Previews: The Addams Family Trailer, Official Secrets, More!

Plenty to see in this week’s preview of coming attractions, including the new The Addams Family trailer, The Day Shall Come, The Farewell, and more…

The Addams Family Trailer

Here is the brand new The Addams Family trailer. The animated film is the latest iteration of the creepy family, following the television shows and the 1990s films. This latest movie features the voices of Oscar Isaac, Charlize Theron, and Chloe Grace Moretz. The Addams Family hits UK screens on 25th October 2019.

The Day Shall Come Trailer

Above is the new trailer for The Day Shall Come. Directed by Chris Morris (Four Lions), the film is a satire on Homeland Security, based on 100 true stories. It stars Marchánt Davis, Anna Kendrick, and Danielle Brooks. The Day Shall Come will be released in UK cinemas on 11th October 2019.

Official Secrets Poster

Official Secrets is about the 2003 UK-US invasion of Iraq. The film focuses on Katherine Gun, a translator who leaks a classified email. Directed by Gavin Hood, the film stars Kiera Knightley, Matt Smith, Matthew Goode, and Ralph Fiennes. Official Secrets will hit UK cinemas on 18th October 2019.

The Farewell Trailer

Lulu Wang’s Sundance smash The Farewell gets a UK release date. Written and directed by Wang, the semi-autobiographical drama is about a US-raised young woman who returns to China to see her ailing grandmother. The film stars Awkwafina and Tzi Ma. The Farewell will be released in UK cinemas on 20th September 2019.

The Third Man Trailer

To celebrate its 70th anniversary, Carol Reed’s classic The Third Man gets a 4k re-release. The film, which stars Joseph Cotten and Orson Welles, is about a writer who arrives in post-War Vienna to meet his childhood friend. The film will be screened at a special event at Picturehouse Central in London on 1st September 2019 – seventy years to the day of its world premiere. The Third Man returns to UK cinemas for one day only on 29th September 2019.

Film Review: Greta

Despite a good cast and a decent premise, Neil Jordan’s Greta frustrates with its host of implausibilities. Although the bombast is welcome, it is not enough to save the film.

When Frances finds a handbag left on the subway, she decides to return it to its owner. She returns the handbag to Greta, a lonely widow. The widow strikes up a friendship with the young girl, but all is not what it seems…

Greta is a psychological thriller in the vein of Single White Female. At first glance, writer-director Jordan and co-writer Ray Wright’s film has all the elements to make this type of thriller work. There is the naive, wide-eyed protagonist. There is of course the unnerving antagonist. There is the initial set up with the undercurrent of unease. 

Despite these aspects, the film falters early on. There are too many plot holes, asking the audience to suspend disbelief too much and too early. The early harassment phase is palatable enough, even generating tension at times. The film goes off the deep end completely in the second half, and doubles down rather than attempting a recovery. Jordan settles on a flamboyant take, which viewers need to be fully on board with. The camp theatrics are not quite convincing enough to forgive the impossibilities.

There is too much in the narrative that is implausible. The actions of the protagonist defy logic. Moreover, Greta works well as an antagonist in the psychological rather than physical sense. The final third is nonsensical, given the parity in strength between the two main characters. Two late scenes involving additional characters are particularly silly. 

The score is overwrought, coming in too early for its intensity. Visual effects are decent, as is the production design. Isabelle Huppert is simply too good for the material. She hams it up adequately, revelling in the ridiculousness rather than playing it straight. Meanwhile, Chloë Grace Moretz is more earnest than the film deserves. Maika Monroe is decent in a supporting role.

Greta is too exasperating to be enjoyable. Neil Jordan has a flair for the flamboyant, but does not manage to pull it off successfully here.

Previews: The Addams Family Trailer, Booksmart, More!

The Addams Family Trailer

A plethora of film-related goodness in this week’s preview of coming attractions, including The Addams Family trailer, Booksmart, My Spy and more…

The Addams Family trailer is here. This first look at the new animated film gives a taste of the humour we can expect. The voice cast for this latest iteration includes Oscar Isaac, Charlize Theron, and Chloë Grace Moretz. The Addams Family is set for release on 25th October 2019.

