To love movies is to love trailers. Everyone likes a little foreplay, right?
Trailers should be a perfect little tease for the future main event, it’s that simple. They should hook me, intrigue me and excite me to the point where I just CANNOT WAIT until opening day.
Sometimes a trailer is so amazing it makes me interested in something that wasn’t necessarily my thing. Like Cloud Atlas. Impenetrable book + Impressive Trailer = TIFF Highlight.
In rare instances, trailers kill my mood. Most recently, I’m thinking Lincoln and The Gangster Squad.
Trailers are tricky business. Say too much and kill the anticipation, say too little and cause confusion. Edits, sweeping scores and choosing what to focus on are crucial to heighten interest. It’s not easy, and quite frankly I lost all faith in The Holiday when they asked me to believe that Cameron Diaz’s dumdum character actually did this for her job. Making trailers is not a job for dumdums. (yes, that’s the only problem I had with The Holiday.)
Just this week I had high/low points with trailers – one lured me in and I almost dismissed the other.
There was no doubt I was seeing Keep the Lights On after watching the trailer. Wow. Suped up emotion, passion, troubles, addicition, tears, love. I’m SO into this.
Look! Aren’t you?!
We all agreed! We all made plans! We all hated it! It was a snoreborefest. Damn you trailer!
There was no doubt I was not seeing Argo after watching the trailer. It looked hokey, somewhat campy and glib.
Do you agree?
Well, Argo wasn’t any of those things. It was well paced and suspenseful (pretty hard when you already know the ending) and well acted and just very, very good. I’m glad I didn’t trust my trailer gut on this one.
It’s all we’ve got, really: two short little minutes that should leave us wanting a hundred more. Not many things can live up to that, can they? Or can’t they?
I say they can.
No comments:
Post a Comment