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.
Matt is inching ever closer to completing his epic journey through the works of Ingmar Bergman. This week he wrote about the lesser-known Brink of Life– but, he argues, it definitely deserves more recognition than it has received to date. That lack of recognition is reflected by a lack of a trailer – unless we search further afield and find this video advertising a Hungarian stage adaptation of the film from 2011.
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.
If there ever was a prime example of positive thinking gone awry, it has to be Tim Burton’s interpretation of Edward D. Wood Jr.
A filmmaker in the 50’s, an era of highly localized and diversified cinema where there was still a space for worse-than-B grade films, the real Ed Wood’s two best known films are Glen or Glenda and Plan 9 from Outer Space. He is most noted for being voted the worst director of all time, posthumously, in 1980. It is clear he wanted to make extraordinary movies, but lacked everything, from money to quality control to, well, competence. But they do have… personality.
Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!
I am entirely the wrong person to write this entry. It should be Julie. It should be anyone other than me, really. Because I’ve tried, I really have. I went and got the Universal Monster Box set of Blu-rays. I don’t have any problems with black and white. I don’t mind melodrama or cheese. Horror doesn’t have to be gory for me. Vampires haven’t altogether lost their glitter, as far as I’m concerned.
It’s been a while since I really liked a Tim Burton movie. Sleepy Hollow looked great, but I felt that the romantic subplot between Johnny Depp and Christina Ricci was tacked on, and largely as a result the film felt mean-spirited to me. Mars Attacks! was half an hour of great over-the-top black comedy padded to an indecent extent with boring SFX bits and cameos. Planet of the Apes was, well, Planet of the Apes. Big Fish annoyed me more than most movies I’ve seen in the past few years; it was aggressively sentimental and the old guy simply angered me with his chronic need to be the centre of attention. (If I’d been the Billy Crudup character, I would have suffocated Daddy Dearest with a pillow ten minutes into the movie.) Corpse Bride was okay and nicely done, but it was no Nightmare before Christmas – the characters were flatter, the music less memorable, and the bits that were best felt like rehashed bits of Halloween Town.
As I wrote recently, I enjoyed Charlie and the Chocolate Factory quite a bit, but it’s not the sort of film that I’d need to see more than once. All in all, I wasn’t sure what to expect of Sweeney Todd, since I’d heard mixed things. I’m not the greatest fan of musicals (even though I keep finding myself wanting to rewatch “Once More, With Feelings”), and I wasn’t sure whether anything new or interesting would come out of Tim Burton working with Johnny Depp and Helena Bonham Carter yet again.
We sat in the very front row at the cinema, since all the other seats were already taken. Not the best starting point for an enjoyable evening at the cinema (and I’d rather not tell you about the Mexican restaurant beforehand… I may very well have woken tonight, screaming the lyrics of that horrible Latin-y Happy Birthday song they played at top volume).
I think I was riveted about two minutes into the film. Like Sleepy Hollow, the atmosphere was great – the film was one of those that you should be able to frame and hang on the wall. But unlike that throat-wounding movie, this one had better writing and, accordingly, better, more believable characters. While the film was visibly artificial, it didn’t feel fake like many of Burton’s worlds tend to do. And the emotions on the screen felt more… well, more grown up, for want of a better term. There’s something very child-like (sometimes indeed childish) to many of Burton’s works, and in the case of Edward Scissorhands and Ed Wood it works quite well, but it was getting tired and stale. By comparison, this film felt like Jacobean revenge tragedy – bloody, passionate, alive and raw.
P.S.: It’s a shame that Anthony Head (yes, I squeaked “It’s Giles!” at the cinema) didn’t get to do more on screen. Apparently he recorded some songs, but they didn’t make it into the final version of the film.
P.P.S.: For the first time, in this movie I saw why some people think Neil Gaiman and Alan Rickman look alike. When the latter doesn’t do his patented “Where are ze fucking detonators?” sneer, he does look and even sound a bit like Mr. Sandman.