Booksmart Trailer

Booksmart is the directorial debut from Olivia Wilde. The film received critical acclaim on its premiere at SXSW in March. The comedy focuses on two high school friends, played by Beanie Feldstein and Kaitlyn Dever. The cast also includes Jason Sudeikis and Lisa Kudrow. Booksmart is due to hit UK screens on 27th May 2019.

My Spy Trailer

Dave Bautista’s latest film is action comedy My Spy. The film is about a hardened CIA operative who is at the mercy of a young girl when sent undercover to surveil her family. The film also stars Ken Jeong and Chloe Coleman. My Spy is coming soon to UK cinemas.

The Corrupted Trailer

Here is the trailer for crime thriller The Corrupted. The film is set in East London, and is about a land grab that occurred following the Olympic Games. The Corrupted stars Sam Claflin, Timothy Spall, and Noel Clarke. The film is set for release on 3rd May 2019.

Extremely Wicked, Shockingly Evil and Vile Trailer

Extremely Wicked, Shockingly Evil and Vile tells the story of notorious serial killer Ted Bundy. The film focuses on Bundy and his relationship with single mother Liz. The film’s cast features Zac Efron and Lily Collins. Extremely Wicked, Shockingly Evil and Vile will be released in UK cinemas and on Sky Cinema on 3rd May 2019.

Film Review: If I Stay

If I Stay is schmaltz aimed squarely at an adolescent audience. Needless  to say, fans of the novel the film is based on will eat up this offering.

Life changes in an instant for talented young musician Mia. When an accident puts her in a coma, Mia must decide whether to wake up, knowing her world has changed forever…

Based on Gayle Forman’s novel, If I Stay is a sentimental drama aimed at a female teenage audience. The film’s premise is fairly decent. There are shades of Sliding Doors, and other ‘what if’-based movies, to be found in the film’s plot.

If I Stay is sentimental teenage drama writ large. The question at the centre of the film is no doubt a formidable one. Screenwriter Shauna Cross and director R.J. Cutler ring out Mia’s decision as much as possible. If I Stay is certainly a tearjerker, with the filmmakers squeezing every drop of sentiment. The various interactions Mia has will doubtlessly set certain viewers off, depending on how much they identify with the particular relationship.

Protagonist Mia is a likeable character. There is something ordinary about her, despite her talent, that Cutler has succeeded in capturing. Mia is not so out of touch that the films target demographic will not be able to identify with her. Chloë Grace Moretz delivers a good performance as Mia. She is believable as a young girl in love, yet determined in her musical talent. Jamie Blackley is well cast as the young rock star, although he falters in some of the film’s more dramatic moments. Mireille Enos is decent as Mia’s mother.

The main issue with If I Stay is that the script is so cloying, more cynical viewers will be hard pressed not to guffaw at certain moments. Every other utterance appears to be oozing with sentiment or heartfelt advice. The film would be more palatable to a wider audience if the dialogue was more genuine. Nevertheless, for those looking for a tearjerker, If I Stay is just the ticket.

Stuff To Look At

A treasure trove of film-related goodness this week, including X-Men: Days of Future Past, Edge of Tomorrow and Godzilla…

X-Men Days of Future Past

Here is a new featurette for the upcoming X-Men: Days of Future Past. Wolverine is one of a host of characters returning from the original X-Men film series. X-Men: Days of Future Past is released in UK cinemas on 22nd May 2014.

Love, Rosie

Above is a teaser trailer for new comedy Love, Rosie. Starring Lily Collins and Sam Claflin, the film centres on the friendship of Rosie and Alex who go and study in the US together. Love, Rose is scheduled for release in October 2014.

Godzilla

Show us Godzilla! Listening to director Gareth Edwards talk about the monster in his upcoming blockbuster makes me all the more eager to see it. Godzilla hits the big screen on 15th May 2014.

