Ah, the olden days. I remember when all this was fields, it wasn’t like this when I was a lad, you could get a racehorse and a speedboat for two shillings and sixpence, men were men, boys were small men and women were men with different dangly bits. But most importantly, in the olden days I used to write a film blog.
That, of course, was in the days before I became the regular reviewer on BBC Radio Cambridgeshire’s drive time show with the esteemed Chris Mann, started writing a column in the Cambridge News and found 1,000,001 other distractions, most of them watching films. In fact, I ended up watching films so much that I didn’t really have time to watch trailers, at least in the cinema.
I also feel that the trailer is becoming a lost art form. The gravelly voice man is now just the province of Honest Trailers, and trailers are now just a window for all of the best bits of the film, desperately trying to recruit you to the cinema where you’ll see them again with lots of boring, superficial context dragging them out to two hours or more.
The rise of internet advertising and the use of the Skip button has also seen another change to trailers when viewed online: the trailer trailer. Not to be confused with the teaser trailer, which is a shorter trailer released before the main trailer, or the trailer preview, where they release part of the trailer a few days before unveiling all of it in an attempt to induce a Pavlovian response from fanboys and girls worldwide, but where you get a trailer in five seconds with lots of rapid cuts in the even that your trailer is being used as an advert; this way, you get to see a trailer even if you click “Skip in…” when it counts down to zero. If you don’t, you get two trailers for the price of one. If you watch a trailer with a trailer trailer attached before watching the film it’s trailing, you can make yourself feel like you’re being sucked into a black hole where time is gradually dilating to the point of infinity. Or you can watch five minutes of a Transformers movie to achieve the same effect. But I digress. (Ah, how I’ve missed digressing in my blog again. But I digress from my digress. A digress digress, if you will. ANYway…)
Traditionally I would at this point pick out my six, or twelve favourite trailers of the year, but they’re all so much of a muchness I’ve struggled to find that many I’d even care about. I will pick out a favourite of the year before this is over, but as I’ve not blogged all year – apart from spewing out two brief flirtations at Oscar time – I think it would be useful to review what you’re actually getting from the big trailers these days.
Let’s take the six biggest trailers of 2016, coincidentally six of the seven biggest trailers ever, and see what we can learn from them about their films, and about the increasingly lost art of the trailer.
6. Guardians Of The Galaxy Vol. 2 (released December 3, 81 million views in 24 hours)
So this trailer is all about reassurance. You liked the first one, because it was very slightly different from all of those other Marvel movies, in that it was funnier and set off Earth and had a tree with a five word vocabulary and a weird throwback soundtrack. So the trailer is designed to reassure you that you’ll be getting all of this again this time round, by showing you a funny scene and some spaceships and the tree being cute and awesome and with a slightly different throwback soundtrack. It doesn’t actually show you any plot, but maybe that’s a good thing?
5. Transformers: The Last Knight (released December 5, 93.6 million views in 24 hours)
*types name of film into YouTube to find official trailer*
*wades through pages and pages of people reposting the trailer, trailer reactions and trailer breakdowns*
*notices that one of the trailer reaction videos has over half a million hits*
*wonders if I’m wasting my life*
*wonders why I even bothered asking that previous question when the answer is self-evident*
4. Captain America: Civil War (released March 10, 94.7 million views in 24 hours)
It’s another entry in the Marvel Cinematic Universe, the thirteenth in fact, and the third with Captain America in the title. So this has to fight against the law of diminishing returns and convince you that you have to be sat in the cinema. But, rather than a plot driven trailer, this is all about the stakes. Stakes that bring back Bucky (who we’ve seen before), that show off six Avengers either sitting at tables looking serious or doing cool action sequences (who we’ve seen before), that show a new character that looks like some form of Panther in a black costume (that we don’t know about yet so it’s harder to care), that shows Captain America and Iron Man fighting (we’ve seen Avengers fighting lots of times before), that puts in a cool dialogue reference to the first Captain America movie (seen that before – check) and has an inordinate amount of things blowing up. I’m not even going to say it.
But wait – who’s that wall-crawling web-slinger? We haven’t seen him before, have we? Sigh.
3. Fifty Shades Darker (released September 13, 114 million views in 24 hours)
Fifty things I learned from the Fifty Shades Darker trailer:
- There are, apparently, more than fifty shades of grey. Forget your Turtledove Grey or Light French Grey, we’re in Monument Grey and Forest Grey territory here, people.
- Jamie Dornan’s back. So despite lots of stories about “disillusionment” and “creative friction”, looks like something called a “paycheck” won out.
- So’s Dakota Johnson. Yes, this is the same as point two, I’m trying to make fifty points here, cut me some slack.
- This is the official trailer, as opposed to the unofficial trailer. (Well, that trailer doesn’t make me want to watch the film any less, anyway.)
