Teased as being a revolutionary take on Tolstoy's classic novel of forbidden love, Joe Wright's return to highbrow literary adaptations looks as (if not more) gorgeous as his previous films (we'll pretend The Soloist didn't happen). Wright's last outing was the deliciously strange Hanna (2011), a successful deviation that benefited from his lush style. Now that he's back in his comfort zone, expectations will likely be higher, considering both the source material and the execution. Using a series of sound stages, the fill will allow for unique transitions between and among locations, with doors opening out onto fields, trains running through the set, and more. Rumors indicate that the execution is both more and less avant garde than previously stated, but overall, Wright's Anna looks like a truly sumptuous and dazzling film. In addition to Keira Knightley and Jude Law, the film boasts a stellar supporting cast, including Emily Watson, Matthew Macfadyen (from Wright's Pride and Prejudice), and Olivia Williams. The British accents seem a little odd, considering the story's purely Russian identity, although perhaps it's for the best, considering that a film full of poorly executed Russian accents would be even more off-putting. Still, this minor quibble aside, Anna Karenina looks like an energetic and lush period film with the added benefit of its unconventional setting(s). The only question left is, "how many tracking shots will Wright manage to sneak in this time?"
For a while (as in, before my Prometheus review) now, I've meant to do quick write-ups of a slew of new trailers for some BIG films for 2012. Obviously, I haven't so now it's catch up time. Most of these have been out for two weeks or more, but they're all interesting films, and I'm not going to miss a chance to needlessly scrutinize promotional material (I also need to get around to doing a Month in Review for May and April...or just combine it with June...ehhhhhhh).
007: Skyfall dir. Sam Mendes
Set for release in November, James Bond finally returns, and it looks like the wait (prolonged by MGM's bankruptcy) will be worth it. What vague plot details exist are intriguing (something about M's past coming back and attacking MI6), and the presence of Mendes in the director's chair is certainly interesting. This looks like a continuation of the grittier tone that has taken over the franchise since Casino Royale, albeit with a bit more polish (thanks, Roger Deakins!!). Granted, it's a rather limited teaser, but this promises to be a return to form for Bond after the decent, but at times dull previous outing, 2008's Quantum of Solace. The structure is nice too, starting off with the world's most solemn word association game before unleashing a quick mash-up of high octane action at the end.
Grade: B
The Great Gatsby dir. Baz Luhrmann Gatsby isn't the sort of novel that necessarily screams cinematic, but Baz Luhrmann's brand of crazy might just be the key to pulling it off. That, or this big budget, 3D adaptation will be a special sort of disaster. Either way, it at least looks like there's a great deal of energy on screen, and I look forward to Luhrmann bringing his Moulin Rouge instincts to the big, brash (but ultimately, empty) parties that defined the Roaring Twenties...at least for the rich guys. DiCaprio, Mulligan, and Joel Edgerton seem well-cast, and of course it looks gorgeous (Catherine Martin really is a gift to costume and set design), and even the 3D looks like it might be implemented to decent effect. The one question mark (aside from the iffy music choice in the second half) is Tobey Maguire as Nick Carraway. Yes, the role is supposed to be a little on the blank side, but Maguire seems like he might turn out to be too blank. Still, even Maguire can't make this any worse than that Robert Redford adaptation from the 70s...right?
Grade: B-
Les Miserables dir. Tom Hooper Even though I had a feeling that Tom Hooper's adaptation of the popular musical Les Miserables would be on the gritty side, I have to admit I was slightly caught off guard the first time I watched this. And while I'm still not sold on a handful of shots - some look a little too much like the film is desperately trying to be gritty/cinema verite - overall I'm sold on this. Hooper isn't a director known for being a stylistically or thematically daring auteur, but his sensibilities should lend themselves well to the material. The cast all seem to fit right in, though of course the trailer basically belongs to Anne Hathaway's rendition of "I Dreamed a Dream." Her singing has a rough quality to it that, while not immediately pleasurable in the way a standard Broadway belter's voice might be, works. The cast could all be belting out flawless, bold performances of the songs, but that would be for naught if the acting didn't come through. So even though the film, which had its cast sing live on camera, won't have the most polished feel, if it all works (or mostly works) then the songs will work as vehicles for the performers to act through. When you have the capabilities of the big screen (AKA: close-ups), belting to make sure everyone can hear you is no longer a necessity. It's the emotion that's more important, and that seems to be what Hooper is focusing on, which is good, because the man is good with actors. It may keep the film's soundtrack from being in endless rotation on someone's iPod, but it will likely serve the film as a whole better. Also: Anne Hathaway and Hugh Jackman singing on screen together? Yes, please (remember their Oscar duet?).
