list http://www.spout.com/ Recent community activity around The Prestige on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Prestige/270977/default.aspx Title: The Prestige
Year: 2006
Director: Christopher Nolan
Plot: Obsession, jealousy, and deceit define the tense relationship shared between two turn-of-the-century magicians in Memento and Batman Begins director Christopher Nolan's dizzying tale of sleight of hand. Rupert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) are London-based magicians of the highest order, both blessed with spectacular powers of deception and both cursed with unrelenting envy for one another's skills. When Alfred performs an awe-inspiring trick for which there seems no logical explanation, the friendly competition shared between the pair turns to deadly rivalry as the enraged Rupert determines to uncover his rival's deepest secrets. In the world of illusion, however, nothing is ever quite as it seems, and the rules of the physical world simply don't apply. Now, as bitter competition quickly begins to consume the souls of both performers, the firestorm birthed by their anger threatens to consume all who surround them. Michael Caine, Scarlett Johansson, and David Bowie co-star in a feature that finds director/screenwriter Nolan reuniting with brother and Memento story author Jonathan Nolan to adapt author Christopher Priest's original novel. ~ Jason Buchanan, All Movie Guide
Times Tagged: 141
Number of Lists: 64
Number of blog posts: 22
Number of discussion threads: 5
SpoutRating: 4
]]>Wed, 15 Jul 2009 07:55:28 GMTThe Prestige2006Christopher NolanObsession, jealousy, and deceit define the tense relationship shared between two turn-of-the-century magicians in <a href=/films/171936/default.aspx style='text-decoration:underline'>Memento</a> and <a href=/films/229480/default.aspx style='text-decoration:underline'>Batman Begins</a> director <a href="/players/P___240025/default.aspx" style='text-decoration:underline'>Christopher Nolan</a>'s dizzying tale of sleight of hand. Rupert Angier (<a href="/players/P___269258/default.aspx" style='text-decoration:underline'>Hugh Jackman</a>) and Alfred Borden (<a href="/players/P_____3538/default.aspx" style='text-decoration:underline'>Christian Bale</a>) are London-based magicians of the highest order, both blessed with spectacular powers of deception and both cursed with unrelenting envy for one another's skills. When Alfred performs an awe-inspiring trick for which there seems no logical explanation, the friendly competition shared between the pair turns to deadly rivalry as the enraged Rupert determines to uncover his rival's deepest secrets. In the world of illusion, however, nothing is ever quite as it seems, and the rules of the physical world simply don't apply. Now, as bitter competition quickly begins to consume the souls of both performers, the firestorm birthed by their anger threatens to consume all who surround them. <a href="/players/P____10198/default.aspx" style='text-decoration:underline'>Michael Caine</a>, <a href="/players/P___200222/default.aspx" style='text-decoration:underline'>Scarlett Johansson</a>, and <a href="/players/P____82636/default.aspx" style='text-decoration:underline'>David Bowie</a> co-star in a feature that finds director/screenwriter Nolan reuniting with brother and <a href=/films/171936/default.aspx style='text-decoration:underline'>Memento</a> story author Jonathan Nolan to adapt author Christopher Priest's original novel. ~ Jason Buchanan, All Movie Guide141Tag Target (>10)642254http://www.spout.com/ProductImages/u28316t4b3g.jpghttp://www.spout.com/films/The_Prestige/270977/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_May_4_Express_Yourself/625/42034/1/ShowPost.aspx Post By: rjsprague
Post To: Weekly Theme
Post Date: 5/5/2009 10:15:15 AM
Body: Great post leeroy. I never gave much thought to the relationship of artistic style between some of the films you mentioned. I haven't seen the Big Heat yet, but that one is definitely on my list of things to watch, eventually. =) I wonder if any of Christopher Nolan's work, such as the Prestige would fit into this expressionistic category of films. Oh and I was also thinking of V for Vendetta. To me V is a great film, but I definitely think it could be part of the expressionism style of films. Or maybe I just don't understand what that means. =)
]]>Tue, 05 May 2009 14:15:15 GMTrjspragueWeekly Theme5/5/2009 10:15:15 AMGreat post leeroy. I never gave much thought to the relationship of artistic style between some of the films you mentioned. I haven't seen the Big Heat yet, but that one is definitely on my list of things to watch, eventually. =) I wonder if any of Christopher Nolan's work, such as the Prestige would fit into this expressionistic category of films. Oh and I was also thinking of V for Vendetta. To me V is a great film, but I definitely think it could be part of the expressionism style of films. Or maybe I just don't understand what that means. =) http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_December_1_The_Anti_Hero/625/37943/1/ShowPost.aspx Post By: csprague
Post To: Weekly Theme
Post Date: 12/4/2008 2:07:10 PM
Body: Don't hold back Merc. Let it all out. Anyway, I have been kind of thinking for a long time that all Christopher Nolan leads are kind of anti-heros, if not from the beginning, definitely by the end of the movie. Usually they are in love with a girl who ends up dying and they are consumed by the need for revenge. I think Memento, The Prestige, and The Dark Knight all follow this pattern.
]]>Thu, 04 Dec 2008 19:07:10 GMTcspragueWeekly Theme12/4/2008 2:07:10 PMDon't hold back Merc. Let it all out. Anyway, I have been kind of thinking for a long time that all Christopher Nolan leads are kind of anti-heros, if not from the beginning, definitely by the end of the movie. Usually they are in love with a girl who ends up dying and they are consumed by the need for revenge. I think Memento, The Prestige, and The Dark Knight all follow this pattern. http://www.spout.com/blogs/smooth_j/archive/2008/8/11/33856.aspx Post By: Smooth_J
Post To: Smooth_J Blog
Post Date: 8/11/2008 11:32:05 AM
Body: Something about Insomnia just did not work. I mean, it had the makings of a great movie, and to be honest, it almost was a great movie. But there was just something missing, something lacking from the basic feel of the movie that couldn't really be made up for, no matter how hard Pacino, Williams, and director Chris Nolan tried. The story is pretty obviously a remake of a Norwegian film made in the 90s, which apparently is pretty superior to this; one thing that this film succeeded at was making me put that film on the top of my list of films to see. The general idea of the story is excellent, with the guilt and insanity of the murder case thrown in with Dormer's (Pacino's) own guilt for the accidental murder of his partner and his shady tactics used to put a child murderer behind bars in LA. The insomnia of the midnight sun is absolutely perfect. It seems as though insomnia is a great subject for Nolan to tackle, since in each and every one of his movies to date involves his depiction of the acute sensory details of his characters' illusions and flashbacks. In Memento, it's Guy Pearce's momentary flashbacks of his wife being brutally beaten. In The Prestige, there are very specific images of drowning and guilty flashbacks. Even in Batman Begins he uses a very acute, jumpy imagery to portray the effects of Scarecrow's hallucinogen. In Insomnia, he manages to use most of these tricks the entire movie--the jumpy eye movements, the flashes of light, the strange sounds of everyday life echoing in the ears. On the level of Nolan's direction, the film in beautiful. However, something is just wrong with the script. Nothing is really ever played out as it should be--it's not as though there's much to be desired. I can't really even place my finger on it. I mean, the film is a taut, nearly explosive thriller. But why did I feel so disconnected from it? My only explanation is that the pacing of the film was just slightly off, and the ending was a pretty cliched, making use of a awfully bland and textbook performance by Hilary Swank (bleh). I mean, even she sort of contributed to the film's overall lackluster feel, and she should have been a huge asset. Pacino and Williams are great...it's actually really interesting to see Pacino play a role like this, since his character's are usually so collected and outspoken, while in this he is forced to downplay and portray a man who is slowly going insane from lack of sleep. ("Six days," says Williams. "You beat my record.") The film is worth watching, because it's surely entertaining and well-made. Nolan really tries his hardest, and there's nothing you can say to criticize his direction. But the script is lacking, and Hilary Swank pretty much sucks.