- It’s made by Universal, who made $570 million dollars from a $40 million budget on the first one. Bet there were a lot of executives agonising about whether to greenlight this sequel…
- It’s coming on Valentine’s Day. Because what could be better than a little bondage and misogyny for the most romantic holiday of them all?
- We have to “forget the past”, i.e. “the first one was terrible but this will be better.”
- It’s personally disappointing when someone doesn’t follow slipping on a black mask by saying “I’m Batman.”
- There’s no way Ana could be Batman, though. Her mask is see-through. What use is that for a crime-fighting superhero?
- Well, the characters are back together, so presumably something’s happened since the last film. Or will happen in this one. Guessing is fun.
- The way to really tell someone you throw extravagant parties is with someone who breathes fire. Nothing less will do.
- Apparently there is no limit to the number of slowed-down cover versions of “Crazy Right Now” you can cut a trailer to.
- This trailer is not in order. Or some of it’s from a previous film. Look, I’ve tried really hard to forget it, OK?
- If you’re really rich, you can install a shower big enough to host a whole rugby team, just in case you want the dramatic effect of taking your lover against the wall to have more theatre.
- There’s fireworks. That’s probably symbolic.
- Jamie Dornan can do more chin-ups than me, and by that I mean Jamie Dornan can do a chin-up.
- After being stalked repeatedly by Christian, Ana is only mildly surprised when a stranger turns up in her flat unannounced while she’s sleeping, rather than freaking out and throwing things and calling the police.
- Oh wait, it was her imagination, which is surely even more disturbing.
- There’s another man on the scene, and he seems as much of a depressing manwaste as Christian.
- Kim Basinger, if you walk into a room and then hold up your mask, it’s missing the point, we know who you are already.
- Either there’s not much footage in this trailer, or Ana is practically living in that silver dress.
- There’s a helicopter out of control, which is probably a metaphor as well.
- There’s that imaginary woman again. Is this actually a horror movie? (Might be more interesting if it is.)
- This version of Crazy In Love is performed by Miguel. That’s lovely. (I barely know who Beyoncé is, never mind Miguel. Getting old.)
- It’s coming out on Valentine’s Day 2017, in case you were wondering which year it would be released based on the ambiguous card earlier that said Valentine’s Day but not the year.
- James Foley is on directorial duties. He did Glengarry Glen Ross, and nothing else much good. This will go one of two ways.
- Which means that Sam Taylor-Johnson has had a lucky escape this time.
- Danny Elfman is once again composing. How I would love it if his score was closer to a Tim Burton score. Or just The Simpsons theme on a loop.
- The screenplay is by Niall Leonard, who’s also written for Spender, Ballykissangel, Monarch Of The Glen and Wild At Heart. (All of which would have been livened up by some light spanking and dubious sex contracts.)
- This also means that E.L. James didn’t get to write the screenplay, so we may be denied some of her usual zingers.
- Somewhat unsurprisingly, I didn’t manage to find 50 things to mock in a two minute trailer, so I will complete the list with some of those actual E.L. James zingers from the book. Here’s hoping they make it into the film.
- “His eyebrows widen in surprise.”
- “I wasn’t aware we were fighting. I thought we were communicating…”
- “Just smell that new car smell. This is even better than the Submissive Special … um, the A3.”
- “Ah, Mr. Grey, your perpetually twitching palm. What are we going to do with that?”
- “He’s like several different people in one body. Isn’t that a symptom of schizophrenia?” (No, it isn’t.)
- “Not today. I was late getting in, and my boss is like an angry bear with a sore head and poison ivy up his ass.”
- “Sooners rather than laters, baby.”
- “My mother had a mantra: musical instrument, foreign language, martial art.”
- “I’m talking about the heavy shit, Anastasia. You should see what I can do with a cane or a cat.”
- “He smirks and cranks his glorious smile up another notch so it’s in full HD IMAX.”
- “Yes, I’ll get wrong sometimes – I’ll make mistakes, but I have to learn.”
- “What! Sex in the car? Can’t we just do it on the cool marble of the lobby floor…please?”
- “What a time to have a brain-to-mouth filter malfunction.”
- “My subconscious has her arms crossed and is wearing Burberry check . . . jeez.”
- “You are going to unman me, Ana … You — take me. Ana, touch me … please.”
- After a while, he sighs, and in a soft voice he says, “I had a horrific childhood. One of the crack whore’s pimps . . .” His voice trails off, and his body tenses as he recalls some unimaginable horror. “I can remember that,” he whispers, shuddering.
- My inner goddess is doing a triple axel dismount off the uneven bars, and abruptly my mouth is dry.
- I take a deep breath and head back out into the club. I mean, it’s not as if I haven’t gone panty less before.
