Trailers postsMonday January 28, 2013
Movie Trailers: Inside Llewyn Davis (2013)
The Coen Bros.' latest, “Inside Llewyn Davis,” starring Oscar Isaac and Carey Mulligan (troubled husband and wife in “Drive,” more troubled here), is apparently screening for L.A. insiders this week, according to this New York Times article by Michael Cieply. Cieply writes:
If the film has had a slight air of mystery in recent months, that is partly because the Coens, working with the producer Scott Rudin, their collaborator on both “True Grit” and “No Country for Old Men,” made the film with backing from the French company Studio Canal but with no predetermined American distributor.
After shooting in New York City and elsewhere last year, Mr. Coen said, the brothers finished the movie at their own pace. They could have rushed it into the Oscar season but didn’t. Instead a public debut at the Cannes film festival in May is possible, he said. And by then, assuming that buyers like it as much as Mr. Wald did,“Inside Llewyn Davis” may have an American distributor, an army of publicists and a release date.
But it's the closing line that makes me smile:
“How good you are doesn’t always matter,” he added. “That’s what the movie is about.”
Here's the trailer that's making the rounds:
If that left you hanging, as it's designed to, you can hear Mr. Isaac singing live at Caffe Vivaldi here.
By the way: Would anyone but the Coens get away with “Llewyn” in the title?
'Man of Steel' Trailer #2
I'm not a fan of Zack Snyder (“Sucker Punch,” etc.) so I'm a bit worried that he's at the helm of the first true cinematic reboot of Superman since 1978. But this trailer? Looks pretty damn good.
Start with young Clark saying, “The world's too big, Mom,” and her asking him to focus on just her. Perfect. Imagine if you could hear the entire world? How would you focus? I actually wrote a bit about this, about Superman's dilemma, in 2010:
We're interested in him because he's all-powerful but being all-powerful is dramatically uninteresting. So we need to either push toward or pull away from his power: weaken him to create a feasible drama, or keep him as is and make his all-powerfulness the drama. I'm inclined toward the latter.
The trailer indicates that Snyder has done the latter.
I also like Pa Kent's advice. How, maybe, he should let people die. How, no matter what, he shouldn't let people know what he can do. I think it's bad advice but no one ever said Pa Kent couldn't give bad advice. Fathers do it all the time.
All in all, Superman's dilemmas seem four-fold:
- How to handle his powers.
- What to do with his powers.
- The frightful reaction from humans.
- General Zod.
Movie Trailers: The Lone Ranger (2013)
I like the opening narration here. I like anything in movies that reminds moviegoers how much everyday life changed during the 19th century from the previous, I don't know, 10,000 years. “From the time of Alexander the Great,” we're told, “no man could travel faster than the horse that carried him. Not anymore.” Cut to trains zipping through the west.
The focus is on the star, Johnny Depp, rather than the titular Lone Ranger, played by Armie Hammer, but that makes sense. Hell, it's not even on Depp. It's on the trains. But that makes sense, too. We're just at the teasing phase of the trailer. They can't give us too much or they'll have nothing to give us in the spring.
On the other hand, as great as that opening narration is, a few of the mid-shots are of outlaws on horses catching up to those zippy trains. Kind of undercuts the message, doesn't it?
(If the video above has been pulled try watching it here.)
I still don't know how they're going to do it. What's the story? How do you make the Lone Ranger interesting? How do you not marginalize the Ranger or Tonto? What's the point of the mask, the silver bullet, hi-yo Silver? The most recent incarnation, the disastrous “Legend of the Lone Ranger” from 1981, died a slow, strangulating death answering these very questions.
It doesn't help that the movie team is basically the “Pirates of the Caribbean” team: Depp, director Gore Verbinski, screenwriters Ted Elliott and Terry Rossio. Disney and Bruckheimer. Depp's stoic head wobble riding beneath the train is indicative. It's a whiff of Capt. Jack.
They're going all out, though: $250 million budget and a July 3 release date. Somewhere, Klinton Spilsbury cringes.
Movie Trailers: 42 (2013)
I got a shiver at the beginning of this trailer, but then ... I don't know. If you're a baseball fan, you know most of the lines, apocryphal or not. “You want a player that doesn't have the guts to fight back?” “No, I want a player with the guts NOT to fight back.” Right. The lead, Chadwick Boseman, looks the part but he needs to be solid and immoveable, confident and competitive and angry. He's definitely not doing Jackie's voice, which, let's face it, sounded a bit like a black stand-up comic doing a stereotypical white guy. The homerun is good but we need speed on the basepaths. That was the shocking thing Jackie brought to a staid game. And Harrison Ford as Branch Rickey? Was Philip Seymour Hoffman busy? John Goodman?
Writer-director Brian Hegeland has written some good movies (“L.A. Confidential”; “Mystic River”), a lot of mediocre ones (“Blood Work”; “Man on Fire”; “Robin Hood” (2010)), and a few bombs (“The Postman”), but he's directed nothing of interest (“Payback”; “A Knight's Tale”; “The Order”). The movie looks majestic and false. Somewhere Spike Lee is bitching. Hopefully, in April, I won't be.
Waiting for 'The Master'
It's always a bit of a drag to see trailer that makes you lose interest in the movie you're about to watch. It happened to me all the time during the Winter of 2011 whenever I saw a trailer for Terrence Malick's “The Tree of Life,” which became my favorite movie of the year. It's happening to me again whenever I see a trailer for Paul Thomas Anderson's “The Master,” which just won various awards at the Venice Film Festival, including acting, directing, and best picture. Whoops, wait. New Venice rules prevent one film from dominating too many categories, so the jury, led by Michael Mann, took the best picture award back. Everyone's thought: Why take that one back? Wasn't it obviously best picture?
The film, shockingly, opens next week, limited, and the week after, wide. To me, it looks like a late December release. Not that I'm complaining.
Here's the trailer that keeps distracting me from what I'm about to see: