Hi there! We’re back again with another look at the best and most interesting film trailers to hit the web this week. Climb in this bathtub with me as we take a closer look.
So it turns out Jurassic Park 4 isn’t actually a dinosaur film. It’s a monster movie.
We knew that this film involved a genetically-modified super-dino, and we knew that it was going to escape at some point. What we didn’t know is that this is no mere animal on a rampage – the Indominus Rex is a cruel, intelligent, revenge-driven killer. And… I’m not sure how I feel about that. The T-Rex and the raptors never needed that kind of personification, and the one time they did try it we ended up with the rubbish Spinosaurus.
Other than that, though, this is a strong and exciting trailer. It’s still a delight to finally see Jurassic Park up and running, and the specific attractions like the aviary and pool show are really great to see. On the flip side, we get a much clearer picture of the chaos caused when those attractions go wrong. This is also the first trailer where Chris Pratt has been able to show some of the energy and charm we know he usually brings – along with, of course, his posse of trained raptors.
The success of this film will probably depend on how seriously it takes itself. There’s some really silly ideas in here – serial-killer-saurus chief among them – but if it’s happy to embrace that silliness then it could end up being a really great time.
It’s easy to forget, now that we’ve seen so many TV and film versions of Sherlock Holmes, that the original novels are actually written from Watson’s perspective. This means that sometimes Watson gets things wrong (see: The Final Problem) and sometimes, maybe, he even lies to us (see: The Adventure of Charles Augustus Milverton).
Mr Holmes is a film I was aware off but not hugely interested in until now – I’ve seen enough Sherlock Holmes that just seeing an older version didn’t really appeal. But seeing how this film plays with the idea of Watson as unreliable narrator – and seeing how Watson himself never appears – makes this a far more interesting prospect.
So here we have an old case that’s not what it seems, a regretful Sherlock looking back on his career, and an unlikely friendship with a very inquisitive young boy. Oh, and the sleuth himself if played by freaking Gandalf, which can only be a good thing.
Colour me intrigued.
We’ve had about four different trailers for Brad Bird’s new film by now, yet it’s still difficult to even tell what this movie is supposed to be about. Rather than selling us a story, the marketing seems to be selling us an idea: the idea of Tomorrowland itself, a place where amazing stuff happens.
This new trailer isn’t really any different – focusing on early setup and mysteries rather than any real plot info – but it features one pretty complete action sequence on top of the usual disjointed images. Robots attack George Clooney’s house and he fights them off with a variety of cool science-fiction gadgets – I particularly like the laser-grid. It’s a great scene but, again, it doesn’t really tell us much about the film.
This is probably the whole point. We’re supposed to be pulled in by all these questions (What is Tomorrowland? Where is Tomorrowland? Who is George Clooney? And what’s with the evil robots?) but it’s just not working for me. I love the dimension-hopping concept of touching the pin, and I like some of the other ideas on show, but Tomorrowland has yet to give me a reason I should care.
I stuck with M. Night Shyamalan a lot longer than most. The general opinion seems to be that his films collapsed somewhere around the end of Signs, but I actually still like his later films. The Village is fantastic, Lady in the Water is a fun examination of storytelling, and even the much maligned The Happening has some genuinely brilliant moments. It wasn’t really until he attempted full-on blockbuster filmmaking, with 2010’s ruinous The Last Airbender, that even I had to admit the director had lost his way. I never saw his next film, After Earth, but by all accounts it suffered from the same problems – a fumbled premise and seriously unlikeable characters.
It’s almost a relief, with this trailer, to see Shyamalan back in the realm of smaller, simpler movies. The Visit looks to feature only four characters in one location and seemingly very few special effects – it’s the complete opposite of his last few films, and exactly the kind of premise I feel like he can handle. It often seems like the less Shyamalan has to work with, the more he can do with it and, from it’s limited premise to its found-footage style, The Visit is definitely something I’m interested in seeing him do.
What I’m not interested in is all the arguments I’m going to end up having about how much the twist sucks, even if the film doesn’t actually have one.
Remember at the end of the first Fantastic Four trailer – the one that desperately wanted to be Interstellar – where someone asked “What’s coming?” and we all expected the answer to be “Doom”? Well, this trailer has the same question, and this time that’s actually the answer.
That whole first trailer seemed a little too afraid of not being taken seriously, hiding that “Doom” line and shying away from showing any superpowers. Thankfully, this new one feels like a course-correction. The humourless tone has been replaced by something a bit more fun, we actually get to see some crazy powers and weird-looking characters, and (most importantly) they’ve ditched that awful Fant-FOUR-stic logo.
As for the weird powers and characters, I’m torn. The Human Torch looks amazing – the dark silhouette wreathed in flame is a perfect recreation of his best look from the comics – but the Thing looks, well, nothing like the Thing (and also nothing like that great production photo) and that kinda sucks.
But the way they look is pretty unimportant. The Fantastic Four, as a comic, is far more about the relationships between these characters, and we finally seem to be getting a bit of that here. Susan Storm gets unfortunately sidelined, but the friendship between the other three feels genuine and adds some much needed heart to a film that was beginning to seem far too cold and clinical. Honestly, watching Reed Richards fail to fistbump Johnny Storm has done far more to sell me this film than anything else we’ve seen so far.