Breathe **** out of *****
Directed by Melanie Laurent
Starring: Josephine Japy, Lou de Laage, Isabelle Carre, Radivoje Bukvic, and Claire Keim
Theatrical Release Date: September 11, 2015
A few minutes into director Melanie Laurent‘s second feature film (we know her best from her role as the blonde bombshell in Inglourious Basterds), Breathe, a French classroom setting is revealed to us and a discussion is ongoing about the potential ramifications of passion. One high school students’ observation can be seen as a portent: “Passion is harmful when it becomes obsessive.” This is foreshadowing at its most glaring, but even when we think we know the suspected trajectory of Ms. Laurent’s new film she quickly lays rest to our expectations and sets in motion a new path we hardly anticipate.
The one rule that magicians generally abide by is never to do the same trick twice. This requires some major creativity. So rather than saw a person in half or pull a rabbit out of a hat, Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco have something better in mind to keep their audiences entertained. In Now You See Me, they will rob a bank from one of the world’s most wealthiest men and give it right back to the audiences who have been financially wronged. Think of it as Robin Hood with a hat full of tricks. Morgan Freeman, Michael Caine, and Mark Ruffalo also star.
The first trailer only teased the core plot, which was that they announced that part of the act was to steal from the rich. But this newest trailer gets into the backstory of the characters and some of the planning that went into this magical heist. Oh, let’s not forget there are also a few more magic acts.
The thing with magic is that the magician has a lot of distractions up his sleeve, so you end up focusing on one thing when you should be paying attention to the other. It’s all fun and games, but when the trick consists of Robin Hood-esque magicians stealing from a heavily fortified bank and giving its money back to the audience members, you really might want to pay attention.
The first trailer for Now You See Me, starring Jesse Eisenberg, Isla Fisher, Woody Harrelson, Mark Ruffalo, and Dave Franco, is now on line. Check it out here below.
The film is more of an action-adventure heist that uses practical magic tricks as well as some help with computer-generated visuals. A lot of genres are mixed into this one film, but I am sure that the magic aspect of it will be the thing to draw audiences in. But overall it looks like a lot of fun, especially if you are into magic and heists.
Inglourious Basterds Directed by Quentin Tarantino
Starring Brad Pitt, Christoph Waltz, Melanie Laurent, Diane Kruger, Daniel Bruhl, Eli Roth, Michael Fassbenderr, Til Schweiger, Samm Levine, B.J. Novak, Mike Myers
Release date: August 21, 2009
I did not discover Quentin Tarantino at the same time everyone else did, but by the time his 1997 crime drama Jackie Brown, an adaptation of Elmore Leonard’s novel Rum Punch, was released I knew who he was. I came by his movies on my own with my only knowledge of them being what I had read in magazines like Rolling Stone, Premiere, and Entertainment Weekly.
Pulp Fiction, his epic anthology of strangely believable adventures in the underworld, was the first. I rented that movie when it was first released on video but it took me all of the one-week rental period to watch it because I could not view it in the presence of my younger brother and sister. But as I watched Pulp Fiction, piece by piece every day before and after I went to school, I became captivated by what I was seeing and I began to understand why Quentin Tarantino was the talk of the town. Here was undoubtedly the most innovative and dynamic new filmmaker to emerge in a decade that had seen more than its fair share of cinematic underachievers and would see even more before the millennium came to a close. Tarantino’s films were heavily criticized for their violence but when weighed against the majority of the R-rated action fare that was coming out of Hollywood there was not much bloodshed at all. What gave the violence in Tarantino’s films its impact was its relative restraint. His films rely mostly on the integral developments of plot and character. When the violence does come, be it in a shocking gag (the accidental shooting of Marvin in Pulp Fiction) or an extended battle sequence (the House of Blue Leaves fight which takes up the majority of Kill Bill Volume 1‘s third act), it feels like a cathartic release of tension and energy. Tarantino’s own personal celluloid orgasm, if you will.