I’ll be in my trailer… watching trailers: Sometimes they come back

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.

Last week’s Six Damn Fine Degrees took us into the (under)world of vampires, and this week’s instalment stayed there, focusing on a particularly attractive pair of bloodsuckers.

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I’ll be in my trailer… watching trailers: I call this one Bitey!

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.

This week saw the first Six Damn Fine Degrees post by a new contributor: Doctor John Smith (now why does that name ring a bell?) wrote about movie vampires and their ties to the aristocracy and to capitalism. After all, they do like to bleed us dry, don’t they?

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Forever Fellini: Roma (1972)

Is Roma a sort of stealth sequel to Fellini’s previous film, Satyricon? It can certainly be seen as such: like the film Fellini made three years earlier, it is a sprawling tapestry that is focused less on telling a coherent plot than on moving from episode to episode and from setpiece to setpiece. Where Satyricon depicted, and satirised, ancient Rome, the city’s story is taken into the more recent past and even the present in Roma, making the two films a sort of History of Rome, Parts I & II. But where the earlier film was based on the writings of Petronius, Roma‘s angle is decidedly subjective.

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I’ll be in my trailer… watching trailers: It’s the end of the world as we know it

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.

We spent much of this week on A Damn Fine Cup of Culture looking back by many, many decades, starting with Alan’s ruminations on Howard Hawks’ screwball comedy Ball of Fire and the ways its cast of characters would lend itself to spin-offs.

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I’ll be in my trailer… watching trailers: You know how to whistle, don’t you?

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.

We all love a good Agatha Christie yarn here at A Damn Fine Cup – but they’re not all cosy and twee. There’s plenty of Christie beyond Death on the Nile and Murder, She Said, and in this week’s Six Damn Fine Degrees, Matt writes about the darker sides of cosy crime.

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A little less algorithm, a little more curation, please

The Cinema REX in Bern, my favourite cinema, and indeed the best cinema in Bern/Switzerland/Europe/the world, shows new releases, mostly independent films or world cinema – but that’s not why they’re my favourite: it’s their curated programme. More or less every month, they’ve got a programme focusing on a theme, genre, country or filmmaker – in parallel to which they will also be running other, longer-term series, e.g. on film history or LGBTQI+ cinema or kids’ movies. Thanks to the REX I’ve seen classics on the big screen that otherwise I might not have had the chance to see at an actual cinema, from Apocalypse Now to Close Encounters of the Third Kind, from North by Northwest to Fanny and Alexander. The other movie theatres in the city that have survived the Great Cinema Purges of recent years also offer curated programmes, such as a series on Cult Movies and Worst Movies, but none are focused as much on providing a curated programme.

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Six Damn Fine Degrees #206: Cosy? Dark? Why not both?

Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!

I don’t remember a time when I didn’t know about Agatha Christie, her stories and her characters. Somehow, Miss Marple and Hercule Poirot have always been around, much like modern mythology. Settings such as the manor house, scenes where a sleuth has assembled all the suspects and lays out all the clues, feckless local law enforcement: I knew all of these – without ever having read a single one of Christie’s novels or short stories or having seen any of the numerous adaptations. Again, I was aware of Margaret Rutherford in black-and-white movies and of Peter Ustinov in glamorous locales, sporting a silly moustache and a sillier accent. But the actual thing passed me by for the longest time.

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Everybody’s looking for something: Robot Dreams (2023)

It’s Manhattan in the 1980s, and Dog is lonely. He, differently from everyone around him, has no one to share his life with – so when he sees an ad on TV for robot friends, he doesn’t hesitate. Soon a large, heavy box appears and Dog sets about assembling his new friend. He and Robot immediately hit it off, and Dog’s life changes.

Until the day he takes Robot to the beach, and everything is turned upside down.

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I’ll be in my trailer… watching trailers: The First Law of Robotics

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.

Sometimes our Six Damn Fine Degrees posts get caught on a certain topic: a few months ago, we had several posts in a row focusing on the films of Werner Herzog, and recently they’ve entered an Agatha Christie phase. This week, Sam remembered the great Maggie Smith, writing about two of her appearances in adaptations of Agatha Christie’s Hercule Poirot stories: Death on the Nile and Evil under the Sun, both of which Smith featured in, albeit in different parts.

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Criterion Corner: Diamonds of the Night (#969)

Two adolescents jump off a moving train. Shouts come from the train, and shots, but who would stop at the behest of people who are already shooting at you? The young men continue running, shedding the long coats marked “KL” (for Konzentrationslager, concentration camp – an abbreviation that was later changed by the SS to “KZ”, allegedly for its harsher sound) as they move further and further into the forest, cold, hungry, ill-prepared for their journey.

But, before long, we get the sense that, run as they might, the two men are doomed. And perhaps more than that: perhaps they are dead already.

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