I’ll be in my trailer… watching trailers: The Roaring Rories

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.

On Friday, Julie gave us another one of her deep dives, this time on Agatha Christie and the books she’d set in the desert – which is a perfect opportunity to post the trailer for Death on the Nile. No, not that one. The other one.

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The Compleat Ingmar #31: The Serpent’s Egg (1977)

Get ready for Bergmanception: you know how Woody Allen has long been a big Bergman fan and how many of his films are clearly inspired by Bergman’s? Well, the beginning of The Serpent’s Egg feels a bit like Bergman got Allen and his creative team to create the titles. White writing in a timeless serif font on a black screen, listing the cast and crew, accompanied by jaunty 1920s jazz tune – it’s all there. Except even at his most glib, Allen did not make films as sour as The Serpent’s Egg.

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I’ll be in my trailer… watching trailers: Trains, trains, and more trains

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.

The movies can make us dream about faraway places – and they can make those places something of a disappointment when you finally see them up close and with your own eyes. On Friday, Matt wrote about his disappointment with the Sphinx – but Petra, Jordan was all the more impressive for turning out not to have been a matte painting back when he first saw it in Indiana Jones and the Last Crusade.

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Criterion Corner: The Parallax View (#1064)

There are a number of classic paranoia films made in Hollywood in the 1960s and 1970s. The Manchurian Candidate is one of these, as is Francis Ford Coppola’s The Conversation.

The Parallax View (1974) by Alan J. Pakula clearly belongs on the list as well. It’s a classic, it’s memorable, it’s iconic. It has its finger on the pulse of a country and a culture where politics and murder have been intertwined for more than a century.

And sadly, I like it a lot less than those films.

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Six Damn Fine Degrees #70: Have you ever wanted to walk into a matte painting?

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!

Have you ever travelled to a place and seen the sights – and it was a real disappointment, because in your mind, everything was much bigger and better and more amazing? If so, did the movies or other damn fine cups of culture play a role in this disappointment?

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I’ll be in my trailer… watching trailers: I hate sand

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 has been course, and rough, and irritating, and it got everywhere… Okay, not quite, but you probably see what we’re getting at: without us even planning for it, this has been something of a Tatooine week, starting with Matt’s disappointment at The Book of Boba Fett, a Star Wars story that first and foremost raises the question of why it exists.

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Six Damn Fine Degrees #69: You’re not on Tatooine anymore!

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!

Coffeebreak for Ben Kenobi and Luke Skywalker in the Tunisian desert? They are certainly not on Tatooine anymore!

I must admit I get the trouble with sci-fi Mege so pointedly discussed in last week’s post: I was also never quite an ardent fan of the genre as such, finding some of the choices made for supposedly far away worlds oddly quaint and cheap and some of the rubbery prosthetic creatures designed so unbelievably comical that I was not at all convinced any future or outer world would ever look like that. Of course there were great exceptions along the way: the creatures in Alien are suitably scary and beautiful and its realist spaceship and crew utterly believable, Star Wars is identifiably a fairy tale in space rather than science-fiction, and Star Trek’s universally humanist message sugarcoated all the tech talk I didn’t quite understand.

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I’ll be in my trailer… watching trailers: Going Places

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.

While some of us at A Damn Fine Cup of Culture are sci-fi fans, others are a bit more ambivalent about the genre. Yes, Mege, we’re looking at you. Though even then, there are cracks in his sci-fi sceptical shell: and one of these, surprisingly, is the 2000 Don Bluth animation Titan A.E. Remember that one?

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A Damn Fine Cup of Culture Podcast #54: Movie Geography – Our Home Towns on Film

Ever watch a film made in a place you know very well, only to find that the movie’s geography doesn’t make any sense: that street does not lead to that bridge, and how would you get from this church to that square – which isn’t even in the same city? Join Sam, Julie and Alan as they discuss three films – Dick Maas’ serial killer schlockfest Amsterdamned (1988), Michelangelo Antonioni’s London-based mystery thriller Blowup (1966) and the Bern-based scenes in On Her Majesty’s Secret Service (1969), the sixth Bond adventure – that were filmed in their metaphorical back yards. What kind of expectations, experiences and disappointments come with seeing your home town on the big screen? And what’s the relationship between real geography and movie geography?

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Six Damn Fine Degrees #68: The trouble with Sci-Fi

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!

To quote Harrison Ford: it took me a long, long, long, long, LONG time to warm up to sci-fi.

You travel through space and time and end up with what is supposed to be an exciting new planet with an unknown species – played by clearly human actors standing around in what looks like – oh, I dunno, the Moroccan desert? Yes, I know, there is a limit to every budget, but sci-fi has such promise to dazzle me with something I have never ever seen before, only to disappoint me with the constraints of movie-making and its financial limits. If you want me to follow you to a place where no man has gone before, make sure the make-up department isn’t already there before us, setting up their trailer. Needless to say, I was never a Trekkie and never understood the exuberance of the operatic derring-do of something like Star Wars. To me, A New Hope looked like fun, but it was essentially a western set in space. It was all too familiar because most things and places and beings looked… too close to home. Not strange enough.

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