Grade: B+
The Bourne Legacy dir. Tony Gilroy Paul Greengrass may no longer be directing, but the presence of series scribe Tony Gilroy leaves little reason to fret. The style seems consistent with the previous Bourne films, and the trailer does a smart job of introducing the new protagonist (Jeremy Renner's Aaron Cross), while also showing how his story fits into the world and timeline of the initial trilogy. Renner is more than up to the task of being a leading man in a (hopefully) smart action-thriller, so it's good to see him finally get the chance, especially after being wasted in The Avengers. Add in the return of Joan Allen and David Strathairn, along with new roles filled out by Edward Norton and Rachel Weisz, and you have what looks like a good film to liven up the summer season as it enters its usually dire final month (August).
Grade: B+
The Master dir. Paul Thomas Anderson The Master marks Anderson's first film since 2007's There Will be Blood, and if this first, Phoenix-centric teaser is any indication, the wait is going to be worth. The simple music, coupled with lots of suggestion create a sense of subtle tension even though we have no idea what exactly is going on. And even though the teaser runs less than two minutes, I can't deny that Joaquin Phoenix looks pretty damn mesmerizing here. The way he holds his face, and the bemused detachment in his voice suggest a figure who is dangerously close to breaking, yet you don't know exactly what said break would lead to. Add in cast mates like Philip Seymour Hoffman and Amy Adams, and those rumors that the script's story has parallels to the founding of Scientology, and you have a runaway candidate for the year's best piece of marketing (sorry, Prometheus).
Grade: A
Django Unchained dir. Quentin Tarantino Though it's still shooting, losing and gaining cast members left and right, Tarantino's Django Unchained managed to put out a trailer. The director's films have always had touches of spaghetti western films in their DNA, even as they tackled wildly different genres, so it's interesting to see Tarantino finally tackle the root of his style. The cast seems like they're having a ball (nice to see DiCaprio loosen up a little on screen), and some of the shots are great (the blood spraying on the cotton is fantastic). However, it seems to run a little long without building to much. Of course, it's just a preview, but it seems to lack the precision of the others listed here (yes, even Gatsby). Tarantino's always worth checking out, though, and I'm excited to see what he does with the material, particularly the issues regarding slavery and racism. It will also be interesting to see how Tarantino fares without longtime editor Sally Menke, who sadly passed away in late 2010. Menke had a way of matching Tarantino's rhythms that probably helped define them, which means there's quite a bit of pressure on Django's editor, the sort of pressure that could make or break the film.
For a few weeks about a year ago, set photos of The Gangster Squad, Ruben Fleischer's follow-up to Zombieland (yay!) and 30 Minutes or Less (...um) lit up the Internet with glimpses of cast members Ryan Gosling, Emma Stone, and Josh Brolin in costume. Yet nothing about those initial pictures indicated anything close to the look that the finished product appears to have, which certainly adds an element of surprise to Fleischer's next project. Based on Paul Lieberman's novel, the film chronicles the LAPD's fight to keep east coast mob members from claiming territory on the west coast. Incredibly stylized, Squad at least has a capable (if not terribly proven) director who has proven he can deeply immerse himself in a genre, and a really strong cast. All the same, there's a certain spark missing that would otherwise make this look like a must see, in spite of those involved. With John Hillcoat's Lawless already set to hit in August, Squad could come off as redundant. At the very least, Gosling's presence is a plus, not only because of his talent, but also because he has an eye for good projects, which many actors near or at his level lack, leading to less consistent filmographies. Hopefully he's right on the money here, and this isn't a rare misstep for him (and everyone else). And let's hope the marketing team re-cuts this trailer with a better choice of background music. It's a movie with machine guns, you don't need modern music to somehow 'connect with' modern audiences.
