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Bill Neil is a movie trailer editor at Buddha Jones and in this video he guides us through a short history of movie trailers — from Dr. Strangelove in the 60s to Neil’s own Nope trailer — and gently picks them apart to show us how they work. I enjoyed hearing all of the vocabulary for the techniques that they use: rug pull, bumper, diegetic, rise, and signature sound (aka leitmotif).
Now showing on American Experience on PBS: Ruthless: Monopoly’s Secret History.
For generations, Monopoly has been America’s favorite board game, a love letter to unbridled capitalism and — for better or worse — the impulses that make our free-market society tick. But behind the myth of the game’s creation is an untold tale of theft, obsession and corporate double-dealing. Contrary to the folksy legend spread by Parker Brothers, Monopoly’s secret history is a surprising saga that features a radical feminist, a community of Quakers in Atlantic City, America’s greatest game company, and an unemployed Depression-era engineer. And the real story behind the creation of the game might never have come to light if it weren’t for the determination of an economics professor and impassioned anti-monopolist.
You can watch the first ten minutes of the show on YouTube or see the whole thing on the PBS website.
See also The Antimonopolist Origins of Monopoly Differ from Hasbro’s Official Story. (via @Kitbuckley)
Well, I was not expecting the next video game to be turned into an edgy drama (an 80s Cold War techno-thriller, no less) to be Tetris, but here we are.
Taron Egerton stars in a new Apple Original Film inspired by the true story of how one man risked his life to outsmart the KGB and turn Tetris into a worldwide sensation.
If you’d have told me that this trailer was a Saturday Night Live sketch from 6 years ago, I would have believed you — and as it is, the release date of March 31 gives me pause.1 But I’ll give it a shot.
I don’t actually think this is an April Fools joke — Apple doesn’t usually go in for such nonsense.↩
With soooo much TV these days, everyone has their own pick for The Best Show on TV Right Now and my pick, aside from the excellent & underrated My Brilliant Friend, is Succession. Since the middle of the first season, I have eagerly looked forward to each episode and I’ve been jonesing for season four since about 2 seconds after the final episode of season three aired. Plus, the opening credits are unskippable. Succession starts up again on HBO Max on March 26.
The length of winter near the northern 45th parallel requires events to look forward to in order to feel like you’re not forever adrift in cold and dark. Big things like vacations and reunions with friends & family as well as small things like getting outside in the afternoon, having something delicious planned for dinner, or just, like, getting to the end of the day having consumed enough water.
One of the things I am looking forward to in the early spring is March 1st because a) the sun will set at an almost respectable 5:38pm instead of the current 4:40pm, and b) season three of The Mandalorian starts. This is the way.
I love me a good speedrunning video, so I’m interested in seeing Running with Speed, a new feature-length documentary about people who strive to finish video games as fast as they can. You can find the movie on Amazon, Apple TV, and other such places. (thx, rex)
Hulu and the NY Times are teaming up to bring Nikole Hannah-Jones’ The 1619 Project to television.
In keeping with the original project, the series seeks to reframe the country’s history by placing the consequences of slavery and the contributions of Black Americans at the very center of our national narrative. The episodes — “Democracy,” “Race,” “Music,” “Capitalism,” “Fear,” and “Justice” — are adapted from essays from The New York Times No. 1 bestselling “The 1619 Project: A New Origin Story” and examine how the legacy of slavery shapes different aspects of contemporary American life.
The six-episode limited series will premiere January 26 on Hulu.
Based on the Pulitzer Prize-winning book American Prometheus (Kindle), Christopher Nolan’s newest film follows theoretical physicist J. Robert Oppenheimer as he leads the Manhattan Project to build the world’s first atomic weapon during World War II. If this film is just 50% slow-motion IMAX-scale fluid dynamics simulations, I don’t think I’d be that mad.
I’m curious to see if this film has one of Nolan’s signature time tricks — aside from the Batmen, they almost all do.
