Synopsis: When a street magician’s stunt begins to make their show look stale, superstar magicians Burt Wonderstone and Anton Marvelton look to salvage on their act – and their friendship – by staging their own daring stunt
Stars: Steve Carell, Steve Buscemi, Olivia Wilde, Alan Arkin, James Gandolfini, Jim Carrey, Jay Mohr, Michael Bully Herbig
Director: Don Scardino
Running Length: 110 minutes
Trailer Review: Here
TMMM Score: (4/10)
Review: It’s debatable but I’d argue that the best sleight of hand that The Incredible Burt Wonderstone performs is making laughs vanish for 110 minutes. In my review of the trailer for the comedy, I predicted that the film was “either going to soar to great heights or crash and burn in terrible fashion” and while the movie isn’t a total write-off thanks to a few decent performances, it’s a largely forgettable film that vanishes from memory before you reach your car.
Though star Carell has done fairly well so far in his film career, he’s not known for taking on any roles that offer any real stretch opportunities. I enjoyed his work in Dan in Real Life and Crazy, Stupid, Love but his work here falls into the Evan Almighty and Get Smart area…that is to say buffoonery. In Wonderstone he’s one half of a Las Vegas magic act that seems to be sending up Siegfried and Roy grandiosity and David Copperfield (who also cameos) illusion.
When we meet the younger Wonderstone in an enjoyable prologue, he’s a bullied child with an absentee mother who has him bake his own birthday cake. After he receives a Rance Howard Magic Kit, he finds his passion and a partner in Anton – soon they are headlining their own show in Vegas and over the next decade they rake in the audiences along with the dough. Trouble is, their act is stale and with a new generation wanting more bang for their buck their show becomes old hat. It doesn’t help that Burt has become a misogynistic d-bag and Anton (a woefully untapped Buscemi) his punching bag.
For a boy that was bullied so much as a child, it’s an odd transition to have Burt become so unloving and harsh to his friends that support him. It’s also not very fun to watch as Carell spends the first half of the movie with a put-upon snooty-toot accent and an array of sequined costumes. When Burt and Anton find themselves without a show and not on speaking terms, Burt takes a job at a senior center for retired Las Vegas performers and that’s where he meets his idol since childhood…Rance Howard.
As Rance, Arkin pretty much walks away with the movie as he is prone to do (and get Oscar nominated like he did in Argo) when given a character he can do something with. Though thinly written, Arkin puts a nice shine on the grizzled magician to provide the film with its most dependable laughs. The same can’t be said for Carrey as a Criss Angel/David Blaine style street magician whose tricks/stunts become more grotesque and dangerous as the movie progresses. On complete auto-pilot, Carrey resurrects his Ace Ventura mannerisms to decidedly ho-hum results.
Wilde is so shoe-horned into this film I’m wondering if her entire character wasn’t added after the film was completed to give Carell a ludicrous love interest. Only called upon to say some of the more straight-forward dialogue that other characters couldn’t say, Wilde is totally lost at sea and knows it. Gandolfini’s meatball head has nearly been swallowed by his shoulders and Mohr turns in one of the least funny performances in a comedy ever.
I have a quick note about the magic in the film. I still hold to the belief that magic in movies is incredibly hard to pull off because most of us deal with a suspension of disbelief that prevents us from really buying into the magic we’re seeing on screen. Though the film really isn’t about magic tricks, the few that are there are staged in such a way that indicates the filmmakers want us to think they’ve pulled off a great trick…when they really just positioned the camera in such a way that we can’t see what’s really happening.
Director Scardino is known for directing television series and hasn’t made a feature film in over a decade, made painfully obvious by a dramatic lack of any sort of pacing beyond half hour increments. The film is probably twenty minutes too long and strains to reach an ending so unbelievable I kept waiting for it to be some elaborate dream sequence. The script by John Francis Daley/Jonathan Goldstein feels a tad selfish…giving too much to Carell and ignoring some nice comedic opportunities (a senior center for retired Las Vegas performers has so much potential that is totally wasted…where are the old ladies in showgirl costumes??)
If you’re a Carell or Carrey fan chances are you’re looking forward to this one and I say more power to you. You’ll probably get what you came for but nothing more…sometimes that’s enough. For this reviewer, I wish the filmmakers could hvae Zim Zala-Bim-ed their way into a better movie.