- Oh! Hesitantly I pull the drawer open, not taking my eyes off his beautiful but rather smug face. Inside there are an assortment of metal items and some clothespins. Clothespins! I pick up a large metal clip-like device. “Genital clamp,” Christian says.
2. Beauty And The Beast (released November 14, 127.6 million views in 24 hours)
So you know that live action Disney film based on Cinderella that made a lot of money that wasn’t all that much like the animated Cinderella? And that live action The Jungle Book film based on The Jungle book that was a lot more like the animated The Jungle Book that made a lot more money? Well here comes a live action Disney film based on Beauty And The Beast which is a tragedy starring Danny De Vito as Beauty and Jennifer Lawrence as the voice of The Beast, who will be portrayed by a sock puppet. Only kidding, its EXACTLY THE SAME as the animated Beauty And The Beast but with added Emma Watson, so it’s probably a bit more modern and feminist. Ker-CHING!
1. The Fate Of The Furious (released December 11, 139 million views in 24 hours)
I would have watched this trailer more closely, but after their amazing F-eight pun I was trying to thing up puns for the inevitable next film. Maybe one with dogs? (The Canine And The Furious, obvs.) One based on proverbs? (A Furious Stitch In Time Saves Nine?) One where the cars give up driving on roads completely and dispense with the laws of physics all together? (On Cloud Nine With The Furious?) Or maybe just The AssiNine And The Furious? Anyway, this has a chase on ice, so apparently we’ve learned nothing from Die Another Day. If this has bad CGI surfers, invisible cars and any kind of reference to Madonna then I’m officially bailing.
Well, that’s it, the best trailers of 2016, as judged by the number of times people with low standards have watched them forty times in the first hour and a half of their upload. Which only leaves me to pick out my favourite trailer of the year.
The Best Trailer Of 2016 – Dunkirk
Simplicity is the key here. Just enough to give you a flavour, and then the construction of the shot where the soldiers react closer to the camera, then further away, felt a world away from the trailers for the generic blockbusters I’ve just been dissecting. After the disappointment of Interstellar, this got me excited for Christopher Nolan’s next immediately, and for its instant power and effect, this gets my vote for the best trailer of 2016.
The 12 Best Trailers Of 2015 WINNER – Star Wars: The Force Awakens
The 12 Best Trailers Of 2014 WINNER – The Babadook
The 12 Best Trailers Of 2013 WINNER – Gravity
The 12 Best Trailers Of 2012 WINNER – The Imposter
The Dozen Best Trailers Of 2011 WINNER – Submarine
The Half Dozen Best Trailers Of 2010 WINNER – The Social Network
Apologies, only a fleeting post for this year’s Oscar Countdown, as other things have taken over my life for the time being. I’m normally fairly dismissive of the Oscars and their inability to pick the correct films, and so for the past three years I’ve used the blog to vent my moderate disdain at some of the shambolic selections made, especially by predicting before the awards what will win, and what should.
As I spend more and more time working in other media away from my blog – I was asked by two different radio stations if I could help them with their Monday morning Oscar coverage, which I’ve had to regretfully decline – I also find myself somewhat significantly distracted this year by events in real life. I won’t go into details here, so as not to put a complete downer on your Oscar buzz – and most of those close to me will already know the details anyway – but I’m currently mourning the death of my mother just nine days ago, and on occasions such as this the glitz and glamour of Oscar night feels more trivial and less significant than ever. (Apologies if this is a bit too much detail but this is a blog, not a film review site, and you’ll occasional get bits of me stuck in here. Sorry.)
Anyway, good luck to anyone staying up tonight, and despite my hitherto unheralded levels of apathy, I still couldn’t resist being briefly distracted for long enough to complete an annual tradition: The Oscars Scorecard Of Discontent. For those that don’t know the drill, each year I summarise the Will-Wins, the Should-Wins, those films whose success will cause me to stomp around for days with my lip protruding like a sullen teenager in protest at the unfairness of it all, and a shout out for the most significant efforts that didn’t even make the cut. As always, the nominations for that last category would make a cracking film festival in themselves.
So here’s this year’s Oscar Scorecard Of Discontent. It’s a tough call on the main category, but almost every other award feels nailed on.
Happy Oscar Night, everyone, and may all your favourites be picked.
By now you’ve probably had your fill of end of year lists. If you’re anything like me then you’ll have digested, pored over and tutted at list upon list of people’s personal film choices of the year. Most of these lists will be people’s top film choices of the year, and occasionally they will – as I did – also pick out their least favourites. But I always like to go the extra mile here at The Movie Evangelist, so I once again bring you my ten Most Resolutely Meh Films Of 2015.
