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Trailers that excite the shit out of me vol. 1

This is a semi-regular column devoted to showing off the trailers of movies that look promising. The posting of this feature will solely depend on my subjective opinion and my definition of “exciting.”

I probably should have started this feature before the summer began because, then, I could have shown trailers for the Incredible Hulk (let down), Step Brothers (let down), the Dark Knight (let down), or Wall-E (best movie this summer).

My Winnipeg

So I guess this one isn’t the newest film or one that hasn’t even come out yet. But it’s also one that’s being self-distributed by Guy Maddin because it played in LA for a week at the Nuart and it’s playing until Thursday in Berkeley and San Francisco and then it’s disappearing for two weeks and returning in some podunk town in Delaware called Wilmington (actually the largest town in the state even though it has a population about half that of the suburb I grew up in) for a four day run.

So I’m showing you this trailer so that you get excited as fuck about this film in the hopes it comes within six of hours of my residence so I can see it finally–I missed it in L.A. because I had to work all goddam week. I was pissed. And you will be too if you miss it.

Also, if you find a full schedule of release cities and dates for this film, send me a comment or an email. Thank you!

pineapple express

Coming out in August is the next big comedy from the Apatow clan. This movie excites me because I have a hard-on for Seth Rogen and his smoked-too-much gruffy laugh.

In theaters, you’ve probably seen the clean trailer for this movie before most any big summer film (Iron Man, Step Brothers, but not the Dark Knight), but the Red Band Trailer is much more satisfying. I think it’s the fact that Pineapple Express can be stated as being weed. And because they don’t use the radio edit of M.I.A.’s song “Paper Planes” so she said “weed” instead of “seeds,” giving it much more poignancy to its being in the trailer.

Hamlet 2

Next up is Hamlet 2 which comes out in Late August… Now, before I re-watched the trailer while trying to remind myself about trailers, I thought that Eric Idle was the flamboyant Drama Teacher. But after watching the trailer again, and hearing Mr. Moviefone say “Steve Coogan” and not “Eric Idle” I realized that Idle is much older than that.

That’s no deterrent though since anyone who can pull a trick like that is still gonna get my ticket. This movie looks to be fucking ridiculous in all the right ways.


So I don’t know why this movie excites me. Maybe it started with the irony of having this trailer premiere before the Dark Knight while having its action dubbed over with a B-side (for this song) written for Batman & Robin.

But frankly I’m a bit sick of superhero films. Ever since the decade began with the X-Men movie, then two years later with the enormous grosses of the first Spiderman film, we’ve been inundated with adaptations from comic books and graphic novels. Most, though not all, are based around superheroes. And this is another one based on the “most celebrated graphic novel of all time.” (My waxing on about this has got my juices flowing, expect an article concerning this topic later)

Burn After Reading

Next up is what appears to be a return to typical form for the Coen Bros.

After they made No Country for Old Men, they’ve decided to return to their roots of heists and sales and deals all gone awry. I’ve seen every movie in their oeuvre save Intolerable Cruelty–which I probably will never see; I’m a completist not a masochist–and all of their movies revolve around a fish out of water surrounded by things going horribly wrong.

The fish out of water this time are Brad Pitt and Frances McDormand (in her first Coen film since The Man Who Wasn’t There) who–well, you’ll see in the trailer.

Again, this is a red band trailer for Restricted Audiences. I like these trailers because they give a better idea of the tone of the film–especially for R-Rated films like this one and the aforementioned Pineapple Express.

For this film, a lot of the red-band comes from the dialog, which is important to a Coen Bros. film since they kick ass at writing such things.

Miracle at St. Anna

Spike Lee has made a fucking WAR MOVIE.

Terminator Salvation

The fourth title in this series that will start off the final trilogy about Skynet and about John Connor saving the world.

I enjoyed the first two, and only watched the third because the villainess was a total babe. They didn’t let the audience enjoy her naked time jump enough though. Just sayin’.

Alright. That should do it for this installment. When I find more movies to get excited about, or movies I forgot to include, or the Terminator Salvation trailer in full is released, you’ll see this article again.

the adventures of baron [von] munchausen

It’s said that every great filmmaker, at one time or another in their career, will make a war movie. Coppola made Apocalypse Now, Stone made Platoon, Kubrick made Full Metal Jacket, Spielberg made Saving Private Ryan. Hell, even Robert Zemeckis got in on the fun when he made Forrest Gump.

Why do I bring this up? Because I’m pretty sure this is Terry Gilliam’s “war movie.” (Or at least one of them. I haven’t enough of Gilliam’s films) It has the battle scenes that the movie opens with, dragon cannons and all, as well as some typical Gilliam insanity. We have Robin Williams as the King of the Universe who detaches his head from his body for more intellectual matters; Eric Idle as Berthold who runs really fast but forgot how while imprisoned on the moon; Uma Thurman as the goddess Venus; and then some random actors as a guy who is really strong, a guy who can see really far and a guy who can blow wind really well and hear really well.

But at the heart of the story is a little girl’s desire to save the city and the Baron’s desire to die. See, the Baron is an old-ass motherfucker by the time the movie begins, and so he just wants out of the world’s bullshit. He’s tired of having no one believe him. And the little girl just wants all the fighting to stop.

This movie is kind a crazy, beautiful, mess. In typical Gilliam fashion, everything is done on an epic scale. But it doesn’t always seem to work out. Throughout the movie, we encounter enormous set pieces, but they all seem too overblown and too insane.

But then that is Baron von Munchhausen. A crazy mess. The way everything is filmed is exactly as Munchausen stated it as he tells the tale because he’s fed up with the bullshit play that’s being put on in some random town that the turks are attacking. The vision outweighed ability, it seemed. I don’t know if it could’ve been done better now since everything looks just as fake but it moves smoother and is a little shinier, but it just feels like this film has no center. I wanted to stay in the first story of him robbing the sultan but I was thrust back into the age of Enlightenment in the town of Oren (seriously, this town is exactly how I envisioned Oren when I read Camus’ the Plague) where we go to the moon and back again.

This movie is definitely family friendly, but it’s also definitely a gauntlet–challenging to get through if only because of what Gilliam has put on the screen for you to comprehend.