It’s no secret that I don’t particularly like what Fox has done with the Marvel’s X-Men, though take that dislike and double it, and that’s approaches what I feel what they have done with Wolverine.
And the worse thing for me is that it’s all about greed.
Hugh Jackman’s portrayal (despite that, visually speaking, he’s not at all like the character in that he’s too tall and too handsome) won fans over early on, so what they did was make everything about him, sidelining virtually every other character.
So, did I like the trailer for Logan? It’s okay. It’s certainly trying (a bit too hard) to get across a certain mood and atmosphere, which it does; Johnny Cash song and all.
I also like that it appears that the cinematographer seems to be making use of a lot of natural light in the trailer because there’s something that’s stultifying about people that are perfectly lit.
It’s all about the attitude, baby.
I’d be the first person to admit that the scores for most Marvel Studios movies have been less than memorable (at this point only two tracks from Henry Jackman’s theme to Captain America: The Winter Soldier stick in my mind at, and those are ‘Winter Soldier’ and ‘Lemurian Star’) and that’s taking into account ALL their movies.
That being said, Michael Giacchino’s score–the End Titles at any rate–are particularly fascinating because it sounds to me evocative of The Moody Blues in songs like Knights In White Satin, with instruments that sound like guitars, sitars and drums taking center stage.
There’s a curious lack of menace to it though, which is fascinating because if the music that accompanies the trailer is any indicator, then Giacchino’s score holds a few surprises.
I honestly don’t know about this movie, both literally and figuratively because it doesn’t feel as if there’s any particular reason to make it more than someone thought that the video game is awesome and would makes a great movie.
And who knows? Maybe it will, maybe it won’t (I said I don’t know).
Though what’s more pressing at the moment is the Animus, and what to me looks like a (relatively apparent) logic hole. In the screenshot from the video below you’ll not notice that I’ve included a scene where an arm of the device that’s part of the Animus process is attached to Fassbender’s back.
As far as I can tell, the point is to mimic the motions his past aspect is going through, so if he falls, the arm lifts him to an approximate height, so he can mimic the motion in the present day.
Now here’s the problem: The space where the Animus looks to be set up looks far too small to mimicking the actions of what his avatar is going through.
For instance, you see scenes of Fassbender’s avatar literally diving off buildings that look hundreds of feet tall.
The point being, I’m guessing that that mechanical arm has to be approximately the same distance from the ground as the leap his past self is making or he’s going to be a handsome splash on the ground.
It’s a little thing, but little things count, especially when you’re supposedly establishing a new franchise.
As I have written in the past, I’m not particularly fond of Gareth Edwards as a director. I think that he’s talented but the movies he’s directed so far never seem to fit well with his stylistic sensibilities.
Monsters could have been titled ‘Traveling Through Mexico Meeting An Occasional Beastie‘ while Legendary’s Godzilla remake could have been called ‘Godzilla? Where!?‘ due to, pardon the pun, the legendary monster’s late entry in his own movie.
That being said, what we can see from his direction of Star Wars: Rogue One is interesting because it shows a grittier side of the Star Wars movies, which look almost sanitized by comparison.
It looks like that we’re going to see more of the aftermath of what happens when the massive vehicles common to the Star Wars universe lay waste to a place; the human cost of all the technology run amok.
It should be an interesting juxtaposition and perhaps better fitting with Edwards’ style.
Comicbook.com posted an international trailer for Scott Derrickson’s upcoming Doctor Strange, and you can see it here.
I haven’t watched it because a movie trailer is a like a single puzzle piece, which when combined with others form a more complete image of what that movie happen to be.
The problems start when you assemble those pieces, which defeats the purpose of seeing it, if whomever is doing the marketing isn’t careful.
As I said, I stopped watching new Doctor Strange trailers a few months ago; an embargo I have no intention of stopping.
Though if you want to–and I don’t advise it–eat your heart out (not literally. You need it to live and even if you didn’t, there’s that whole chest bone you have to contend with) but don’t be shocked if the movie is just a bit less amazing when you finally catch it.
That’s paraphrasing vampire Jerry Dandridge (Chris Sarandon) to Peter Vincent (Roddy McDowall) from Tom Holland’s 1985 Fright Night, though it fits what I think I’m seeing from Marvel Studios’ upcoming Doctor Strange.
It feels almost as if Kevin Feige (or his bosses at Disney, maybe) has a bit less faith in it than in prior projects.
And keep in mind that this is the studio that created hits based on a guy who can shrink to the size of an ant and another which had at its heart (and as its heart) a talking tree and a raccoon.
And if that wasn’t enough there’s director Scott Derrickson’s proven record of success, though probably the biggest thing he tackled prior was 2008’s The Day The Earth Stood Still.
Which did well, though not remarkably so, at the box office.
There’s no other way that I can explain the 15-minute preview Marvel Studios has released in theaters that showcases the (hopefully) unique visuals that the movie has to offer.
In a character like Doctor Strange the visuals are a HUGE part of what makes him who he is, so much so that you literally cannot divorce him from them; so revealing them too early potentially spoils–or at the least undermines–an important aspect of the movie.
And I could be wrong–after all, I haven’t seen it–but I’d think that the less the audience sees of the prior to seeing the movie, the better.