That’s exactly what you’d expect: the ten films I felt most apathetic towards once I’d left the cinema. They’d occasionally excited me, sometimes appalled me but more often than not left me checking my watch and wondering if a toilet break may be more interesting. They’re the ones neither good enough to grace my Blu-ray collection, nor terrible enough to be appearing in a bargain bin near you within a week of release. While I spend an average of five hours a week in a cinema, these are the films that made me wish I’d found some paint to watch drying or perhaps had paid significantly more attention in cutting my toenails.
Here then are the ten films most likely to induce a cinematic coma from the past twelve months.
Ooh look, it’s all clever and it farts around inside and outside a theatre and looks like it’s a single shot even though it’s a conceit that neither really stands up not adds anything to the story. It’s also a very actorly film, with actors ACTING and being INTENSE and it hoovered up a bag of awards because most of them are voted for by actors. But it’s actually tiresome and trying and made me want to punch other people in the cinema in sheer frustration, and I’m not a violent man. Michael Keaton saved it from being truly terrible, and it has a couple of nice moments, but for a film that was supposedly the best thing since a sliced Steadicam it’s deeply unfulfilling.
9. The Night Before
Dante famously described in the first part of the Divine Comedy, Inferno, nine circles of Hell. Having passed through the gate marked “Abandon hope, all ye who enter here”, he then described a room covered in endless TV monitors. On each, there is another Seth Rogen / Evan Goldberg comedy, all now totally indistinguishable from each other, where occasionally a joke can be glimpsed from the corner of your eye, but where that joke remains tantalisingly, tortuously out of reach. Then the poet Virgil appears and reminds you that Superbad was actually quite funny but it was eight years ago.
8. Black Mass
For Christmas, I received a game which featured on the TV show Dragon’s Den. It consists of two piles of cards, one containing phrases and one containing accents. There is a game which you are supposed to play, but we found it much more entertaining to pick up a phrase card and an accent card and to just say the phrase in the accent, and hilarity generally ensues. This film is like that game, except all of the accent cards have been replaced with “Unconvincing Bostonian”. My girlfriend’s sister spent twenty minutes attempting to convey South African, but I reckon she could have had a better stab at a Boston drawl than Benedict Cumberbatch. Not only that, but Johnny Depp’s film career seems to have turned into a bizarre fetish dressing up party that we’re all invited to, and someone’s locked the doors so we can’t get out.
The world’s highest mountain, standing just short of nine kilometres above sea level where the wind chill can reduce the temperature to -60ºC, where the air is only one quarter oxygen and which the Tibetans call “Mother Goddess Of The Universe” and the Nepalese call “Forehead Of The Sky”. Sounds majestic and imposing, doesn’t it? But if I tell you that the first tweet was sent from the summit in 2005, somehow that dulls the magic, doesn’t it? Everest is the film version of that tweet, a dramatic retelling of a massive mountaineering tragedy that consists of people dying slowly in the cold and has no idea how to make any of it dramatically compelling.
Sorry, Jake Gyllenhaal. I thought you were exceptional in Nightcrawler. You were fascinating in Prisoners. You were charismatic in Source Code. You were compelling in Donnie Darko , and powerful in Brokeback Mountain. You grounded Zodiac, and even made End Of Watch watchable in places. But even you couldn’t save this turgid mess from its narrative cul-de-sacs and tedious riches to rags plotting. Even the fight scenes were about as satisfying as trying to eat a blancmange by falling asleep in it face first and hoping for osmosis to kick in. Southpaw isn’t terrible, but if it was on TV late at night you’d be channel flicking in half an hour.
5. American Sniper
Clint Eastwood is 85. That’s a fantastic achievement, but his films give the impression that he’s at least twenty years older. His direction has become fundamentally flawed, squeezing the interest out of almost every scene, to the point where he couldn’t even be bothered to disguise an obviously fake baby. But I wish that was the worst crime that the film had committed: for a Republican, Eastwood has made some surprisingly liberal films over the years but rather than making deep and meaningful points about the nature of war and the politics of the conflicts concerned, American Sniper is content to simply muddle through to its tacked on ending and to hope no-on cares.
4. Mr Holmes
I’m a sucker for a hot dog; if I wasn’t currently dieting to shed the Christmas pounds then I’d probably be feasting on one instead of dinner every time I visited the cinema. But imagine a hot dog with no dog: no matter how good the artisanal brioche bun might be, how good the finest ketchup or mustard slathered across the bun are, without the sausage all you’re doing is eating through a whole lot of uninteresting bread. In the latest of my series entitled “Obvious Food Analogies”, Mr Holmes is that hot dog bun and mystery solving is the sausage, because this is a film about the world’s greatest literary detective where he does barely five minutes of detecting. About as dramatic as watching Gary Neville go shopping for slippers.
