Perhaps now more than ever, with cinema ticket prices at astronomic highs, trailers are of increasing importance. For most people, a trailer will be the first impression one gets from a movie... A trailer shouldn't stand outside in its Y-fronts in broad daylight, swinging the script over its head and screaming the ending at the top of its lungs.
There is a first time for everything, but most have probably been to a cinema with your boyfriend/girlfriend or a bunch of mates several times. I just went to watch Transcendence, and for once, I skipped the company part and went in singularity. Here are five reasons why you will benefit from doing the same.
Leica recently made a virtue out of their new 45 minute ad being 'the most boring of all time'. They are deliberately alienating people who are into the 'happy snap' or 'quick fix', implying that those refined and patient enough to enjoy the craftsmanship on show are somehow in an exclusive and elusive minority.
Beyond the fantasy child, the everywhere child, and the policed image of children, we are living in a golden age of films about children, and haven't quite noticed. Movie directors in Iran, Japan, the UK, Holland and elsewhere are releasing masterpieces about childhood. Why is this golden age happening, and why does it matter?
female characters remain dramatically under-represented with only 13% of the top 100 films featuring equal numbers of major female and male characters, or more major female characters than male characters. It's not all depressing news however, a number of actresses, directors and executives are paving the way.
A recent study has found that, even in a year deemed 'female heavy', women are still only playing 30% of given speaking roles. And that does not mean integral, central characters who dominate talk time, that includes any line spoken in all of the top 100 US films. Women's voices are still stuck in the silent movie era - the majority are on mute.
The question is, where has he gone? These words don't come easy, but Martin Scorsese, at this current juncture in cinematic history, has disappeared. Once a maestro film-maker who advocated anarchy of the soul - see De Niro's Johnny Boy in Mean Streets or Joe Pesci in GoodFellas - Scorsese delighted in holding up a mirror to America's underbelly, and he did so with that most subversive of narrative tools: humour.
Wes' development is less a question of reinvention than maturing into his own prodigious grammar. His last two films in particular, Fantastic Mr Fox and Moonrise Kingdom, were retro, anarchic delights that coalesced boundless visual ambition with a miniaturist melancholy. But The Grand Budapest Hotel, his latest, trumps everything he's done so far.