This week appears to be trailer week on Screener, since a number of high-profile films have released first-look teaser trailers. Today's trailer is for Tinker, Tailor, Soldier, Spy, which Focus is releasing stateside November 18th.
I fell in love with the trailer instantly because of its commanding, moody score. IMDB lists the composer as Johan Sderqvist, who also wrote the music for director Tomas Alfredson's 2008 Swedish film Let the Right One In. Alfredson is the other reason to see Tinker, Tailor, Soldier, Spy. His previous film was haunting and resonant, with a masterful command of tone and suspense which made it a hit with non-horror fans. I imagine Alfredson will do a similar thing with the spy film. Based on a John Le Carr novel, the trailer looks decidedly NOT like an adaptation of a mass-market book. The feel is more The Lives of Others and less The French Connection (a.k.a. lots of chase scenes). And it's definitely not a Bourne movie.
If this movie hits, I'm sure it will pick up a lot of Oscar nods. Gary Oldman stars as a British spy who's called back from retirement to help root out a Russian mole. Colin Firth, Mark Strong, Ciarn Hinds, and Tom Hardy round out the impressive cast. Even though the movie's releasing late in the year to help position it as awards material, it looks like a perfect summer thrill ride. What I would give to see this released in July, freeing viewers from the oppression of Transformers: Dark of the Moon.
Steven Spielberg hasn't directed a film since the meh sequel Indiana Jones and the Kingdom of the Crystal Skull. His next film, War Horse, is coming out this Christmas, intent on grabbing audiences during what's often a sentimental, entertainment-heavy time of year. The teaser trailer for the movie just came out, but I wasn't immediately impressed.
The movie is based on the novel and play War Horse. I have heard nothing but raves for the play, so I was expecting the trailer to pull me in. It didn't. One key difference: The play received the most word-of-mouth praise from its incredibly life-like horse puppets. The movie uses a real-life horse, so it's hard to compare. The only hint of how the movie might give the horse humanizing attributes is at :50, when we see a close-up of a girl's reflection in the horse's eye. Gorgeous.
The trailer doesn't reveal the plot, just the settting and a loose sense of the emotional register. Since movies have been giving way too much away lately in trailers, I'm pleased that there's some mystery about the story, but at this point all we're seeing are shots of WWI and a horse. The actual story involves a boy who goes on a journey to find his horse, which is fighting in the battlefields of Europe in WWI. It's the kind of rescue mission that's implausible and melodramatic, but wasn't Saving Private Ryan founded on the same premise?
For a trailer that's based entirely on looks, it doesn't do a whole lot to draw you in. It took me a couple of viewings before I could appreciate the visuals of the trailer, my favorite being when a group of soldiers hiding in a wheat field collectively mount their horses. It made me reflect on Spielberg himself, who's always been nearly invisible in terms of style. People talk about Spielberg's frequent themes, like children of divorced parents and friendly aliens, but can't put a finger on his style. Spielberg's always followed the tenets of classical Hollywood style, as this discussion of his cutting style drives home.
Even when there are explosions (:10, 1:00), beautiful sunsets (1:35), and epic battle sequences (1:32), Spielberg has our eyes trained on the boy or the horse. It's pretty incredible. I put Spielberg with James Cameron in the category of filmmakers who are true masters of invisible filmmaking. In fact, it's enough to make me pull out my nerd hat and offer you this example, thanks to Hulu. In the T-Rex scene in his 1993 film Jurassic Park, look how clearly Spielberg establishes the space, opening with a wide shot and then moving in. Also notice how he pans to connect places. This short sequence has a half-dozen pans. Modern directors would just cut all over the place, and would also do some lame cut-ins, as if we wanted to see a close-up of a hand holding a flare when there's a T-Rex around. I'm being harsh on War Horse, but seeing the movie is a given. Even with tons of war scenes, the focus will be on the boy and the horse. It's directed by Steven Spielberg, the king of classical Hollywood style.
The past few years of Pixar movies have been a joy for adults. WALL-E, Up, and Toy Story 3 were visually stunning, emotionally resonant films that rekindled the taste for animation among those that had abandoned the format. This year's Cars 2 may be beautiful, but the story is more kid-focused and targeted at that machinery-obsessed demographic that includes many boys. For those that were let down by this year's Pixar movie, the trailer for Bravepromises more of the brand of Pixar that adults love.
1. It may be fairy tale-inspired, but it's no Tangled. This actually made me sad. I loved the luminous look of Disney's Rapunzel tale, which was filled with color and light rendered in golden hues. Brave is going for a harsher, naturalistic look that matches its medieval setting. I'm holding out for the likelihood that there might be brighter scenes not included in the one-minute trailer.
2. Noticeable technical innovation. Hair is notoriously difficult to computer-animate, so it's always a good place to analyze the work of the animators. At :40, Princess Merida's hair bounces softly. The movement struck me as incredibly naturalistic. These are the kind of people who tap Ph.D.'s in fluid simulation to create waves, so I'm sure months of work went into creating the motion and look of Merida's prominent red curly mane.