]]>Mon, 11 Aug 2008 15:32:05 GMTSmooth_JSmooth_J Blog8/11/2008 11:32:05 AMSomething about Insomnia just did not work. I mean, it had the makings of a great movie, and to be honest, it almost was a great movie. But there was just something missing, something lacking from the basic feel of the movie that couldn't really be made up for, no matter how hard Pacino, Williams, and director Chris Nolan tried. The story is pretty obviously a remake of a Norwegian film made in the 90s, which apparently is pretty superior to this; one thing that this film succeeded at was making me put that film on the top of my list of films to see. The general idea of the story is excellent, with the guilt and insanity of the murder case thrown in with Dormer's (Pacino's) own guilt for the accidental murder of his partner and his shady tactics used to put a child murderer behind bars in LA. The insomnia of the midnight sun is absolutely perfect. It seems as though insomnia is a great subject for Nolan to tackle, since in each and every one of his movies to date involves his depiction of the acute sensory details of his characters' illusions and flashbacks. In Memento, it's Guy Pearce's momentary flashbacks of his wife being brutally beaten. In The Prestige, there are very specific images of drowning and guilty flashbacks. Even in Batman Begins he uses a very acute, jumpy imagery to portray the effects of Scarecrow's hallucinogen. In Insomnia, he manages to use most of these tricks the entire movie--the jumpy eye movements, the flashes of light, the strange sounds of everyday life echoing in the ears. On the level of Nolan's direction, the film in beautiful. However, something is just wrong with the script. Nothing is really ever played out as it should be--it's not as though there's much to be desired. I can't really even place my finger on it. I mean, the film is a taut, nearly explosive thriller. But why did I feel so disconnected from it? My only explanation is that the pacing of the film was just slightly off, and the ending was a pretty cliched, making use of a awfully bland and textbook performance by Hilary Swank (bleh). I mean, even she sort of contributed to the film's overall lackluster feel, and she should have been a huge asset. Pacino and Williams are great...it's actually really interesting to see Pacino play a role like this, since his character's are usually so collected and outspoken, while in this he is forced to downplay and portray a man who is slowly going insane from lack of sleep. ("Six days," says Williams. "You beat my record.") The film is worth watching, because it's surely entertaining and well-made. Nolan really tries his hardest, and there's nothing you can say to criticize his direction. But the script is lacking, and Hilary Swank pretty much sucks. http://www.spout.com/groups/Filmgaming/Re_Cast_BATMAN_3/563/33806/1/ShowPost.aspx Post By: jonnygotham
Post To: Filmgaming
Post Date: 8/9/2008 8:05:19 PM
Body: Hello Everyone: I realize this has been said before, as I'm joining a bit late in the game, but I agree that the next solid and fitting character for the Batman movies would draw from the story arc of HUSH, by Jeph Loeb. Nolan has a knack for cutting and piecing together story elements, which is going to come in handy when the need arises to cut out a great deal of characters from this story line - which is practically Batman versus his entire Rogues Gallery. Further, it's something that would need to be done. Some characters would simply be too fantastic to fit the grit of the world that Nolan took so long to create, and for the sake of creating a strong and enjoyable film, you need to focus on the concentrating things rather than diluting the story with too many characters. That being said, the main villain is HUSH. Thomas Elliot. As it has already been described, Thomas Elliot is an excellent character foil for the Batman/Bruce Wayne character. While having several parallels to both sides of the Batman/Bruce Wayne character, Elliot also has a small, but powerful set of ties and links to the Dark Knight character that make for a great story. The end of "The Dark Knight" saw the hero finally turn into a villain. Presumably, opinion is now going to be split on the Batman character, with far more of its citizens fearing the hero than begging for his help. This takes the main character away from the previous story push and aim to create a symbol that inspires people, allowing a story shift and pursuance of another avenue that is equally compelling. The hero is locked-in now. No one to pick up the mantle, its just him to save the people... and they don't necessarily want his help. As a now isolated character without aid or allies, it is conceivable that Batman pushes beyond his limits and actually suffers the injuries that introduce the Hush character to the story (Elliot, childhood friend, is a world-renounce surgeon - the best in his field and the only one they can trust to handle the operation and potential questions about the nature of the injuries). There is a very engrossing story that is possible there, between a hero that's been cutoff and the renewing of an old friend. The equalities of the Elliot character to Bruce Wayne in intelligence, success, and discipline provide interactions that were as interesting, if not more, as the love triangle dinner we saw in "The Dark Knight". The fact that he knows the hero's secrets and is smart enough to exploit the weaknesses Batman has in the wake of the last movie make the story less Superhero flick, and more revenge thriller (as the last film capitalized on making a crime drama, rather than the standard superhero movie). The costumes are solid and realistic. For much of the story, the Hush character appears as a face-bandaged, trench-coat figure and shadow. This helps, because with the unknown status of the Two Face character, we have an identity mystery - is the villain Harvey Dent? - Now completely mad and face-fully bandaged similar to the hospital scenes in the Dark Knight, or is it someone completely new? Further, with the relative unknown nature of the Hush villain until very recently, this ambiguity helps, because everyone is going to wonder who the next big costume villain is going to be - and they aren't going to get it. There are a myriad of supporting characters to aid this new story and complementary direction, and I leave their inclusion and exclusion to Nolan. There is something to be said about the possibilities of this new villain though. We gain a friend that the isolated hero needs. We gain a character interaction that is similar to the friendship between Harvey Dent and Bruce Wayne that was left out of "The Dark Knight", and only slightly exploited in the Love Triangle dinner scene. We have an equal, if not smarter adversary, with a distinct advantage over the hero in that he knows the full playing field and all the players, where Batman does not because of the events at the end of the last movie. Finally, we have a good story that isn't filled with Super-ness. It's a pure revenge-angled crime story. Plenty of options with psychosis, flash-backs, inner struggles, finding control within doing good and dealing with anger and violence, etc. So with the case presented, comes the problem of casting. The character has to match in charisma, acting talent, and needs to be able to switch between friend and foe without the cliches of cinema. He can be the villain without a sinister laugh, vocal change, or costume - the worst villains don't have to LOOK like villains, they're the friends that are trusted and wreak havoc by exploiting their unique positions. Hugh Jackman would be great because of stature and talent - not Wolverine, but