I’ll be in my trailer… watching trailers: Hungover cops can’t jump

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.

1994 saw a great disturbance in computer games, as if thousands of geeks suddenly cried out in disappointment and then fell silent – most likely because their Avatar had just failed to successfully jump from one small rock to another. Back then, reloading a save game wasn’t just a matter of seconds: it was a commitment, and the more time you’d already sunk into a game like Ultima VIII, the less likely you were to stop playing, especially if you’d paid close to a hundred dollars, and doubly so if you were a fan of the Ultima series of computer role-playing games. This week, Eric wrote about his memories of his first big computer game disappointment, and it is a pain that many fellow geeks felt at the time.

This was before computer games received trailers, so instead, let’s start this week’s post with the trailer issued for its sequel, and the final single-player Ultima game – which (wait for it) turned out to be even worse in some ways. But hey, at least it wasn’t quite as much of an active exercise in masochism!

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A Damn Fine Cup of Culture Podcast #43: Meanwhile, the war was happening elsewhere…

As Edwin Starr asked in 1970: “War, huh, yeah! What is it good for?” Hollywood has known the answer to that one for a long time – war makes for very lucrative movies. From the trenches of the First World War to the urban combat of the Iraq War, there are many, many movies ready to show us combat, heroism, excitement and horror – more often than not veering close to, or outright crossing into, propaganda. The genre of war movies – even if we could spend many podcast episodes just trying to find a useful definition of what exactly makes a war movie – is often used to make a statement about one thing or another: nation and patriotism, masculinity, class, ideology. While we talk about all of these things with our guest Laura Binz, we look at an atypical example of a war movie (and one that Roger Ebert famously walked out of): the Italian film Mediterraneo (1991) by director Gabriele Salvatores, which won the Academy Award for Best Foreign Language Film in 1992. Is there such a thing as a war movie when the war only takes place far, far away?

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