3. Suite Française
Nope, this was so dull I really can’t remember much about it at all. I can remember Kristin Scott Thomas, but I’ve slightly cheated because I looked at the picture above. It doesn’t help that Michelle Williams and Mathias Schoenaerts both have faces that default to a setting so expressionless that you can feel your own emotions being slowly drained out through your eyeballs, your soul clinging desperately to their coat-tails so as not to have to sit through any more of this bland dollop of a film. It’s the kind of restrained, stiff upper lip film that feels allergic to emotion and would like very much to see if you can catch that allergy too. Good heavens, Kristin looks miserable, doesn’t she? I know how she feels.
2. The Man From U.N.C.L.E.
Do they make Hollywood stars from pouring botox into moulds these days and then stuffing in a monotone voice box, like a Build-A-Bear Factory for actors where you then get a choice of more expensive outfits? That surely is how they came up with Henry Cavill, but he’s so teeth-clenchingly dull that if he was ever cast as James Bond I’d spend the rest of my life trying to invent time travel so could go back and force Ian Fleming to write “Henry Cavill must never play Bond, he’s duller than toothpaste” in the front of every one of his novels. I’m not sure that anyone knows what the point of Armie Hammer is any more, either. I very much enjoyed a lot of Guy Ritchie’s earlier work, but this is a steaming pile of nobody cares that’s been rounded into an amorphous blob and polished until you can see your own tragic, despairing face and the hand holding a ticket for this film reflected in it.
The paragraph below the picture contains moderate spoilers for Spectre. If you’ve not seen it, you’ll probably go and watch it now, but don’t blame me, I tried to warn you.
What happened? Like waking up on Christmas morning to discover that all of your presents are just large boxes filled with sticks, Spectre promised a lot – not least from the excellent trailer, the high calibre cast and a returning director who did remarkably well on his debut – but delivered a film so lacking in genuine incident and spectacle after the opening titles that it almost beggars belief.
From a car chase where none of the gadgets were installed and the hero spends most of it on the phone to his boss’s secretary, to a sidekick who sets a world record for the shortest ever time being chased by bad guys, to a hunt for the villain that gets so lost it has to sit and wait to be collected, to a lair in which the villain that attempts to look menacing by employing a small room of people who could all be auditioning for a sequel to Steve Jobs and a finale whose action scenes are a man running around a building to zero effect before he briefly fires a small pistol at a helicopter before he doesn’t do anything else at all, Spectre is a catalogue of underachievement and failure from (ten minutes after the) start to finish.
Spectre became so hung up on nostalgia that it coasts by on past glories, rather than giving us anything to set our pulses racing anew. Even worse, it spurns golden opportunities to liven up otherwise dull, unimpressive sequences such as the plane chase with a dash of Bond theme. For achieving unheralded and unwanted levels in the fields of boredom and frustration, Spectre is my most resolutely “meh” film of the year. Double oh no.
Other specialist charts:
So each year, as part of my review of the twelve months gone by, I’ve traditionally looked to break down the top 30 scenes of the past year. Each year this involves faithfully trawling through various video sites to see if I can find the clips I was thinking of in my head, and then taking the usual list of 40 or 50 clips and trailers and gradually pruning them until I come up with a top 30.
As I didn’t start writing the review of 2015 until the start of 2016, I thought I’d save time this year by just doing a top 10 scenes. There really is no reason to do a top 30, it’s just an arbitrary number, so I started putting together a shorter list to reduce to 10. The problem was, I had a list of 18 and couldn’t really part with any of them. Right, I’ll make it a top 20 instead, I thought – and lo and behold I now have 26 clips.
So top 30 it is again.
I have made one difference this year to liven things up (and to save a little bit of time): rather than sort them into a ranking from 30 to 1, I’ve left them in chronological order, which turns this into a nice little meander through the past 12 months from January to December. Even more nicely, the first clip is from the very first film I saw in the cinema way back in January and the last is from the 164th and final film I saw in cinemas on the day before New Year’s Eve.
My usual warning at this point – clips may contain violence, strong language and spoilers for the film concerned. If you’ve not seen a film and wish to remain unspoiled, don’t watch the clip – no further warnings will be given. Read the rest of this entry »
It’s that time of year again: it’s next year. Sorry, been a bit busy to say the least, but I will at least attempt to get my review of 2015 completed for your reading pleasure. Normally this takes a couple of weeks to lovingly craft and compile; this year I’m going to attempt to do it in a day and a bit. Wish me luck.
To start with, when I used to have time to write this blog regularly – something I’m aiming to do again in 2016 – I used to pick out the six trailers each month I was most interested in. Then at this time of year I’d then reflect on the dozen that had left the most lasting impression. Having resolutely failed to do this most months this year, it’s given me a slightly different perspective on the year this year, but I’ve still managed to find the usual handful which intrigued and excited in equal measure.