Oppenheimer comes out in the US on July 23, 2023.
P.S. If you want to read an excellent book about the Manhattan Project, you can’t do better than The Making of the Atomic Bomb by Richard Rhodes — one of my all-time favorite books.
They just nailed the tone and aesthetic with these Spider-Verse movies. Really looking forward to seeing this one.
As a refresher, here’s how the team at Sony Pictures Animation created the distinctive look and feel of the first Spider-Verse movie.
May the 4th be with you and here’s the trailer for the upcoming Disney+ series, Obi-Wan Kenobi.
The story begins 10 years after the dramatic events of “Star Wars: Revenge of the Sith” where Obi-Wan Kenobi faced his greatest defeat — the downfall and corruption of his best friend and Jedi apprentice, Anakin Skywalker, who turned to the dark side as evil Sith Lord Darth Vader.
You have to admire Daniel Radcliffe for his movie & theater role choices since Harry Potter. He’s done Swiss Army Man, Equus on Broadway, all sorts of small & independent films, several on- and off-Broadway plays, and now he’s starring as Al in a Weird Al Yankovic biopic. And……it works? Variety calls it a “scripted mockumentary”. I’ll watch.
Dean Fleischer-Camp and Jenny Slate are turning the subject of their series of short films into a feature length movie. Marcel The Shell With Shoes On, shot in a mockumentary style, features the titular character searching for his family. The trailer is very cute. Here’s the original short, from 2010. (via cool stuff ride home)
From Richard Linklater (Boyhood, A Scanner Darkly) comes a new Netflix movie called Apollo 10 1/2, in which a young boy growing up in Houston, TX in the 60s gets recruited by NASA to land a accidentally-too-small lunar lander on the Moon. It’s animated1 and premieres on Netflix on April 1.
The movie is rotoscoped, like Linklater’s A Scanner Darkly. I have to say, the rotoscoping effect is not my favorite. Why couldn’t this have been live action? I bet it would find more of an audience that way…↩
So, I have been waiting for months for season three of HBO’s My Brilliant Friend series (based on Elena Ferrante’s Neapolitan novels) and somehow it has snuck in1 and started without me noticing! Anyway, the s03 trailer is above, the first episode aired earlier this week & is on HBO Max now, and new episodes will follow every Monday.
If you haven’t seen the show, you should check out the first two seasons first…this show is a gem and I wish HBO was doing more to promote it.
I’ve logged into HBO Max like 4 times this week and it has shown me nothing about the show, even though I watched the first two seasons of it. Even now, I had to dig to find it. Algorithm, you had one job…↩
The Green Planet is a new 5-part nature series from the BBC and David Attenborough that focuses on the Earth’s plant life.
Using specialist cameras, this spectacular series allows us to travel beyond the power of the human eye, to look closer at the interconnected world of plants, showcasing over two decades of new discoveries. From deserts, tropical jungles and underwater worlds to seasonal lands and our own urban environment, each episode introduces a set of plants, reveals the battles they face, and the ingenious ways they’ve found to survive.
The trailer is above and here are some clips and behind-the-scenes looks at what it takes to capture some of these incredible scenes.
The Green Planet has already started airing in Britain on BBC, but we won’t be able to see it here in the US until July on PBS.
One of the (I would assume) many movie ideas from Quentin Tarantino that never quite got off the ground was a prequel about the Vega brothers starring Michael Madsen (Reservoir Dogs’ Vic Vega) and John Travolta (Pulp Fiction’s Vincent Vega). In this imagined trailer for The Vega Brothers, Luís Azevedo cleverly uses footage from older films starring Madsen & Travolta that Tarantino synthesized into Reservoir Dogs & Pulp Fiction as well as subsequent movies starring Madsen & Travolta that were in turn influenced by Reservoir Dogs & Pulp Fiction and fashions it into a coherent, fun narrative.