Christopher Nolan's conclusion to his Batman trilogy has been laying low since the second trailer. That is, until a few days ago, when the marketing campaign returned with an epic vengeance. Showcasing tons of new footage (and characters, namely Catwoman and Joseph Gordon-Levitt's cop), and filled with a sense of impending tragedy, The Dark KnightRises looks to end things on a bit of a bum note. But what an epic bum note it promises to be. Disregarding the brief moment of fun at the end (Holy flying tank car, Batman!), this looks like the polar opposite of The Avengers, a super hero film that strays on the light side and is winning tons of praise. Look for Nolan and company to give us the perfect antidote. Yes, Heath Ledger's Joker may still be burned into our memories, but that doesn't mean that The Dark Knight Rises can't be as good (or better) than its predecessor.
Trailer Grade: A-
If The Dark Knight Rises is the polar opposite of The Avengers, then Marc Webb's The Amazing Spiderman looks like the halfway point between the two (appropriate, then, that it arrives in theaters after Avengers and before 'Rises'). I've had trouble warming up to Webb's reboot, but this latest trailer has finally won me over. Andrew Garfield's Spiderman looks, thankfully, like a completely different take on the character, which should help lend the film a stronger sense of identity so as to separate itself from Sam Raimi's trilogy. The cast looks to be in fine form, and unlike previous trailers, the action scenes really seem to have some punch to them now. I still wish that this wasn't an origin story (which the marketing campaign seems to be avoiding/hiding), but I can finally say that I'm excited to see what Webb (who previously directed (500) Days of Summer) has come up with, considering the last Spiderman film hit theaters only 5 years ago.
No plot, no characters, just images. These sorts of films don't come around often, but when they do, they can be one-of-a-kind wonders, as looks to be the case with Samsara. I haven't seen Ron Fricke's previous film (Baraka), but I have seen his work as a cinematographer on Godfrey Reggio's masterful Koyaanisqatsi (1982), one of my all-time favorites. Fricke knows how to capture the vast beauty of untamed nature and rampant human development, and it looks like his gift is on full display here. What also interests me is the theme. Similar character and plot-free films have used the nature vs. industrialized world device before, but Fricke's seems to have a positive, unitive goal in mind. The theme can be found in the title, which is Tibetan for "the ever-turning wheel of life." If the visuals and music of the trailer are any indication, Fricke's latest may just succeed at what it wants to capture. Considering that it involved five years of shooting across 25 countries, I'd say its odds are looking pretty good. Let's just hope this receives strong enough distribution, as it looks like it deserves to be seen on the big screen, what with it being shot on 70mm film (when was the last time a trailer actually advertised its own medium?).
Now that the Cannes Film Festival lineup for 2012 has been unveiled, the countdown begins to see which competition entries will release trailers and clips first. Near the front of the pack is John Hillcoat's Lawless (formerly known as The Wettest County until Terrence Malick gave up the title from his forthcoming film), which looks like a shot of gangster-ized adrenaline.
With a stellar cast (...and Shia LaBeouf) and a fun setting/subject matter (Depression Era bootleggers), Lawless always held a lot of appeal for me. What really caught my eye, however, was director John Hillcoat, whose two previous films (The Road and The Proposition) were simultaneously elegant and brutal. So, knowing Hillcoat's previous work, I thought I had an idea of how Lawless would look and feel. If the trailer is indication, I'm completely wrong. Lawless looks both talky and fast paced, and marks a major departure from the director's previous work. Granted, part of being an artist is the chance to explore new styles, but I can't help feel that some of Lawless looks a little ordinary, and that we're losing a chance to see what his previous style could have had on this sort of story. Granted, the cast looks to be in fine form, and Gary Oldman and Guy Pearce look like excellent villains, but as much as there is to like here, I can't help but feel that we might be headed for something of a missed opportunity.
