Christopher Nolan’s bad movies are better than most people’s good ones. I count three of them (Memento, Inception and The Dark Knight) among my all-time favourites, and I have enjoyed everything else of his that I’ve seen (Batman Begins, The Dark Knight Rises, and Interstellar). Noticeably absent from that list, until this week, was The Prestige, which usually appears near the top of critics’ “best of Nolan” lists. So when The Prestige popped up on Netflix’s “recently added” row, I dove in immediately.
The Prestige is a tale of the ever-escalating war between two rival magicians, played by Christian Bale and Hugh Jackman. Bale is the purer magician while Jackman is the larger commercial success. As the stakes get ratcheted up, Bale is arrested for Jackman’s murder. But in a battle of illusionists, can we really believe what we see?
Structurally, The Prestige is as complex as anything that Nolan has thrown at us. This movie shouldn’t work as well as it does. There are flashbacks within flashbacks but I knew at all times where/when a scene fit in with the rest of the film. We’ve got enough examples by now of Nolan’s capabilities, but The Prestige is yet another display of his narrative mastery. Basing the film on the three parts of a magic trick works very well, keeping the viewer on edge until the big reveal.
The reveal itself, though, left me disappointed. It was a huge stretch that went completely against the movie’s prior suggestions that the secret of magic is setting up the trick and selling it to the audience. I found the reveal of both Bale and Jackman’s methods problematic, in different ways, but Jackman’s big surprise was what really took the air out of the film for me.
Because of that, on my list The Prestige gets relegated to the lower tier of Nolan films, somewhere in Interstellar territory. Make no mistake, though, that’s due to Nolan having made so many great films as opposed to The Prestige being a bad movie. It’s still pretty damn good!

Cafard is the French word for cockroach. But make no mistake, the animated film Cafard is not the French version of A Bug’s Life. It’s a bleak, adult tale about the horrors of the first World War, from the perspective of a world champion wrestler who enlists in the Belgian army in 1914 after his daughter is raped by German soldiers. Unfortunately for all involved, that terrible event is only the start of the awfulness.
coat any aspect of war’s horrors. While that approach is commendable, it is that much more difficult to embrace Cafard. I would have liked for the film to have offered something to offset its harsh subject matter, but there is no joy to be found in this world. Any hint of happiness feels fleeting, like a consolation prize at best.


There are two main takeaways from Hacksaw Ridge: (1) even American acting jobs are now going overseas, as aside from Vince Vaughn every American soldier in this movie seems to be played by an Australian (included in that tally is Andrew Garfield, who I have since learned is British, not Australian, but still…); and (2) if the Japanese had just prayed harder they might have won the Second World War.
Incidentally, if the intent behind not putting Mel Gibson’s name up front in the marketing was to create some separation from those all-too-frequent racist comments in Mel’s past, it might also have been a good idea to cast at least one non-white guy. Just saying.
he doesn’t hold a grudge, and hauls 75 of them off the Okinawa battlefield even after they made his life so rough.
Equity is a cold, unblinking look at Wall Street’s backrooms, through the eyes of a female dealmaker who’s trying to recover from a failed transaction. Her client’s shares traded too low during the initial public offering, and now she’s got a target on her back. Equity throws us into the immediate aftermath and we watch her as she tries to save her career by putting together a bigger, better deal.
If you have at least a passing interest in finance, Equity’s story will draw you in and keep your attention until the end, avoiding most cliches throughout, at least when it comes to the main females. The male supportung characters fare less well, as they are all thinly sketched stereotypes (e.g., sexist boss, backstabbing boyfriend, and frat boy internet sensation). It is refreshing, though, for women to be the most compelling and realistic characters for a change.


