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, our Six Damn Fine Degrees took us to a concert by The Cure. Which doesn’t exactly lend itself to trailers… unless we stretch things a bit, which is entirely in keeping with Six Damn Fine Degrees. So, please enjoy this trailer for the psychological horror film Cure by Kiyoshi Kurosawa. And when I say “enjoy”, what I really mean is “please be majorly freaked out by”.
Is there anything more terrifying, more capable of evoking fear, than the one-syllable word? Obviously yes – but it is still noteworthy how many recent horror films have gone for a monosyllabic title (which suggests that A24 may have a limited contingent of syllables to make up their titles). In our latest podcast, Alan is joined by Julie and Sam to talk about three recent horror films whose titles fit into a single syllable: Julie has brought along Alex Garland’s folk horror Men, while Alan has picked Jordan Peele’s sci-fi monster movie Nope, and Sam chose the latest Scream, a meta extravaganza directed by Matt Bettinelli-Olpin and Tyler Gillett calling itself a requel (now there’s the true horror!). What do our cultural baristas think of these three examples of modern horror movies? And just what makes monosyllabic titles so much more scary? Tune in to hear our answers – okay, perhaps not to that last question – in our December episode. Warning: May contain multisyllabic words!
P.S.: We had some technical issues when recording this episode and apologise for the variable audio quality… though it does make the podcast that much more scary, doesn’t it?
Men & Chicken is a bit of a letdown. It has good things in it, but on the whole, it’s not as good as Adam’s Apples, the 2005 film by the same Danish director Anders Thomas Jensen. I had high hopes for this one: it is the fourth collaboration between Jensen and Mads Mikkelsen. Jensen also has written the brilliant After the Wedding, Wilbur Wants to Kill Himself (both movies also starring Mikkelsen, but not directed by Jensen), and Red Road. Continue reading →