Though not set for release until June 22, Sony has finally rolled out a first look at Woody Allen's follow-up to Midnight in Paris, which became the director's biggest financial success and earned him another writing Oscar. Allen's track record seems to go one hit, then one or two misses, which doesn't bode well for To Rome with Love, though that's hardly concrete evidence to go on. I'd love for Allen's love letter to Italy, which features three separate narratives, to be his second successive success for any number of reasons. First, it's the first time in a while that Allen has appeared on screen in addition to writing and directing. Second, the cast is wonderful, and the three narratives should keep things lively. Allen has quite the cast assembled (as per usual), and the material here looks both engaging and funny (Judy Davis' jab at Allen's IQ and his line about the family of his daughter's boyfriend are gold). I don't like that so much of the Baldwin-Eisenberg-Page-Gerwig segment is spoiled while the other two segments reveal less, but hopefully there are still some surprises left over. Surprise worked well for Midnight in Paris, which teased none of its time travel in the trailer, so here's hoping there's something else to the triptych of stories than the obvious.
To offset the dreary early spring season (at the cinemas at least), Hollywood has really been doling out the goods when it comes to promotional material for the summer's major aspiring blockbusters. The latest, and one of the best (though not quite as great as yesterday's masterful Prometheus trailer) is the theatrical trailer for Rupert Sanders' Snow White and the Huntsman. One of two Snow White projects being released this year (the other being this month's iffy-looking Mirror Mirror), Huntsman may lack a notable director at its helm (Mirror has Tarsem Singh), but it looks like it will be a vastly superior film. Tarsem Singh is known for having such stunning visuals in his films, so it's slightly awkward to see that Sanders' film, a grittier, more Game of Thrones-like take on the story, creates much more of an impression with its images. The richer, dark look looks extremely convincing, and gives the sense that this film has the stuff to launch a small franchise (which is Universal's hope). Throw in a wonderfully cast Charlize Theron, and all in all this looks like a winner.
My only reservation is that the story ultimately rests on Kristen Stewart's shoulders, despite the fact that the marketing has leaned so heavily on Theron. She's a capable actress, but her work in the Twilight series seems to have somewhat stunted her abilities. Let's just hope that Sanders (making his debut) and Stewart's cast mates can help bring out the best in her. To an extent, the movie really depends on that happening. Otherwise, this looks like a grand slice of big-budget fantasy filmmaking, with enough of its own look to not feel derivative (although that hulking creature with the horns does feel like it belongs in a Guillero Del Toro film; kudos for taking inspiration from a master, though). Also, that crazy sequence with Charlize flying around the room in the form of a million little knives (glass shards?) is outstanding. Consider my ticket bought.
Side Note: Kudos to Charlize Theron, who has this opening 1 week before Prometheus, in which she also stars.
It may be unconventional (and inexcusably nerdy), but I think this may be my favorite thing to happen on St. Patrick's Day this year: the release of a brand new IMAX trailer for Ridley Scott's Prometheus, which is doing its best to not get mistaken for an Alien prequel...even though it might be one anyway. The trailer keeps the suspense up without giving up an ounce a plot, which I really love, especially seeing as we're in an age where big-budget films spoil 2/3s of the film in their promotional material. The production design and VFX look outstanding, and the cast is, as I've said before, loaded with charisma and talent. There may be no Sigourney Weaver among this group to grab a surprise Oscar nomination, but at the very least we can rest easy that this blockbuster material will be played out by actors with range and depth, and that's always comforting. Ridley Scott has certainly had his ups and downs over the past decades, but his return to sci-fi continues to look extraordinarily promising.
Trailer Grade: A
And now, just a day later, we have a full-blown theatrical trailer. This is the first time that any proper sense of plot has been revealed, and yet still, Prometheus remains shrouded in mystery, and the marketing team deserves high praise for it. There's enough here to let people in who want a taste of the plot, but no hints toward the actual progression of events (other than the crew landing and discovering things aren't as they seem). And despite how high the bar was set with the film's teaser trailer and IMAX trailer (the one above), the marketing team has truly outdone themselves here, giving us an incredibly intense look at a richly conceived and gorgeously rendered sci-fi world. Clearly the film relies heavily on VFX work, yet it all looks so beautiful and textured that it lacks that plastic, weightless feel that plagues so many overblown summer spectacles. Look out, Christopher Nolan; The Dark Knight Rises officially has its biggest competition (at least in terms of likely quality, if not box office) of the summer. Welcome back, Ridley Scott.
