Who is Hugh Jackman

The Prestige attempts a hat trick by combining a ridiculously good-looking cast, a highly regarded new director, and more than one sleight of hand. Does it pull it off? Sort of. Christian Bale and Hugh Jackman play rival magicians who were once friends before an on-stage tragedy drove a wedge between them. While Bale's Alfred Borden is a more skilled illusionist, Jackman's Rufus Angier is the better showman; much of the film's interesting first half is their attempts to sabotage--and simultaneously, top--each other's tricks. Even with the help of a prop inventor (Michael Caine) and a comely assistant (Scarlett Johansson), Angier can't match Borden's ultimate illusion: The Transporting Man. Angier's obsession with learning Borden's trick leads him to an encounter with an eccentric inventor (David Bowie) in a second half that gets bogged down in plot loops and theatrics. Director Christopher Nolan, reuniting with his Batman Begins star Bale, demonstrates the same dark touch that hued that film, but some plot elements--without giving anything away--seem out of place with the rest of the movie. It's better to sit back and let the sometimes-clunky turns steer themselves than try to draw back the black curtain. That said, The Prestige still manages to entertain long after the magician has left the stage--a feat in itself. --Ellen A. Kim

Product Description
Award-winning actors Hugh Jackman, Christian Bale, Michael Caine and Scarlett Johansson star in THE PRESTIGE, the twisting, turning story that, like all great magic tricks, stays with you. Two young, passionate magicians, Robert Angier (Jackman), a charismatic showman, and Alfred Borden (Bale), a gifted illusionist, are friends and partners until one fateful night when their biggest trick goes terribly wrong. Now the bitterest of enemies, they will stop at nothing to learn each other's secrets. As their rivalry escalates into a total obsession full of deceit and sabotage, they risk everything to become the greatest magician of all time. But nothing is as it seems, so watch closely. And be prepared to watch it again and again.

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2006 has been a quiet year for event films. The predicted blockbusters this past summer pretty much underperformed despite some being exactly as good as I thought they'd be. Other than Johnny Depp and the gang's Pirates of the Caribbean: Dead Man's Chest, every blockbuster didn't blow the industry out of the water. It's a very good thing that I had smaller films to tide me over. This year has been a very good ones for some independent-minded and smaller films which came out during the slow first couple months of the year and during the graveyard release months between the end of summer and the start of the late year holidays. I've already had the chance to see such very good films like Running Scared from Wayne Kramer and Hard Candy from David Slade to The Proposition from John Hillcoat. I am glad to say that Christopher Nolan's film adaptation of Christopher Priest's novel, The Prestige is another non-blockbuster that excites, entertains and, in the end, keeps the audience mystified but not confused.

I've read Christopher Priest's novel about dueling late 19th-century London magicians. It's a novel written in epistolary format with each chapter and section written as entries into the journal of one of the main characters in the story. The novel itself is pretty straightforward as it tells the story in near chronological order. I was hesistant to embrace this film adaptation when I first heard about it since alot of the mystery of of the story wouldn't translate so well in film if they followed the strict order of how the story was told in the novel. For Christopher Nolan and his brother, Jonathan, to just adapt the novel straight-out would've made for a dull and boring mystery-thriller. I was glad that the Nolan brothers were inventive enough to borrow abit from Christopher Nolan's first feature film, Memento. Their film adaptation of The Prestige doesn't go backwards in its narrative, but it does mixes up the chronological order of the story somewhat, but not to the point that Tarantino does in Pulp Fiction and Kill Bill. The two Nolans fudges abit with the timeline to add some backstory filler to help give the characters that Christian Bale and Hugh Jackman portrays with the reason for their pathological obsession with each other.