Best Trailer For A Mediocre Film: SPECTRE
After the triumph of Skyfall, the Bond producers did the only sensible thing they could and brought back Sam Mendes and many of the same team responsible for that triumph. This trailer strongly suggested that they were on course to replicate the success of the earlier film; evidence, if any were needed, that trailers can be somewhat misleading.
Best Action Trailer Of The Year: Mission: Impossible Rogue Nation
The trailer for Spectre promised high octane stunts, intense drama, attractive, empowered women and a good hit of nostalgia and failed on at least two of those counts. The trailer for this fifth incredibly-tricky-but-actually-achievable mission promised high octane stunts, the same brand of spying nonsense the other films have delivered, an attractive, empowered woman and – crucially – fun. It’s fair to say that this trailer did a much better job of delivering commitments that the film could fulfill.
Best Summing Up Of The Film In A Single Scene: Inside Out
The trailer was actually released in December 2014, but my house, my rules. A trailer for 2015’s best animation that perfectly sells the concept of the film without a word of exposition.
Best Documentary Trailer: Amy
This teaser for the slightly uneven but still compelling documentary sells you on the concept in a little over a minute. Efficient.
Best Trailer That Doesn’t Undersell The Weirdness: The Lobster
And a good Colin Farrell movie, reminding us all that they do happen from time to time.
Best Trailer That Completely Missells The Film (And Kind Of Spoils The Ending): Eden
As good as this trailer is, it suggests that a large proportion of the film is in English (it’s not), suggests that it’s generally a lively music movie (when it’s a more reflective, soul-searching film that knows its garage from its trance) and also has a decent clip of the dramatic ending of the movie thrown in for good measure. Way to go, trailer peeps.
Best Aaron Sorkin Movie Trailer: Steve Jobs
Following in the footsteps of my 2010 trailer of the year for The Social Network comes a trailer so finely honed it could have been produced by Apple themselves. Film’s not bad either (spoiler: it’s just missed out on m top 40 of the year by a whisker).
Creepiest Trailer Of The Year: The Witch
That kid going “ba-ba-baaa” is proper freaking me out.
Best (NSFW) Marketing Campaign Of The Year: Deadpool
And so much more.
Most Promising Trailer For Next Year If They Don’t Screw It Up: Suicide Squad
While I am distinctly underwhelmed by the Batman vs Superman trailers and have almost no personal desire to see the film after enduring the gratingly stupid Man Of Steel, this actually looks like it might succeed in being dark but not gloomy. Anyway, the internet melted when it came out so it’ll probably make dump-trucks full of money.
Best Trailer With No Dialogue And Lots Of Star Ratings: Carol
All of the plaudits are correct as seen in this trailer, and you’ll be hearing more about this film before my end of year review is done. A delightful way to summarise the film’s style and tone without needing to use half of the plot and dialogue too.
Best Trailer Of 2015: Star Wars: The Force Awakens
To get audiences back onside, after a decade of CGI meddling and indifferent prequels and a further decade where we all thought “oh well, that’s that then”, Disney needed a marketing campaign to get the hardcore fans back onside and to convince the casual viewer that there was something worth checking out here. For me, the core of the trailer will have sold the casual viewer but it’s the two bookends that sold me on this relaunch: the opening tracking shot which gradually reveals the crashed Star Destroyer, and the final, punch-the-air reveal of Harrison Ford and Peter Mayhew, together again after all these years. These two moments have made this particular trailer my favourite of 2015. And yes, I am a little biased, as I type this while wearing odd Star Wars socks. (An R2-D2 and a Yoda, thanks for asking.)
The 12 Best Trailers Of 2014 WINNER – The Babadook
The 12 Best Trailers Of 2013 WINNER – Gravity
The 12 Best Trailers Of 2012 WINNER – The Imposter
The Dozen Best Trailers Of 2011 WINNER – Submarine
The Half Dozen Best Trailers Of 2010 WINNER – The Social Network
The Pitch: We absolutely saw you coming. While you’re here, can we interest you in some magic beans?
The Review: Hallowe’en. Season of ghouls, ghosts and spectres (although this year it was dominated by a SPECTRE of a different kind). What, then, could be more appropriate to the season than exhuming the corpse of a once popular franchise and attempting to wring as much cash out of its rotting corpse as possible? When the Saw franchise had become fatally worn out through familiarity, Paranormal Activity appeared at just the right time to fill the vacancy left behind. Oren Peil’s attempt at heightening the reality of the found footage genre as much as possible served up a winning combination of scares and mood that had many cinemagoers questioning whether or not this was real. (These people do exist, and many of them thought The Martian was a true story.) Sadly the studios have long since run out of enough ideas to be able to churn out one of these films a year, so after a gap of nearly two years the final film of the franchise (or so we’re promised) limps into view.
