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: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? This week we ring in the holidays with Tyler Perry, catch an STD, celebrate youth and ineptitude, realize there Aborigines in Canada who were abused as children, get to know Marilyn Monroe a little better, and revisit a rising talent.
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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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In the wake of Gareth Edwards‘ film Monsters becoming a tidy little art-house sleeper last year, a sequel isn’t exactly what we figured would happen, but I don’t think anyone would say the development of one is surprising. UK distributor Vertigo Films is now developing Monsters 2 (thought that could well not be the finale title) with pre-sales and financing going on at Cannes. There is little more than some theoretical ideas and a handful of good intentions to report, but we do know that Gareth Edwards is giving up the director’s chair to a duo: Brent Bonacorso and Jesse Atlas. Read More »

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