Fewer trailers

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 test the bonds of friendship, test the bonds of family, try to scam our way to the top, and reflect once more on how France has contributed to cinema.

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The Climb Review

The Climb begins, as most Sisyphean tasks do, with a schlepp up a hill. Instead of rolling a boulder up like the original myth, here we meet tragic figures of a different kind. Two Americans, a svelte and athletic Mike (writer/director Michael Angelo Covino) and Kyle (co-scribe Kyle Marvin) biking in the mountains of Southern France. In a comically long tracking shot that sets the film’s aesthetic, we soon learn between the huffing while velocipeding that Mike has slept with the fiancé that Kyle is about to wed.

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