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: The Third Man

Carol Reed’s 1949 classic is impressive on the big screen, just as it must have been over sixty years ago. The Third Man is quintessential film noir; thoroughly recommended for fans of the genre as well as cinema itself.

Writer Holly Martins arrives in Vienna, having been invited by his old friend Harry Lime. Martins is shocked to find out Lime was recently killed in a car accident. When Martins begins to ask questions, he notices inconsistencies in the accounts of Lime’s friends…

The Third Man ticks all the boxes of a 1940s film noir. With its themes of crime, betrayal and mystery, it is exemplary of that period. Reed’s film goes beyond this however, offering a feature that is difficult to fault. The various aspects of the film blend together incredibly well. The Third Man has been so critically acclaimed undoubtedly due to the fact that it is such a compelling film.

Reed’s film is drenched in intrigue. There is mystery from the outset, concerning both the incident involving Harry Lime and the character himself. Writer Graeme Greene has carefully constructed the story so that the reveal is slow but effective. Seemingly, for each reveal another mystery is put in its place. Thus, the film operates to keep the audience on their toes, refusing to give away too much too soon.

The characters in The Third Man are compelling. The audience are strictly aligned with protagonist Holly Martins, entering the action alongside him. The ambiguity of proceedings is shared by Martins, who struggles to find the truth in the tangled web of lies and intrigue. Most indelible, however, is the mysterious Harry Lime. Pronounced dead at the beginning of the film, his presence casts a dark shadow over the duration in spite of his absence.

Robert Krasker’s photography is fantastic. Krasker captures  a sense of eeriness in the images, creating a look that is characteristically gothic. The lighting is striking, with the looming shadows evocative of earlier German Expressionism. This is particularly effective in one of the film’s memorable scenes, where a shadow dramatically engulfs the exterior of a building. The score is also great; Anton Karas’ theme has become one of the most recognisable in cinematic history.

Joseph Cotten is perfectly cast as Holly Martins. The frequent Welles collaborator is a beacon of morality in a corrupt world. Orson Welles is beguiling as ever in his critical role. Alida Valli captures the ambiguity of Anna succinctly. There are several noirs that can be classified as brilliant. The Third Man certainly ranks in this category.

The Third Man was shown at the British Film Institute as part of the Screen Epiphanies season. It was introduced by Michael Winner.