Turn It Up! Trailer Music Takes a Front Seat

Adèle Exarchopoulos and Léa Seydoux in Blue is the Warmest Color.

Music enjoyed quite the spotlight in not just its idiom with the barely there videos for Blurred Lines and Wrecking Ball, but also in cinema as well. Just in trailers, filmmakers and their editing team showed us they're still hipsters at heart and though the film itself might have an original score, they are going to draw you in with some hip indie shit so you'll watch their hip indie film. 

August: Osage County (2013) even got on the bandwagon, where I'm sure some idiot was thinking ok, a film about domestic dispute and general tension within a family, where have we seen that before? The Lumineers! They're not annoying the shit out of the whole population yet (yes they are) get them on the phone...worked for Silver Linings Playbook (2012), so what if it's 2 years later and no one cares nor ever wants to hear another song by The Lumineers ever again (can you say overexposed?) let's stick that in the trailer. I'm sure Meryl draped against the background of a light-hearted Lumineers ditty will convince people that this is actually a pretty dark story about a family falling apart with a biting comic edge. They'll think it's a fun flick for the whole family to enjoy. I'll take morons for 300 Alex.

I could literally hear every song Sleigh Bells ever wrote over this image.

But everyone else seemed to have the right idea, even people that do nothing but accentuate the soundtrack, never bothering to hire someone to write an original score so that the whole world is force fed their exceptional knowledge of music in general. I'm talking to you Sofia Copolla. Every single goddamn film of hers is saturated with indie hits and long forgotten tunes from eras we no longer care about just so that people can leave the film going 'wow, that was a really long music video we just sat through', but even I was on board after watching both the teaser and the trailer for The Bling Ring (2013) against which the punishing beats of Sleigh Bells were 'ringing'. I was like fuck it, I'll watch the damn thing; I mean it really was the perfect track for a film about spoiled LA trust fund babies going on a robbing spree in the Hollywood Hills, I was even watching the film mouthing the words 'set set that crown on the ground...bitches' I ad libbed that last part. 

Blue is the Warmest Color (2013) didn't disappoint either, it's a dark Euro film filled with heightened emotion, lots of shakey steady-cam, and lady-tears, don't get me wrong, I loved it, and they did choose the best artist to sing in the background of all of this draaaama in the trailer; miss Lykke Li. The new Bjork as it were. She's Euro, she's emotional, she's saturated in feminist lyricism, and haunting grooves, she's perfect, and her song 'I Follow Rivers' which was used in the trailer was pitch perfect to describe the film to me in a matter of two minutes.

Not only does Harmony Korine give us a glimpse into Alien's headspace, but his ipod shuffle too.

But as ever, the winner this year is (surprise, surprise) Harmony Korine, I'm sorry I know you know by now my feelings about Spring Breakers (2013), but I'm going to sing it's praises once again. Perhaps the best use of music this whole year, combining a chilling and ominous score with some iconic pop ballads and new hits from edgy artists like Skrillex and Gucci Mane (one of the actors in the film btdubs) was bloody brilliant. In the trailer, it begins with the girls just talking about making it to Spring Break, and getting 'the fucking money' to get there, and once they do, crank up the Gucci Mane as they twerk up on each other and ride scooters like champions into St. Pete's. Gangsta's fo life. Once James Franco shows up, they change it up to a dark remix by Skrillex, which jumps with the clips from the film; from the surreally magical to the deeply horrific. It worked on me immediately. It's perhaps the trailer of the year. (Although I was a big fan of Hunger Games: Catching Fire (2013)) TRAILER-WISE. 

Here's a film that really fucked up on their trailer...Inside Llewyn Davis (2013), excellent film, what the fuck, trailer? Instead of using original music from the film (which one would argue was smart as it would give too much away and lord knows that the Coen Brothers are awesome with music considering O Brother, Where Art Though? (2003) made more on the soundtrack than the film did itself) but instead they went for a little known Bob Dylan ballad called 'Farewell' and considering the topic of the film, in Eisenstenian theory (calm down bleeding heart film students), one would assume this is some kind of 'based on actual events' retelling of Bob Dylan's life a la I'm Not There (2007) not a totally original piece about a folk singer living in New York with a ginger cat trying to make it by during the neo-bohemian scene and resurgence of folk music in the West Village. I would still elect to use original music from the film, or at least part of the score, just nothing as recognizable like Dylan because that's going to confuse people, so fail there Coen Brothers, but not to worry the film still kicked major ass. Well...that's about it for me, I mean the trailer for Gravity (2013) was smart in using classical music, a lesson learned from Lars Von Trier I'm sure, considering there's I believe little to no music in the film at all, and classical music always heightens up the drama, I mean I think I've heard Mozart's requiem used over 20 times in trailers from the past 2 years alone. So anyway enjoy your new iTunes purchases and I'll leave you with the trailers and maybe some music videos. Cheers! 

