Magic and wildlife documentaries have always held a special place in the hearts of viewers. Combining the enchantment of magic with the wonders of wildlife, these documentaries create a captivating and immersive experience for the audience. The magic in these documentaries often comes in the form of incredible stunts and illusions performed by the filmmakers themselves. They use their skills to interact with and manipulate the wildlife, creating a sense of awe and wonder. Through these magical moments, viewers are able to witness the extraordinary abilities of animals and the beauty of the natural world. In addition to the magic, these documentaries also serve as educational tools, providing valuable information about the habitats, behaviors, and conservation efforts related to various wildlife species.
"Today's Disney is both cringe and offensive. They lost their way and deserve to fade away," one user wrote. Another called the company: "Propaganda machinery!" while another asked: "I wonder what Walt [Disney] would make of it all?"
Peterson called out Disney directly by tagging the company in a tweet in which he shared a link to the documentary made by the right-wing media company PragerU. We suspect that most people reading this blog are familiar with this classic holiday story, so rather than summarize it, we figured we d discuss some interesting aspects and behind-the-scenes stories about the movie.
In addition to the magic, these documentaries also serve as educational tools, providing valuable information about the habitats, behaviors, and conservation efforts related to various wildlife species. They allow viewers to understand and appreciate the incredible diversity of life on our planet. One of the pioneers in this genre is the renowned magician and filmmaker, Steve Backshall.
Magic in the Moonlight
Compulsive filmmaker Woody Allen has pretty much admitted that his cinematic practice is such that each of his pictures is a swing at something. And that he’s the last to know, in a sense, the extent to which he “connects.” Which is not to say he has no opinions about his pictures—he does, and they’re usually ones related to disappointment—but rather that he keeps up the pace that he does—making one film a year, like clockwork, since 1983—out of a genuinely aspirational impulse.
Critical opinion on the extent to which he connects varies pretty wildly. I remember seeing Allen’s 2005 drama "Match Point" at the Cannes Film Festival and thinking it a lot of silly rot. So did another critic friend, and imagine our surprise as we filed out into the lobby of the screening area to mix with dozens, if not hundreds, of critics who found the picture a thrilling return to form, or an Allen renaissance even. But the follow-up to that, 2006’s "Scoop," was hardly anyone’s idea of primo Woody, and reception was wobbly from that point on, although the past four years have been, most would agree, pretty good artistic ones (although not so good with respect to certain aspects of Allen’s personal life, one is obliged to note). 2011’s "Midnight In Paris" was considered by many a bonafide comedic masterwork and became a commercial hit; the more pro forma but not-without-its-innovations (and pleasures) 2012 "From Rome With Love" did more than coast on the good will generated by "Midnight;" and 2013’s "Blue Jasmine," derivative of Tennessee Williams or not, garnered a Best Actress Oscar for its lead, Cate Blanchett.
AdvertisementWhile Allen’s new picture, "Magic In The Moonlight," isn’t even close to being a disaster (for that, see, well, "Scoop"), I don’t think it’s unreasonable to note that, in my estimation, it’s where Allen’s latest streak…well, let’s not say “ends.” Let’s be moderate and say “ebbs.” Don’t get me wrong, much of "Magic In The Moonlight" is a pleasure to experience, particularly if you’re an aficionado of the sort of sophisticated, neurosis-laden romantic comedy that counts as one of Allen’s specialties. The movie is a period piece, set in Europe in the late 1920s, which is also a boon as it frees Allen from trying to have to come up with credible dialogue for contemporary characters in their 30s, something he’s more challenged to achieve as the years go on.
The premise, too, is charming: celebrated stage magician Colin Firth, a dyed-in-the-wool materialist, is enlisted by an old friend to sojourn to the South of France and debunk a young woman claiming to be a spiritualist, who at the moment seems to have hoodwinked a rich American family, particularly its moony first-born son and heir. Once in the intoxicating atmosphere of not just the playgrounds of the idle rich but that attending Sophie, the utterly disarming communicator-with-the-afterworld, a young redhead played by Emma Stone, Firth’s Stanley softens. Upon discovering that he cannot, in fact, find any mechanical trickery or other sham stuff in her routine, the character, who initially proclaimed to all within earshot of spirituality, “There is no real thing; it’s all phony, from the séance table to the Vatican,” does a complete turnaround and declares himself a believer. A new sense of well-being infuses the heretofore sour and cynical Stanley, and he is resoundingly grateful for it. Does this gratitude also translate into romantic feelings for her?
