One of the greatest movies I've seen in a while, one which definitely fits in that category of elite and favored films of mine that I simply watch it awe of. It's absolutely fantastic, and I'm disappointed by how poorly the Academy received it. I don't blame them, of course: As of yet I haven't seen a movie they chose that didn't deserve the nomination. Granted, also, I've been very lax, as of late, in my movie-going, and have only yet seen two of the best picture nominees (which I plan to rectify by the Big Night). At any rate, I would have loved to see this movie nominated for Best Picture. In my opinion this is a better movie than The Departed (and please don't get me wrong, I absolutely loved The Departed: this is only a testament to The Illusionist's qualities) and of the same notable parity as Little Miss Sunshine (only, clearly, in a much different fashion: serious drama and mystery, as opposed to dramady).
The movie stars Edward Norton in a role but like and unlike anything we've ever seen him in. He revels in the same mystery which he typically partakes in Fight Club (1999) and The Score (2001), and yet he does so in an extraordinarily reserved fashion. His speech is far more reserved, his eyes and features far more telling, than anything he's done before: and this is by far the greatest role he's ever undertaken.
I hate to use this terminology, but acting under him is Paul Giamatti, whose equally impressive performance provides a solid foundation to lay the movie on top of, acting in the same fashion as Edward Norton, although surely something he's had more experience with: reserved and carefully executed acting, although with a tad more pomp and flare than Norton This is likewise, in my opinion, his greatest role, although seeing what he's done in the past this is a matter of considerably more debate.
Jessica Biel provides a powerful and striking performance in a role that could have, in fact, probably would have, lagged behind and weighted the movie in the hands of a less experienced and less capable actress. Rufus Sewell provides an equally potent performance, one that warrants-- nay-- demands, a mention.
The directing is spectacular: absolutely magical, as it were. The special-effects are subtle and used to a pleasingly small degree, opting more for Norton's actual skills and sleights of hand for a more realistic show. Further, the magic was merely the setting, a catalyst for the story to take hold and grow, not a crutch in which to support a flimsy production.
The movie, in a word, was spellbinding.
The movie stars Edward Norton in a role but like and unlike anything we've ever seen him in. He revels in the same mystery which he typically partakes in Fight Club (1999) and The Score (2001), and yet he does so in an extraordinarily reserved fashion. His speech is far more reserved, his eyes and features far more telling, than anything he's done before: and this is by far the greatest role he's ever undertaken.
I hate to use this terminology, but acting under him is Paul Giamatti, whose equally impressive performance provides a solid foundation to lay the movie on top of, acting in the same fashion as Edward Norton, although surely something he's had more experience with: reserved and carefully executed acting, although with a tad more pomp and flare than Norton This is likewise, in my opinion, his greatest role, although seeing what he's done in the past this is a matter of considerably more debate.
Jessica Biel provides a powerful and striking performance in a role that could have, in fact, probably would have, lagged behind and weighted the movie in the hands of a less experienced and less capable actress. Rufus Sewell provides an equally potent performance, one that warrants-- nay-- demands, a mention.
The directing is spectacular: absolutely magical, as it were. The special-effects are subtle and used to a pleasingly small degree, opting more for Norton's actual skills and sleights of hand for a more realistic show. Further, the magic was merely the setting, a catalyst for the story to take hold and grow, not a crutch in which to support a flimsy production.
The movie, in a word, was spellbinding.