There is a plot, but not one that feels the need to concern itself with too much in the way of character development. After an opening scene that harks back to the ongoing mythology of the series (before being largely forgotten about), we see a family settling into their new house. The man of the house Ryan (Chris J. Murray) and his brother (Dan Gill) find a box of video tapes and a weird old video camera that appears to have had some unusual upgrades. When trying it out, it appears to pick up more than the eye can see, but that just happens to be around the same time that Ryan’s daughter Leila (Ivy George) starts acting rather oddly. In keeping with the rest of the series, at this point they decide to put video cameras up at night to capture the spooky goings on.
I say spooky: it’s absolutely the same premise as the rest of the series rolled out again with so little variation as to verge on insulting. Forgetting what made the original so compelling (the slow burn of mood and the effective offsetting of night and day; in the original, the onscreen captions for each new night meant it was time to pay close attention and served to heighten the mood), this is simply a random collection of moments designed to try to make you jump. For less money, you could sit at home in the dark while a friend occasionally yells at you at random intervals, and I’d be willing to bet it would be scarier too. The film’s also hamstrung by the continued attempts at mythologising, but all of the storytellng is handled so clumsily you’ll be hard pressed to notice that none of it really makes any sense any more, even in the context of the series.
Katie Featherston, the anchor of the series since the first film and ever present up to now, has had the sense to finally jump ship, so while her character is referenced it’s only young Katie you see at the start. The rest of the acting is so wooden you expect to find woodpeckers living in it, the characters variously demonstrate new highs (or lows, depending on your viewpoint) of stupidity for the series and the presence of a young blond girl going through inter-dimensional troubles makes this feel more like a sequel to Poltergeist than the culmination of the Paranormal Activity series. It’s a sign of how little the producers care about whether or not you even like this film is that the director’s chair is occupied by a man whose CV consists mainly of roles as an assistant editor – not even a full editor – and he fumbles badly with a script that seven people couldn’t manage to shape into something with any redeeming features. The time has come to turn the cameras off on this insipid franchise, which struggled to justify more than one sequel and eventually fell victim to the laws of diminishing returns, rather than anything more supernatural.
Why see it at the cinema: If you’re the most absurd kind of completist that needs to see the franchise through to the end. I hope for your sake that when they say this is the last one, they mean it.
Why see it in 3D: Don’t bother. With only the parts on the found video camera in 3D, you’ll either have to watch a poorly lit film mostly in 2D while wearing sunglasses or risk putting them on and off at the right times.
What about the rating? Rated 15 for strong supernatural threat, violence, strong language. Based on the current BBFC guidelines, I think it’s mainly the language that tips this one over to a 15.
My cinema experience: Did I jump at all? Yes, yes I did. Mainly because was falling asleep and the loud noises disturbed my blissful almost-slumber, blessed relief from this nonsense that it was. The biggest horror I faced was finding a car parking space in Bury St Edmunds on a Saturday afternoon for my trip to the Cineworld.
The Score: 2/10
The Pitch: Votes For Women! (For Oscars, Golden Globes, SAG Awards…)
The Review: I don’t think I’ve known what it is to be truly repressed. Sure, I was subject to the odd spell of bullying at school, for everything from my name to my nose, but I’m a white, middle class male who worked his way up from the working classes and, thanks to a diligent mother who put her families’ needs before her own, never really went without during that working class upbringing. So when it comes to a film like this, dealing with the subjugation of a part of society, I tend to judge the success of the film at least in part in how successfully it conveys what it’s like to be part of that minority. Here, then, is the first thing that strikes you about Suffragette: it’s dealing with the rights and issues of a suppressed majority. Here’s a quote from the 1911 census:
Sex Proportions. —Of the 36,070,492 persons enumerated in England and Wales in 1911, 17,445,608 were males and 18,624,884 were females. These numbers give an excess of 1,179,276 females over males, which would, however, be somewhat reduced if we could include in the reckoning the English and Welsh members of the Army, Navy and Merchant Service and mercantile community temporarily absent abroad and also the numbers of fishermen absent at sea on the night of the census.
When you’ve finished having a giggle over the phrase “sex proportions”, take a moment for that to sink in. The women fighting for equal rights were actually the larger proportion of society, yet it took a vocal minority for their cause to even become recognised and, as Sarah Gavron’s film lays out, it wasn’t even something that the majority of women saw as an issue at the time, so conditioned were they into accepting the status quo as being the right way of things.