Christopher and Jonathan Nolan's screenplay for The Prestige was able to keep the mystery of the story intact, but it also keeps the amount of red herrings in such films to a minimum. Michael Caine's character, Harry Cutter, opens up the film explaining just exactly what constitutes a magic trick on stage. How it's divided into three parts. First, there's "The Pledge" wherein the magician shows the audience something ordinary he or she will use in the trick. Soon, the magician will follow this up with "The Turn" where the abovementioned ordinary object does something extraordinary in front of the audience. The pay-off of the magician's trick is "The Prestige" where the audience's astonishment occurs as they fail to deconstruct and figure out the means of the trick. That's pretty much the film in a nutshell. It's one big magic trick. The clues are there for the audience to see, gather and extrapolate their answer to the mystery that is the story. The screenplay doesn't treat the audience as if they need to be hand-held throughout the film. In fact, anyone who pays attention will be able to solve one-half of the mystery by the first hour. I won't say exactly whose half of the mystery it will be but people will be kicking themselves afterwards if they don't figure it out right away.

This magic trick of a film does have its many underlying layers of themes to add some complexity, drama and tension to the characters of Alfred Borden (Christian Bale) and Rupert Angier (Hugh Jackman). I've already mentioned that throughout the film their mutual obsession about each other is due to a backstory detailing their past. A past where they were initially friends --- rivals even --- and apprentices to the magician Harry Cutter (excellently played by Michael Caine as the only voice of reason throughout the film). Borden and Angier's obsession is not just in ruining and sabotaging each other's magic tricks and lives, but also trying to find out each other's secrets as they both learn magic tricks which amaze and thrill the gentry of London's stage. From the beginning of the film these two characters begin a journey towards a path of destructive behavior which puts not just each other's lives at risk, but those who they care about. All of it in the name of humiliating and upstaging the other due to a tragic incident early in their mutual careers. These two individuals were not sympathetic characters and I applaud Christopher Nolan and his brother for not softening up their hard edges.

Most adaptors will try to make a story's characters more sympathetic and likable. They went the opposite in The Prestige. But even these two dark characters continue to exude the charisma and strong personalities that the audience will root for one or the other. Should they root for the charismatic and born shownman that Hugh Jackman's Angier character plays or go for the perfectionist Borden character Christian Bale plays. A perfectionist whose technical skills surpasses that of Angier's but whose introverted and brooding personality makes him little or no stage presence.

Both Jackman and Bale play their characters well. The film wouldn't be so good if it wasn't for the work of these two actors. It helps that they're surrounded by quality supporting character like Michael Caine as the seasoned, veteran mentor to the dueling magicians. Even Scarlett Johansson does very well with the part she's given. It's a part that many sees as more of a throwaway character. A piece of very good-looking distraction for both the story and the audience. But she gamely plays the role of pawn for both Angier and Borden. Unlike Michael Caine's character who remains the singular voice of sanity in the film, even Johansson's character of Olivia gets pulled into the obsessions and betrayals that's plagued both Angier and Borden. But in the end, she's just part of the process of "The Turn" and if people have been watching the film closely right from the beginning then she's also a clue as to the secret of one of the amazing magic tricks shown by the two magicians.

The Prestige also has a distinct look about it. The 19th-century London just before the start of the new millenium gives it a certain sense of Victorian-era familiarity. Production designer Nathan Crowley shows a London at the height of its Gilded Age, but soon gives way to a certain steampunk look as inventor Nikola Tesla makes an appearance during an integral part of the story. David Bowie portrays Tesla as an eccentric genius whose search for the secrets of the universe will lead to the discovery of what many of that era would consider magic. It's the ingenius looking technology created for the Tesla sequence which finally gives The Prestige it's root in fantasy and science-fiction. The film doesn't dwell on this new development but from that part of the story and until the end, the film takes on a look and feel of a steampunk mystery-thriller. There's not enough films that tries to mine this new subgenre and I, for one, am glad that Christopher Nolan added this new dimension to the film's overall look.

In the end, The Prestige really needs to be seen to be appreciated and for people to make up their minds about the film. Some will see it as a thriller with twists and turns that doesn't insult the intelligence of its audience. Some may see the film as just one large gimmick from start to end. Those people will probably be correct as well. The film at its most basic level is one long magic trick with all three acts. It has "The Pledge" which is then followed up by "The Turn" and then ends with "The Prestige". It will be up to each individual who sees the film to make the final decision as to whether they've bought into all three acts of the magic trick that is The Prestige, or come away having felt like they've wasted their time. I've not come across many who felt like the latter, even those whose own feelings about the film don't reach the same level of praise as I have for Christopher Nolan's latest offering. All I know is that this is a film that delivers on its premise to confound and amaze. It also continues to validate my views that Bruce Wayne and Batman are in very good hands with Christopher Nolan at the wheel. The Prestige is easily one of the best film of 2006. -- A. Sandoc "sussarakhen" (San Pablo, California United States)

Science fiction and romance collide in The Fountain, the ambitious third feature from director Darren Aronofsky (Pi, Requiem for a Dream), who labored for four years to complete this epic-sized love story that stretches across centuries and galaxies.

