Monday, September 30, 2013
Friday, September 27, 2013
Thursday, September 26, 2013
Wednesday, September 25, 2013
This trailer for PT Anderson's Magnolia is a perfect example of how to sell a movie: it gives absolutely no details of the plot itself, yet still is a perfect encapsulation of what is found in the finished product.
Tuesday, September 24, 2013
Sky Captain and the World of Tomorrow, which, if we're being honest, makes for a better trailer than an actual movie. The feel and the look and the attitude behind it all was right, and the cast was rather excellent, but Kerry Conran's debut movie was lacking in the sort of red-blooded thrills found in the pulpy, serialized entertainment it sought to emulate.
But still, it's a pretty great trailer on it's own.
Monday, September 23, 2013
Starcrash from 1978, featuring the incomparable Caroline Munro, David Hasselhoff and Christopher Plummer (!). About as low-rent as it gets, but I'm far more willing to forgive plenty of imagination with no budget than I am budget with no imagination.
Sunday, September 22, 2013
Friday, September 13, 2013
This unproduced effort from Hammer Films never got past the poster stage - the company went out of business before production could start. I don't know what's cooler: the fact that Hammer considered making a film called Zeppelin V. Pterodactyls, or that they came up with concepts for movies based on little more than a poster.
Thursday, September 12, 2013
Wednesday, September 11, 2013
Two today, because Dark of the Sun has so many badass posters it's impossible to choose just one. I must confess I still have yet to see this one, featuring Rod Taylor, Yvette Mimieux and Jim Brown, so shame on me. But with those three in the lead it's impossible to see how the film won't deliver. There's also apparently a chainsaw fight in the film that actually lives up to the poster, so that alone should be worth the price of admission.
Tuesday, September 10, 2013
Monday, September 9, 2013
Friday, September 6, 2013
Thursday, September 5, 2013
The standoff between Omar Little and Brother Mouzone that opens the season three episode "Middle Ground." The Wire was an amazing show all-around, but what impressed me most was it's ability to keep it's hard-nosed, ripped-from-the-headlines feel while still keeping a flair for the cinematic. It was a show that delved deep into the day-to-day bureaucracy and drudgery of police procedure, but that still made time to include scenes like the above, which would feel at home in some of the best Clint Eastwood westerns.