Gavron and her screenwriter Abi Morgan (‘Shame’, ‘The Iron Lady’) create a fictional character to explore both sides of women in society in the shape of Maud Watts (Carey Mulligan), a dutiful mother and housewife to husband Sonny (Ben Whishaw). They both work at an industrial laundry where Maud’s mother also worked before her, and where the first rumblings of discontent over gender inequality are already rearing their head. It’s when some of the workers take part in more physical acts of disruption such as throwing bricks through windows, all under the auspices of the Women’s Social And Political Union that Maud finds herself questioning the relative lack of rights and status for women and becomes drawn into the WPSU’s work. She and her co-worker Violet Miller (Ann-Marie Duff) attend a parliamentary hearing on the subject, but Maud finds herself speaking at the hearing and is instantly flagged under the police surveillance programme looking to weed out disruptive influences (led by Brendan Gleeson’s inspector) and she’s soon suffering the same indignities and abuse as the other leading members (including Helena Bonham Carter’s pharmacist and Meryl Streep in a cameo as Emmeline Pankhurst).
Morgan’s script is fairly straight and conventional, and what it does well is to get into the intimate details of the indignities, punishments and abuse that these women suffered, simply to be allowed to express themselves in the same manner as their male counterparts. As well as the lack of voting rights, the film also clearly spells out the abhorrent working conditions that many women faced at the time, treated little better than slave labour and with their husbands often watching on; an overbearing, sexually aggressive boss at the laundry might feel a bit much but it works well as a plot device to add tension to key moments and never feels forced. Where Suffragette is slightly less successful is in attempting to understand why the men of society were so keen on preserving the current order; while it does show the lengths the police and government were willing to go to, method isn’t fully underpinned by motive and the film may have resonated even more had it been able to get under the skin. Other than that, the plotting is very much join the dots and barrels along relentlessly towards its historical climax at Epsom racecourse in 1913. The film has a trump card in its location filming at the Houses Of Parliament, but Gavron seems too intent on drawing your attention to the set dressing and some of these scenes have a somewhat staged feel. This is in sharp contrast to the prison and domestic sequences, which capture the squalor and suffering very efficiently.
Where the film comes alive, truly building on the effectiveness of its setting, is through its key performances. Many of the male characters are slightly underwritten or stereotypical so Brendan Gleeson’s stoic policeman provides welcome balance, with a veil of empathy shrouding his requirement to fulfill his duty. But the film really belongs to Carey Mulligan: it’s Maud’s journey that illuminates both the suffering of those joining the fight and the apathy and disdain of the rest of society not willing to rock the boat when they didn’t see the end outcome as important. Mulligan succeeds in being both defiant and vulnerable as the situation demands without ever descending into melodrama and she’s complemented well by the likes of Duff and Bonham Carter. It’s these performances that give the film an emotional core and allow its anger to build before a thought-provoking climax. While I don’t know that I could truly put myself in the shoes of the suffragettes to understand how they felt and what they suffered after having seen this, what Sarah Gavron’s film did succeed in is making me ashamed of the past actions of my own gender, and for that and for the performances of Mulligan, Bonham Carter and Gleeson it deserves your vote when you’re deciding on your next cinema visit.
Why see it at the cinema: Enveloping yourself in the darkness of the cinema will allow you to immerse yourself in the hardship these women endured, as well as allowing you to see every straining emotion in Carey Mulligan’s face and to truly feel her pain.
What about the rating? Rated 12A for infrequent strong language, moderate violence, a scene of force feeding. Way to go again with the rather specific spoilers, BBFC. It wouldn’t be so bad if you didn’t insist on putting them unavoidably
My cinema experience: Having spend the day with my niece for her birthday at Chessington World Of Adventures, I scoured the map for Cineworlds along my route home. In the end, I settled on Cineworld Rochester, a brief diversion off the M25 and where I had time to log a double bill with Crimson Peak.
It’s a fairly standard Cineworld, although they do insist on checking your Unlimited card before every screening. I always find this somewhat disappointing before the second film of a double bill, although I’ve done as many as five films in a day (at Cineworld Stevenage) and been checked every time.
Having then juggled phone (with QR ticket code) and wallet, I then ended up with even less hands as the timings hadn’t worked out for allowing time to have dinner: hence my Cineworld dinner – as in I’ve done this before, probably too often – of a large hot dog, a bag of Revels and a large soft drink. I’ve developed an odd predilection for putting tomato ketchup down the whole hot dog and mustard on the first half only.
I then took my seat on the front row of the main block, which in common with other Cineworlds I visit (Huntingdon springs to mind) has a railing at the front, allowing the long of limb such as myself to dangle their legs and sit in comfort. My only issue was when putting my feet on the railing, it wasn’t actually that far from the seat so I ended up curled up in a sort of ball with my bottom sliding off the seat and my knees under my chin. Good job I can get comfy anywhere. As it’s a fairly new Cineworld (or feels it, at any rate), the seats are still in good nick and there were no issues with sound or vision.
The Score: 8/10