Boyhood

Richard Linklater’s Boyhood is something rather extraordinary. A fictional film made with the same group of actors over a twelve year period, Boyhood is certainly something to look out for. The film is released on 11th July 2014.

Edge of Tomorrow

Tom Cruise and Emily Blunt star in action adventure Edge of Tomorrow. The film seems like it fits into both Cruise and Blunt’s fairly recent predilection for science fiction. Edge of Tomorrow is released in UK cinemas on 30th May 2014.

22 Jump Street

As silly as it is, I am not going to deny that I laughed at this clip. 21 Jump Street was a very entertaining picture, so I am hoping that its sequel will deliver more of the same. 22 Jump Street is released in UK cinemas on 6th June 2014.

In Secret

Here is a clip from upcoming period drama In Secret. Set in 1860s Paris, the film stars Elizabeth Olsen, Tom Felton and Oscar Isaac. An adaption of Zola’s classic Thérèse Raquin, In Secret hits cinemas on 16th May 2014.

If I Stay

If I Stay is a romantic drama starring Chloe Grace Moretz. The film is based on the 2009 novel of the same name. I am not familiar with it, but I presume it is popular with the kids. If I Stay is due for release later this year.

The Wind Rises

Hayao Miyazaki’s farewell picture is a wonderful ode to dreaming. The Wind Rises continues Studio Ghibli’s tradition for superb animation. The film is released on 9th May 2014.

Stuff to Look At

A catch up of all the trailers you may have missed for the Easter weekend…

The Big Wedding

Robert De Niro heads an all star cast in comedy The Big Wedding. I wish Robert De Niro was still making films with Martin Scorsese, but there you go. The film also stars Susan Sarandon, Diane Keaton, and Katherine Heigl, who surely cemented this role in her pact with the devil. The Big Wedding is released in UK cinemas on 29th May 2013.

Oblivion

Above is a featurette on upcoming movie Oblivion. Starring Tom Cruise, Olga Kurylenko and Melissa Leo, Oblivion is a future-set science fiction film from the director of Tron: Legacy. Oblivion is out in cinemas on 10th April 2013.

Star Trek Into Darkness

Star Trek Into Darkness looks very promising. J.J. Abrams’ 2009 update of Star Trek was a great sci-fi action romp, and Into Darkness seems to be following the same path. Starring Chris Pine, Zoe Saldana, Zachary Quinto and Benedict Cumberbatch, Star Trek Into Darkness hits UK screens on 9th May 2013.

World War Z

Brad Pitt stars in apocalyptic extravaganza World War Z. Based on the novel by Max Brooks, Pitt stars as Gerry Lane, a UN employee trying to ascertain the cause of a pandemic which is threatening the world. World War Z is released in UK cinemas on 21st June 2013.

Despicable Me 2

Gru is back! But perhaps more importantly, Agnes is back! From the above trailer, Despicable Me 2 appears to have a sound plot. It also features a host of talent, including Steve Carell, Al Pacino, Kristen Wiig and Steve Coogan. Despicable Me 2 is due for release on 28th June 2013.

Kick-Ass 2

Hit Girl is now a fully-fledged teen! Aaron Taylor-Johnson and Chloe Moretz return for Kick Ass 2. The sequel, which also stars Jim Carrey, is released on UK screens on 19th July 2013.

Film Review: Hugo

Martin Scorsese’s Hugo is likely to beguile audiences with its tale of wonderment. The director’s love of the moving image and his gift for filmmaking shine as brightly as ever.

A young boy who lives in the walls for a Paris train station, Hugo spends his days trying to fix the automaton his father found, whilst hiding from the station inspector. When a shopkeeper confiscates his notebook, Hugo is determined to get it back. Enlisting the help of a new found friend, Hugo attempts to find out more about the automaton…

Based on Brian Selznick’s book The Adventures of Hugo Cabret, Scorsese’s film works on multiple levels. At first glance, it is an enchanting family adventure. The comedy in Hugo is also a highlight, giving the film a suitably light touch. Finally, it is Scorsese’s paean to early cinema and its mechanics.