Despite being in a state of completion for quite some time, Tim Burton's Dark Shadows, an adaptation of the famous cult TV series has been kept, well, in the shadows. Until recently, only a handful of production still have emerged, with nary a poster or trailer in sight until last night. It might seem like a bad sign, considering that the film opens just under two months from now (May 11th), but to an extent it makes sense. May marks the high-gear kickoff to summer blockbuster season, and May 2012 looks pretty stacked with big, more widely appealing films, namely Marvel's The Avengers. So, in a sense, Warner Bros. is playing it smart by aiming for a short, powerful burst of marketing right before the film's release, so they don't end up spending a bunch of money on a film that, on paper, shouldn't provide much financial competition against the likes of Marvel's super-hero orgy.
Thankfully, the trailer actually seems pretty promising, though I do have a handful of reservations. I've never seen any of the show, so I can't judge whether or not Burton's darkly farcical tone clashes with the show or not. Still, said darkly farcical tone is right up Burton's alley, and Dark Shadows looks like an opportunity for the director to make something in the vein of Beetlejuice, which certainly wouldn't be a bad thing. I'm not sure most of the jokes are supposed to be gutbustingly funny, but I thoroughly enjoyed the laughs that the trailer showcased, particularly the bits with Eva Green, who looks like she's having an absolute blast as the film's villain. And, as per any Burton film, the production values look marvelous, and the generally higher amount of on-location and/or studio set-photography is a welcome change of pace after the nauseating CGI mess that was Alice in Wonderland.
All the same, there are a few shots in here that feature a sort of cheap, weightless-looking VFX look that contrasts with how nicely filled out and tangible the other sets come off. I'm hoping that these scenes are only a brief portion of the film's runtime, and that they're merely vestiges of Burton's work on Alice, because the man really does know how to work with his creative departments to create wonderfully textured worlds.
As for the cast, apart from Green and Helena Bonham Carter, I am a little worried about some of the other players, including, unfortunately, Johnny Depp. Burton and Depp have a great history together, but lately they've been slipping, to the point where I think it might be time for Burton to find another male muse (Bonham Carter is more than welcome to stay as his female muse, however). I'm also a little nervous about Michelle Pfeiffer, because her role seems a little too straightforward and stiff. The above-mentioned actors are all gifted at stylized performances, and it's unsettling that some might be getting past their prime and doing the same old thing (Depp), or not being properly utilized (Pfeiffer).
Finally, there's the plot. Frankly, I'm not expecting anything revolutionary, though I'm sure there will be fun in seeing Depp's Barnabas try to figure out the world of the 70s. What worries me more is whether the genre trappings and tone will elevate the "save the family business!" story line, or whether said story line will drag down the genre elements. I'm crossing my fingers for the former. Either way, though, I'll still be there first in line on May 11th, since it's been too long since Burton's last film, Sweeney Todd (now that this trailer is out, I'm going to start pretending that Alice never happened). And if this doesn't work, I suppose there's always Frankenweenie later this year.
I don't remember whether or not Walter Salles' On the Road, an adaptation of the classic Jack Kerouac novel, was stuck in development hell, or was simply announced long before it even began casting. Regardless, the long-gestating (?) project has been completed for a while now, and at last we have our first look at some footage. I have to confess, I've been meaning to read Kerouac's novel for the past few years, but have yet to get around to it, so I can't really comment on whether or not the casting choices seem appropriate. What I can say, however, is that the talented that Walles enlisted gives me a lot of hope. First is Walles himself, who directed the wonderful The Motorcycle Diaries (2004). That too was something of a self-discovery road-trip film, so On the Road should be right up the director's alley.
The cast isn't too shabby either. Garrett Hedlund is an appealing, charismatic actor, and Sam Riley has already proven that he's capable of top flight work (2007's excellent Control). The supporting cast is filled with excellent actors, including Viggo Mortensen, Amy Adams, Kirsten Dunst, and Mad Men's Elisabeth Moss. There's also Kristen Stewart, in what appears to be the third major role. Stewart is certainly capable of delivering a solid performance (Adventureland), but unlike a great deal of the cast, she has yet to develop a consistency to her work. This makes her the film's wild card, which could prove to help the film a lot...or hinder it. On the Road, though slated for 2012, doesn't have a specific release date set for US theaters, so it will likely be a while before we get an answer. Maybe they'll even take long enough so that I can get my act together and actually read the damn book.