Hugh Jackman and Rachel Weisz (Aronofsky's real-life companion) play lovers in each of the film's three settings--16th century Europe and America (Jackman is a Spanish explorer searching for Incan magic), the present day (Jackman is a doctor attempting to cure his dying wife), and the 26th century (Jackman is a space traveler seeking a gateway to the afterlife) -- who struggle mightily to stay united, only to lose each other time and again.

Aronofsky may not have chosen the easiest presentation for audiences to absorb his theories on the lasting qualities of life and the transformative powers of death -- the final sequence, in particular, with a bald Jackman floating through space in a bubble, harks back uncomfortably to "head movies" of the late '60s -- but his leads have considerable chemistry (and look terrific to boot), which goes a long way towards securing viewers' hopes for a happy ending.

Critical reception for The Fountain has been nothing short of bloodthirsty, with Cannes audiences booing, but there are elements to enjoy here, even if the premise throws one for a loop. Ellen Burstyn (who earned an Oscar nomination for Requiem) delivers a typically solid performance as Jackman's boss in the present day sequence, and special effects (most done without the benefit of CGI) are also impressive given the film's low budget (spurred by a mid-production shutdown after original stars Brad Pitt and Cate Blanchett ankled the picture). And science-fiction fans whose tastes run towards the metaphysical (Asimov, Le Guin) will appreciate the attempt to present the genre in a serious light. -- Paul Gaita

Yesterday, today, tomorrow. Past, present, future.

Through time and space, one man embarks on a bold 1000-year odyssey to defeat humankind's most indomitable foe: Death. Hugh Jackman plays that man, devoted to one woman (Rachel Weisz) and determined to protect her from forces that threaten her existence. His quest leads him to a Tree of Life...and to an adventure into eternity. Darren Aronofsky (Pi, Requiem for a Dream) directs, continuing his string of imaginative, involving filmmaking with a tale alive with ideas and filled with astonishing vistas. "Not many films can blow your mind and break your heart at the same time, but this one will" (Drew McWeeny, Ain't It Cool News).

Into the world of the Emperor Penguins, who find their soul mates through song, a penguin is born who cannot sing. But he can tap dance something fierce!

This is the story of a little penguin named Mumble who has a terrible singing voice and later discovers he has no Heartsong. However, Mumble has an astute talent for something that none of the penguins had ever seen before: tap dancing. Though Mumble's mom, Norma Jean, thinks this little habit is cute, his dad, Memphis, says it "just ain't penguin." Besides, they both know that, without a Heartsong, Mumble may never find true love.

As fate would have it, his one friend, Gloria, happens to be the best singer around. Mumble and Gloria have a connection from the moment they hatch, but she struggles with his strange "hippity- hoppity" ways. Mumble is just too different--especially for Noah the Elder, the stern leader of Emperor Land, who ultimately casts him out of the community.

Away from home for the first time, Mumble meets a posse of decidedly un-Emperor-like penguins--the Adelie Amigos. Led by Ramon, the Adelies instantly embrace Mumble's cool dance moves and invite him to party with them. In Adelie Land, Mumble seeks the counsel of Lovelace the Guru, a crazy-feathered Rockhopper penguin who will answer any of life's questions for the price of a pebble. Together with Lovelace and the Amigos, Mumble sets out across vast landscapes and, after some epic encounters, proves that by being true to yourself, you can make all the difference in the world.

Lombardo Boyar as Raul
Johnny A. Sanchez as Lombardo
Robin Williams as Ramon/Lovelace
Elijah Wood as Mumble
Brittany Murphy as Gloria
Hugh Jackman as Memphis