Previews

Trailer comparison: Hidden Figures and Fences.

I saw Hidden Figures back in early January at a preview screening at Odeon. Since then I’ve been bombarded by trailer after trailer for the film.

This wouldn’t be a problem if it were a teaser we were talking about, but no. The final Hidden Figures trailer is the most tragic case of spoiling an entire film since we saw the same thing happen to Room around this time last year. These aren’t isolated cases, either. Trailers for Batman vs Superman and Viggo Mortensen’s Captain Fantastic were the other major culprits from last year, and I could list more if I wanted to spend time thinking about it. The unfortunate mentality of sheer desperation – of studios and editors thinking the only way to get audiences to pay for a film is by showing everything to them beforehand – is currently one of my biggest problems with the film industry.

Honestly, this is a case of a film blowing its entire load prematurely – and yes, the analogy to an overeager, desperate man unable to contain his excitement for the payoff is entirely appropriate. Within the Hidden Figures trailer – having seen the film and liked it very much, I can tell you for certain – we see brief clips from every major scene in the movie, beginning to end; we hear literally every relevant piece of dialogue, swiftly cut together at speed so as to fit it all in; and the overarching theme of the film is thrust upon you with virtually no sense of subtlety.

I’m going to put the trailer below to help illustrate my point. However, I will say this: if you have not yet seen this trailer and plan to see the film anyway (it is actually worth your time, hence my frustration), don’t watch it. Don’t ruin it for yourself. I know if I had seen this trailer beforehand, I likely would not have enjoyed Hidden Figures as much as I did. But then, I like to be surprised when I watch a film; perhaps you see a cinema trip as more of a risk and like to know absolutely every detail you’re going to see, in which case go ahead and watch this trailer. We’ll just continue to not understand each other.

There is a clear stopping point for me in that trailer – or rather, a point at which it becomes obvious they’re giving away too much. It is the line “I don’t know if I can keep up in that room”, as the general tone shifts to not-so-subtly make it clear that ‘hey, this is a film with a serious message you know’. Tonal shifts like this should be the film’s domain, not its trailer. But again, the trailer is too focused on squeezing every possible detail into two minutes, to let you know you might like this movie, if you liked its incredibly condensed version. It’s not too difficult to decipher, as well, that there is likely an agenda at play with the trailer for this film, if not the film itself. However, I’m going to save this part of my analysis for another article on each of the nine Best Picture nominees.

In contrast, the first trailer for Fences, another Best Picture nominee this year, is a much better example of a well executed trailer than the fast, desperate cutting of the Hidden Figures equivalent. If you watched the one above, now check out this trailer, and observe the clear difference between the two. Note there has since been a second trailer, similar to this but with only a few extra details added, though I haven’t seen that version shown in UK cinemas.

We’re left in no doubt from the Fences trailer that it also tackles some interesting themes and social issues; but it communicates this in much less words than the Hidden Figures equivalent, and does it without spoiling many of the film’s major scenes. In fact, this trailer communicates its message through clips from (seemingly) two major scenes, showing only brief glimpses of a few others while leaving the rest to the imagination, in effect building anticipation for the overall film. I think Hidden Figures could have achieved this too, though perhaps not to the same effect (there aren’t many actors with the screen presence of Denzel Washington, after all).

Bear in mind my comments here are not directly related to the quality of each film; rather, I’ve focused entirely on critiquing their trailers, though to do so is important as the quality of a trailer does correlate with how many people are going to see the film in question. I will be giving my thoughts on the films themselves when I give my breakdown on each of the nine contenders for the Best Picture Oscar in a separate post, to come soon.

Previews

Preview: Elle.

Elle, a 2016 French psychological thriller directed by Paul Verhoeven and starring Isabelle Huppert in a role for which she’s become a surprising front-runner for the Academy Award for Best Actress, has quickly become one of my most anticipated movies of the year. Unfortunately, as it’s not due for release in the UK until March 10th, I likely won’t be seeing it until after the Oscars have been handed out on February 26th. But based on what we know of this film thus far, it deserves the recognition it gets, and bearing in mind the subject in question, I’m still somewhat taken aback that it has gotten such attention in the first place.

The film’s central character, played by Huppert, is the female head of a video game company. Themes tackled include rape, violence and murder, involving Huppert’s character whether directly or indirectly, which seem interesting if only for the reason that these are themes associated negatively with the video game industry in recent years. This is no coincidence I’m sure, and I’m intrigued to find out just how Elle tackles these issues – that, for me, will make or break the film, as I have my own strong feelings on the matter.

I’m making an educated guess that the movie tackles them intelligently and maturely, hence my eagerness to see it. Whatever the case may be, Elle promises to be a thought-provoking film for UK audiences to look forward to. No doubt you’ll be hearing more about this one in the weeks to come.

Previews

Preview: The Wailing.

