Plenty in this week’s preview of coming attractions, which include the brand new Halloween poster, Hereditary, The Happy Prince, and more…
Here is the new poster for the upcoming Halloween. Forty years since the original Halloween film, and twenty since Jamie Lee Curtis reprised her famous role in Halloween H20, Michael Myers is back once more. Curtis is joined by Judy Greer and Will Patton, and the film is directed by David Gordon Green (Your Highness, Stronger). With John Carpenter among the Executive Producer, Halloween hits the big screen on 19th October 2018.
Above is the new trailer for Hereditary. The upcoming horror is about a family who reveal something sinister about their ancestry when the matriarch of the clan passes away. Hereditary stars Toni Collette and Gabriel Byrne, and is the feature debut from writer-director Ari Aster. The film is set for release on 15th June 2018.
The Happy Prince Trailer
The Happy Prince is written, directed, and stars Rupert Everett. The film is his directorial debut. Everett stars as Oscar Wilde, portraying the writer in his final years. The film also stars Colin Firth and Emily Watson. The Happy Prince will be released in UK cinemas on 15th June 2018.
Life of the Party Trailer
Here is the latest trailer for Life of the Party. The comedy stars Melissa McCarthy as a newly divorced mum who decides to go back to college. The film is directed by McCarthy’s husband Ben Falcone, and penned by the couple. Also starring Gillian Jacobs and Maya Rudolph, Life of the Party will be released in UK cinemas on 11th May 2018.
Jurassic World: Fallen Kingdom Trailer
Above is the last trailer for the upcoming Jurassic World: Fallen Kingdom. The sequel sees Chris Pratt and Bryce Dallas Howard reprise their roles from 2015’s Jurassic World. Jeff Goldblum also reprises his role from the franchise. Jurassic World: Fallen Kingdom launches onto UK screens on 6th June 2018.
I have come to the conclusion that Stieg Larsson’s Millennium trilogy must be literary dynamite. The first novel must combine the descriptive prowess of Charles Dickens, the wit of Oscar Wilde and Agatha Christie’s flair for mystery. For what else could explain the success of a book that has spawned two mediocre film adaptations?
When I first heard about an English-language cinematic adaptation of The Girl with the Dragon Tattoo, I really could not see the point given how recently the Swedish film had been released. I was much more enthused when news of David Fincher and Trent Reznor’s attachment to the project was announced. Fincher would be the man, I thought, to fix the numerous flaws present in Niels Arden Oplev’s cinematic version of the book. The narrative would be tidied, the pacing would be rectified, and the film would sound fantastic to boot.
Unfortunately only one of these three is true of Fincher’s version of The Girl with the Dragon Tattoo. It is pretty tough going when the best thing about a film is the title sequence. It is worse when that film is almost two and a half hours long. The title sequence is amazing, the combination of the visuals and the version of ‘Immigrant Song’ by Trent Reznor, Atticus Ross and Karen O works sublimely. However, the rest of the film is a let down. Although it is more stylish than its predecessor, the flaws are all too apparent.
This leads me to believe that The Girl with the Dragon Tattoo is not a very good story. The murder mystery premise is intriguing enough. However, it is poorly executed; the climax of the action arrives prematurely. This poor pacing means that the ending feels as if it lasts for an age. Moreover, if this mystery is secondary to the two protagonists’ journeys, than the characters should be more interesting. Neither Lisbeth nor Mikael are particularly fascinating characters; they offer nothing that really engages the viewer. Without a good narrative or absorbing characters, David Fincher’s film simply offers decent visuals and a great soundtrack.
In summary, no more film versions of The Girl with the Dragon Tattoo should ever be made. David Fincher should be more picky about his projects. So should Trent Reznor, who should return to contributing to film projects of the same calibre as David Lynch’s Lost Highway.