15 Magic Tricks You Didn’t Know You Could Do

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Great magic takes years of practice and finesse, but everyday feats of trickery are actually a lot easier than you might think. Here are 15 illusions you can do with objects around the house (or restaurant, or bar) to dazzle those who don’t have the power of enchantment. 

1. Levitating a foam cup 

This one has a basic premise, but it’s tough to master. Grab a foam cup and tell your audience that you have the unique ability to make it float. Make sure you’re a few steps back and as you prepare to impress them, gently force your thumb through the back of the cup and begin to float your fingers around it to a) distract from aforementioned thumb and b) add some much needed showmanship! It will appear that your magic fingers are keeping the cup aloft. 

2. Levitating yourself

If you’ve ever seen this one, you know it’s remarkably impressive when done well. Stand on one side of the room and position yourself so that you’re diagonal to the audience—the closest thing to them should be your back heel. Slowly lift your heels and add some float-like wavering and then gently lift the entire foot closest to the audience off the ground. This will require some practice, but if everyone else is standing, the foot that’s entirely off the ground will block the toe of your other foot (that’s actually keeping you grounded), and you’ll appear to defy gravity. 

3. Bottling up your change 

Cut a slit in the side of a plastic water bottle that’s just large enough to fit a quarter through. Ideally you’ll want the type of bottle that has ridges to help hide your all-important modifications. Show your audience the bottle and a quarter so they can see there are “no tricks” and count, “1, 2, 3” before slapping your quarter-holding hand against the bottle and slipping the George Washington piece inside. The coin will bounce around in the bottom of the bottle and will appear to have transcended the laws of physics. 

4. Making 25 cents from a dollar 

Hold a dollar bill between your thumb and forefinger and tuck a quarter between your thumb and the bill so the audience can’t see it. Wave the dollar around, grab the other side, and snap it to illustrate there are no tricks or strange things happening with it. Low lighting is best for this one as those bills can be a little transparent. Fold the bill in half (cutting symmetrically along ol’ George Washington’s head) and then in half again the same way. Now you can squeeze it tight and pretend to shake a quarter out, seemingly from nowhere. Make sure to talk a big game about being on your way to fame and fortune...25 cents at a time. 

5. Climbing a ring 

For this trick, you’ll need to grab a key ring or even the ring off someone’s finger and a rubber band. Break the rubber band and loop it through the ring before stretching out the band between your hands—one higher in the air than the other. The key for this one is to stretch out only a small portion of the rubber band and tuck the rest of the loose string into the palm of your bottom hand. Slowly let the rest of the band out and it will appear that the ring is climbing the rubber band by itself. As with all of these tricks, don’t forget the theatrics. You’ve got to sell it and take your time. 

6. Becoming a mind reader 

This is a good one for impressing kids. Have them grab a box of crayons, turn your back to them, and ask that they select a crayon. Then ask them to place it in your hands, which are behind your back. Turn around, while keeping your hands always behind you and explain that you’re going to read their minds. While doing this, gently scrape the crayon with your nail and transfer it to the other hand. Now it’s time for the mind reading. Wave your hand above their heads as if collecting thoughts and sneak a peek at the color trapped under your nail. Then return your hand behind your back, and reveal your incredible all-knowing powers.

7. Engaging in black magic 

Select someone in the room and tell them to mentally pick any item in the room. Leave the room and tell that person to inform everyone else of the chosen object. Once the secret is dispersed, you return to the room and select another not-so-random person who goes around the room going from object to object. The audience doesn’t know it, but this person is your mole. The key is that you’ve decided on a predetermined color (usually black) and whenever they touch something of that color, the next object will be the one selected by the unknowing participant. 

8. Bending a straw

The prep work for this restaurant trick might have to be done while your companion is in the restroom. Or, alternatively, reserve it for children who might not already know about the magic of electricity. Take a paper-wrapped straw and rub the paper up and down a few times to create some static. Then place the straw on top of a bottle so it’s parallel to the table. The charge from the friction you just created will be such that when you bring your hands up to the straw, it will rotate like the hands of a clock. With the right moves, you can make it look like it’s bending to your will. 