Aside from the fact that I'll watch just about anything with Guy Pearce, this new piece of viral marketing from Ridley Scott's Prometheus has sent my interest skyrocketing. Granted, this sort of set up - the overly ambitious corporation that stumbles upon something dangerous - has been used in plenty of sci-fi films before. Still, those other sci-fi films didn't have Alien helmer Ridley Scott sitting in the director's chair. According to Scott, Prometheus is not an official prequel to the Alien film series, though other interviews have suggested loose ties in the film's final act. Either way, Scott's return to sci-fi is reason for plenty of excitement. In the aftermath of the Transformers films, it will be nice to have a (hopefully) adult and intelligent slice of sci-fi horror/thriller to liven up the summer.
Grade: B+
Frankenweenie:
For Tim Burton, 2012 is 2005 all over again. In addition to a star-studded live action effort (May's Dark Shadows), the director also has another stop motion film ready for release that instantly evokes the style he first exhibited in The Nightmare Before Christmas. The premise is simple, but if anyone can deliver on the execution, it's Burton (love that Bride of Frankenstein gag with the poodle). In a year where Pixar will likely return to dominance (Brave), Frankenweenie, a full length adaptation of an old Burton short film, could provide a quirky rival, and possibly earn the director an Oscar (at last). If only they could cut that mention of Alice in Wonderland from the trailer. Burton has directed so many wonderful films, and it's a shame that the marketing team is trying to lure audiences in by name-dropping his worst (as well as his most profitable) film.
Grade: B
The Avengers (#2):
Come May 4th, the buildup to The Avengers (which began with 2008's Iron Man) will finally be complete. While I haven't been crazy about some of the individual films leading up to this Joss Whedon-directed effort (Thor in particular), this looks like it will deliver the fun, glitzy popcorn goods in spades. The only thing that's worrisome at this point is whether or not all of the different stars involved will click as an ensemble. Considering the big four (Iron Man, Thor, the Hulk, and Captain America) are all leads in their respective franchises, The Avengers' biggest hurdle will be whether or not it can balance the various personalities without shortchanging one (or more). And even though Joss Whedon's name inspires confidence, that metal behemoth at the end is eerily close to something out of Michael Bay's Transformers universe.
When Sony first announced that it would scrap Spiderman 4 in favor of a series reboot, I thought it was one of the dumbest big studio decisions in quite some time. Spiderman 3 wasn't exactly, er, good, but it wasn't bad enough to kill the Raimi-helmed franchise. Sony continued with the plan, and after months of on-set photos and a brief teaser (featuring some bizarre first person footage), a proper trailer has arrived, and it's pretty solid all around. I have to admit, I really like this more sarcastic, humorous Peter Parker/Spiderman; not all heroes need to brood and sulk in existential crisis 24/7. And as much as I love this cast and the inclusion of the Lizard (Rhys Ifans) as a villain, there's a certain punch that's missing from the action shots. Part of this is likely due to the fact that the film is still in post-production, where additional sound mixing and VFX work will be done. Even so, what we're given here looks like more of the same, and still brings up that initial question: why do we need to start this story over, despite the different characters? While I'm glad that the trailer doesn't focus on the origin story part of the film, part of the result is that one simply wishes that Raimi had been given the chance to make another good Spidey film, one free of the studio meddling that sank Spiderman 3 (critically/fan-wise, at least).
Trailer Grade: B
Also being given a major make over: the Bourne franchise. No, Jeremy Renner isn't the new Jason Bourne, but his character - Aaron Cross - is part of the same story. In fact, many characters, including those played by Albert Finney, David Strathairn, and Joan Allen, are all back along with new faces like Edward Norton and Rachel Weisz. Though the trailer itself doesn't have as much footage, I like how this one pulls out its reveal gradually, and builds an intriguing set up: Jason Bourne's story was only the beginning. So even though Damon and director Paul Greengrass are gone, the smart and talented Tony Gilroy (who wrote the first three Bourne films along with writing and directing Michael Clayton) is a comforting replacement in the director's chair. Renner is another plus, a strong actor who can be the character actor or the leading man (or both), as well as a convincing thinking man's action hero.