The film offers viewers unfamiliar with early cinema an enchanting journey through cinema. Those more acquainted  should enjoy the various references and allusions to film in the early twentieth century. The message of restoration is laid on a little thick for those aware of the director’s interest and contribution to this field. Nonetheless, it is a message as good as any.

The narrative is weaved to create a sense of mystery. The reveals in Hugo are finely executed. It is ambiguous as to what type of adventure will unfold, and whether any type of fantasy will manifest itself. This sense of uknown works well to retain the viewer’s attention.

Scorsese’s direction is at times sublime. This is particularly true of the camerwork in Hugo‘s opening sequences. The art direction in the film is superb. The Paris train station looks authentic for the its 1930s setting, yet retains a fantastic aura. Howard Shore’s score is also a treat, suiting the tone and the look of the film incredibly well.

Performances in Hugo are good overall. Asa Butterfield does a great job as the title character, bringing a certain charm to the role. Ben Kingsley offers the necessary presence, while Chloe Moretz has good chemistry with Butterfield. Sasha Baron Cohen brings much of the film’s humour as the station inspector, a role seemingly made for the actor.

Hugo is a rare live action film well worth viewing in 3D. Scorsese has proven he is just as adept in the family film genre as he is in his earlier, adult-orientated work.

Film Review: Let Me In

A remake of the Swedish film Let The Right One In, Let Me In does not stray too far from its antecedent. Although there are a few nice touches added to proceedings, overall this remake seems pretty pointless.

Owen is bullied at school and spends most of his time alone. When a girl moves in next door, he finally has a friend to hang out with. Abby’s arrival, however, coincides with a number of gruesome murders…

Director Matt Reeves follows the blueprint from John Ajvide Lindqvist’s novel and subsequent screenplay, choosing to alter only minor aspects. Unlike the Swedish film, we are thrust right into the action in Let Me In. The film begins at a climactic moment; most of what follows is a flashback.

The relationship between Owen and Abby is endearing, despite the looming danger. It is difficult not to feel sympathy for Owen; the scenes of bullying are quite brutal. Given this environment, it seems reasonable that Owen would want to maintain his bond with his only friend, even after he finds out about her dark side.

There isn’t the same sense of androgyny to Abby as there is to Eli in Let The Right One In. Thus, her assertion that she is not a girl doesn’t have the same poignancy in the 2010 film. Abby is depicted more brutally than her predecessor, but still maintains a feeling of warmth towards her friend. The relationship between the children is convincing; it is easy to see why these two outsiders would bond.

Reeves’ shooting style is fluid, combining the hand-held style of his earlier film Cloverfield with more traditional techniques. Reeves does however make some interesting choices. The face of Owen’s mother, for example, is never shown clearly. The intention may have been to intensify Owen’s state of isolation and the lack of human warmth he receives. Nevertheless, the deliberate obscuring of his mother’s face becomes distracting, and is more reminiscent of Muppet Babies than anything else.

There was something very cold about Let The Right One In that made it so memorable. Let Me In tries to replicate that atmosphere, but is only partially successful. Although the settings are quite similar, there doesn’t seem to be the same sense of isolation that permeates the Swedish version. Despite its 1980s setting, Let Me In does not appear too removed from reality; there is more of an urgency in the film that cuts through the coolness.

Let Me In does offer some highlights, notwithstanding. The performances by Kodi Smit-McPhee and Chloe Moretz are great, and the film boasts a fantastic 1980s soundtrack. Let Me In is incredibly bloody; a nod to Hammer Productions’ notorious past, perhaps.

Let Me In is a well-made film but is just too similar to Let The Right One In. Given that the Swedish version was released fairly recently, the new version appears quite futile. If an English-language version was required, surely dubbing would have been a sensible option.