Three years ago, cinematographer and director Morgan Cooper uploaded a fan-made trailer for a gritty reboot/retelling of the 90s sitcom The Fresh Prince of Bel-Air. It caught the attention of Will Smith, who decided to give Cooper the go-ahead to develop his idea into a series. And now the first trailer of that series, Bel-Air, has dropped. Looks great…I’m going to watch.
From executive producer Adam McKay (who also directed the first episode) comes a glitzy HBO series about the Lakers’ NBA dynasty in the 80s called Winning Time. It’s based on Jeff Pearlman’s book, Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the 1980s. The casting looks great — Adrien Brody as Pat Riley is particularly fitting.
Winning Time was also the last straw in the disintegration of the creative partnership between McKay and Will Ferrell. From a recent profile of McKay in Vanity Fair:
McKay had been making an HBO limited series about the Los Angeles Lakers basketball team in the 1980s based on the book Showtime and Ferrell, a huge Lakers fan, had his heart set on the role of Jerry Buss, the legendary ’80s-era team owner. After Gary Sanchez dissolved, however, the Lakers show moved under McKay’s new production banner, Hyperobject Industries. And Ferrell, it turns out, was never McKay’s first choice. “The truth is, the way the show was always going to be done, it’s hyperrealistic,” he says. “And Ferrell just doesn’t look like Jerry Buss, and he’s not that vibe of a Jerry Buss. And there were some people involved who were like, ‘We love Ferrell, he’s a genius, but we can’t see him doing it.’ It was a bit of a hard discussion.”
The person McKay wanted for Buss was John C. Reilly, who looks more like the real thing, and who is Ferrell’s best friend. McKay hesitated. “Didn’t want to hurt his feelings,” he says flatly. “Wanted to be respectful.”
In the end he cast Reilly in the role anyway-without telling Ferrell first. Ferrell was infuriated. “I should have called him and I didn’t,” says McKay. “And Reilly did, of course, because Reilly, he’s a stand-up guy.”
Winning Time debuts in March 2022.
In this movie, Nicolas Cage plays Nicolas Cage (or “Nick Cage”) playing Nicolas Cage roles from actual Nicolas Cage movies at the behest of his biggest fan for $1 million. Ok, I’m sold! It’s like Adaptation crossed with Being John Malkovich. (This is the second movie in as many days that’s reminded me of BJM. Something in the water?)
I don’t know anything about this movie and its directors (Daniels? Oh, Swiss Army Man!) but it has Michelle Yeoh kicking ass in it and I want to see it at the first possible opportunity. Getting some Jackie Chan meets Marvel multiverse meets Being John Malkovich vibes here.
Street Gang: How We Got to Sesame Street, a documentary about the beloved show’s first two decades, debuts today on HBO Max. The film is based on Michael Davis’s 2009 book Street Gang: The Complete History of Sesame Street.
The documentary focuses on the first two experimental and groundbreaking decades of Sesame Street, highlighting this visionary “gang” that audaciously interpreted radical changes in society and engaged children with innovative new ways to entertain and educate.
Featuring exclusive behind-the-scenes footage and interviews with over twenty original cast members and creators, the documentary explores how the team incorporated groundbreaking puppetry, clever animation, short films, music, humor, and cultural references into each episode to keep kids and parents coming back, while never shying away from difficult conversations with children.
In a review, NY Times TV critic James Poniewozik says the film reminds us that Sesame Street was political right from the beginning:
“Sesame Street,” which premiered in 1969, was the project of Joan Ganz Cooney, a TV executive who was originally more interested in the civil rights movement than in education but came to see the connection between the two. “The people who control the system read,” she once said, “and the people who make it in the system read.” And she believed that the best way to get the kids of the 1960s to read, paradoxically, was through TV.
Her Children’s Television Workshop brought together educators and entertainers, including a puppeteer named Jim Henson and the director Jon Stone, an idealist attracted to Cooney’s idea of closing the literacy gap for inner-city Black children. “I think what drew Dad in really had to do with her political vision,” his daughter Kate Stone Lucas says in the documentary.
