There’s a guy out there whose work almost every one of our readers knows, but very few people are likely to know his name. The guy in question is Charles de Lauzirika, and he has been one of the top DVD producers for many years, having worked on things like the Twin Peaks Gold Box, and the 5-disc Blade Runner Blu-ray restoration and release. In face, Lauzirika directed Dangerous Days, the documentary on that box set about Ridley Scott’s movie.
And how he’s made his first feature film. Crave stars Josh Lawson, Emma Lung, and Ron Perlman in a story that looks a bit like a mix of current sci-fi/superhero mythology and Death Wish. The trailer for Crave dropped during Comic Con, and it’s good stuff. You’ll get an idea of the film, but I walked away from this trailer with a lot more questions than I had going in, and I’m really curious to see where the movie goes. Check out the footage below. Read More »
Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: I celebrate all levels of trailers and hopefully this column will satisfactorily give you a baseline of what beta wave I’m operating on, because what better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? Some of the best authors will tell you that writing a short story is a lot harder than writing a long one, that you have to weigh every sentence. What better medium to see how this theory plays itself out beyond that than with movie trailers?
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Any pop culture writer today worth a scan online has a unique opinion on Chuck Klosterman. The renown American author and journalist made a name for himself in the aughts with witty, hyper-informed contributions as a former senior writer and columnist at SPIN. In 2003, he released a bestselling book of essays about “low culture” under the title, Sex, Drugs, and Cocoa Puffs, that dissected, exploded, and—in the case of Saved By the Bell—meta-ized topics ranging from internet porn to why there’s only “one important question a culturally significant film can still ask: What is reality?” To readers with an eye on the future, Klosterman signaled not only the arrival of an adored critic amongst hipsters, TV junkies, and geeks; he was the aware embodiment of the modern intellectual turned as voracious consumer of entertainment. And ever since many a beer has been consumed by writers arguing over or coveting this appointment.
Post-Cocoa Puffs, Klosterman’s bibliography has grown to include several works of non-fiction as well as last year’s Downtown Owl, a well-received debut novel benefiting from word-of-mouth, not unlike how Puffs did (but with Tweets on top). His latest book, Eating the Dinosaur, is a characteristic essay collection that can be burned through in a night but also raises several troubling philosophical questions. In the first part of Klosterman’s interview with /Film, he elaborates on the role feted director Errol Morris played in a few of Dinosaur’s themes. We also discuss his opinion of movie junkets, the accelerated culture of movie blogs, and the film most comparable to Guns N’ Roses‘ Chinese Democracy. For the second round of the interview, click here.
Hunter Stephenson: Hi Chuck. So, are you in California to speak about the book?
Chuck Klosterman: I’m doing The Jim Rome Show on ESPN, and it’s in Huntington Beach, California. And I gotta say, it’s creepy as fuck out here man.
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What if Uwe Boll made a movie that wasn’t trash? That’s not to say that Stoic, starring Edward Furlong as a prison inmate who is involved in the savage death of his cellmate, will actually be good, but does the new trailer for the movie actually suggest that Bol is…trying? gasp! Watch the clip after the jump. Read More »