It’s been a long time since Western audiences were treated to a genuinely unsettling Asian horror movie – a quality many films from that region shared in the early 2000’s.

Korean film The Wailing looks like it could be the new one to watch out for. I will be attending a screening on the 30th December, and it is in fact one of my most anticipated of the year; mainly for the reason mentioned above. I have a great appreciation of Asian cinema, but truly top quality Asian film releases have felt few and far between over the past few years.

The plot revolves around an investigation into a series of mysterious killings and illnesses. Japanese-Korean tensions are hinted at, and the overall run-time stands at a glorious 156 minutes (while that may put some viewers off, for me a longer film suits this genre).

If you miss it – or have already missed it – on the big screen, you won’t have long to wait to check it out. The Wailing will be available in the UK on DVD January 30th.

Previews

Preview: Shin Godzilla.

The original Godzilla, released in Japan in 1954 and rich in thematic influences from the atomic bomb that ended the Second World War, is one of my favourite films; one I can still enjoy today despite its humble special effects. So it should come as no surprise that this is one of my most anticipated movies right now.

Shin Godzilla was released in Japan back in July, and had a limited theatrical run in North America as Godzilla Resurgence. Unfortunately there’s no word on a UK/ European release yet, and as of writing it doesn’t look like there’s going to be any time soon. But I am hopeful we’ll be seeing this film on the big screen over here at some point in 2017. An imported DVD/ Blu-ray copy would be a poor substitute.

In the trailer below you can decipher Godzilla’s iconic roar, almost unchanged from the 1954 original, and a similarly refreshing vintage soundtrack that feels reminiscent of the old monster movies from Godzilla’s peak years. His design, as well, returns somewhat to the roots of the franchise (now 31 films old, including this one), though this is apparently the largest version of the creature yet.

I can’t wait for some kaiju action when Godzilla eventually finds his way to these shores again – hopefully someone at Toho gets the message.

 

Previews

Preview: London East Asia Film Festival.

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The BFI London Film Festival has just finished, and only a few days later, another film festival is set to begin in the capital tomorrow evening. This year marks the inaugural London East Asia Film Festival (LEAFF), showcasing the best of new Japanese and Korean cinema specifically, many of which will be getting their UK premieres over the next week and a half.

Now, I’m a big connoisseur of Asian cinema, as some people may know – the height of Japanese horror between 1998-2003 with the likes of Ring, Dark Water and Pulse, which mastered a sense of slow-building atmosphere and psychological torment rather than the over-reliance on jump scares in Western cinema at the time (horror movies on this side of the world have since clearly taken influence from that period), piqued my interest in horror as a superior genre. Obviously Japanese cinema – not to mention that of Korea – goes much deeper, and in the years since I’ve gained an inherent appreciation of Asian culture. So this kind of specialist festival is something I’m highly interested in, though unfortunately I’ll only be able to attend over one weekend.

This inaugural festival is revolving around a retrospective of the career of Park Chan-wook, whose new film The Handmaiden will be getting another screening following its UK premiere at London Film Festival. Also happening – one of the film events I will be fortunate enough to attend – is a screening of the ‘Vengeance trilogy’: Sympathy for Mr Vengeance, Oldboy, and the world premiere of a brand new 4K edition of Lady Vengeance. Chan-wook is one of the best filmmakers to have emerged from South Korea, and certainly is among the more talented directors in world cinema today. They couldn’t have chosen a better artist around whom to build this festival.

Here’s the trailer. If you live in or around London, or are at all interested in East Asian cinema, you may want to keep an eye out for some of these new movies. Who knows, maybe one or two of them will even end up in my ‘Best of 2016’ list.

 

Previews

Preview: Get Out.

Now, this is a very interesting, potentially awkwardly hilarious and sinister horror movie due to be released in the US next February.

The directorial debut from actor/ writer Jordan Peele, Get Out has been described (in his own words) as “a horror movie, but with a satirical premise”. He’s also talked about the fascination he has with the combination of horror and comedy. This film certainly looks like it combines those genres well.

It’s a movie that clearly winks to the racial tensions prevalent in US society today; rather than tackling the issue with a high-minded serious attitude, it instead embraces the culture in which it resides, with exaggerated white characters whose racism is initially hidden but then emerges in dramatic fashion. Like all good satires, it appears to combine undertones of truth with a veil of comedy.

Daniel Kaluuya plays the central character and is typically, it seems, one of the few black actors in the film – though the fact that he is the central character, as a young black man, is already breaking established conventions of most Hollywood horror movies. Usually, after all, his kind of role is the one inhabited by a young white female who can easily evoke sympathy. Conversely, I look forward to observing the emotions triggered by Kaluuya’s character, and the film overall.