more The Fountain and Prestige. Problem is resurrecting the Bale/Jackman duo without reminding the audience of their previous collaboration, similar in revenge aspect. Further, I'm not sure what happens with contracts and acting in multiple superhero franchises. Tom Cruise is great, except for stature. While a lot of people have issues with him, he matches in charisma, looks, and seriousness that would be needed. Unfortunately, he doesn't command the same weight in presence due to his size, especially relative to Bale. He would do well though, given the psyche exploits in Vanilla Sky and other work. I do not like Gerard Butler, as previously noted. I feel like it would become too reminiscent of his previous villain and hero roles and fall victim to the cliches stated before. I had to wrack my brain, and I'm still on the fence a bit (because there might be someone more fitting), but among the many options in Hollywood, perhaps James Caviezel would suit the role well. He has strength in previous roles: Thin Red Line, Count of Monte Cristo, Passion of the Christ, etc. He has similar stature to Bale, if only slightly taller than Bale (according to IMDB), and he evokes a feeling of sympathy for his characters, no matter the act - which helps when crafting a villain. You don't just need Batman to trust him, you need the audience to trust him. There is enough in the HUSH story to bring old characters and villains back to help minimize "noise" in the story, while it also has enough options to introduce new characters to help with transitions and plot development. Hopefully, you'll all see some merits in this, and maybe find a more suitable player to fill the shoes, but either way, the villain of Hush presents a pretty strong case to fill out and end Nolan's work with the Batman franchise. Three films is enough for the current ensemble - enough to be great, and still has potential to leave its fans wanting more. Thanks for the patience in reading. Best. jonny.gotham
]]>Sun, 10 Aug 2008 00:05:19 GMTjonnygothamFilmgaming8/9/2008 8:05:19 PM Hello Everyone: I realize this has been said before, as I'm joining a bit late in the game, but I agree that the next solid and fitting character for the Batman movies would draw from the story arc of HUSH, by Jeph Loeb. Nolan has a knack for cutting and piecing together story elements, which is going to come in handy when the need arises to cut out a great deal of characters from this story line - which is practically Batman versus his entire Rogues Gallery. Further, it's something that would need to be done. Some characters would simply be too fantastic to fit the grit of the world that Nolan took so long to create, and for the sake of creating a strong and enjoyable film, you need to focus on the concentrating things rather than diluting the story with too many characters. That being said, the main villain is HUSH. Thomas Elliot. As it has already been described, Thomas Elliot is an excellent character foil for the Batman/Bruce Wayne character. While having several parallels to both sides of the Batman/Bruce Wayne character, Elliot also has a small, but powerful set of ties and links to the Dark Knight character that make for a great story. The end of "The Dark Knight" saw the hero finally turn into a villain. Presumably, opinion is now going to be split on the Batman character, with far more of its citizens fearing the hero than begging for his help. This takes the main character away from the previous story push and aim to create a symbol that inspires people, allowing a story shift and pursuance of another avenue that is equally compelling. The hero is locked-in now. No one to pick up the mantle, its just him to save the people... and they don't necessarily want his help. As a now isolated character without aid or allies, it is conceivable that Batman pushes beyond his limits and actually suffers the injuries that introduce the Hush character to the story (Elliot, childhood friend, is a world-renounce surgeon - the best in his field and the only one they can trust to handle the operation and potential questions about the nature of the injuries). There is a very engrossing story that is possible there, between a hero that's been cutoff and the renewing of an old friend. The equalities of the Elliot character to Bruce Wayne in intelligence, success, and discipline provide interactions that were as interesting, if not more, as the love triangle dinner we saw in "The Dark Knight". The fact that he knows the hero's secrets and is smart enough to exploit the weaknesses Batman has in the wake of the last movie make the story less Superhero flick, and more revenge thriller (as the last film capitalized on making a crime drama, rather than the standard superhero movie). The costumes are solid and realistic. For much of the story, the Hush character appears as a face-bandaged, trench-coat figure and shadow. This helps, because with the unknown status of the Two Face character, we have an identity mystery - is the villain Harvey Dent? - Now completely mad and face-fully bandaged similar to the hospital scenes in the Dark Knight, or is it someone completely new? Further, with the relative unknown nature of the Hush villain until very recently, this ambiguity helps, because everyone is going to wonder who the next big costume villain is going to be - and they aren't going to get it. There are a myriad of supporting characters to aid this new story and complementary direction, and I leave their inclusion and exclusion to Nolan. There is something to be said about the possibilities of this new villain though. We gain a friend that the isolated hero needs. We gain a character interaction that is similar to the friendship between Harvey Dent and Bruce Wayne that was left out of "The Dark Knight", and only slightly exploited in the Love Triangle dinner scene. We have an equal, if not smarter adversary, with a distinct advantage over the hero in that he knows the full playing field and all the players, where Batman does not because of the events at the end of the last movie. Finally, we have a good story that isn't filled with Super-ness. It's a pure revenge-angled crime story. Plenty of options with psychosis, flash-backs, inner struggles, finding control within doing good and dealing with anger and violence, etc. So with the case presented, comes the problem of casting. The character has to match in charisma, acting talent, and needs to be able to switch between friend and foe without the cliches of cinema. He can be the villain without a sinister laugh, vocal change, or costume - the worst villains don't have to LOOK like villains, they're the friends that are trusted and wreak havoc by exploiting their unique positions. Hugh Jackman would be great because of stature and talent - not Wolverine, but more The Fountain and Prestige. Problem is resurrecting the Bale/Jackman duo without reminding the audience of their previous collaboration, similar in revenge aspect. Further, I'm not sure what happens with contracts and acting in multiple superhero franchises. Tom Cruise is great, except for stature. While a lot of people have issues with him, he matches in charisma, looks, and seriousness that would be needed. Unfortunately, he doesn't command the same weight in presence due to his size, especially relative to Bale. He would do well though, given the psyche exploits in Vanilla Sky and other work. I do not like Gerard Butler, as previously noted. I feel like it would become too reminiscent of his previous villain and hero roles and fall victim to the cliches stated before. I had to wrack my brain, and I'm still on the fence a bit (because there might be someone more fitting), but among the many options in Hollywood, perhaps James Caviezel would suit the role well. He has strength in previous roles: Thin Red Line, Count of Monte Cristo, Passion of the Christ, etc. He has similar stature to Bale, if only slightly taller than Bale (according to IMDB), and he evokes a feeling of sympathy for his characters, no matter the act - which helps when crafting a villain. You don't just need Batman to trust him, you need the audience to trust him. There is enough in the HUSH story to bring old characters and villains back to help minimize "noise" in the story, while it also has enough options to introduce new characters to help with transitions and plot development. Hopefully, you'll all see some merits in this, and maybe find a more suitable player to fill the shoes, but either way, the villain of Hush presents a pretty strong case to fill out and end Nolan's work with the Batman franchise. Three films is enough for the current ensemble - enough to be great, and still has potential to leave its fans wanting more. Thanks for the patience in reading. Best. jonny.gotham http://www.spout.com/blogs/jj79/archive/2008/6/9/30962.aspx Post By: JJ79
