I like this motion poster. Why, you may ask? After all, all you see is Matt Murdock/Daredevil (Charlie Cox) looking at the camera.
Well, on one level, you’d be correct, after all, it is just Cox just looking at the camera. But there’s more to it. Look at it again and take a glance at his expression. He looks sort of sly…as if there’s something he knows that we don’t.
I don’t typically like to mix my porn with superheroes, but I have to admit that this is very well-cut (pardon the pun) trailer: You don’t see enough of how cheesy the costumes probably are, but what you can see looks really fun.
And sure, it’s not Marvel Studios’ The Avengers good–and I feel reasonably certain in saying that considering that Marvel’s superhero spectacular cost $220 million to produce that you could produce a few thousand parodies for its cost–but looks pretty good for what it is.
And speaking of Marvel Studios, it’s awesome that they haven’t thrown Mjolnir at Axel Braun–because The Avengers isn’t the only movie that he’s parodied–because some companies are insanely litigious these days.
While this trailer has nothing to do with Haim Saban’s upcoming Power Rangers movie (in which Roberto Orci is playing a lead role, so magic blood is almost ensured to somehow play a role) they’re certainly taking it seriously enough to threaten legal action against its creators.
That being said, Power/Rangers is an interesting take on the characters because it takes the material deadly serious–which is interpreted in the trailer with a lot of cursing and head shots. Lots and lots of head shots–though it also shows how silly the Ranger’s costumes are, which is a direct result of the fact that that they were designed for children, not adults.
Knock, Knock is the latest from Eli Roth and Keanu Reeves, and while I haven’t the movie, I already have a few misgivings. The first being that Reeves doesn’t tend to do well in roles that call for any sort of romantic/emotional involvement with another human being, which might be at the core of this movie.
What immediately comes to mind is A Walk In The Clouds, the 1995 movie by Alfonso Arau which was almost painful to watch at times, particularly when Reeves, as Sgt. Paul Sutton, moved about so awkwardly in a scene when he was waving some fans about in a field (it was awhile ago, and all I recall were the romantic overtones of the scene, who fell very flat).
Or in The Devil’s Advocate, where Reeves was involved in a pretty unconvincing sex scene.
As long as he’s doing things that don’t require him to emote too much, he tends to be pretty reliable; though if the role does, then all bets are off.
While I wouldn’t by any means call 2014-2015 a banner year for horror movies, I am glad to see that there are some coming down the pike that approach the genre with the sort of vision that more often than not elevates the material, such as The Babadook (on the strength of which director Jennifer Kent was rumored to be in the running to direct the upcoming Warner Bros. upcoming Wonder Woman movie) and David Robert Mitchell‘s It Follows, a movie that takes some familiar tropes (sexual awakening in a young woman) and takes it to new and frightening places.
Though what I find most interesting is that, while there’s plenty of crappy horror films out there–and probably always will be–there are filmmakers that don’t take the fact that they’re working on a horror film as an excuse to do weak work.
At first glance, I could easily understand why someone might think that Steve Pink‘s original Hot Tub Time Machine didn’t do well enough to warrant a sequel, having earned almost $65 million (on a $36 million budget).
But that would be ignoring a very significant point, namely that the movie was rated R, which means that its audience was limited to adults and couldn’t be attended by anyone under 17 without a parent or guardian.
So, when you look at it from that perspective, $65 million is a pretty decent outing.
The sequel looks to be as preposterous as the original, as Jacob, Nick and Lou have to once again use their hot tub time machine to save the day.
Legendary Pictures can certainly use a hit, after the dismal performance of Black Hat and Seventh Son. That being said, I hope that Guillermo del Toro’s Crimson Peak is the movie that does it for them.
That being said, there are a few things riding against it.
First off, it’s rated R, which means that no one under 17 can see it without a parent or guardian, though that hasn’t stopped American Sniper from pulling in the bucks (though the only thing that the two movies are their rating and that they both have actors in them).
The movie looks gorgeous–it’s from del Toro, after all–though unlike his prior productions there appears to be overt sexuality, something only hinted at, if that, in his prior productions.