Trailers postsThursday May 12, 2016
Trailer: The Founder
Fingers crossed. Keaton looks good, it's got John Carroll Lynch and Nick Offerman as the McDonald brothers, and it's written by the guy who wrote “The Wrestler.” More worrisome, it's directected by John Lee Hancock, who gave us “The Blind Side,” “Saving Mr. Banks,” and the 2004 version of “The Alamo.” Not a great track record. But a great American story. Fingers crossed.
Trailer: Fastball (2016)
I'm there for this, despite the presence of #2bercular. Looks interesting. Good choice for narrator, too. Due in theaters March 25 but probably available online shortly around then.
Jeff Wells has a nice short post here about going to batting cages with his son and not being able to hit 50- and 60-MPH pitches. It's amost a confession. Of course, he was in his, what, 50s then? In my 30s I used to go to the batting cages quite a bit, ostensibly to get ready for softball, but we'd always take a couple of rounds in the fastball cage. I could do 60s for a while but that was about it.
I've also done the opposite—those carnival-like speed pitch booths, where they time how fast you're throwing. Again, best I ever did, and this was about 20 years ago, was low 60s. That's not even a Jamie Moyer changeup. Professional baseball pitchers can't even throw that slow; I don't think they know how. And that's me practically throwing my arm out.
Again, looking forward to this.
'That's America's Housing Market': The Guy Behind 'Anchorman' Explains the Global Financial Meltdown
Here's a scene from the upcoming film, “The Big Short,” based upon the book by Michael Lewis, and directed by Adam McKay, who has mostly directed comedies: “Anchorman,” “Talledega Nights,” “Step Brothers,” and “The Other Guys”:
Things to love about this scene:
- Steve Carrell's impatient, “OK,” after Gosling's opening salvo: “What do you smell?/I smell money.” It's the polite version of, “Get on with it, ClownFace.”
- “Layers of tranches” leading to an on-screen explanation of “tranches.”
- “Somewhere along the line, these Big Es and Double Big Es [is that right?] went from a little risky to dogshit. Where's the trash.”
Plus the fact that they're trying to explain why the world works as it does.
Michael Lewis has a nice piece in the latest Vanity Fair on Hollywood turning his books into movies. His take is the antithesis of almost every take I've read on Hollywood. To most people, Hollywood is a place full of rapacious, rude, lowest-common-denominator crapmakers. To Lewis, the people in Hollywood are polite, charming, sadly inefficient, but when they get around to it they do a great job making movies from his books, including “Moneyball” and “The Blind Side.” But he never thought anyone would make a movie out of “The Big Short.” Too complicated. Here's the money shot:
High finance touches—ruins—the lives of ordinary people in a way that, say, baseball does not, unless you are a Cubs fan. And yet, ordinary people, even those who have been most violated, are never left with a clear sense of how they've been touched or by whom. Wall Street, like a clever pervert, is often suspected but seldom understood and never convicted.
It is my hope that Adam McKay's The Big Short might actually help change this situation.
Opens December 23.
The Latest 'Batman v Superman' Trailer: Uh Oh
I've got a bad feeling about this.
Superman: She with you?
Batman: I thought she was with you.
Ha ha. Although, what, eight city blocks have just been scorched? Because Batman and Superman couldn't see fit to compromise, allowing Lex Luthor to, I guess, create a monster out of the corpse of Gen. Zod?
Both men seem to have narrow visions here. They're like two clods on opposite sides of “Crossfire.” Superman, you ignorant slut. Plus Batman's carrying a gun? C'mon.
Eisenberg's Luthor looks good but I still think I'm right about Affleck.
When I first heard the title, I thought it was also a take on Dan Rather's brief but dopey closing line—his attempt, post-Cronkite, to come up with his own “And that's the way it is.” But then I remembered that line was “Courage” not “Truth.”
Either way, I'm looking forward to this. It's one of two movies about journalism opening in October. (The other, “Spotlight,” about The Boston Globe's investigation into the Catholic Church molestation scandal, got a greater reception at the Toronto International Film Festival.)
Redford has now played the extremes in journalism, hasn't he? From Bob Woodward bringing down Pres. Nixon in “All the President's Men” to Dan Rather bringing down himself here.