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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machete5This week, David Chen, Devindra Hardawar, and Adam Quigley discuss whether or not 3D really is the future, praise the quiet certitude of The American, reflect on the sprawling nature of the Red Riding trilogy, and try to figure out why people in theaters are boo-ing at the mention of M. Night Shyamalan. Special guest Matt Singer joins us from IFC News.

You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. We’ll be back on Sunday (9/19) at 10 PM EST / 7 PM PST at Slashfilm’s live page to review The Town.

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This Week in DVD & Blu-ray is a column that compiles all the latest info regarding new DVD and Blu-ray releases, sales, and exclusive deals from stores including Target, Best Buy and Fry’s.

Rent It

RED RIDING TRILOGY
“This is the North—we do what we want.”
The Red Riding trilogy is as ambitious a set of films as you’re likely to see, intertwining characters and events from three distinct stories (separated by date: 1974, 1980, 1983) that use the real-life Yorkshire Ripper case to explore tales of deep-seated provincial corruption. You could watch each one as a stand-alone film, but it’s the time-spanning intricacies that give the trilogy its heft. Individually, the films are well-made, well-acted and well-written, but not emotionally engaging enough to justify a one-off viewing; the reward comes from watching them together, with each subsequent film thoughtfully complementing what’s come before. So if you’re going to give the trilogy a try, be ready to commit to it. Some may find this harder than others, as the tone of series is unrelentingly grim and bleak, and its methodical pace requires some patience. The payoff is worth it though; the motivations of the films smoothly transform as they progress, initially introducing conflicts dealing with investigations of the murders only to reveal by the end that the story you’ve been watching has been about something else entirely. If it recalls Zodiac, it’s for all the right reasons.
Available on Blu-ray? Yes.
Notable Extras: DVD & Blu-ray – TV spots, deleted scenes, a trailer, a making-of, and an interview with Julian Jarrold.

BEST DVD PRICE
Target Best Buy Fry’s
N/A $19.99 $24.00
Amazon – $21.49
BEST BLU-RAY PRICE
Target Best Buy Fry’s
N/A $24.99 $27.49
Amazon – $27.49

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The announcement that Sony and director Marc Webb have chosen Andrew Garfield to be the new Peter Parker in Spider-Man came as a bit of a surprise. A welcome surprise to many of us, as the young actor is among the best of the crop of talent that was being considered for the role. But when his biggest role is in Terry Gilliam’s The Imaginarium of Doctor Parnassus — hardly a blockbuster — Garfield may seem like a choice out of left field to some.

So, here’s a quick guide to help acquaint yourself with the work of Andrew Garfield. Check these films out and you’ll quickly understand why he’ll make a hell of a good Peter Parker. Read More »

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Our stateside readers who dig serial killer procedural-thrillers in the vein of Zodiac and Silence of the Lambs should make a blood-scrawled note of Britain’s Red Riding Trilogy. This Friday, the epic triptych begins a one week run at IFC Center in New York City, complete with two intermissions and a free popcorn (caution to the hemoglobin phobes, the elderly, and flatulent ). I recently attended all three entries, titled 1974, 1980, and 1983, and definitely recommend the five-hour experience, both for the project’s interconnected, serpentine plotting and to contrast the clear stylistic and tonal differences between the three directors.

Below is an exclusive Slashfilm clip from 1974, which I felt in my review is the superior entry thanks to the charged noir vision of director Julian Jarrold (Brideshead Revisited) and a star-making performance by Andrew Garfield, as a young journo submerged in idealism, booze, and mutton-chopped pheromones. Garfield’s conveyed arrogant dissonance seethes through in this excerpted scene, and the actor is set for a high profile 2010 with upcoming roles in David Fincher‘s Facebook drama The Social Network and Mark Romanek‘s mysterious Never Let Me Go. He also participated in Spike Jonze’s short film and /fave, I’m Here

[flv:http://media2.slashfilm.com/slashfilm/trailers/redriding1974.flv 550 366]

Without spoiling the film, here’s context for the above scene: Garfield’s character, Eddie Dunford, hungry for his big break and his mum’s approval, is researching and investigating the fresh case of a missing girl in Northern England. In the cig-smoke clouded office of his newspaper, Dunford’s equally clouded by older, world-weary cynics. In this particular scene, Dunford is adamant that the recent arrest of an alleged abductor is bullocks. At clip’s conclusion, he finds a suspicious card on his boss’s desk, evidently filled with warm-sentiments from a shady developer named John Dawson (the unseen Sean Bean in a sleazy role that rivals Garfield’s in arrogant machismo).

Dawson’s card is just further proof that the media is in bed with shady elites who are in bed with the cops—all the while nobody seems to give a shit that young girls—those eluded to in the trilogy’s title—are being picked off the street by a madman (men?). Yorkshire in the ’70s, evil was a fan. Also, note the presence in the scene of the always-good Eddie Marsan, who adds a wild-and-defeated-eyed unpredictability to the film(s)—a familiar gift to anyone who saw him in last year’s Happy-Go-Lucky.

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I knew nothing about Red Riding until the trio of films played Telluride last year. They generated quite a response, to the point where Columbia snapped up remake rights for Steve Zaillian and Ridley Scott to work on. Meanwhile, IFC is distributing the original films in the US, and the idea of being able to see a great crime trilogy is hopefully pretty damn enticing. Now there’s a great domestic poster for the series, and an equally good trailer to promote IFC’s release. Read More »

red-riding_1

A month ago at the Telluride Film Festival, the UK crime trilogy Red Riding played to good critical reception. The reception didn’t escape the notice of studio execs, and Columbia has picked up the rights to remake the trilogy. The studio is negotiating a deal to have Steve Zaillian script the remake for Ridley Scott to direct. Add one more to Ridley’s towering ‘in development’ pile! Read More »

red-riding_1

This is what festivals are for, even if you’re not able to attend. Scanning the Telluride coverage that came in over the weekend, a few films really stand out. Most of them are known quantities: Up in the Air, An Education, A Prophet. We knew those were ones to watch. But there’s another entry in the must-see column out of Telluride. Or, rather, three entries. Suddenly the trilogy of UK films collectively called Red Riding is getting massive praise and buzz. Read More »

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