9. Making a coin disappear

There are a ton of disappearing coin tricks out there, and each requires a certain level of crafty handiwork. This one is awesome because it incorporates a flub. While sitting, grab a coin and say you’re going to make it disappear. Prop an elbow on the table and start to rub the coin into your elbow/forearm while playing hype man for your onlookers. Then, drop the coin. It will fall onto the table. Now, for the key part of the trick: Make it look like you’ve grabbed it with the same hand, when in fact it ends up in the other. Then, put your elbow back where it was and slip the coin down the back of your shirt. Continue to rub the “coin” into your elbow and slowly reveal its disappearance. Standing up might be tricky if you want to maintain the illusion, so consider tucking in your top as well. 

10. Matching up your magic

Start with two small objects—not necessarily matches, but things that are close in size and shape to matches are best. Set them down side-by-side on the table. Put one hand over one, and one hand over the other. Then flip one empty hand, then the other. Here’s where the trick begins. Pick up one of the objects and do a “false transfer,” which means pretending to put it in the other hand while secretly tucking it into your palm. This might sound like it would be obvious, but practice makes it very convincing. Quickly ball up both fists. Then, pick up the remaining object with your thumb and forefinger while the other is already in that palm and now both matches are in one hand, though the audience thinks you’ve swapped them and one is in each hand. Reveal the empty hand for an awe-inspiring moment that makes it seem like you might be doing a disappearing trick, and then the other hand, which contains both objects. Ta-da!

11. Helping a toothpick vanish 

This one requires only a toothpick and a bit of tape. As stealthily as possible, fasten a toothpick to the outside of your thumb with either some tape or by licking the nail side of your thumb and forcefully pressing the object into your skin. The toothpick should be parallel with your appendage and within the boundaries of your thumb. If you bent your thumb, the toothpick would run off the edge of your knuckle. If you gave someone a thumbs-up with the print facing them, they wouldn’t see the toothpick.

The audience should be directly in front of you for the main event. Hold up the toothpick with your thumb bent and your fingers wrapped around it to hide the tape, say “abracadabra,” and open your empty hand while the toothpick sits on the back of your thumb. It will look like it vanished from thin air. 

12. Getting ice cold 

Some magic tricks get a lot of mileage simply for being surprising. This is one of those. Stuff a sponge into the bottom of a coffee mug or other opaque cup and add a couple of ice cubes. Pour some water into the cup with a pitcher and announce your ability to turn water into ice before overturning the cup and letting the cubes fall out. Of course, a quick examination of the cup will reveal your plot pretty quickly, but for a moment, you’ll be pure magic.

13. Bending any spoon you meet 

Next time you’re on a bad date or have simply run out of topics at dinner, grab a spoon to impress your companions. With the handle facing up and the spoon positioned vertically on the table, grip it with both hands so the audience only sees the top and bottom of the utensil. Pretend like you’re bending the spoon, while really just allowing the handle to slide back toward the table. It will look like you’ve bent the silverware where the bowl meets the handle. Then shake it loose like a little wave undoes your mighty spoon-bending work. 

14. Making a card float

For one of the most classic card tricks of all time, you need only a deck of cards and a card box. Cut a hole in the back of the box that’s large enough for you to push a card up with your fingers for the critical floating illusion. Take the deck out of the package and keep one card reserved at the back, but don’t let the audience know. Instead, fan out the “back three cards”  and show the faces to the audience. Ask them to pick a card—either, 1, 2 or 3, though in actuality, because of that secret card, if you were counting they’d actually be 2, 3, or 4—and compose the deck. Let’s say your rapt audience chooses #2. Count to “1” and take the top card from the deck and stick it randomly with the others, then count “2” before doing the same with the next card. Because of that hidden back card, you will have made it seem like you tucked their card of choice in the middle of the deck, when in fact it’s sitting right under your fingertips. Pop the deck back in the box and use your finger to slide the #2 card up in an ever-so-spooky way.

15. Coloring your cards

This trick might be the most complicated, but that also makes it the most impressive. To prep, get a deck of cards and order it red/black throughout. To begin the trick, cut the cards several times and have the audience tell you when to stop. When they do, take the top two cards and count them off so as to subtly flip their ordering and show them to the audience, asking them to remember the cards. One will be black and one will be red. 