Objects is a film about the type of person who holds onto things as “a way to keep a treasured record of their lives”. The trailer is embedded above and here is a statement from filmmaker Vincent Liota:
The idea to make Objects came from a phone conversation I had back in 2014 with a long-time friend and collaborator, Robert Krulwich.
We mused about how we had saved objects for years that seemed precious to us, yet had no intrinsic value. Often, we came to own these things accidentally… mementos from an important moment in our lives or objects that evoke a time shared with a loved one. Over the years, these objects gained great significance; some we had each held onto for many decades. To us ‘keepers’ this seemed… natural.
Of course, not everyone shares this quirk. Take both our spouses, who do not hold onto things from the past. For them, objects simply have no resonance or meaning.
Why? What was it that made certain things so important to some people?
Objects is available to stream online at DOC NYC until November 28.
While I’m much more of a person who does not want a lot of possessions, I have keeping tendencies as well — old photos, favorite books I read to my kids when they were tiny, postcards from friends, 90s internet swag, the computer I built the first version of kottke.org on, and nearly every drawing, sculpture, and painting my kids have ever made for me, not to mention keeping online and public every single post I’ve made on kottke.org since March 1998. (via rob walker)
Somehow, I missed the teaser trailer for Don’t Look Up a couple months back, but the official trailer just came out yesterday. Directed by Adam McKay (The Big Short, Vice) and starring Leonardo DiCaprio & Jennifer Lawrence (and Meryl Streep, Jonah Hill, Mark Rylance, Cate Blanchett, Tyler Perry, and Timothée Chalamet), Don’t Look Up is a comedy about what happens when scientific fact (in the form of a planet-killing comet) slams into the fantasy worlds of politics and entertainment media. Just because you can’t spin Newton’s laws of motion doesn’t mean you can’t try!
Nothing, absolutely nothing whatsoever, about this movie is related to current events, nope, no sir. *sobbing intensifies* (I love disaster movies and will 100% see this even though it will probably be completely enraging.)
Directed by Betsy West & Julie Cohen (who previously did RBG), Julia is a documentary film that chronicles the life of Julia Child, perhaps the first and still most famous celebrity chef.
Using never-before-seen archival footage, personal photos, first-person narratives, and cutting-edge, mouth-watering food cinematography, the film traces Julia Child’s surprising path, from her struggles to create and publish the revolutionary Mastering the Art of French Cooking (1961) which has sold more than 2.5 million copies to date, to her empowering story of a woman who found fame in her 50s, and her calling as an unlikely television sensation.
The film opened in theaters a couple of weeks ago and is getting great reviews (98% on Rotten Tomatoes).
A few weeks ago, I posted about David Fincher’s new project with Netflix. Unfortunately, it’s not a third season of Mindhunter. But, here’s what it is: a 6-episode series of visual essays about movies and filmmaking, not unlike the YouTube videos I post here all the time (many of which you can find under the film school tag).
VOIR is a series of visual essays celebrating Cinema and the personal connection we each have to the stories we see on the big screen. From intimate personal histories to insights on character and craft, each episode reminds us why Cinema holds a special place in our lives.
Tony Zhou and Taylor Ramos of the dearly missed Every Frame a Painting are contributing to at least one of these visual essays, so that right here is reason enough to rejoice. VOIR drops Dec 6 on Netflix.
8-Bit Christmas is a Christmas movie set in the 80s starring Neil Patrick Harris and centered around the Nintendo Entertainment System that seems to be hitting the Christmas Story, Doogie Howser, Stranger Things, Princess Bride, The Wizard, and Goonies nostalgia buttons all at the same time. As someone who was roughly the age of the movie’s child protagonist when the NES came out,1 this movie is directed squarely at me, I will probably watch it, and I cannot see how it can possibly be good. But…maybe?
