Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
In this week’s Six Damn Fine Degrees, Alan writes about 2024’s witchy Agatha All Along – and what it may say about the different roads the Marvel Cinematic Universe could go down in the future.
Meanwhile, Matt took a breather after exploring Pharloom over the last couple of months, and he’s now back to talk about Silksong‘s wonderful use of music to stitch together its Metroidvania environments into a world.
And what else do we have for you this week?
Mege: He is utterly lost in the quest of finding his daughter, it‘s not his scene, it‘s not his tribe, and it looks like it is, eventually, a kind of fever dream. How far would you go to find a loved one? Wouldn‘t you do anything in your power?
Sam: Admittedly, I’m very torn about producer Ryan Murphy‘s glossy output so far: some of of his high-stakes, star-studded ventures (I particularly enjoyed Feud about the Davis/Crawford enmity and Pose‘s AIDS-era reconciliation) were brilliant, some of the other attempts at being dead centre with the zeitgeist (much of American Horror Story, Monster, All‘s Fair – one of the lowest rated series of all time!) were terrible. The new one on the block, The Beauty, starring Ashton Kutcher, Rebecca Hall and Isabella Rosselini, looks like the clone twin of Death Becomes Her and The Substance on speed, with its hyped hunks and heroines trying to stay forever young, thanks to some magical injections. Can it deliver some zany cynicism and real substance about a death-defining beauty craze? I’m not sure Murphy is anything but drunk on star power, but let’s wait and see!
Matt: Crime 101 has more than just a whiff of Michael Mann – and that’s before we get to Chris “Blackhat” Hemsworth and Mark “Collateral” Ruffalo and chases in nighttime LA. I liked director Bart Layton’s The Imposter and American Animals a lot, and I’m curious to see what he does with this material – and if the film is a well-made homage to Mann’s existentialist thrillers, we won’t hold it against him.
A Damn Fine Cup of Culture 