Put these cards back on top and start cutting the cards again. Then, deal all the cards out into four piles. Because of the ordering, the 1st and 3rd pile will be the same color, and the 2nd and 4th will be the same color. When the cards are all dealt out, shuffle those same-colored piles together and then flip one upside-down to mix face-up with facedown cards. When you’re done, fan the cards out on the table and all the face-up cards should be the same color with the exception of one: an audience card from the beginning. Your audience’s heads will be spinning as you smile smugly, and tip your rabbit-filled top hat.

GEICO doesn’t need a magic wand to work its magic when you’re in trouble—its customer service reps are armed with all the know-how you need to get out of a tight spot.

15 Uncensored Facts About Midnight Cowboy

Jon Voight and Dustin Hoffman in Midnight Cowboy (1969)
Jon Voight and Dustin Hoffman in Midnight Cowboy (1969)
20th Century Fox Home Entertainment

On May 25, 1969, United Artists released the film Midnight Cowboy, starring Jon Voight (Texas transplant Joe Buck) and Dustin Hoffman (the sleazy Ratso Rizzo) as street hustlers in New York City. It was the first studio film to receive an X-rating (the studio refused to edit anything out), and it became the first X-rated movie to be nominated and win a Best Picture Oscar (A Clockwork Orange and Last Tango in Paris followed suit with X-rated nominations). Hoffman and Voight were also nominated for Oscars, and screenwriter Waldo Salt and director John Schlesinger ended up winning gold statuettes for the movie. After the movie became a success, the MPAA demoted its rating to an R.

Based on the novel by James Leo Herlihy, the controversial film managed to gross $44 million—about $200 million by today’s standards. The movie saved the careers of its actors, producers, and Salt, who had been blacklisted and fallen on hard times. It also produced a hit song, Harry Nilsson’s “Everybody’s Talkin’.” Here are 15 facts about the landmark film.

1. John Schlesinger was reluctant to hire Dustin Hoffman.

Like everybody else, the filmmakers associated Dustin Hoffman with Benjamin Braddock, the clean-cut twentysomething he played in The Graduate. “The truth was, I saw The Graduate as a setback, because I was determined not to be a star,” Hoffman told the Los Angeles Times. Hoffman was doing Off Broadway performances during the casting of Midnight Cowboy, so Schlesinger checked him out in a play. Hoffman frequented an automat with fellow thespians Gene Hackman and Robert Duvall; one night Hoffman showed up there with a scruffy beard, disheveled clothes, and a Bowery accent. Schlesinger said to Hoffman, “Why Dustin, you do fit right in,” and he got the part.

2. Mike Nichols tried to talk Dustin Hoffman out of doing the movie.

Dustin Hoffman appears on the set of the film 'Midnight Cowboy' in 1969 in the USA
Dustin Hoffman stars in Midnight Cowboy (1969).
Hulton Archive, Getty Images

Hot off the heels of Mike Nichols’ The Graduate, Hoffman could’ve kept his romantic lead image up, but instead he opted to take a supporting part in Midnight Cowboy. “Mike Nichols, in fact, called me up,” Hoffman told Peter Travers. “And he says, ‘Are you crazy?’ He says, ‘I made you a star. This is an ugly character. It’s a supporting part to Jon Voight.’ He says, ‘What are you doing? Why are you sabotaging?’” But Hoffman stuck to his guns and took the role. “I love the fact I was trying to remain a character actor and that was my desire,” he said.

3. Jon Voight was cast only after the original actor was fired.

Jon Voight auditioned for the role of Joe Buck and really wanted the part, but the producers chose Michael Sarrazin, whose major claim to fame is the 1969 Jane Fonda film They Shoot Horses, Don’t They? “Sometimes I would be offered a role and I would recommend somebody else—I was that kind of person,” Voight told Box Office Mojo. “Yet this one stopped me because the thing I was excited about for this piece wasn’t going to happen. I felt quite sick about it.”

Fortunately for Voight, the producers changed their minds when Sarrazin demanded more money. “It came back to looking at our screen tests back to back,” said Voight. “Apparently, Marion Dougherty, who was the casting director, was in the room and said, ‘Well, there’s no doubt who's the best actor.’ John Schlesinger said, ‘Who?’ And she said, ‘Jon Voight.’ Then, Dustin was called in to look at the tests and apparently he said, ‘When I look at my scene with Michael Sarrazin I look at myself—when I looked at my scene with Jon Voight, I look at Jon.’ That was a huge compliment. I think between these comments, that’s what tipped the balance and then John [Schlesinger] came forward, so I was very fortunate.”

