming towards a select male audience with an affinity of racecars and profanity. There are times when I wonder how much control Ferrell really has of his “vehicle.” If he was letting Nights be driven by Sony Pictures, it’s sad to see the potential of this project tossed.

It’s a minor disappointment, but I’m sure a lot of audiences will appreciate Talladega Nights‘ sense of humor. It still has some sparkle to it, but there aren’t enough people and places to make it memorable. Speed’s good for Ricky Bobby, but haste makes waste.

2006, Fox Searchlight Pictures, Dir. Jonathan Dayton/Valerie Faris - Starring Greg Kinnear, Toni Collette, Steve Carell, Paul Dano, Abigail Breslin, Alan Arkin, Bryan Cranston, Beth Grant, Justin Shilton, Gordon Thomson, Paula Newsome, Dean Norris, Mary Lynn Rajskub, Erik David

‘Little Miss Sunshine’ is officially taglined, “a family on the verge of a breakdown”. And how true this is. Directors (and married couple) Jonathan Dayton and Valerie Faris - of music video fame - has pieced together a flawless cast, a pristine story, and a heaping bowl of dark humor to make it one of the year’s most enjoyable comedies. This is not your average movie - it can swerve off and on the path from time to time, but never loses its sparkle. It’s a movie that naive people will automatically label as ‘indie’, but don’t let its dusty one-shot camera appearance fool you.The script is riddled with realistic characters and their quirks, but you love them, no matter how much they tend to fight with one another. And throughout this whirlwind of a comedy, you’re bound to laugh it up or tear up on occasion. Everybody has flaws, and ‘winning’ and ‘losing’ are just words in life’s dictionary - but Dayton and Faris argue real beauty and love through this mixed-up group of people. You may not understand why they do what they do, but once the credits roll you understand how they function. ‘Little Miss Sunshine’ is fantastic, an uproarious celebration of family, friends, and life - profound, but you’re going to laugh till your belly aches.

The Hoovers of Albuquerque aren’t your regular family. The clan consists of: husband Richard (Kinnear), a failed motivational speaker, wife Cheryl (Collette), a former divorcee with an addiction to cigarettes, her first son Dwayne (Dano) who has stopped speaking thanks to the nihilist philosophies of Frederich Nietzsche, and their daughter Olive (Breslin), a chipper young girl with big dreams of beauty pageants. Living in their little house with them is Richard’s father (Arkin), whose heroine addiction does nothing to help his already obnoxious and hedonistic ways - despite his being a role model for young Olive. Cheryl’s gay brother Frank (Carell) has just moved in with the family for the time being, having nearly killed himself after his lover fell for someone else. Herein lays the foundation of ‘Little Miss Sunshine’ - a dysfunctional group of people with faults and tics that end up connecting through one big trip. This trip is to Redondo Beach, California, when Olive has replaced the original contestant for the aptly-named ‘Sunshine’ beauty pageant. So the group treks out on a day-long trip to southern California to fulfill Olive’s dreams, hoping to secure their own, and learning about being together as a family.

What a cast! Not in a long time have I seen such a bright, diverse group of characters to associate with. Greg Kinnear leads with the elitist Richard Hoover, a soft-spoken but aggressively advising father. He argues against the dangers of eating ice cream, sarcasm, and other bits of wisdom that are pulled directly from his failed ‘9-Steps Plan’. Imagine Tony Robbins on the brink of insanity: a ecstatic figure with a family of deadbeats (that can be argued, though.) Toni Collette is lovely as the caring, respectful Cheryl. She serves as the brains and heart of the family, a good balance to Kinnear’s Richard. Steve Carell plays it straight (or not so straight) with the character of Frank, relying less on physical action and rather through acerbic dialogue and facial expressions - his presence is a delight for everyone in the audience, and doesn’t let down. Paul Dano, who plays Dwayne, exhibits talent through his taciturn role - a silent, but deadly hilarious, figure stuck in the middle of a bickering clan. Through his one-tone facial expressions and handy notepad, Dano shows he is an unconventional actor with plenty of skills. Alan Arkin steals the scene with every moment he inhabits it, with his vicious conversation about sex and aging. The young Abigail Breslin also proves to be a fantastic young actress, brandishing her cuteness while maintaining good veneer for a child performer. She takes the cake with her finale act, delivering some great laughs.

Darker themes are dabbled with in ‘Sunshine’, which oddly enough contribute much to the story. Grandfather’s addiction to snorting heroine and Frank’s suicidal behavior are just a few, but the family tragedies that take place during the film add to the mood. Life gives you some bad lemons on occasion, and directors Faris and Dayton are damned to give some of the best lemonade to their audiences. When things fall down and people are hurt, they can be remedied. Rather than writing them off as personal faults, the family comes together as one and tries to fix them. That’s what makes ‘Sunshine’ such a great movie. It never lets down when it comes to cranking realism out of such an unrealistic group of people. Imagine living with the Addams Family - could you really wake up with the help of a dismembered hand? Dayton and Faris enjoy their feckless subjects, but never leave them in the same mess they were in. By the end of the movie, you love hanging out with them - they made you laugh, cry, and realize that we’re all different people in a mixed-up, glamorous world. Slapstick is apparent in cases, piquant dialogue pervades the screen till the end, and the finale is just perfect. Like ‘Clerks II’, ‘Sunshine’ has a foul mouth but a clean heart - two comedies with great (and sentimental) results.

Sweet and sour, ‘Sunshine’ is one of the year’s funniest films. Moreover, it is a multi-dimensional project, dealing with the pressures of fame and family at once. Dayton and Faris are skilled directors, and have showed their guns at the silver screen. If they can top this, I’ll be wearing bells at the premiere.