Admittedly the trailer for Get Out isn’t one of my favourites – as it gives away a little more than I’d like it to, but I trust the film will have a few more surprises up its sleeves upon release. Stylistically I like it, and it certainly sets up the premise of this movie in an intriguing way. We could be looking at one of the sleeper hits of next year, if this film lives up to its potential.

Previews

BFI London Film Festival 2016 – preview.

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I’ll say it right now; there is an intriguing battle shaping up for Best Picture at the Academy Awards next year.

On one hand, the favourite (quite clearly, for a reason I’ll go on to detail); Damien Chazelle’s La La Land, a musical about classical Hollywood and the kind of artistic work that the Academy usually goes for. On the other, an underdog, but almost certainly the film to win if Chazelle’s effort misses out: Nate Parker’s Birth of a Nation. Yes, that it shares its name with a certain other movie released in 1915 is intentional, as is the poignant choice to make it almost exactly 100 years after its namesake dominated headlines as the first mainstream American feature length film.

Now, anyone who follows the Academy Awards will know that this decision can be as much about politics as it is about finding the best film of the year. And anyone who paid attention to the controversy surrounding last year’s ceremony will also know that the issue of race has been a prevalent one for the Academy of late. In fact, it seems 2016 in general has been a year in which the issue of race has prominently reared its head, with cases of unbridled racism, perhaps naively thought conquered, regularly hitting headlines in the US and – to a lesser extent but let’s not deny the unfortunate side effects of ‘Brexit’ – in the UK as well.

So I think the Academy is set to find themselves in a rather awkward spot come January/ February time. Whichever of the above two contenders wins the top prize is likely to affect the narrative surrounding the decision, and that narrative is likely, once again, to be about race.

I said La La Land was the clear favourite. That is because I honestly believe it’s the one the Academy will choose if they are to choose honestly. Without asking themselves which one they ‘should’ choose. But there is a chance, with the racial undertones of the past year, that they will opt for Birth of a Nation, and for many people it would feel like a victory in more ways than one.

I’m of course saying this without having seen either of these films. They will both be screening at the BFI London Film Festival, which begins this evening with another racially charged movie: A United Kingdom, a British film directed by Amma Asante. When I first heard this film would open the festival, I immediately thought of how the UK had been split by Brexit in the Summer – and the title of the movie took on an almost ironic tone, as if it was pointing out to all of us that our United Kingdom was not, in fact, living up to its name in 2016.

A United Kingdom, starring David Oyelowo and Rosamund Pike (both of whom I’m sure will feature once again in the acting categories at the Oscars – Oyelowo may well get his win this year) tells the story of the real-life romance between Seretse Khama, first president of Botswana, and Ruth Williams, a woman he met while touring in Britain and took back with him to Botswana as his bride. As one might imagine, it proved rather controversial on both sides, and with the racial tensions of today, this film may therefore be another dark horse to look out for in February.

Those are the main headliners of the festival, but not necessarily the films I am most looking forward to. From what I’ve read, heard and seen, this year’s lineup is incredibly strong, and there are quite a few on my list to check out in the coming days.

This includes new films from some of my favourite modern directors; Francois Ozon (with Frantz, a monochrome WW1-era romance), Korean director Park Chan-wook (most famous among Western audiences for 2003’s Oldboy) with new movie The Handmaiden, and Denis Villeneuve (whose next project is the Blade Runner sequel) with sci-fi Arrival starring Amy Adams and Jeremy Renner.

My most anticipated, though, is the new film from Japanese director Kiyoshi Kurosawa, who is making his return to the J-horror genre for the first time since 2001’s Pulse, with Creepy. Admittedly an uninspired title at first glance, and last year’s festival wasn’t exactly kind with its promised return to this genre (Hideo Nakata’s Ghost Theater was rather laughably bad and a far cry from his vintage work), but I still have high hopes for Kurosawa’s return. Pulse remains one of my all-time favourite horror movies and his films outside the genre have been almost as impressive.

Other films that have made my watch list include: Queen of Katwe, a biographical film about a Ugandan woman – Phiona Mutesi – who proves to be a chess prodigy and competes at the world championships; Graduation, for which Romanian filmmaker Cristian Mungiu shared the Best Director award at Cannes; and Personal Shopper starring Kristen Stewart, the director of which (Olivier Assayas) shared that Best Director prize at Cannes with Mungiu. Also a few highly rated Australian films, including hard-hitting documentary Chasing Asylum (about Australia’s harsh immigration policies) and Goldstone, sequel to 2013’s underrated Western Mystery Road.

There are more, many more of course, but I’m going to leave the rest for the imagination right now. Hopefully I’ve adequately whetted your appetite for the festival. I’m pretty hyped about what awaits, a little tired already thinking how busy it’s going to be, and looking forward to the inevitable surprises beyond what I’ve highlighted here.

Whatever happens, it’s going to be a memorable festival, and an interesting few months leading up to the Academy Awards next February. Enjoy the ride!