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It’s a crazy, mixed up world and we are thankful for movies that offer proof. Slashfilm’s Weekend Weirdness examines such flicks, whether in the form of a premiere for a provocative indie, a mini review of a film about a murderous nerd, or an interview.

Another week, another serial killer film. The British import, Tony, follows the fictional killer in its title—a Londoner who resembles a malnourished Milton from Office Space—across several days and several murders. It’s not uncommon for filmmakers to focus on a mass murderer to boldly address social undercurrents or the culture at large and newcomer Gerard Johnson is content to follow. In his interview with /Film, Johnson dismissed the horror genre altogether to describe Tony, preferring to call it a “social realist thriller” and referencing Alan Clarke, the late master of violent, blue collar English cinema (Scum, Made in Britain). But there aren’t many thrills in Tony.

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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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