3. The Stonehenge mystery. Some of the opening shots include rocks in a Stonehenge-like structure. The only problem is that the movie is set in Scotland while Stonehenge is in southern England. There might be a way around this: A 12th century Arthurian legend purports that Merlin remotely assembled the structure from Ireland. At least there's precedent for creative license in this manner. Now we just need to get to the bottom of what those floating blue orbs of light mean.
4. A female heroine. Princess Merida will be the first female Pixar heroine. In the trailer she's riding horses through bear-infested woods and shooting arrows. As a sidenote, what is it with young female action heroines and their graceful weapon, a bow and arrow? This year's Hanna used it to hunt, and next March's The Hunger Games will feature Katniss, whose weapon of choice is a bow and arrow. Merida appears to be no exception, perhaps following in the footsteps of Diana, the Roman goddess of the hunt.
5. A Scottish lead. Reese Witherspoon was originally supposed to voice Merida, but she's been replaced with Scottish actress Kelly Macdonald ("Boardwalk Empire"). Witherspoon may have been too expensive or busy, or perhaps Pixar just wanted a real Scottish brogue. Since we don't hear her voice in the trailer, it's too soon to tell what Macdonald will bring to the table.
Brave is set for a June 22, 2012, release. Disney's website offers just a cryptic description. Merida defies tradition, causing trouble. She then goes to a witch for help, unleashing a curse that she must then fix in order to save the kingdom. The original title, The Bear and the Bow, evoked more of a fairy-tale feel, but it was also more revealing in terms of plot. We see both a bear and a bow in the trailer. I suspect that Merida's showdown with the bear is either her initial act of defiance or seals the ill-conceived wish granted by the witch. The answer is just a year away.
Pixar's animated sequel Cars 2 revved up the U.S. box office to the tune of $68 million. Toy Story 3 opened to $100+ million last year, but Lightning McQueen and Mater don't have quite the following of Buzz & Woody. Overseas, the movie has already earned $42.9 million while in release in about 25% of foreign markets. The first film's small town America focus alienated foreign viewers, leading to just over $200 million abroad, one of Pixar's worst international showings. The second film, with its 'round-the-world Grand Prix and spy premise, goes above and beyond to appeal to a global audience. Just 40% of U.S. audiences saw the film in 3D, a sign of the continued softening in the 3D market. The question now is if 3D will continue to decline, or if it will hold on to current audiences. When 3D was first introduced, there was a surge of interest. Of course some people who tried 3D and didn't like it or think it was worth the higher ticket price will drop out. But will everyone else opt out of 3D?
Bad Teacher had a strong $31 million opening weekend. The comedy bested the opening of Bridesmaids, but it feels more like a movie that will die out instead of propelling forward on word-of- mouth. According to Rotten Tomatoes, 69% of audiences liked it compared to 44% of critics. That puts the movie behind Bridesmaids' 90% critics/84% audience approval rating. Speaking of which, the Kristen Wiig-led comedy fell just 24% to $5.3 million this weekend. Now in its seventh weekend, the comedy has accomplished the rare feat of earning six times opening weekend.
Second weekends can be brutal for tentpoles, and Green Lantern was no exception. The green superhero film dove 65% to $18.3 million. That means the $200 million movie fell short of the $100 million mark, never a good move for a film that put all its chips on a big opening.
The Tree of Life showed strength in 12th place this weekend. Receipts went up 16% to $1.3 million as the movie doubled the number of locations in release. Illegal immigrant drama A Better Life made a respectable debut of $15,000 per screen at four locations. If the Summit release can reach beyond arthouse attendees and capture the attention of Hispanic moviegoers, who see movies frequently, the drama could take off, but it may be tough getting people to see a downbeat movie that's been described as a cousin of The Bicycle Thief.
On Wednesday, Transformers: Dark of the Moon will get a head start on grabbing audiences. On Friday, Tom Hanks and Julia Roberts pair up for Larry Crowne, and tweens will probably freak out for a fantasy friend vacation made just for them in Monte Carlo.
Pixar's summer animated movies have become draws for kids and adults alike, but adults won't find a crowd-pleaser like Up in Cars 2 (4,115 theatres). The sequel to the 2006 hit is more of a kids' movie, centering on talking cars with stereotypical characters (redneck, arrogant Italian, British spy, sultry secret agent). "That's not the Pixar adults know and cherish," critic Kevin Lally notes, but the visuals remain on the cutting edge, especially "the travelogue aspects," which Lally dubbed a "knockout, from the blazing neon colors of its Tokyo, to a Les Halles spare-parts bazaar in Paris, to an eye-poppingly beautiful Italian Mediterranean city called Porto Corsa."
Cars 2, made post-Disney/Pixar merger, also shows what happens once a movie becomes just a launching pad for everything else. Advertisements (Mater sings the State Farm jingle, a paid endorsement), both in the film and out, will make a lot of money for Disney/Pixar. In fact, the first film generated $10 billion in merchandise sales. Disney will also use its expertise to create a straight-to-video spinoff "Planes," and an attraction at its California theme park. The international locales, besides just being a story element, will also help market these films to worldwide audiences. Is it a coincidence that the blandest Pixar movie is also the best platform for tie-ins and spin-offs? Tracking suggests the animated film will bring in $50-60 million, less than the original. With 3D suffering, many eyes will be trained on the performance of 3D and IMAX screens.