4. Voight worked for scale.

Voight was so desperate to play Joe Buck that he worked for scale: “‘Tell them I'll do this part for nothing,’” Voight told The Telegraph. “They took me at my word, and they gave me minimum for Midnight Cowboy.” At the end of the shoot, they sent him a $14.73 bill for meals on the last day of filming.

5. Hoffman thought the movie would ruin his career.

The actor attended a preview of Midnight Cowboy and noticed “people walked out in droves.”

“Twenty minutes into that movie, Jon Voight has a gay sex scene in the balcony with a kid who was played by Bob Balaban, and people would get up at that point and just walk out of the theater,” Hoffman told Larry King. “We said, ‘We have big problems’ when we heard we got an X-rating and we thought this could end everybody’s career. As a matter of fact, I was talked into doing a movie I wished I hadn’t done, because they had me so frightened that I had buried myself and reversed whatever good The Graduate did.” Hoffman’s agent forced him to star with Mia Farrow in the romantic drama John and Mary to make him “look like a respectable person.”

6. Voight knew the film was destined to become a classic.

Voight and Schlesinger wrapped filming in Texas and Voight noticed how red the director’s face was. Voight thought Schlesinger was having a heart attack and asked him if he was okay. “He looked up at me and said, ‘What have we done? What will they think of us?’ After all, we had made a film about a dishwasher who lives in New York and f*cks a lot of women,” Voight told Esquire. “In the moment he’d finished it, he was shaking. All of a sudden, he saw it as banal and vulgar. He’s having an anxiety attack and I grabbed his shoulders to shake him out of it. I said, ‘John, we will live the rest of our artistic lives in the shadow of this great masterpiece.’ He said, ‘You think so?’ I said, ‘I’m absolutely sure of it.’ The only reason I said such an extravagant thing was because I wanted to get him out of it and nothing would take him out of it but that. But the statement turned out to be true.”

7. Voight and Hoffman were competitive with each other.

What made the chemistry between Hoffman and Voight work so well is they were constantly competing with one another. Hoffman became a movie star before Voight did, and that brought some jealousy to the set. “We were like Marvin Hagler and Sugar Ray Leonard, two fighters going at it,” Hoffman told the Los Angeles Times. “We knew the movie depended on the bond between us. All through shooting, we’d say to each other, out of the side of our mouths, like a fighter in a clinch, ‘Buddy, is that the best you can do?’”

8. Hoffman placed pebbles in his shoe to acquire Ratso’s limp.

“Why pebbles? It’s not like you’re playing a role on Broadway for six months where you’re so used to it, limping becomes second nature,” Hoffman told Vanity Fair. “The stone makes you limp, and you don’t have to think about it.”

9. Schlesinger came out during the movie’s production.

In the late 1960s, one's sexuality wasn't often discussed in the open. But the British director fell in love with Michael Childers, who worked as his assistant on the movie. “We were one of Hollywood’s first out couples,” Childers told Vanity Fair. “He took me everywhere. I felt a little bit uncomfortable at times, but John never did. He said, ‘F*ck ‘em.’”

“John was totally torn up, because part of him wanted to just embrace this, and another part of him was in terror,” the film’s producer, Jerome Hellman, said. “He had these fantasies that if he were openly gay on a film set, that if he tried to give the crew an order, they would turn on him. I said to him, ‘John, look, you’re the director. It’s your movie. I’m the producer, but I’m your partner. There’s nobody who can challenge your authority. If someone speaks out of line to you, they’ll be fired the same minute.’”

10. The famous “I’m Walkin’ Here” line was improvised.

The scene in which Joe and Ratso attempt to walk across the street and almost get hit by a cab was filmed guerilla-style, with a camera in a van across the street. “It was a difficult scene, logistically, because those were real pedestrians and there was real traffic, and Schlesinger wanted to do it in one shot—he didn’t want to cut,” Hoffman explained. “He wanted us to walk, like, a half a block, and the first times we did it the signal turned red. Schlesinger was getting very upset. He came rushing out of the van, saying, ‘Oh, oh, you’ve got to keep walking.’ ‘We can’t, man. There’s f*cking traffic.’ ‘Well, you’ve got to time it.’”