I am not exactly sure when I got my first Nintendo, but I do know it was early enough to get the Deluxe Set with R.O.B., the Zapper gun, Gyromite, and Duck Hunt. I also got Super Mario Bros. at the same time. My recollection was that I used some money I had saved up from my confirmation to buy it, but I’m not sure that lines up with the timeline. Maybe I got it for Xmas? Whatever the case, it was a big deal…it was by far the most expensive thing I’d ever owned and the first video game system our family had. I played that thing into the ground for years and years afterward.↩
Finch is a movie starring Tom Hanks, whose character befriends a dog in post-apocalyptic America and then builds a robot to protect the dog. It’s like Short Circuit meets I Am Legend meets Turner and Hooch meets Castaway meets Terminator 2. The only reason I am telling you about this preposterous-sounding entertainment product is that David Ehrlich (who is responsible for the epic movie recaps I post every year) wrote a mostly favorable review of it. The star of the show, says Ehrlich, is Jeff, the dog’s robot bodyguard:
Dewey sets the tone as the first of Finch’s manufactured friends. An articulating arm that’s attached to a metal cube on wheels, the prototype is lovable despite being only lightly anthropomorphized, and the decision to cast him as a 100-percent practical animatronic makes it that much easier for your eyes to accept that Jeff is just as real (Jones’ on-set motion-capture work and top-notch CGI help to complete the illusion). From the moment Finch powers him up, there isn’t a doubt in your mind. In fact, Jeff is so tactile and endearing that a more adorable design might have risked a kind of overkill; essentially an oblong, gourd-like orange cushion affixed with two protruding camera eyes and squished on top of a giant chassis of exposed titanium joints, Finch’s magnum opus doesn’t seem like the solution to all his problems so much as a robot Cousin Greg who’s been programmed with Asimov’s Three Laws plus a prime directive to “protect dog above all else.” He can only be loved for his potential.
It’s streaming on Apple+ starting this Friday. I might….watch it?
The Beach is a documentary from Australian filmmaker Warwick Thornton that documents his time living on a isolated beach in order to “transform his life through the healing power of nature”. From the looks of the trailer, it’s a little bit ASMR combined with slow TV — A24 is playing the film in a continuous loop (an “infinity-looping experience”) from November 22-28 so you can just dip in and out of it during the week. More info here and here. Looks beautiful. More cool weird stuff like this please. (via craig mod)
Kurt Vonnegut: Unstuck in Time is a feature length documentary on the life and works of the titular author. It’s…been in the works for awhile:
In 1982, a young filmmaker wrote a letter to his literary idol, proposing a documentary on the author’s life and work. Kurt Vonnegut soon met with Robert Weide and authorized the production. Weide thought it would take a few months to raise the needed financing, and figured a film could be completed within the year. That was 33 years ago.
The trailer is embedded above and the film will be released in theaters and on-demand on November 19th. (via austin kleon)
Pixar is doing an origin story prequel of Toy Story called Lightyear. The teaser trailer is above. Chris Evans is taking over from Tim Allen as the voice of Buzz. Release date is sometime next summer. Like the folks at Polygon, I too am confused about the time bending that seems to be going on here:
does the existence of a #RealBuzzLightyear zipping through space in the far future imply that the world of Toy Story is also set in the far future
And:
That doesn’t mean he’s a real guy. Toy Story is not set in a world where aliens are just real and that’s fine with everyone. That isn’t a thing in those films. That’s just not the case. We would know if it were.
Is the movie going to explain any of this? Or is everyone just overthinking an (absurdly beautiful and expensive) kids cartoon movie (that likely has themes and humor that will resonate with adults)? Or or am I just yearning for some fun, dumb, low-stakes online arguments to replace the dangerous, dumb, and high-stakes online, uh, discourse? that we’re subjected to 24/7/365/2021/?????? (I think the answer to all of these is “yes”.)
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