Post To: JJ79 Blog
Post Date: 6/9/2008 1:13:36 PM
Body: This review of "The Prestige" will included spoilers regarding the end of the film. Proceed at your own risk. As we´re told in the trailers and several times through "The Prestige", there are three acts to a magic trick: "the pledge", in which the magician makes a promise to the audience about a seemingly ordinary object; "the turn", where that object does something completely unexpected; and "the prestige", or, in other words, the climax. In "The Prestige", two magicians (played by Christian Bale and Hugh Jackman) continually try to one-up each other in terms of their performances after the tragic death of Angier´s (Jackman) wife. A series of double-crosses, risks and deaths later, one does emerge victorious. But the question remains: does the result justify everything that came before? Every couple of years, Hollywood unleashes two similarly themed films within weeks of each other. 1998 saw the release of "Armageddon" and the vastly superior "Deep Impact". And this year we get the already released "The Illusionist" and now this production. For whatever reason, both of these films have roughly the same structure and themes: the story is mostly told in flashback and the overriding theme is that of revenge. Perfectly valid ideas for a movie, right? Sure, if a movie set in the same exact genre, using the same exact themes and the same exact story structure didn´t come out two months beforehand. See, the biggest thing (the dubious science and morality aside) going against "The Prestige" is that "The Illusionist´ is a far superior movie in every way. The central issue within the film is that Alfred Bordon (Bale) is accused of murdering Angier following a botched magic act. The constant one-upsmanship is unimportant suffice to say both men do their best to prove he is the bigger magician and, by extension, the bigger man. That´s all this movie is: two little boys on the schoolyard competing with each other to see who can get the most people to watch them. Eventually, this newfangled contraption called electricity comes into play when Angier employs a machine designed by Nikola Tesla (a real human being!) to perform the final iteration of The Transported Man, a trick in which he can move from a stage to a balcony in a second. All of this is told in flashback, of course, since Bordon is sitting on death row. The thing only Angier knows is that the machine he has creates clones (yes, clones…doubles…copies), thus allowing him to perform his trick flawlessly. In a final desperate act, he kills a clone and frames Bordon. Ah, but Bordon has a trick of his own. While he sits on death row and ultimately hangs (a scene we´re never sure is going to happen until it actually does), Bordon has a brother-a twin-of his own. An exactly identical twin…all the way down to the two missing fingers on his left hand. How Bordon´s wife and his mistress never know they are sleeping with different men is beyond me. Why no one in their reality put two and two together is quite simple: this plot "twist" makes zero sense and reeks of absolute desperation. (To be fair, director Chris Nolan and his brother Jonathan adapted this story from a novel by Christopher Priest.) However, there is a clue-if it can be considered a clue-to this twist. Sarah does mention several times she knows when he is and is not in love with her. One assumes before the big reveal at the end that he´s in love with her during the good times and, conversely, falls out of love during the bad. However, the idea is perverted into the explanation of the brothers. Now, no matter how identical two people are, there are always some differences-even subtle ones-someone like a wife should be able to notice. It speaks volumes about the relationship that Sarah doesn´t. I do want to get back to the clone idea for a second. This is a movie steeped in reality. Every trick the pair performs has a basis in reality: no camera tricks. no hocus pocus, just good old-fashioned sleight of hand and misdirection. So when this idea is introduced, whatever credibility the film has built up to this point completely evaporates. We know there is no cloning technology as was depicted in the movie. It didn´t exist in 1899 and it doesn´t exist today. Yet it is the other major conceit at the end of the film. The real Angier didn´t die; he continually killed his clones during The Transported Man routine. It was his final stab at Bordon. Alas, in the final stages of the film, Bordon reveals himself to be an exact twin after killing Angier. Because director Nolan and writer Nolan feared the audience would be caught off guard by both of these revelations, there is a nifty flashback explaining each of the twists while the characters talk about them. If the conclusion to the film is so dense and out of left field that you feel possessed to show the audience the relevant parts of the movie again, then the movie is a failure and the story is a failure. What else in "The Prestige" is a failure? Well, there´s the laughable idea that Angier´s assistant-turned-Bordon´s lover falls in love with him and him with her. Fine. Show us this. Prior to this revelation, there are two scenes between Alfred and Olivia (the assistant). There´s no inkling that they love each other or have anything besides-perhaps-an active sex life. I guess it´s all part of the twist about the brother in the end. The biggest problem with "The Prestige" is that the narrative jumps time frames, locations and participants so many times that it is impossible for anyone to understand what´s going on without a roadmap and explicit instructions. While the narrative fails on nearly every level, other parts of the film keep it barely afloat. The aforementioned acting is a strong point; however, considering the participants, what else should we really expect? Also, the period production design is just as strong, giving us a glimpse into turn of the century London from yet a different perspective. And the film is nothing if not ambitious. There can´t have been studios and financiers banging at the doors to get on board with this production. As a viewer and film lover, it hurts to demean a well made film, but the fact remains the story lets the rest of the material down. I have a feeling someone thought they were incredibly smart to continually mention that the prestige portion of a trick where the twists and turns come into play and you see things you´ve never seen before. At least a portion of that is true: I don´t think we´ve ever seen a movie implode so badly within five minutes of the credits rolling as this one does. On a scale of 1 to 10, "The Prestige" earns a 4, with all the kudos going to aspects of the production having nothing to do with the script.