They figured out how to properly time the walk but then almost got run over by a cab. “I guess the brain works so quickly, it said, in a split of a second, ‘Don’t go out of character,’” Hoffman said. “So I said, ‘I’m walking here,’ meaning, ‘We’re shooting a scene here, and this is the first time we ever got it right, and you have f*cked us up.’ Schlesinger started laughing. He clapped his hands and said, ‘We must have that, we must have that,’ and re-did it two or three times, because he loved it.”

11. Hoffman threw up on set while trying to cough.

Talk about Method: Ratso has a deadly cough (consumption), and in a particular scene Hoffman got sick in real life. “Because I was so nervous that I was going to come across fraudulent and not have the right cough, I tried to do the cough as realistically as I could,” Hoffman told Vanity Fair. “Each time, I tried to do it more realistically until, finally, I did it so realistically I threw up all over Jon. My lunch came up. All over his cowboy boots. Jon looked down. He said, ‘Man, why’d you do that?’ He thought I did it on purpose.”

12. Schlesinger didn’t think anybody would make the movie today.

In 1994, the director found himself at a dinner party with a studio executive. “I said, ‘If I brought you a story about this dishwasher from Texas who goes to New York dressed as a cowboy to fulfill his fantasy of living off rich women, doesn’t, is desperate, meets a crippled consumptive who later pisses his pants and dies on a bus, would you—’ and he said, ‘I’d show you the door,’” Vanity Fair reported in 2000.

13. Me And Earl And The Dying Girl pays tribute to Midnight Cowboy.

Alfonso Gomez-Rejon's 2015 Sundance hit Me and Earl and the Dying Girl features two friends who turn The Criterion Collection movies into film school comedies. One of those films is Midnight Cowboy, renamed as 2:48 p.m. Cowboy. In the film, Greg (Thomas Mann) and Earl (RJ Cyler) portray Ratso and Buck, respectively.

Midnight Cowboy became my favorite movie,” Cyler said in a featurette on Greg and Earl’s films. “Now I can’t stop watching it. I’m addicted to it. I’ll be in my trailer. ‘RJ, whatcha doing?’ ‘Watching Midnight Cowboy with some ramen noodles right now.’ It’s just so quirky the way the parody was made, and not just because I got to wear a beautiful cowboy hat.”

14. There’s a speakeasy bar in Austin named after the film.

Midnight Cowboy the bar is located inside a former oriental massage parlor that was busted by the FBI, hence the seedy name. It has a red light—not a sign—outside to mark the place. In order to drink there, you need to make a reservation online, and when you get there, you buzz the box and give the password “Harry Craddock.” They have rules, though: no talking on your cell phone inside the bar, and no “excessive displays of public affection.”

15. A Chicago theater turned it into a stage production.

Chicago’s Lifeline Theatre puts on a lot of literary adaptations, and in 2016 they presented a stage version of Midnight Cowboy, based on the book.

Updated for 2019.

9 Original Star Wars Reviews

Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.

A long time ago (42 years, to be exact) in a galaxy just like this one, George Lucas was about to make cinematic history—whether he knew it or not. 

On May 25, 1977, moviegoers got their first glimpse of Star Wars, Lucas’s long-simmering space opera that would help define the concept of the Hollywood “blockbuster.” While we're still talking about the film today, and its many sequels and spinoffs, not every film critic would have guessed just how ingrained into the pop culture fabric Star Wars would become. While it charmed plenty of critics, some of the movie’s original reviews were less than glowing. Here are a few of our favorites (the good, the bad, and the Wookiee).

