Friday One Sheet: Colossal

Another day, another Kaiju picture. OK, not fair, and in these parts we have not given enough love to Nacho Vigalondo’s feminist, metaphorical-literal toxic-relationship cum monster movie, Colossal. This unorthodox (as is the film) poster, is hot pink, giving the genre the finger, while simultaneously affectionately putting on a puppet show. This is, in fact, exactly what the film is. I saw it at TIFF last year, and it is a solid genre effort that has some progressive meat on its bones; in spite nothing being subtextual, as the movie wears its ideas right on its sleeve. (I wonder if in the poster if it is a hand model, or actually Anne Hathaway’s hand.)

Just for completeness sake, we have tucked the trailer under the seat, but this movie plays better if you go in with no expectations. You’ve been warned, as with every Vigalondo picture, the discovery of the mystery/puzzle/rules is one of the chief pleasures of the thing, best not to have a trailer do the short-hand work in advance.

Would you like to know more…?

Trailer: Creep

One of the big comic surprises at The Fantasia International Film Festival last year was the Mark Duplass and Elizabeth starring twilight zone romance, The One I Love. The other big comic surprise was the Mark Duplass and Patrick Brice starring slow-burn found footage character study, Creep. Duplass is a master of just making your skin crawl, and owns every inch of the screen, while he co-star, Brice directs the picture. It probably cost nothing to make, but it is a treasure that keeps on giving up on the screen.

When a videographer answers a Craigslist ad for a one-day job in a remote mountain town, he finds his client is not at all what he initially seems.

Creep will be hitting iTunes on June 23 and Netflix on July 14.

Trailer: Blade Runner

As the sequel to Ridley Scott’s 1982 cyberpunk-ennui par excellence, Blade Runner slowly trundles along towards being made, the 2K re-release (known as The Final Cut) of the original film is coming to select cinemas, I am aware of the BFI doing a special release nation-wide in the UK, as well as TIFF LIGHTBOX in Toronto in spring. A brand new trailer has been cut for this release, and it’s a master-class in evoking the images, the plot, the characters and the overall feel of the film in an very elegant package.

Take a break from whatever ever you are doing, click the video below, bump the resolution to 1080p and soak in the timeless magic of this amazing film.

Friday One Sheet: The Seventh Fire

When you get Terrence Malick to lend his credibility to your documentary, you make darn sure to put his name on the poster. Jack Pettibone Riccobono directs a documentary on a Minnesota Ojibwe reservation that has a gang problem, but he does it from the point of view of a 5-time incarcerated gang leader and his 17 year old protege.

The classic, minimalist one-sheet emphasizes sun down, and the wide open space of the midwest, but the deep red-orange could equally mean love or violence.

The Seventh Fire opens at the Berlinale Film Festival this week. The gorgeous trailer is also tucked under the seat.

Would you like to know more…?

Trailers From Hell does We Need To Talk About Kevin

AKA, why I love Brian Trenchard-Smith.

Joe Dante’s ongoing project devoted to cinephilia centered around trailers, Trailers From Hell, has been doing fine work for years, and is a site I visit regularly as much for my love of Dante’s sensibility as for my love of trailers in and of themselves. The most articulate ‘Guru’ on the site – most really quite great but the ex patriot Briton-er who long ago set up shop making super-trash in Australia, Brian Trenchard-Smith is king. The site cut its teeth on trash horror action pictures from the 1950s onward, but has grown enough to make space for modern art films like We Need To Talk About Kevin and Holy Motors along side stuff like Night of the Lepus or Queen of Outer Space.

And, just so it is crystal I am on the same page, critically, as Trenchard-Smith, here is my archival review of the same film, which was one of my favourites of 2011.

Trailer-ish Clip for Julian Assange Biopic, Underground

As The Toronto International Film Festival looms ever closer (expect things to get less quiet in these parts) one of the films that has kind of slipped under the radar is the Aussie produced Biopic about Wikileaks founder Julian Assange, Underground. Featuring Anthony LaPaglia, Rachel Griffiths, and Alex Williams as teenaged-hacker era Assange, the clip offers one of those ‘movie moments’ you expect in a Biopic, but it equally works as a stand alone trailer.

From the TIFF Programme:

“The contrast between old-school investigative methods and the quicksilver speed of the emerging digital age gives the film much of its juice: while Julian “travels all over the world” from the comfort of his computer desk, the police are reduced to manually following a dial-up signal as it clicks through various receivers at the local phone company. This hands-on approach seems to prevail, as the police eventually close in on the young hacker. But Julian’s dramatic arrest at the hands of the Australian Federal Police was only the beginning—a clarion call for a new age of digital activism.”

Question of the Day: Teasers for Trailers


While it seems to be a sci-fi only thing at the moment, I have no doubt that it will soon be the new normal in terms of online film advertising. Prometheus, Total Recall and now Looper all have teasers leading up to the debut of only the films trailer. Arguably, the Stephanie Meyer non-Twilight property, The Host, had a power-point level ‘teaser’ was effectively a teaser for the trailer, albeit the presentation was not quite that explicit in communicating a ‘trailer premiere date’ as the former three, so you might just call that one a traditional ‘teaser.’