Even though we're still dealing with awards season craziness, it's never too soon to start looking past the acceptance speeches and trophies, and into what cinema holds in store for us in the new year. Over the past two weeks, three trailers have emerged for three very big potential blockbusters. One is a sequel, while the other two are prequels (more or less). And all three have one thing in common: insanely high expectations.
When your previous film develops rabid fanboys, becomes a massive box office success, and scores an actor an Oscar, all while being a super hero movie, the next installment is under scrutiny from day one. That's certainly been the case with Christopher Nolan's The Dark Knight Rises, the director's final contribution to Batman's cinematic legacy. Everything has been picked apart, and concerns have been raised regarding everything from casting to costume choices. With the release of the first full trailer, however, Nolan's latest is finally putting some (or at least, my) worries to rest. The trailer covers quite a lot thematically without spelling out the specific direction of the plot. It also gives us some nice looks at Tom Hardy as Bane, and Anne Hathaway as Selina Kyle/Catwoman, who shakes off her rom-com personality to inject a surprising amount of menace. The actions scenes look intense, and the idea of Gotham actually falling into chaos (a fulfillment of the Arkham breakout in Batman Begins) looks like an interesting way to bring Nolan's trilogy full-circle. Oh, and the creepy chanting that plays over the last half of the footage? Perfection.
Trailer Grade: A-
Next we have Prometheus, Ridley Scott's long-gestating prequel-but-it-sort-of-isn't to Alien. Boasting a stellar ensemble, the film's entire look is fantastic, and I can't wait to see more footage. We need another well made, big budget sci-fi flick to counterbalance the likes of Transformers. That eerie, monolithic face statue, as well as that strange crescent structure are enough to get me hooked from a visual standpoint. Even more interesting will be to see the creation footage that Scott and crew were reportedly filming in Iceland. On a nerdier note, it will be interesting to see how the film plays off of its mythically based title. Given the film's tag line, it's probably meant to be a rather dark variation. Scott has been a bit of a slump that past few years, but here's hoping that a return to sci-fi will help him return to his best. Love that gradual reveal of the title too.
Trailer Grade: B+
Finally, we come to the most troubled of the three: Peter Jackson's The Hobbit: An Unexpected Journey. The first of two films covering the novel (part two hits in 2013), the film has struggled to move ahead with production. Guillermo Del Toro was originally set to direct, before financial and legal issues delayed the start of shooting so much that he bailed. Jackson is back in the chair, which is reasurring that at least it will be the exact same vision as before. Let's just hope it doesn't end up feeling, stale, though. The footage is relatively simple, not showing anything epic, and focusing more on the characters and the lighter nature of the narrative. A lot of the footage still needs to be color-graded, but overall I'm very hopeful that the long-delayed return to Middle Earth will be worth it. The film is being shot on cutting-edge technology at the highest frame rate ever for a major motion picture. How this will affect the film, for better or for worse, remains to be seen, but at the very least it will help the film feel slightly different. Now if only we can get around to seeing some footage of Smaug...
Confession time: I really wasn't a big fan of Yasmina Reza's God of Carnage, a play that that earned raves on Broadway and won Tony Awards for Best Play, Best Actress (Marcia Gay Harden) and Best Actor (James Gandolfini). It's essentially a bottle story, where two couples try and sort out a fight that happened between their children on a playground. The premise is rife with possibilities for explosive drama and comedy, but Reza's script (originally in French) always felt like it lost something in translation. I laughed at the production I saw (which had the second run of cast members, including Christine Lahti and Jimmy Smitts), but I always felt like I was straining. Some exchanges and quips were funny, but they also came off as hollow and unsatisfying. Throw in that ridiculous vomit gag, and I wasn't exactly impressed.