]]>Mon, 09 Jun 2008 17:13:36 GMTJJ79JJ79 Blog6/9/2008 1:13:36 PMThis review of "The Prestige" will included spoilers regarding the end of the film. Proceed at your own risk. As we&acute;re told in the trailers and several times through "The Prestige", there are three acts to a magic trick: "the pledge", in which the magician makes a promise to the audience about a seemingly ordinary object; "the turn", where that object does something completely unexpected; and "the prestige", or, in other words, the climax. In "The Prestige", two magicians (played by Christian Bale and Hugh Jackman) continually try to one-up each other in terms of their performances after the tragic death of Angier&acute;s (Jackman) wife. A series of double-crosses, risks and deaths later, one does emerge victorious. But the question remains: does the result justify everything that came before? Every couple of years, Hollywood unleashes two similarly themed films within weeks of each other. 1998 saw the release of "Armageddon" and the vastly superior "Deep Impact". And this year we get the already released "The Illusionist" and now this production. For whatever reason, both of these films have roughly the same structure and themes: the story is mostly told in flashback and the overriding theme is that of revenge. Perfectly valid ideas for a movie, right? Sure, if a movie set in the same exact genre, using the same exact themes and the same exact story structure didn&acute;t come out two months beforehand. See, the biggest thing (the dubious science and morality aside) going against "The Prestige" is that "The Illusionist&acute; is a far superior movie in every way. The central issue within the film is that Alfred Bordon (Bale) is accused of murdering Angier following a botched magic act. The constant one-upsmanship is unimportant suffice to say both men do their best to prove he is the bigger magician and, by extension, the bigger man. That&acute;s all this movie is: two little boys on the schoolyard competing with each other to see who can get the most people to watch them. Eventually, this newfangled contraption called electricity comes into play when Angier employs a machine designed by Nikola Tesla (a real human being!) to perform the final iteration of The Transported Man, a trick in which he can move from a stage to a balcony in a second. All of this is told in flashback, of course, since Bordon is sitting on death row. The thing only Angier knows is that the machine he has creates clones (yes, clones&hellip;doubles&hellip;copies), thus allowing him to perform his trick flawlessly. In a final desperate act, he kills a clone and frames Bordon. Ah, but Bordon has a trick of his own. While he sits on death row and ultimately hangs (a scene we&acute;re never sure is going to happen until it actually does), Bordon has a brother-a twin-of his own. An exactly identical twin&hellip;all the way down to the two missing fingers on his left hand. How Bordon&acute;s wife and his mistress never know they are sleeping with different men is beyond me. Why no one in their reality put two and two together is quite simple: this plot "twist" makes zero sense and reeks of absolute desperation. (To be fair, director Chris Nolan and his brother Jonathan adapted this story from a novel by Christopher Priest.) However, there is a clue-if it can be considered a clue-to this twist. Sarah does mention several times she knows when he is and is not in love with her. One assumes before the big reveal at the end that he&acute;s in love with her during the good times and, conversely, falls out of love during the bad. However, the idea is perverted into the explanation of the brothers. Now, no matter how identical two people are, there are always some differences-even subtle ones-someone like a wife should be able to notice. It speaks volumes about the relationship that Sarah doesn&acute;t. I do want to get back to the clone idea for a second. This is a movie steeped in reality. Every trick the pair performs has a basis in reality: no camera tricks. no hocus pocus, just good old-fashioned sleight of hand and misdirection. So when this idea is introduced, whatever credibility the film has built up to this point completely evaporates. We know there is no cloning technology as was depicted in the movie. It didn&acute;t exist in 1899 and it doesn&acute;t exist today. Yet it is the other major conceit at the end of the film. The real Angier didn&acute;t die; he continually killed his clones during The Transported Man routine. It was his final stab at Bordon. Alas, in the final stages of the film, Bordon reveals himself to be an exact twin after killing Angier. Because director Nolan and writer Nolan feared the audience would be caught off guard by both of these revelations, there is a nifty flashback explaining each of the twists while the characters talk about them. If the conclusion to the film is so dense and out of left field that you feel possessed to show the audience the relevant parts of the movie again, then the movie is a failure and the story is a failure. What else in "The Prestige" is a failure? Well, there&acute;s the laughable idea that Angier&acute;s assistant-turned-Bordon&acute;s lover falls in love with him and him with her. Fine. Show us this. Prior to this revelation, there are two scenes between Alfred and Olivia (the assistant). There&acute;s no inkling that they love each other or have anything besides-perhaps-an active sex life. I guess it&acute;s all part of the twist about the brother in the end. The biggest problem with "The Prestige" is that the narrative jumps time frames, locations and participants so many times that it is impossible for anyone to understand what&acute;s going on without a roadmap and explicit instructions. While the narrative fails on nearly every level, other parts of the film keep it barely afloat. The aforementioned acting is a strong point; however, considering the participants, what else should we really expect? Also, the period production design is just as strong, giving us a glimpse into turn of the century London from yet a different perspective. And the film is nothing if not ambitious. There can&acute;t have been studios and financiers banging at the doors to get on board with this production. As a viewer and film lover, it hurts to demean a well made film, but the fact remains the story lets the rest of the material down. I have a feeling someone thought they were incredibly smart to continually mention that the prestige portion of a trick where the twists and turns come into play and you see things you&acute;ve never seen before. At least a portion of that is true: I don&acute;t think we&acute;ve ever seen a movie implode so badly within five minutes of the credits rolling as this one does. On a scale of 1 to 10, "The Prestige" earns a 4, with all the kudos going to aspects of the production having nothing to do with the script. http://www.spout.com/blogs/chrismorrell/archive/2008/6/6/30810.aspx Post By: chrismorrell
Post To: chrismorrell Blog
Post Date: 6/6/2008 7:50:03 PM
Body: Good understated 'reveal' movie,this.Christian Bale,good as ever ,lets himself down ,ironically with a forced English accent,that somehow jarrs against Michael Caine's natural London drawl. Why didnt he just do a Michael Caine? ,that would have been fine.Hugh Jackman is superb,Scarlett Johannson doesnt let the side down.Then there is David Bowie,why oh why oh why? He spoils the film with a useless voice,and a dead-eyed performance that any number of quality third-string character actors could have taken.I knocked a whole star off
]]>Fri, 06 Jun 2008 23:50:03 GMTchrismorrellchrismorrell Blog6/6/2008 7:50:03 PMGood understated 'reveal' movie,this.Christian Bale,good as ever ,lets himself down ,ironically with a forced English accent,that somehow jarrs against Michael Caine's natural London drawl. Why didnt he just do a Michael Caine? ,that would have been fine.Hugh Jackman is superb,Scarlett Johannson doesnt let the side down.Then there is David Bowie,why oh why oh why? He spoils the film with a useless voice,and a dead-eyed performance that any number of quality third-string character actors could have taken.I knocked a whole star off http://www.spout.com/blogs/unclefestering/archive/2008/5/14/29204.aspx Post By: unclefestering
Post To: unclefestering Blog
Post Date: 5/14/2008 10:23:30 PM
Body: Why does it always seem that there are two movies abot the same subject released at the same time? The Prestige was released just after The Illusionist (2006), which is a shame because that sucked away the audience that might have gone to see this. Don't get me wrong, the Illusionist isn't a bad movie, but I find this one so much better. Two young magicians become bitter rivals when one of them may or may not have been instrumental in the death of the other's wife. From that point on, they do what they have to do to steal each other's secrets no matter who it hurts in their lives. A taut and gripping plotline is boosted by great performances of Christian Bale and Hugh Jackman. Both performances are filled with envy, jealousy, and anger. Some people say that the end is a bait and switch, but if you are paying attention to the movie, you are lead down to its dark inevitable path.