Advertising for advertising is a strange beast born of the 21st century. Especially, considering that it is likely only hard-core film nerds are ‘excited to see a trailer’ to the point where they will seek it out on their own. And like the “Ain’t It Cool News is a populist-baromoter to every thing pop-culture” fallacy of the late 1990s (*Cough* GODZILLA *Cough*), the studios seem to think that advertisements for their advertisements is the way of the future. Personally, I’ve got no beef with the director of the film making a personal pitch to the audience, dropping a heady concept into the audiences lap in a more intimate and personal way (from the horse’s, mouth so to speak), rather than the ‘visual-and-audio-overkill’ that many trailers are these days. I would still rather this method be done attached to the online trailer, as if the director or star introduces it followed immediately by the trailer itself. But the preference, at this particular cultural moment, is to trickle things out rather than plant a flag and shout from the hilltops.

What are your thoughts on this. Does it bother you? Are you completely indifferent to this trend? Do you like to be teased about the arrival of more marketing? Or do you merely skip all these trailers and teasers (and teasers for trailers) for films that you want to see, particularly those easy-to-spoil plot-twisty sci-fi films?

Is the Theatre Cam Youtube look an aesthetic for David Fincher and Company?


Maybe I was too fast to judge the ‘creativeness’ of this teaser for David Fincher’s upcoming The Girl with a Dragon Tattoo. My original thought was that a simple, ‘lets set some images and type to a Reznor/KarenO cover of Led Zeppelin,’ was not a creative of a way to sell this movie considering David Fincher’s last film, The Social Network, put out one quality teaser after another. A friend, pointed out that this teaser may simply act as a way for David Fincher to announce that the director of Seven was back to make a grimy, feel-bad movie (the grimy large type says as much as the flesh and blood soaked imagery.) I am lead to believe that this played in front of The Hangover as a regular trailer, but online, the studio lawyers have not played the usual whack-a-mole in taking it down, leading me to believe for a time anyway, the mal-framed, slightly shaky look is actually a part of the trailer. If so, neato.

Just a quick question out there in trailerland, (perhaps I should send this by to the fine folks at TrailersfromHell for their thoughts as well), do you think this look is intentional? it is one of the better theatre-cam trailers I have seen to date. And if so, is this the first time it has been done to promote a studio film?

The full ‘Theater-Cam’ teaser is tucked under the seat.

Would you like to know more…?

Woody Allen’s Newest, “Midnight in Paris” Trailerized

Not sure what it is. Old age? Maturity? Experience? Whatever it is, I seem to have really come to enjoy Woody Allen’s films as the years go on. Ten years ago and I couldn’t have given a hoot. Then along comes Match Point and I was hooked. OK, so Scoop was pretty God awful, but other than that I’ve really come to appreciate later Allen scribe.

Here we are 6 years removed from Match Point and Allen is giving it another go with his 6th film in as many years. Even assuming that the films are slightly better than mediocre (which is untrue as they are quite good actually), that’s impressive for any film maker; let alone one who will be turning 76 years young this year. And while this sort of looks like a slightly goofier version of Vicky Christina Barcelona, you gotta admit this thing’s full of charm and grins. And if the whimsy of Allen and Wilson teaming up isn’t enough for you, maybe the rest of the cast will do it: Rachel McAdams, Kathy Bates, Michael Sheen, Marion Cotillard and the Predator hunter himself, class act Adrien Brody.

So yeah, it’s safe to say that audiences seeing this at the opening night of Cannes in a couple of weeks should at least be in for a fun treat of an evening. Allen seems to be able to highlight Europe in a romanticized way that few film makers are ever able to capture. I’m looking forward to it. What say you?


Friday One Sheet: The Minimalist Hobo (with a Shotgun)


Having seen Jason Eisener’s tribute to the Grindhouse, George Miller, Sam Raimi and Peter Jackson, I can say that a minimalist style poster is kind of weird and mis-representative of the circus-side-show nature of the film, but hey, it’s retro, modern and purdy all at the same time, ain’t it?

Speaking of retro/modern. There is an 8-Bit Hobo game available for your iPad/iPhone. I find this not only hilarious, but appropriate when you see how the film is actually shot/constructed/toned with a clear foot in each the retro-room (did you know the film is actually an early 1980s period piece?) and the modern digital cinematography (a la the Red.)

Lastly, in the spirit of Jason Eisener and Rob Cottereill’s original meal ticket on Quentin Tarantino and Robert Rodriguez’s original Grindhouse Contest (which got the Hobo With A Shotgun faux-trailer attached to at least all the Canadian prints of the double-bill extravaganza), they are holding a Trailer Contest.

And you thought this would be just a simple Friday One Sheet Post, didn’t you? Hobo With A Shotgun opens in Canada on March 25 with an American release soon to follow. If you are in Toronto or Montreal, there are plenty of cult film sites giving away advance passes. (You probably want to see this with a rabid anticipatory cult audience, because the film is going to baffle and piss off the mainstream folks who wander in.)