And even though I have hope that Roman Polanski and his amazing cast will be able to create a more satisfying end result, the trailer hasn't boosted my hopes much. Foster, Waltz, and Winslet seem like they're trying their hardest, while poor John C. Reilly is stuck with the story's weakest role. All that Polanski has done, if this trailer is any indication, is give us exactly the same product but with close-ups and more detailed sets. Whatever mix of intensity and pitch-black comedy the footage is trying to get across isn't really coming through. Instead, this looks all too much like the play: an attempt to subvert middle class personalities that isn't nearly as smart or incisive as it wants us to believe.
It certainly took them long enough, but the marketing team for Tarsem Singh's Immortals has finally created a halfway decent trailer for the upcoming mythology epic. Many of the scenes and shots have been shown before, but there are just a few flashes of new footage that show the detail of Tarsem's vision. The massive CGI landscapes may be uninspiring, but the smaller sets and costume design are actually starting to pop out from all of the gold and brown flooded images. If I have to make one complaint, though, it's the accents. I know that the 'use British accents for everything foreign that isn't continental European' rule has been around for a long time, but having the ancient Greeks sounding like good old English lads is going to be a distraction. Granted, I doubt this will come close to topping the unbearable awkwardness of the British, Irish, and Russian (Transylvanian?) accents that pervaded Oliver Stone's Alexander (2004), but it's still something that could prove a distraction.
One of my most anticipated of the year, if for its leading lady alone, is Lynne Ramsay's We Need to Talk About Kevin, based on Lionel Shriver's novel of the same name. While the subject matter may be, er, unpleasant (troubled kid goes on Columbine-esque rampage), the cast's credentials are certainly a draw. The film also picked up very strong reviews at Cannes, and the film's US release of December 2nd (limited) indicates that its distributors plan on pushing this one for the Oscar race. Swinton has yet to receive a second nomination since her first, for which she won, in 2007. She's been passed up completely for two recent acclaimed performances (Julia and I am Love), but this could be her chance to return to the Oscars as a nominee, which feels long overdue, considering the excellent work she's done both before and after her surprise Oscar triumph 4 years ago.
One of the big surprises out of this year's Cannes Film Festival was Nicolas Winding-Refn's Drive, which not only earned strong reviews, but also a Best Director prize. Refn's work must really be something, because neither the reviews nor the trailer made the film sounds like something that would ever be up the alley of a Cannes jury. Regardless, this looks like a lean, tough, and stylish action thriller, with an incredible cast, and I get the feeling that this trailer hasn't even begun to show us the best parts of the movie. This looks like one fun way to transition between summer and fall.
**And even though this is a red-band trailer, it barely even qualifies.
Summer 2011 sure is taking a lot of time preparing us for summer 2012. Whether it's the teaser for Pixar's Brave, the build-up movies for The Avengers, or the just-released The Dark Knight Rises teaser, Hollywood can't wait for next summer. Joining that roster, after months of shooting and only a few publicity stills, is Marc Webb's The Amazing Spiderman, which recasts Andrew Garfield in the role of Peter Parker/Spiderman. Though it could be a nice, fresh start after the dismal Spiderman 3 (2007), the biggest obstacle Webb's film has is that it's taking us through the origin story AGAIN. I understand the desire to create a new universe and atmosphere, but couldn't it have been done without hitting the reset button? Still, the cast is intriguing (Emma Stone and Rhys Ifans basically ensure that I'll see this), and I'm curious about the last segment of the trailer, which takes us into first person mode. Even if Webb's Spiderman isn't quite 'amazing,' at least it looks like something different from the Raimi films.
**Click HERE to find a different version of the teaser (the player can be odd when embedded, so it's easier to simply link to it). The TrailerAddict embed doesn't always want to work for some reason...
Topping The Dark Knight isn't going to be an easy feat, but that hasn't stopped Christopher Nolan from aiming big. Even with the minimal footage (I'm surprised there's any; the first teaser for The Dark Knight was merely a logo with voice over), this teaser gives off a feeling of something big. Nolan has said that The Dark Knight Rises will bring his Batman trilogy full circle, though he hasn't clarified whether that's in a narrative or thematic sense (both?). Either way, this trailer, which contains a brief glimpse of Tom Hardy as Bane, is certainly exciting. That said, however, I get the feeling that, based on the shots of Gary Oldman in the hospital bed, we're headed for even darker territory than The Dark Knight, which is no small feat, especially in a big budget blockbuster.