  1. "Star Wars is a fairy tale, a fantasy, a legend, finding its roots in some of our most popular fictions. The golden robot, lion-faced space pilot, and insecure little computer on wheels must have been suggested by the Tin Man, the Cowardly Lion, and the Scarecrow in The Wizard of Oz. The journey from one end of the galaxy to another is out of countless thousands of space operas. The hardware is from Flash Gordon out of 2001: A Space Odyssey, the chivalry is from Robin Hood, the heroes are from Westerns and the villains are a cross between Nazis and sorcerers. Star Wars taps the pulp fantasies buried in our memories, and because it's done so brilliantly, it reactivates old thrills, fears, and exhilarations we thought we'd abandoned when we read our last copy of Amazing Stories."
    —Roger Ebert, Chicago Sun-Times
  2. Star Wars is not a great movie in that it describes the human condition. It simply is a fun picture that will appeal to those who enjoy Buck Rogers-style adventures. What places it a sizable cut about the routine is its spectacular visual effects, the best since Stanley Kubrick’s 2001Star Wars is a battle between good and evil. The bad guys (led by Peter Cushing and an assistant who looks like a black vinyl-coated frog) control the universe with their dreaded Death Star."
    —Gene Siskel, Chicago Tribune
  3. "Star Wars is like getting a box of Cracker Jack which is all prizes. This is the writer-director George Lucas’s own film, subject to no business interference, yet it’s a film that’s totally uninterested in anything that doesn’t connect with the mass audience. There’s no breather in the picture, no lyricism; the only attempt at beauty is in the double sunset. It’s enjoyable on its own terms, but it’s exhausting, too: like taking a pack of kids to the circus. An hour into it, children say that they’re ready to see it again; that’s because it’s an assemblage of spare parts—it has no emotional grip. “Star Wars” may be the only movie in which the first time around the surprises are reassuring…. It’s an epic without a dream. But it’s probably the absence of wonder that accounts for the film’s special, huge success. The excitement of those who call it the film of the year goes way past nostalgia to the feeling that now is the time to return to childhood."
    —Pauline Kael, The New Yorker
  4. "The only way that Star Wars could have been interesting was through its visual imagination and special effects. Both are unexceptional ... I kept looking for an 'edge,' to peer around the corny, solemn comic-book strophes; he was facing them frontally and full. This picture was made for those (particularly males) who carry a portable shrine within them of their adolescence, a chalice of a Self that was Better Then, before the world's affairs or—in any complex way—sex intruded."
    —Stanley Kauffmann, The New Republic
  5. "There’s something depressing about seeing all these impressive cinematic gifts and all this extraordinary technological skills lavished on such puerile materials. Perhaps more important is what this seems to accomplish: the canonization of comic book culture which in turn becomes the triumph of the standardized, the simplistic, mass-produced commercial artifacts of our time. It’s the triumph of camp—that sentiment which takes delight in the awful simply because it’s awful. We enjoyed such stuff as children, but one would think there would come a time when we might put away childish things.”
    —Joy Gould Boyum, The Wall Street Journal
  6. "Star Wars … is the most elaborate, most expensive, most beautiful movie serial ever made. It’s both an apotheosis of Flash Gordon serials and a witty critique that makes associations with a variety of literature that is nothing if not eclectic: Quo Vadis?, Buck Rogers, Ivanhoe, Superman, The Wizard of Oz, The Gospel According to St. Matthew, the legend of King Arthur and the knights of the Round Table … The way definitely not to approach Star Wars, though, is to expect a film of cosmic implications or to footnote it with so many references that one anticipates it as if it were a literary duty. It’s fun and funny.”
    —Vincent Canby, The New York Times
  7. "Viewed dispassionately—and of course that’s desperately difficult at this point in time—Star Wars is not an improvement on Mr Lucas’ previous work, except in box-office terms. It isn’t the best film of the year, it isn’t the best science fiction ever to be translated to the screen, it isn’t a number of other things either that sweating critics have tried to turn it into when faced with finding some plausible explanation for its huge and slightly sinister success considering a contracting market. But it is, on the other hand, enormous and exhilarating fun for those who are prepared to settle down in their seats and let it all wash over them.”
    —Derek Malcolm, The Guardian
  8. "Strip Star Wars of its often striking images and its high-falutin scientific jargon, and you get a story, characters, and dialogue of overwhelming banality, without even a ‘future’ cast to them. Human beings, anthropoids, or robots, you could probably find them all, more or less like that, in downtown Los Angeles today. Certainly the mentality and values of the movie can be duplicated in third-rate non-science fiction of any place or period. O dull new world!”
    —John Simon, New York Magazine
  9. "Star Wars is somewhat grounded by a malfunctioning script and hopelessly infantile dialogue, but from a technical standpoint, it is an absolutely breathtaking achievement. The special effects experts who put Lucas' far-out fantasies on film—everything from a gigantic galactic war machine to a stunningly spectacular World War II imitation dogfight—are Oscar-worthy wizards of the first order. And, for his own part, Lucas displays an incredibly fertile imagination—an almost Fellini-like fascination with bizarre creatures.”
    —Kathleen Carroll, New York Daily News

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