Come to praise Pfister, not to bury him

Forget everything that you have heard about this film and see it for yourself, Wally Pfister has earned that much in his deservedly stellar career as a Director of Photography, predominantly for Chris Nolan. His directorial debut is a complex and interesting film that asks big questions and does not take sides in examining what the answers might be. It's a beautiful film, which is to be expected, but great credit must also go to Pfister's own DP, Jess Hall, who had a big shadow to work in. Pfister has employed a very interesting cast, clearly concentrating on quality rather than name-dropping. Paul Bettany and Rebecca Hall are enthralling, transporting the viewer directly to the heart of the conflict. Kate Mara is satisfyingly determined as the foil for the scientists, and if Morgan Freeman seems under-served it should be seen as a tribute to Bettany and Hall, and to Johnny Depp. It's a real pleasure to see him acting instead of leaping from rooftops, chewing the scenery or slurring his words and smudging his mascara. Depp is highly effective as the 'man' at the centre of the plot, and his understated performance serves the story well. Clearly, there has been a critical backlash against the film, not as vitriolic as that which torpedoed John Carter, but equally undeserved. Transcendence perhaps presages its reception in reminding us that people distrust what they don't understand, but Pfister's excellent film deserves at least the attempt from its audience, and any effort to examine the narrative will be rewarded. It might be said that the film feels longer than it is, arguably because it is not tempted to repeat the derivative structure of so many blockbusters, and Pfister and writer Jack Paglen should be commended for that. It does mean however that some threads do not get all of the attention they deserve, to the point of risking superficiality in these areas, but there is a clear and highly satisfying story arc, and an equivocal ending, not surprising considering Pfister's affiliation. If there is any such thing as justice in film (doubtful), Chris Nolan is going to need a new DP and Transcendence will be lauded in years to come.

Chris Nolan Rises

By now it must be irrefutable that Christopher Nolan is one of the greatest film-makers working today, and I would argue till I am blue in the face with anyone who says he has made a single feature that is not a superb example of the film-making art. He can do it all, complex, thought-provoking, exciting, adventurous, heart-rending, challenging, cerebral. He has taken mind-bending arthouse conception and made it mainstream with 'Memento', he has taken crime drama and elevated it to art with 'Insomnia', made recording slight of hand an unexpected delight with 'The Prestige', but the greatest trick that he ever pulled, his greatest achievement to date must be his realisation of the cinematic holy grail, the one thing that everyone from the business men to the punters; the technicians to the marketeers; the film buffs to the thespians have been craving for decades, an action triology that is good all the way through, an action triolgy that is intellegent, surprising, rewarding and successful. With Batman that is what he has done. Okay, it's not perfect, no film is. In this latest installement there is still a quibble or two. Bane's voice is annoying. Presumably the queer Dickensian tone was chosen to draw a distinction between it and Bale's gravelly drawl, but there is no obvious rationale for such sub Carry On comic accent. Also, Warner Brothers can expect a class action suit for whiplash after the tirade of cuts in the last 15 minutes, but these are quibbles, when the whole is an audaciously grand construction of a scale dwarfing most blockbusters, beautifully capturing the feel of the Batman stories, and not drenching them in stultifying darkness as has been done before, but having the courage to shine a light on the man behind the mask. Because Nolan knows that a blockbuster is just a big empty shell if it is not peopled by living breathing characters. They are here in abundance, and it is the very personal loves, friendships, rivlarlies and hatreds between them that drive the movie, that fill Nolan's magnificent construction with life. And in the end it all pays off, the huge set pieces, the fights, the flashbacks, the fiesty dialogue, the human relationships, every element is resolved, tied up and presented to the viewer with a big bow on it. Nolan knows what we want, he knows how to present it to us, and he provides it to us in spades - satisfaction.

The Mesmerising Mr. Nolan Works His Magic

Another masterful directorial outing for Christopher Nolan who has not put a foot wrong yet, The Prestige is sandwiched between Batman Begins and The Dark Knight and serves to once again highlight the wonderful diversity of his work. That he was overlooked for a directorial nomination for 'Inception' is to the eternal shame of the Academy.

The rivalry between Jackman and Bale's characters is loaded with intrigue at every mesmerising twist and turn, and they are supported by a superb cast of characters each presented with an engaging part that the audience cannot fail but invest in. But it is the story that is the true star, brought to life by Nolan, but beautifully imagined by author Christopher Priest.

The tricks are all explained but will enthral you nonetheless, as will this excellent film.