It's a very cool piece of filmmaking -- as it has to be, given the intellectual sleight-of-hand that lies at its heart. Yet it succeeds as both great entertainment and an absorbing rumination on the dangers of playing God.
The Prestige (2006)
Tomatometer
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Reviews Counted:38
Fresh:21
Rotten:17
Average Rating:6.1/10
Consensus: Full of twists and turns, The Prestige is a dazzling period piece that never stops challenging the audience.
Runtime: 2 hrs 10 mins
Genre: Dramas
US Box Office: $53,002,677
Synopsis: British director Christopher Nolan's (BATMAN BEGINS) eclectic resume gains another interesting entry with THE PRESTIGE. The basic plot, which concerns the rivalry between two magicians in early... British director Christopher Nolan's (BATMAN BEGINS) eclectic resume gains another interesting entry with THE PRESTIGE. The basic plot, which concerns the rivalry between two magicians in early 20th-century London, closely resembles a fellow 2006 movie--Edward Norton's THE ILLUSIONIST--and the two films are sure to be closely compared. In Nolan's film, Hugh Jackman and Christian Bale bring the characters of Robert Angier and Alfred Bordon to life. Robert and Alfred were young magician apprentices together, but became bitter rivals as their careers began to shape their adult lives and a terrible accident claimed the life of Robert's wife. In the subsequent years Robert has become wildly jealous of Alfred's superior talents, so in a last ditch attempt to steal some artistic ground he sends his assistant, Olivia (Scarlett Johansson), to infiltrate his rival's lair and steal the secret to a spectacular trick called "The Transported Man." Nolan's film twists and turns down a number of unexpected avenues as it flits back and forth between numerous time periods, creating a movie that needs to be watched as closely as the tricks his leading characters perform. Bale and Jackman perfectly execute their roles, winding up the tension to an unbearable degree as they willfully enter into some dangerously competitive patterns of behavior. Michael Caine makes his second appearance in a Nolan film, almost reprising his role of Alfred in BATMAN BEGINS by playing Cutter, Jackman's mentor; and Johansson pouts and flounces across the elaborate sets like a classic Hollywood screen siren. Stylistically, THE PRESTIGE is full of dark, gloomy colors and a palpable feeling of menace, which is an impeccable visual match for the viewer's growing unease as the protagonists push each other to increasingly ridiculous lengths. It's not an easy film to digest, but Nolan's movie offers intelligent and challenging fare that will likely reveal further cinematic magic on repeated viewings. [More]
Starring: Christian Bale, Hugh Jackman, Scarlett Johansson, David Bowie
Starring: Christian Bale, Hugh Jackman, Scarlett Johansson, David Bowie, Michael Caine, Piper Perabo, Andy Serkis, Daniel Davis, Jim Piddock, Christopher Neame, Roger Rees, Jamie Harris
Director: Christopher Nolan
Director: Christopher Nolan
Producer: Aaron Ryder, Emma Thomas
Studio: Touchstone Pictures
Reviews for The Prestige
We invest in the furious battle because there is more at stake than a magic trick: each man has to sacrifice things near and dear to him
Many films are under-written or not well thought out enough, Prestige is the opposite - it's almost too clever for its own good and consequently thinks it can outsmart the audience at every turn.
Odd, but brilliantly so. It's a small film that feels big, a period drama that looks modern, defying comparison to anything but Nolan himself.
Jackman and Bale give standout performances as rivals whose mutual obsession destroys all sense of perspective and ruins lives.
The Prestige is wonderfully engrossing, darkly mysterious and entertaining from start to finish.
Entertaining, spirited and shamelessly gimmicky, Christopher Nolan's film tells the intricate tale of two rival magicians practicing their art in late-Victorian London.
Okay, I'll say it: If you see only one magic-at-the-turn-of-the-century movie this year, make it this one.
Pic insists on a depth of human emotion that isn't developed -- protags emerge as one-dimensional, despite the efforts of two of our best leading actors -- amid increasingly elaborate, uninvolving plot mechanizations.
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