Robin Hood – Teaser Trailer

Watching the teaser trailer for Otto Bathurst‘s upcoming Robin Hood I wonder if it’s alternate title was Arrow: The REALLY Early Years because thematically it plays just like an episode of that series in a medieval setting.

Though that’s picking nits.

A more significant problem potentially is that, despite being masked, how is it even possible–even in medieval times where I hear they didn’t have the Internet–does one become such a great archer sans a reputation as such?

Archery isn’t an innate skill.  You have to learn it, so why isn’t anyone aware of a guy who’s a master archer–especially one so young–is a bit odd.

The movie may explain this, but it feels like it might be a bit of a plot hole.

And I hope the movie expands upon another aspect of life in that period, namely medieval cities were supposedly filthy–if London was any indicator–which helped the spread of plagues like the Black Death (though according to Wikipedia it didn’t start there, pre-existing sanitary conditions certainly wouldn’t have helped matters).

Though I get the feeling that the archery won’t be the only thing that’s blatantly unrealistic.


Hacksaw Ridge – Trailer

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I love a good war flick, though preferably of the more–relatively speaking–modern variety, where the people doing the fighting believe that what they’re doing is for all the right reasons, till they often come to see whichever conflict they happen to be engaging in a context larger than themselves.

I think the first I can recall enjoying was Stanford Whitman’s Baby Blue Marine, starring Jan-Michael Vincent.

Followed by The Big Red One, Hamburger HillPlatoon and Full Metal Jacket.

While the four movies–by no means an exhaustive list–aren’t the only war films I’ve seen, they did make the strongest impression upon me.

So now comes Hacksaw Ridge, directed by Mel Gibson–which the trailer does everything in its power not to mention.

And I get it.  Gibson went off the rails a bit though to be fair I’d see a Mel Gibson movie over anything by Woody Allen or Roman Polanski (especially Polanski).

Besides, if there’s anything Mel Gibson has shown us it’s that he can direct, though if you look at some of those movies, like Apocalypto and The Passion of the Christ, it goes without saying that Hacksaw Ridge will likely not neglect the gorier aspects of combat.

Science, Sorcery and Movies

Screenshot 2016-03-01 19.08.02Typically, when we’re talking about science, it’s in reference to something that can be proven (such as global warming, which despite what naysayers may say, is quantifiable) by a combination of observation, experimentation and tried and true trial and error.

Now sorcery doesn’t have as nearly as rigorous a system of validation, because we’re talking about something based on belief or faith, which is an intangible and by definition, unprovable.

Yet to determine whether or not a movie will be successful, you might as well be talking sorcery because there’s no algorithm that I am aware of that will–if you follow a certain series of steps–guarantee box office nirvana.

How else can the success of movies like Fox’s Deadpool be explained, or by the same token, the failure of Liongate’s Gods Of Egypt or Sony Pictures’ The Brothers Grimsby?  And the same thing applies for movies that their advocates would like you to think of as sure things, such as Captain America: Civil War.

For a start, the latest–and hopefully the last–trailer for the latest Captain America movie approached 100 million (94.7 million) views in less than 24 hours, an incredible amount.

Now keep in mind that views of a video doesn’t directly translate to butts in seats. which is where the ‘sorcery’ comes in (sort of).

What all those eyes glued to the trailer illustrates is interest, which is a very powerful thing, though a somewhat unquantifiable one as well.  There’s no one-on-one correlation between someone watching a trailer and that same person going to see a movie, but what a well-made trailer does is move it onto someone’s radar, and can even make an event of something that did not have that status prior to the trailer being revealed.

That being said, I am in the camp that says the movie will be a massive hit as well, but don’t take my word for it, check out this review from YouTube reviewer Grissle, who’s passion for the movie is almost overwhelming for him (and I mean that literally).

Gods Of Egypt – Trailer 2

I meant to post the latest Gods Of Egypt trailer yesterday.  I didn’t because I haven’t gotten around to changing my iMac’s hard drive–I don’t own any Torx screwdrivers, though I intend to remedy that over the weekend. 

As a result this is my first post made entirely on an iPad.  From images to video, it’s all assembled with the (free) WordPress application. 

And while the controls don’t feel as precise as I am accustomed to dealing with, it does the job admirably. 

As I’ve said before, Alex Proyas is a talented director, but as far as I am concerned there’s nothing about this trailer that makes me want to see Gods Of Egypt

And that’s not to say that the visuals, though a bit gaudy at times, aren’t up to snuff because we’re talking about Alex Proyas here, who’s other movies (The Crow, Dark City, I Robot) also tended to be effects-heavy. 

Never mind white-washed Egypt (my intent is not to minimize diversity behind and in front of the camera, though there are far more knowledgable people writing about that very thing) more so than a narrative that  appears to be one we have seen before:  a young person faces near-insurmountable odds in an effort to stop an evil from taking over the world. 

It’s a story older than Star Wars because it works, though the key to using such a well-worn trope effectively is that people can’t immediately know that what you’re throwing at them they have seen–in one form or another–hundreds, if not thousands of times prior. 

And that’s where Gods Of Egypt falls short: Despite that it’s not yet been released in theaters, it already feels too familiar. 

The Divergent Series: Allegiant Official Trailer

I haven’t see any of the ‘Divergent‘ movies–and I blame the Hunger Games because all these movies based on Young Adult novels pretty much feel the same for me.   And while that’s not quite fair, there’s undeniably a similarity between many of them.

Which reminds me:  I suggest that you see The Maze Runner if you haven’t already.  Not because it’s a particularly good movie, because it’s not, but because it’s so nonsensical at times that it’s funny, (Though I am reasonably certain that that’s not what the filmmakers were aiming for).

Though this is about Allegiant, so let’s get back to it; maybe it’s because I haven’t seen any of the other movies in the series, but there’s enough ape-shite crazy stuff going on in the trailer that it looks like a lot of fun.

And I am reasonably sure that the movie will bring all the weirdness into focus, taking way the only thing that really separates it from the pack.

Gods of Egypt – Trailer 2

I really want to like this movie.  I have had a fascination with Egypt for most of my life–and the tattoo to prove it!–and want to really like it.
I’ve also enjoyed most of the movies from Alex Proyas–particularly Dark City, which I liked despite it being written by David Goyer, who based on what I know of him (which is admittedly little) I cannot stand.
The second trailer for Gods of Egypt is better than the first.  It’s doesn’t give away anything more than the first one did–which is good, or we might have another Batman v Superman: Dawn of Justice-type situation on our hands–but it’s less frenetic, and reveals more of the fascinating production design of the movie.
The visuals remind me of Enki Bilal’s Immortal (which you should see if you’re able. It’s a pretty interesting study in contrasts) with a brighter color palate–a good thing!–though more optimistic.
If only Proyas and Lionsgate had extended that color palate to the cast, God of Egypt might be a must-see.

The Quiet Ones – Review

The Quiet Ones movie poster

“John Pogue’s The Quiet Ones doesn’t bring a lot new to the possession sub-genre, but is most interesting for its restrained, almost documentary-like approach.”

The first thing that I noticed about John Pogue’s The Quiet Ones was that it’s supposedly based upon actual events, which for me means that you’re going to get one of two extremes.  The first is movies like The Amityville Horror, which to be fair was based upon a book that was (more than likely) nothing more than a publicity stunt.

On the other end of the spectrum you have movies like The Quiet Ones, which also revolves around events of a supernatural nature though is treated in a more subdued and realistic fashion.

Which isn’t to say that that the latter approach is better because for the most part not very much happens.

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