Vanity Fair recently published an essay asking if 2013 is the greatest year for movies since the Gone with the Wind era. That benchmark is certainly debatable, but if we had to judge this year’s cinema based on the trailers alone, we’d say there’s a strong possibility 2013 could trump all. This year’s trailers got us talking and left us wanting more (everything a good trailer should do) — and we’ve surveyed the best of 2013, below. What trailers left a lasting impression on you this year?
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Well kids, Halloween is right around the corner, and the pressure is on, year after year, to find the absolute greatest costume of all time. I think we can blame much of this pressure on teevee and movies, which dramatize million-dollar Halloween parties with elaborate, ornate costumes — designed, of course, by well-paid professionals with sky’s-the-limit budgets. But even pop culture characters occasionally wear a dud costume; here are a few of the least imaginative, with the hope that they’ll adjust your self-imposed expectations just a bit.
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You’ve got to give it to Brian De Palma: he knows what his audiences expect. His new film Passion (out today in theaters; previously available on demand) features all of the director’s greatest hits: a twisty plot heavy on identity play, a narrative that mostly serves at the pleasure of his baroque set pieces, an obsession with voyeurism (digital, these days), and a boundless appreciation for the pleasures of Sapphic teasing. It’s a De Palma movie through and through; by the time he trots out the split-screen, he’s like Skynyrd finally playing “Freebird” for a crowd that’s been waiting all night for it. It hits all of the beats we expect and will undoubtedly please those who’ve followed his work since the 1970s. But Passion is, outside of those cinephile-pleasing gestures, a pretty bad movie. If it bore any other filmmaker’s name, would we cut it the same slack? It’s a question worth asking — particularly in the shadow of The Canyons, in which De Palma’s contemporary (and onetime collaborator) Paul Schrader finds himself similarly scrounging to recapture his past magic.
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Let’s get this out of the way right off the top: by most objective standards, The Canyons is a bad movie. Bret Easton Ellis’s screenplay is filled with the worst kind of tin-eared dialogue (“I’m really sorry I didn’t congratulate you on starting your own PR company”) and situations that seldom rise above their soapish base instincts, and in the third act, he clearly just gives up and inexplicably turns one of his characters into Patrick Bateman. The photography careens wildly between scenes that are sleekly, gorgeously captured and others that are embarrassingly amateurish; either way, the picture has the aesthetic of your average Cinemax After Dark feature. And its second male lead turns in one of the worst performances I’ve ever seen in a theatrically released motion picture.
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There comes a time in every actress’s life when her star fades. And if, like The Canyons star Lindsay Lohan, she has not properly invested her money and/or co-branded a K-mart clothing line or perfume, she may find herself having to choose less-than-ideal projects. The late-career odd role can be a valuable way station, saving lives and mortgages alike. Or, worst-case scenario, they add colorful footnotes to a distinguished career. Here follow some… Read More
The Canyons, the psychosexual drama from writer Bret Easton Ellis and director Paul Schrader, is a project that certainly… Read More