]]>Thu, 15 May 2008 02:23:30 GMTunclefesteringunclefestering Blog5/14/2008 10:23:30 PMWhy does it always seem that there are two movies abot the same subject released at the same time? The Prestige was released just after The Illusionist (2006), which is a shame because that sucked away the audience that might have gone to see this. Don't get me wrong, the Illusionist isn't a bad movie, but I find this one so much better. Two young magicians become bitter rivals when one of them may or may not have been instrumental in the death of the other's wife. From that point on, they do what they have to do to steal each other's secrets no matter who it hurts in their lives. A taut and gripping plotline is boosted by great performances of Christian Bale and Hugh Jackman. Both performances are filled with envy, jealousy, and anger. Some people say that the end is a bait and switch, but if you are paying attention to the movie, you are lead down to its dark inevitable path. http://www.spout.com/blogs/cinemarian/archive/2008/5/12/28751.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/12/2008 10:24:07 PM
Body: The Prestige is what the esteemed film critic Roger Ebert calls a Jerk Around Movie. To quote the Rog-man from his review of the modern classic Basic "what it does is jerk you around. It sets up a situation and then does a bait and switch. You never know which walnut the truth is under. You invest your trust and are betrayed." I am not a big fan of movies like this, because they tend to be entirely about plot and nothing else. I know I am in the minority on this. Lots of Jerk Around Movies are really popular- The Sting and The Usual Suspects are two that I can think of, as is, to an extent, The Departed. But I want a movie to be about more than a clever plotline. I want a film about characters I like or ideas I find interesting. The Prestige comes close, mainly due to some compelling lead performances from Christian Bale and Hugh Jackman, but ultimatley misses the mark. The premise sounds like a lot of fun- two magicians try to outwit and out suceed each other. Each has a special talent- Borden (Bale) is the better magician technically, while Angier (Jackman) is the superior showman. Although the two initially work together, Angier become obssessed with defeating his rival when his girlfriend is accidently(?) drowned during a trick. The two become more and more obsessed with outshowing the other, and Angeir seeks the help of inventor Nikoli Tesla (David Bowie) to copy a trick that Boren developes that is seemingly impossible. Like all of Nolan's work, The Prestige is told out of chronological sequence, but the movie is surprisinlgy easy to follow and it moderatley fun while watching it. But the film's ending is deeply flawed, not so much because it relies on a poor plot twist but because it relies on a twist of any kind. Nothing is really changed when it is revealed what is going on- because the movie was never about anything at all. The characters don't have much to them beyond their obsession, and there is no interesting statement about showmanship or magic, or anything of the sort. This is not so much a bad film, as a totally pointless one. It's sort like eating bad candy- it's not too bad while your doing it, but you regret it afterwards, and wish you could get the calories back. The Prestige (2006)
]]>Tue, 13 May 2008 02:24:07 GMTCinemaRianCinemaRian Blog5/12/2008 10:24:07 PMThe Prestige is what the esteemed film critic Roger Ebert calls a Jerk Around Movie. To quote the Rog-man from his review of the modern classic Basic "what it does is jerk you around. It sets up a situation and then does a bait and switch. You never know which walnut the truth is under. You invest your trust and are betrayed." I am not a big fan of movies like this, because they tend to be entirely about plot and nothing else. I know I am in the minority on this. Lots of Jerk Around Movies are really popular- The Sting and The Usual Suspects are two that I can think of, as is, to an extent, The Departed. But I want a movie to be about more than a clever plotline. I want a film about characters I like or ideas I find interesting. The Prestige comes close, mainly due to some compelling lead performances from Christian Bale and Hugh Jackman, but ultimatley misses the mark. The premise sounds like a lot of fun- two magicians try to outwit and out suceed each other. Each has a special talent- Borden (Bale) is the better magician technically, while Angier (Jackman) is the superior showman. Although the two initially work together, Angier become obssessed with defeating his rival when his girlfriend is accidently(?) drowned during a trick. The two become more and more obsessed with outshowing the other, and Angeir seeks the help of inventor Nikoli Tesla (David Bowie) to copy a trick that Boren developes that is seemingly impossible. Like all of Nolan's work, The Prestige is told out of chronological sequence, but the movie is surprisinlgy easy to follow and it moderatley fun while watching it. But the film's ending is deeply flawed, not so much because it relies on a poor plot twist but because it relies on a twist of any kind. Nothing is really changed when it is revealed what is going on- because the movie was never about anything at all. The characters don't have much to them beyond their obsession, and there is no interesting statement about showmanship or magic, or anything of the sort. This is not so much a bad film, as a totally pointless one. It's sort like eating bad candy- it's not too bad while your doing it, but you regret it afterwards, and wish you could get the calories back. The Prestige (2006) http://www.spout.com/blogs/jakestevens/archive/2007/12/9/22658.aspx Post By: JakeStevens
Post To: JakeStevens Blog
Post Date: 12/9/2007 4:29:58 PM
Body: An intriguing tale told well. I'm hesitant to go into too much detail here as anyone who hasn't seen it OR heard about it (I went into the film completely fresh and with no expectations) will, I believe, enjoy it that much more. There are a few loose ends that don't seem to tie up at the denouement, but it IS, after all, a movie about magic and illusion and not letting the secret out. I believe it's partially left up to the viewer to decide what they REALLY saw. Great film. Highly recommended.
]]>Sun, 09 Dec 2007 21:29:58 GMTJakeStevensJakeStevens Blog12/9/2007 4:29:58 PMAn intriguing tale told well. I&#39;m hesitant to go into too much detail here as anyone who hasn&#39;t seen it OR heard about it (I went into the film completely fresh and with no expectations) will, I believe, enjoy it that much more. There are a few loose ends that don&#39;t seem to tie up at the denouement, but it IS, after all, a movie about magic and illusion and not letting the secret out. I believe it&#39;s partially left up to the viewer to decide what they REALLY saw. Great film. Highly recommended. http://www.spout.com/blogs/pippin06/archive/2007/8/8/17576.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 8/8/2007 12:08:42 AM
Body: Don't get me wrong from the title of this entry. I liked the Prestige. I liked the misdirection and twists and turns that director Christopher Nolan visits upon the viewer. It was a great Saturday-afternoon, sit-on-the-couch and eat popcorn rental. I was looking forward to this movie because I'm such a fan of Nolan, but ultimately, I can't say this was his best effort. This movie was slow and predictable, even if the path to the predictable outcome was not as predictable as the outcome itself. That is to say, the movie was one grand illusion with it's setup (the pledge) and its misdirection (the turn). Yet, the inevitable outcome (the prestige) I actually saw coming. It was one of the few movies where I smelled the ending a mile off, and it took such time to get there, I was ultimately unimpressed. What's more, the movie was released at or around the time of the release of the Illusionist, which contained similar plot elements but, I thought, was an ultimately better movie (though ultimately just as predictable). I guess I'm so jaded that magicians' tricks don't work on me so well. Unless done by David Copperfield. That's another story.Rupert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) are top-notch illusionists who