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’re giving Ed Burns one more chance, I discover Australian musician Paul Kelly and have my mind asploded, we watch a feminine odd couple connect with one another, we get a little street, a guy begs for his wife to come back to him, and Gloria Estefan becomes the basis for a horror movie. 

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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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a-contract-with-god

One of the enduring examples of the graphic novel as a form is Will Eisner‘s A Contract With God, a collection of short stories that is often called the first graphic novel. It isn’t that, but it is a wonderful book, and a great example of why Eisner is considered a master of comic book storytelling.

Now, and this was probably inevitable, there is a film version in development. Read More »

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