“Lizzie Borden took an axe. Gave her mother 40 whacks. When she saw that she had done, she gave her father 41.”
We all remember that eerie little diddy that scared the crap out of us as children, and now Lifetime is trying to traumatize our dreams with a brand new made-for-TV-movie. Christina Ricci will star as the infamous spinster Lizzie Borden who was tried and acquitted in 1892 for the brutal axe murders of her step-mother and father.
Joining Ricci in the deadly tale are The Killing’s Billy Campbell and American Horror Story: Asylum star Clea Duvall, TV Line reports. In the movie Campbell will play Andrew Jennings, Borden’s lawyer and Duvall will take on the role of her sister Emma Borden.
And It looks like we’re be seeing more Lizzie Borden-related projects in the future. HBO is currently developing a rendition with AHS: Asylum‘s Chloe Sevigny set to portray the axe-wielding protagonist. Refresh your memory with the ultra-creepy Lizzie Borden song below and then take to the comments with your thoughts on TV’s new murderous trend.
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"...Every great magic trick has a third act the most difficult act: the prestige." That quote taken from Cutter's (Michael Caine) oft-referenced opening voiceover doesn't quite sum up the movie but it certainly alludes to its magic and trickery to come. What ultimately brings us to The Prestige’s prestige so to speak is a rivalry-turned-obsession between two magicians. Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) were once friends as apprentice magicians in the late 1800s but that all ended when a risky move on Alfred's part led to the death of Robert's then wife (Piper Perabo). They have since gone their separate ways but they're never far from each other's minds. Following Alfred’s mind-bending "Transported Man" act Robert’s desire of one-upping his archrival turns into an obsession. Robert sends his assistant/lover (Scarlett Johansson) over to Alfred's camp to expose his secret while he himself travels to meet inventor Nikola Tesla (David Bowie) whom he commissions to build the same machine that he believes is being used by Borden in his act. Tesla’s machine however is no mere magician’s prop! It’s too bad The Prestige doesn’t seem as concerned with the lead actors as it does with their big names because Jackman and Bale are both extremely talented. Of course they each give flawless performances but perhaps our minds would’ve exploded if the acting were to be as asserted as the twisted story line(s). Of the two Bale fares better with a more layered performance but there is often intriguing chemistry between both. Caine reappearing alongside his Batman Begins costar Bale (and director Christopher Nolan) is obviously game for a movie about magic in 19th century London and--surprise surprise--acts accordingly. In a supporting role Johansson perpetuating her own magic trick of only appearing to be cinematically ubiquitous finally nails that foreign accent she’s been honing for a while now. Bowie however puts all to shame with a mysteriously tame and eccentric performance as real-life inventor Tesla. Plus it takes a while to realize that this is in fact Ziggy Stardust and not Sam Neill--whom he resembles here. Andy Serkis (Gollum in LotR King Kong in King Kong) as Tesla’s assistant is equally hard to point out because he’s well in the flesh. Show me a director better suited for a movie about magic than Christopher Nolan and I’ll show you...a magician? Nolan whose trademark throughout his short but esteemed career (which includes Memento Insomnia and Batman Begins) has been his directorial sleight of hand seems to take great pleasure in The Prestige’s constant illusions. Maybe too much however and it caused him to skimp in some other areas. He and his brother--and frequent collaborator--Jonathan wrote the script (adapted from Christopher Priest’s novel) and filled it with sly deception idyllic settings and apropos if not always engrossing dialogue but they neglected the movie’s backbone a little too much. Thus lost in the translation are the characters and subtleties that often make movies entities worth caring about--at least for their duration. So much seems to hide behind the safety net of story and continuity twists that almost implicit is a notion of “Everyone will be too dazed after the ending to even remember the minutiae we left out.” Technically the movie’s a stunner with the cinematography and sound both amazingly vivid and lush.