succumb to a bitter rivalry, endlessly envious of each other's abilities. This rivalry culminates when a trick of Borden's leads indirectly to the death of Angier's wife, once their beautiful assistant. The two then spend the entire movie trying to delve into each other's secrets, particularly each's individual take on the "Transporting Man," though each strike upon the other becomes a more serious and more harmful plot of revenge. The title comes from the explanation provided by Michael Caine's character, which indicates that each magic trick is comprised of three parts to which I've already cheekily referred: the setup or the Pledge, the misdirection or the Turn, and the payoff or the Prestige. At the beginning of the movie, we see Borden on trial for the murder of Angier. Flashbacks follow to set one up for the ultimate conclusion, and each flashback is punctuated by Angier or Borden's individual quest to best their rival, though Angier is painted as the more obsessed of the two (though Borden is apparently the more violent). Along the way, they meet David Bowie, Andy Serkis (aka Gollum), and Scarlett Johansson, an erstwhile lover and assistant first to Angier, and then to Borden (at Angier's curious, obsession-fueled request).This movie was smartly filmed and never pandered to the viewing audience, which I appreciated. Nolan is the master of subtlety, and that subtlety was evident here. Hints and clues were sprinkled into each flashback. I love this director (and screenwriter) because non-linear storytelling seems to be his specialty and makes it appealing when my logical brain ultimately prefers linear storytelling. Memento was a superb movie and one of my favorites. I think I started to get bored when the story attempted to humanize, albeit in a cursory, almost obligatory manner, the two lead characters. Magicians are people too, naturally, but these two magicians were less concerned with humanism than with their individual obsessions. Yet, they were presented in such a way as to try to force you to sympathize with one character or the other depending upon the flashback at hand. I guess I got bored with the ping-pong in that respect; the movie lost me when it tried to depict each character's failed attempts at being something more than magicians. I don't know if the actors or the director are to blame, but I ultimately felt no sympathy, at all, for either one and did not care what happened to either of them by the end of the movie. If that was the intention of the film, then it succeeded admirably, but I don't enjoy a movie where I am supposed to decide (or not) what is the lesser of two evils. If it was not the intention of the film, if it was all just an aim at cinematic illusion to match the obsessions of the two primary characters, then I was simply unimpressed by the trick. Yet, I still enjoyed the story and, to some extent, the ride.I think I have to rate the Prestige a 7.5, somewhere between "shaky" and "minor flaws/very good." So, it's more like a "good" without the "very." As for my test, I don't think that it passes, unless I could buy it for, say, 5 bucks. I loved the idea and was intrigued by the movie, but it left me feeling less than awestruck in the end, and that was a bit disappointing. Still, with my love for Nolan, I may change my mind. Maybe I was in no mood for magic tricks when I decided to watch this film.
]]>Wed, 08 Aug 2007 04:08:42 GMTpippin06Reel Thoughts8/8/2007 12:08:42 AMDon&#39;t get me wrong from the title of this entry. I liked the Prestige. I liked the misdirection and twists and turns that director Christopher Nolan visits upon the viewer. It was a great Saturday-afternoon, sit-on-the-couch and eat popcorn rental. I was looking forward to this movie because I&#39;m such a fan of Nolan, but ultimately, I can&#39;t say this was his best effort. This movie was slow and predictable, even if the path to the predictable outcome was not as predictable as the outcome itself. That is to say, the movie was one grand illusion with it&#39;s setup (the pledge) and its misdirection (the turn). Yet, the inevitable outcome (the prestige) I actually saw coming. It was one of the few movies where I smelled the ending a mile off, and it took such time to get there, I was ultimately unimpressed. What&#39;s more, the movie was released at or around the time of the release of the Illusionist, which contained similar plot elements but, I thought, was an ultimately better movie (though ultimately just as predictable). I guess I&#39;m so jaded that magicians&#39; tricks don&#39;t work on me so well. Unless done by David Copperfield. That&#39;s another story.Rupert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) are top-notch illusionists who succumb to a bitter rivalry, endlessly envious of each other&#39;s abilities. This rivalry culminates when a trick of Borden&#39;s leads indirectly to the death of Angier&#39;s wife, once their beautiful assistant. The two then spend the entire movie trying to delve into each other&#39;s secrets, particularly each&#39;s individual take on the &quot;Transporting Man,&quot; though each strike upon the other becomes a more serious and more harmful plot of revenge. The title comes from the explanation provided by Michael Caine&#39;s character, which indicates that each magic trick is comprised of three parts to which I&#39;ve already cheekily referred: the setup or the Pledge, the misdirection or the Turn, and the payoff or the Prestige. At the beginning of the movie, we see Borden on trial for the murder of Angier. Flashbacks follow to set one up for the ultimate conclusion, and each flashback is punctuated by Angier or Borden&#39;s individual quest to best their rival, though Angier is painted as the more obsessed of the two (though Borden is apparently the more violent). Along the way, they meet David Bowie, Andy Serkis (aka Gollum), and Scarlett Johansson, an erstwhile lover and assistant first to Angier, and then to Borden (at Angier&#39;s curious, obsession-fueled request).This movie was smartly filmed and never pandered to the viewing audience, which I appreciated. Nolan is the master of subtlety, and that subtlety was evident here. Hints and clues were sprinkled into each flashback. I love this director (and screenwriter) because non-linear storytelling seems to be his specialty and makes it appealing when my logical brain ultimately prefers linear storytelling. Memento was a superb movie and one of my favorites. I think I started to get bored when the story attempted to humanize, albeit in a cursory, almost obligatory manner, the two lead characters. Magicians are people too, naturally, but these two magicians were less concerned with humanism than with their individual obsessions. Yet, they were presented in such a way as to try to force you to sympathize with one character or the other depending upon the flashback at hand. I guess I got bored with the ping-pong in that respect; the movie lost me when it tried to depict each character&#39;s failed attempts at being something more than magicians. I don&#39;t know if the actors or the director are to blame, but I ultimately felt no sympathy, at all, for either one and did not care what happened to either of them by the end of the movie. If that was the intention of the film, then it succeeded admirably, but I don&#39;t enjoy a movie where I am supposed to decide (or not) what is the lesser of two evils. If it was not the intention of the film, if it was all just an aim at cinematic illusion to match the obsessions of the two primary characters, then I was simply unimpressed by the trick. Yet, I still enjoyed the story and, to some extent, the ride.I think I have to rate the Prestige a 7.5, somewhere between &quot;shaky&quot; and &quot;minor flaws/very good.&quot; So, it&#39;s more like a &quot;good&quot; without the &quot;very.&quot; As for my test, I don&#39;t think that it passes, unless I could buy it for, say, 5 bucks. I loved the idea and was intrigued by the movie, but it left me feeling less than awestruck in the end, and that was a bit disappointing. Still, with my love for Nolan, I may change my mind. Maybe I was in no mood for magic tricks when I decided to watch this film. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
Number of films tagged: 12479