Well, one knows the answer to that—sort of. Some admirers of this picture seem under the impression that writer/director Allen is showing a new depth of feeling in this picture; that Stanley’s conversion to a belief in a supreme being is a sign that the auteur himself is feeling reflective, mellow. I did not get that feeling at all—there are plenty of Woody Allen movies in which rational characters succumb to Allen’s idea of irrationality. As the creator has not copped to some kind of spiritual epiphany himself, I did not expect the one in this movie to last—it was just a matter of when, and how, the other shoe would drop. This is actually where the movie’s problems start; after Stanley gets turned around, partially in an observatory-set scene that recalls the Museum of Natural History sequence in Allen’s semi-classic "Manhattan," "Magic in the Moonlight" grows a little diffuse and floppy, almost hesitant to blossom into a romance. While slightly frustrating, the reticence was also momentarily encouraging—as an old person myself, I’m loathe to bring it up, but let’s face it, Colin Firth’s age is a little advanced for him to be pursuing the likes of Emma Stone. What if the hemming and hawing in the second half of "Magic" were to be an indicator that Allen was going to do something really different?
AdvertisementSuffice it to say that the movie falls back on a couple of Allen standbys: the much-quoted “the heart wants what it wants” line from "Hannah And Her Sisters," and or that press conference where Allen explained the whole Soon-Yi business, and the “Yeah, but we need the eggs” joke with which Allen closes "Annie Hall." The only big news here is Colin Firth’s strong, unfussy performance, a straightforward delight that only gets better during his scenes with Eileen Atkins, who plays Stanley’s predictably wise aunt. Stone is breezy and free of contemporary affect; Hamish Linklater, as her moony suitor, is fine but appears to be in it for the company rather than the actual role (which also seemed to be the case with his appearance in the thankless "The Angriest Man In Brooklyn" opposite Robin Williams). And I don’t know why Allen enlisted the Australian actress Jacki Weaver, playing the mater of the rich American clan, to essay a Sally Struthers impersonation when Ms. Struthers herself is alive and as far as I know available. That’s showbiz these days I guess.
Glenn Kenny
Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here.
The popular psychologist and media personality has often spoken out against wokeness on social media, with many of his recent posts encouraging people to continue boycotting Target and Bud Light for their LGBTQ+ marketing campaigns.
Through his series "Deadly 60", Backshall combines his expertise in magic with his passion for wildlife. In each episode, he showcases his magical abilities while encountering some of the world's deadliest creatures. Similarly, illusionist and conservationist, Derren Brown, has also made significant contributions to this genre. In his documentary "The Apocalypse", Brown uses his abilities to create an immersive experience for a young man, simulating a post-apocalyptic world overrun by zombies. Through this highly theatrical and magical journey, Brown aims to create empathy and understanding towards nature and the environment. Magic and wildlife documentaries have the power to engage viewers in a unique and captivating way. They not only entertain but also educate and inspire action towards conserving our precious natural resources. By combining the enchantment of magic with the mesmerizing beauty of the natural world, these documentaries create a magical experience that will continue to fascinate audiences for years to come..
Reviews for "The Power of Witness: Documentaries and the Documentation of Human Rights Abuses"
1. Emily - 1/5 stars - I really did not enjoy "Magic and Beyond Documentary." I found it to be slow-paced and boring. The documentary lacked substance and failed to provide any meaningful insights into the topic. The editing was also very sloppy, with choppy transitions and poor quality footage. Overall, I was disappointed and would not recommend this film to anyone.
2. Alex - 2/5 stars - "Magic and Beyond Documentary" fell short of my expectations. While the concept seemed intriguing, the execution was lacking. The pacing was uneven, with some parts dragging on and others feeling rushed. The narrative felt disjointed, and I struggled to follow the main storyline. Additionally, the film failed to delve deep into the history and cultural significance of magic, leaving me unsatisfied and wanting more.
3. Sarah - 2.5/5 stars - "Magic and Beyond Documentary" had potential, but it ultimately failed to captivate me. The visuals were solid, and some of the tricks were impressive, but the overall storytelling and structure left much to be desired. The documentary lacked a clear focus, jumping from one topic to another without enough depth or exploration. It felt like a missed opportunity to explore the world of magic in a more nuanced and engaging way. Despite its flaws, though, I can see how some viewers might still find it mildly entertaining.
4. Ethan - 1.5/5 stars - I was thoroughly disappointed by "Magic and Beyond Documentary." The film was filled with cheesy and overly dramatic moments, making it hard to take it seriously. The interviews were poorly conducted, providing surface-level insights without any real depth. The production value was also low, with slipshod editing and subpar audio quality throughout. Overall, it was a lackluster documentary that failed to deliver any substantive content or entertainment value.