R-rated counterprogramming comes in the form of Cameron Diaz as a Bad Teacher (3,049 theatres). I thought the comedy was hilarious, though not everyone warmed to the "foul-mouthed, intemperate, conniving babe," as Diaz's character was described by critic Rex Roberts. He dismisses the comedy as a "series of skits hung on an implausible plotline," but isn't that the basis of most comedies that aim for more than a laugh a minute? I found the eye-rolling stupidity of Diaz's plot to be part of the fun, but if you're not laughing in the first fifteen minutes, it might be a good time to walk out.
If late-night TV lovers can wrest themselves off the couch, they can catch stand-up comedy documentary Conan O'Brien Can't Stop (25 theatres), which has been receiving mainly positive reviews but did not find a fan with critic David Noh. He wasn't that sympathetic for the whining millionaire, concluding that "Behind the scenes, a lot of comics ain't that comic." Paul Weitz directs a pet project about the struggles of illegal immigrants in A Better Life (4 theatres). The overwrought title of Turtle: The Incredible Journey (20 theatres) says it all in this nature documentary, which somehow manages to turn the plight of turtles into an "intrusive melodrama," according to Noh.
On Monday, we'll post the rank of Cars 2 after its first lap, and see if audiences sparked to the misdeeds of Bad Teacher.
Bridesmaids and Bad Teacher have a few things in common. They both star females, and their main focus is comedy, not romance. But while Bridesmaids was a runaway success, I have more modest expectations for Bad Teacher. I think the movie has more obvious appeal for men, but Cameron Diaz's comically unlikeable character could alienate some viewers, depending on their sense of humor. What follows is a rundown of the two movies' takes on the genre.
Precursor of Bridesmaids: The Hangover Bad Teacher: Bad Santa
Leading Lady Bridesmaids: Relatable loser. Bad Teacher: That girl you hate.
Is the overweight sidekick one of the best characters? Bridesmaids: Yes. Melissa McCarthy owns as a fierce tomboy. Bad Teacher: Yes. Phyllis Smith plays an endearing teacher who wants to be friends with Diaz, but not if she has to break--oh no--rules.
Most awkward coupling Bridesmaids: Unclothed. Bad Teacher: Clothed.
Does the woman ditch the loser and end up with Mr. Right (now)? Bridesmaids: Yes, a too-nice police officer who puts up with her bad behavior and initial lack of interest. Bad Teacher: Yes, a too-nice gym teacher who puts up with her bad behavior and initial lack of interest.
Police are called when� Bridesmaids: You do drugs on a plane Bad Teacher: You hide drugs in a false bottom of your desk
Most "guy" movie moment Bridesmaids: Food poisoning at a bridal shop. Bad Teacher: Daisy Duke outfit at the car wash.
Most "girl" movie moment Bridesmaids: Pretty much all the one-on-one dialogue between Kristen Wiig and Maya Rudolph. Bad Teacher: Seeing Diaz's red-soled Christian Louboutins scoured off due to wear. A fashion tragedy for the "Sex and the City" set.
Bridesmaids opened to $26 million and currently has over $140 million in the bank. Bad Teacher, which opens tomorrow, is aiming for a similar debut, though I doubt it will have the legs of Bridesmaids. At least from where I was sitting, both movies provided plenty of laughs for their running time, one of the most important tests for a comedy.
Idris Elba was so good on "The Wire," which ended in 2004 but has since been discovered by at least as many people who watched the series to begin with. As Stringer Bell, he brought a business-minded sensibility to drug dealing, which more often was run on instinct. Although Elba has had a solid run of supporting roles, he's only recently started to come into the spotlight. This May, he had a memorable turn as the gatekeeper Heimdall in Thor.
Now he's been cast as the lead in the Guillermo Del Toro monster movie Pacific Rim. Given Del Toro's busy schedule and penchant for announcing projects that don't often pan out, I'll believe this when they start production. Or maybe not, given what happened with The Hobbit. The role is a big "get" for Elba, and there are some clues about what his role will be in this vaguely described monster movie.
Elba will likely play one of two pilots who don special Iron Man-like suits to combat monsters that have been wreaking havoc on Earth. They enter through a portal that sprung up some years before. The entire nation has retreated underground to escape the monsters. Warner Bros.-based Legendary Pictures is producing.
While that project gets underway, Elba will be seen strutting his star stuff in Ridley Scott's Prometheus. He's co-starring opposite Charlize Theron, Michael Fassbender, and Noomi Rapace. The space-set monster movie (I'm sensing a theme here) was first imagined as an Alien prequel, though now it's being billed as an original film, albeit with an Alien connection. That project is set for release in early summer 2012, where it will vie for the summer dollars. Of course, if you want to see Elba sooner, you can check out his role in next February's release Ghost Rider: Spirit of Vengeance, a sequel to the 2007 Nicolas Cage movie that I'm not placing any bets on.
