By Breanne Brennan I take a look back at some of last year's best trailers... 10. Logan – It’s always good to take a lower-key approach to a comic book hero movie, and the solemn Cash song is a fitting touch for a weary Wolverine. 9. The Shallows - It skirts the tropes of a cliché b-movie trailer just enough by focusing on the environment and the main character, and keeping the horror jump scares to a minimum. And let’s not forget the absolutely genius match cut of something approaching a surfer underwater to Lively biting into an apple. 8. Moonlight – I will admit on first viewing this trailer and having no background of the story, I really didn’t understand or appreciate it. It was beautiful enough, but after seeing the movie and watching the trailer a second time, it was as though everything fell into place. It’s the juxtaposition of shots of Chiron at each stage in his life paired with Britell’s moody score that really drive it home. 7. Thor 3 (Comic Con) – While it’s not traditional in content and length, this mockumentary-style trailer is nevertheless a perfect (and hilarious) tease for reinvigorating the THOR series. 6. Get Out – This is how a psychological horror trailer should be cut. It starts out as one might expect a cliché thriller would. The interracial couple is introduced, they meet the parents, etc. Then as things start to get weird, so does the cutting. There is an excellent blend of various editing techniques that make this trailer stand out from the others. 5. The Founder -- Keaton’s voiceover and smarmy presence paired with the song “Glitter and Gold” make this a great example of focusing on character to sell the trailer. 4. Handmaiden – It’s reminiscent of the teaser trailer for the David Fincher’s THE GIRL WITH THE DRAGON TATTOO in that it relies solely on music to propel it forward. There's almost something hypnotic about cutting on beats... 3. The Nice Guys – A great blend of snarky, wry humor and funky vibes from music to titles. Where most trailers miss the mark, this trailer has an excellent (and hilarious) end tag. 2. Fences – A great use of repetitive sound design and voice over. As Washington’s VO intensifies the mood midway through, there is a dramatic shift in music and sound that culminates with Davis’s clincher bit of dialogue. Feel-good this ain’t! 1. Jackie – A carefully crafted trailer with effective voice over and shots: Jackie amidst the crowds at Love Field, the motorcade speeding away with her husband's body in her arms, Jackie washing off blood, etc. As her frustration elevates, so does the speed of the shots. And although the brief sound effect of JFK getting shot is a bit much, the whole trailer still packs an emotional punch.
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By Brett Blake Inspired by this piece over on The Playlist, Breanne Brennan and I decided to try our hands at ranking every Best Picture Academy Award winner in order from “worst” to “best,” in a relative sense. Speaking only for myself, I can say that this was almost an agonizing process; for all the flak the Oscars have (sometimes justifiably) received over the years, it can’t be denied that they have honored a lot of really great films, and to rank them is a tall order. Obviously, taste is subjective and usually not fixed in stone. As you’ll see, there’s a good deal of difference between our two lists (though a fair bit of approximate overlap, as well), and it’s also likely that these lists would look different if we compiled them next year, next month, or perhaps even tomorrow. Why did we do it, then? Because it’s fun, that’s why!
Feel free to leave feedback and tell us how badly we've screwed up these lists, and don't forget to watch the Academy Awards on Sunday night, March 2nd, on ABC.
By Brett Blake
There has been much talk amongst film critics about how 2013 has been some kind of magical, banner year for film. One of those years that only comes along perhaps once in a decade. A year in which we got movies that will last the test of time. In many critics’ “Best of 2013” articles that I’ve so far come across, this idea is presented almost as a given, as if to say, “Well, of course 2013 was an incredible year! Look at all the great films we got!” It’s a nice sentiment, and clearly an argument can be made in its favor, as many people are doing just that; see this Vanity Fair piece for a well-reasoned example. But the thing is, I kind of don’t see it. At all. Now, part of me is definitely a bit of a contrarian, and I sometimes revolt when I see a large group of people generating a new conventional wisdom out of thin air, but that’s not what this is about. I - very honestly - don’t think 2013 was an all-time great year for movies. The last year I’d assign that title would be 2007 - which, I’m confident, will take its place alongside the very best years for cinema ever, right up there with 1939, 1976, and 1982. 2013, though… I think it’s been a fine year, for sure, and I’d never attempt to make the case that it’s been below average in any way. There have certainly been some superb films released (let me insert a shameless plug here for my own “Best of 2013” list, coming soon!), and even more good, solid efforts. Therein, perhaps, is the “problem” as I see it: I think we got a lot of good-but-not-great movies this year, movies you watch once, enjoy and appreciate for what they are, and then have no real burning desire to regularly revisit. When I go back and look at some of the films that were on my “Best of 2012” list last year… - LINCOLN - ARGO - DJANGO UNCHAINED - THE MASTER - SKYFALL - LOOPER - ZERO DARK THIRTY - THE GREY - THE CABIN IN THE WOODS … I see a group of films that I’ve already revisited several times each, and plan to continue to do so, almost compulsively, because they’re that great. 2013 has had some of those, but not nearly on 2012’s level. The most striking thing to me when examining the two years is this: if those same films from 2012 had been released in 2013 - in addition to everything else that did come out in 2013 - they would still be the movies to make my list over most (but not all) of 2013’s output. For me, there were simply more films in 2012 that resonated with me than there were this year. Obviously, choosing to compare two years is totally arbitrary, but I’ve done it here only to point out that nobody talked about 2012 as though it was a magical year for movies, and yet - of the two - it’s the year that "clicked" far more with me. Of course, It’s all personal taste; I’m not going to tell people who think 2013 was amazing that their opinion is wrong, because it’s true for them. I have absolutely no doubt that those critics who are head-over-heels in love with the movies of this year are completely sincere. Difference of opinion is what makes it fun to discuss cinema, and my intention here was not to say that 2013 sucked, or had nothing to offer. I just wanted to add a modest counter-balance to the perspective that 2013 was a brilliant year. Maybe it was. Maybe I was just never tuned into its wavelength like I was with 2012. In any case, I’m seeking feedback. I need to know if I’m missing something. Set me straight if you think I’ve got it all wrong. Convince me that 2013 was the incredible year for movies that most people seem to think. I want to believe! |
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