Number of people who tagged: 338

Number of times used: 1481

]]>Wed, 23 Dec 2009 05:51:34 GMT124793381481Tag http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
Number of films tagged: 509

Number of people who tagged: 179

Number of times used: 921

]]>Tue, 03 Nov 2009 17:56:35 GMT509179921Tag http://www.spout.com/members/0/tags/murder/MemberTagFilms.aspxmurder
Number of films tagged: 8748

Number of people who tagged: 157

Number of times used: 831

]]>Sun, 20 Dec 2009 18:42:29 GMT8748157831Tag http://www.spout.com/members/0/tags/revenge/MemberTagFilms.aspxrevenge
Number of films tagged: 5189

Number of people who tagged: 145

Number of times used: 489

]]>Wed, 02 Dec 2009 23:13:41 GMT5189145489Tag http://www.spout.com/members/0/tags/death/MemberTagFilms.aspxdeath
Number of films tagged: 4306

Number of people who tagged: 140

Number of times used: 526

]]>Mon, 16 Nov 2009 17:27:13 GMT4306140526Tag http://www.spout.com/members/0/tags/dark/MemberTagFilms.aspxdark
Number of films tagged: 223

Number of people who tagged: 137

Number of times used: 390

]]>Wed, 23 Sep 2009 22:40:47 GMT223137390Tag http://www.spout.com/members/0/tags/drama/MemberTagFilms.aspxdrama
Number of films tagged: 527

Number of people who tagged: 102

Number of times used: 627

]]>Wed, 16 Dec 2009 19:01:29 GMT527102627Tag http://www.spout.com/members/0/tags/sci-fi/MemberTagFilms.aspxsci-fi
Number of films tagged: 217

Number of people who tagged: 102

Number of times used: 375

]]>Fri, 04 Dec 2009 19:33:53 GMT217102375Tag http://www.spout.com/members/0/tags/mystery/MemberTagFilms.aspxmystery
Number of films tagged: 156

Number of people who tagged: 82

Number of times used: 208

]]>Wed, 16 Dec 2009 19:01:30 GMT15682208Tag http://www.spout.com/members/0/tags/escape/MemberTagFilms.aspxescape
Number of films tagged: 2868

Number of people who tagged: 76

Number of times used: 279

]]>Tue, 01 Dec 2009 19:51:44 GMT286876279Tag http://www.spout.com/members/0/tags/relationships/MemberTagFilms.aspxrelationships
Number of films tagged: 204

Number of people who tagged: 74

Number of times used: 250

]]>Wed, 23 Dec 2009 05:51:35 GMT20474250Tag http://www.spout.com/members/0/tags/magic/MemberTagFilms.aspxmagic
Number of films tagged: 818

Number of people who tagged: 69

Number of times used: 173

]]>Mon, 09 Nov 2009 18:58:47 GMT81869173Tag http://www.spout.com/members/0/tags/obsession/MemberTagFilms.aspxobsession
Number of films tagged: 1134

Number of people who tagged: 64

Number of times used: 136

]]>Tue, 13 Oct 2009 15:00:49 GMT113464136Tag http://www.spout.com/members/0/tags/betrayal/MemberTagFilms.aspxbetrayal
Number of films tagged: 1035

Number of people who tagged: 62

Number of times used: 155

]]>Sun, 20 Dec 2009 18:42:32 GMT103562155Tag http://www.spout.com/members/0/tags/prison/MemberTagFilms.aspxprison
Number of films tagged: 2437

Number of people who tagged: 62

Number of times used: 167

]]>Tue, 01 Dec 2009 19:02:27 GMT243762167Tag