Back To The Future was 25 years old this past weekend. One of my top five movies all time, and watching it makes me feel young all over again.
Today is Huey Lewis’ birthday. If I need to explain who he is, you’re reading the wrong blog. Leave now, and don’t let the door hit you on the way out. Huey Lewis now looks like this:
This made me feel old for some reason. Maybe because Huey Lewis is 60 years old today. Damn.
Just asking. Wait, better explain. The purpose of this site is to advocate cinema attendance as life choice as regularly as possible, and so consequently I see a lot of things in cinemas, some of which I wonder whether I’ve seen or not.
Went to see Greenberg last night, and had a completely random selection of trailers, one of which was for the upcoming Catherine Zeta Jones yuck-fest The Rebound. Now I’d like to think I’m not descending completely into male chauvinism in my old age, but pardon me for saying that CZJ, once upon a time, was incredibly hot. (For anyone in the UK, I’m talking The Darling Buds of May era here, before she married the scary old man or started appearing in films with them.)
But there was something coming over which seems to only be visible on the big screen. Having sucked it up and re-watched the trailer below, maybe you need to see it on the big screen, or maybe it’s just me, but it looks like Catherine has something wrong with her face. I’m not enough of an expert on these matters to judge, so maybe she’s felt the need for a bit of Botox, or maybe she’s keeping the same fixed expression for fear of catching old man disease (which would explain why she’s playing against men much younger now), or maybe it’s just the effect of the picture she’s got in her attic starting to kick in, but on the big screen something looked scarily wrong with her face, as if the special effects guys who made the young faces in X-Men 3 were now invading random movies.
So maybe that’s a slightly odd recommendation for seeing movies at the cinema, but there you go. Anyway, watch it if you dare. You won’t see it here, but if it comes on before a movie near you, then be afraid. Be very afraid.
EDIT: Having seen this trailer twice more since on the big screen, the bit where it’s most obvious is where she’s on the street and she and her friend are talking about a chiropractor and they see Justin Bartha from a distance. I may end up seeing the whole movie to bottom this out once and for all.
The World Cup. You have to hate it, don’t you? Well, as a fairly normal Englishman I shouldn’t (unless of course we have lost to Slovenia by the time you’re reading this), but one of the side effects for the UK seems to have been that we’ve had a bit of a wait for Toy Story 3 to come out. While release windows have closed on a lot of movies (to the extent where we even got Iron Man 2 first this year), Disney and Pixar films still seem to take a while to make the transition, and the fact that no-one would have been in cinemas in the UK to see it this week just hasn’t helped, apparently.
So I’m still some weeks away from seeing the movie (and am at present checking the BFI website daily so I can book tickets to see it in IMAX, even though I’m on their mailing list), and all that’s doing is causing my own personal hype and anticipation to ramp up to fairly uncomfortable levels. And the reception that this threequel has received is only serving to ramp that up further.
Whenever I see anything, and I do mean anything, that may have an association with some piece of music, my brain, which appears to have been designed on the same principle as an iPod / iPhone with Genius built in, automatically finds a track that is appropriate and starts playing it in my head.
For example, whenever I watch the weather, I will get a wide variety of tunes, depending on the prevailing forecast, from “Raindrops Keep Falling On My Head”, through “Windy City” from Calamity Jane to “Let it Snow, Let it Snow, Let it Snow.” (I live in England so I don’t need songs about the sun.)
Due for release today is a movie that’s driving my poor little movie brain and my iPod brain mad together. It’s the very promising Noel Clarke’s latest.
And now, every time, and I do mean every time, I see the name of this movie written down, this starts playing in my head. (Crucial bit is about a minute in, if you’ve never heard this before.)
It’s driving me very quickly insane. Possibly in around four-three-two-one-seconds. (Go baby go baby go, don’t upset the rhythm… AAARRRGGGHHH!!!) Any helpful hints to deprogramme myself appreciated.
Life, sadly, can’t revolve entirely around the cinema, much as I would like it to. But there are things that can be almost as rewarding on TV. One of them comes to an end this weekend after six years packed with detail and intrigue, and it’s one that, almost more than anything on TV, I now feel I should have watched but didn’t.
The reason for not getting into Lost when it started, apart from watching ten minutes of the pilot episode and not really engaging with it, was that I’d been burned with previous mythology based stories, most notable The X Files. And I just had this feeling at the time that Lost was going to set up years and years of mythology, and like The X Files wouldn’t know how to bring it to a satisfactory conclusion.
WARNING: This article contains very mild spoilers for I Am Love and The Ghost, on general release at the time of writing. You may wish to turn back if you intend to see these films but haven’t yet done so.
Before the advent of reasonable broadband speeds, there was always a time that I had to be in the cinema for. That point normally came about 10 minutes after the advertised start time of the film, at the point when the adverts finished and the trailers began. It’s amazing how a couple of good trailers can sometimes offset the disappointment of a less than stellar film, and can build that sense of anticipation to the point where the trailer is more enjoyable than the film itself.
Sometimes these little marvels can be almost films in themselves. And then one day, I realised I’d seen a trailer which pretty much was the film itself. It was for Brian De Palma’s Mission: Impossible.
For an action movie, you do need to get some of the key action beats into the trailer, otherwise people won’t be enticed in. But to put beats from every major (and even minor) action movie into the trailer leaves little to the imagination and then leaves the movie feeling somewhat unsatisfactory, perhaps unfairly.
Trailers had seemed to get better over the years, but then last weekend I was at my local art cinema, where I was in the slightly strange position of seeing two trailers for films I’d just seen and one for one that I was about to see. The first was for Dogtooth.
There are two shots in this trailer (I won’t say which) that are taken from the last ten minutes of the movie. But in the larger context, that’s fine. The trailer itself gives a good sense of the overall tone of the movie and the shots shown don’t actually spoil the plot. In fact, this is pretty much what a trailer should be.
The next trailer was for I Am Love (Io Sono L’Amore). Having seen the film before the trailer, I was glad it was that way round.
Because this trailer has two or three longer shots taken from the end of the movie, and in particular actually contains two short shots which feature in the dramatic denouement. The problem comes if these shots are in any way memorable; in this case they are, so what potentially happens is that when watching the movie, you are robbed of dramatic tension the closer the movie gets to the end if you’ve not yet seen these shots, as you know they must (almost) certainly appear.
But the worst offender is The Ghost (or The Ghost Writer, depending on your location). Admittedly it didn’t help that I saw the trailer only three hours before the actual movie, but this commits a number of crimes.
Not only are whole reams of crucial plot exposition contained in this trailer, but large amounts of crucial moments from the third act, a key moment from the penultimate scene and part of the last scene of the movie are all in this trailer. As if to see how much worse matters could be made, the trailer commits one further sin, by making the movie seem a lot more of a thriller (and also a lot more interesting) than it actually is. Maybe an impressive feat on behalf of whoever cut the trailer, but not helpful when it comes to watching the movie.
I would love to think these are isolated incidents, but from reading a recent early review of Ridley Scott’s Robin Hood movie on AICN, it seems that this is more of a pattern than it should be as that is doing something similar. I will now try to avoid watching that trailer again before seeing the movie, but you become a captive audience when inside the cinema.
Seeing a dodgy pirate copy of a film is bad enough, but seeing a two minute cut down version on the big screen which pretty much removes the need to watch the movie feels worse in some ways. So all I’m asking for is that those people who are putting trailers together try not to give too much away in the trailer itself, and ideally sell a product which actually matches in terms of content what is in the cut-down version. Not too much to ask, surely?