Why Spring Breakers is the Best Film of The Year and Deserves an Oscar

Let's get shit straight. I've seen almost all of the big contenders for this year's Oscars, and I know that Spring Breakers (2013) is so goddamn controversial it won't even be nominated for the bullshit MTV Movie Awards, but you know what? In 1969 Midnight Cowboy won Best Picture, and it was Rated X, back when they had a 'Rated X' title and not a bullcrap NC-17 title. 

Remember a time when a film about a man-whore and a drug dealer won Best Picture? Me neither.

Yes, 12 Years a Slave (2013) is a masterpiece and if you read my blog you know I sing its praises, but for crap's sake people, if you look back on what defined our culture of the past year, Spring Breakers has got to be in there. It basically encapsulated not only our sad state as idiots in limbo in an unforgiving world in the midst of a financial crisis, war, and recession, but also basically touched on what that has reduced us to as human beings. And it does it in such a profound and unapolagetic bite-your-tongue and slap-your-cheek way that it's impossible to overlook it's relevance. 

All of the 'against-type casting was genius, we all knew Franco would jump on the bandwagon, but it was surprising to see Disney moguls like Hudgens and Gomez partake, I guess they're smarter than we thought.

Yes, 12 Years a Slave is a history peice full to the brim of great performances so it will probably take home the top honors, and Spring Breakers won't even be looked at seriously because it's cynical, full of transgression, nudity, and hedonism, (all of which the Academy frowns upon) but mostly I believe that it will be ignored because it's a blatant spit in the face/middle finger to society and all of the 'social norms' that we accept in order to convince ourselves that we are good people when we are soooooo not. There is no redemption, ascention, or even any kind of forgiveness to this movie. It's brutal, farcical, and violent as fuck. At least with 12 Years, while being violent as fuck as well, it portrays the violence as if to say; hey remember white people, this is something that actually happened. In Spring Breakers, the violence comes from a totally unnecessary and non-sensical place. It's violence for the sake of violence, and that is something that we as a society can't understand, so why should we expect the Academy to? 

My favorite contemporary filmmaking genius, yes above Aronofksy, Fincher, Cuaron, Bigelow etc. An auteur among pretenders. 

But here's the thing, it fucking happens all the time, and it's incomparably painful. Harmony Korine in all of his genius is utilizing every aspect that defines our stupid contemporary culture to bring it to it's massive decaying zenith and throwing it back into your face as if to say 'this is all that's left of you, pathetic morons' and he does it so effortlessly and subliminally that yes, he deserves not only an Oscar but a fucking parade in his honor. Why? Because he's the only one brave to do so. His films never end on a high note, they always end with people walking out going '...why' and then having a few shots and reflecting on it thinking 'fuck, we really ARE that horrible as a species'. 

He doesn't give you any answers...much like Spike Lee always refused to, and do you know why? Because some times in life there are no fucking answers ok people? Sometimes we all do stupid shit and get into trouble for the bad choices we make, and no one is responsible for it but ourselves. Some times we don't win, and some times we don't triumph, and sometimes life is shit until the bitter end. But the genius of Korine reminds us that until we get to that bitter end there are some absolutely fucking amazing moments that though irrational, we know we all have in ourselves to act upon and that's what's so goddamn scary. And...that's exactly why the Academy won't give him shit this year. They will never admit that they are not the classy, robustly moral, paragons of this brave new world, when we all know that of course they are not, and neither are we. So all I can really say is; Thank you, Harmony, don't ever stop pushing our hypocrisies right back into our stupid bloated faces until we choke on it like we deserve to. Thank you sir.

Trailer below.

Borat No Longer Playing Glam Legend Freddie Mercury

Darling of the British theater, and British cinema in general and overall well-respected actor Ben Whishaw to replace Sacha Baron Cohen in Queen bio-pic, he actually does resemble Freddie in his younger years.

I don't know if ya'll have heard, but beloved prankster and general threat to the peace and quiet of our dull society, Sacha Baron Cohen has been officially replaced with chameleon androgynous, is he gay, is he bisexual, skinny tie aficionado Ben Whishaw. I have mixed feelings. I remember telling my mom like way back when Borat (2005) first hit theaters that Sacha Baron Cohen was going to get cast as Freddie Mercury in the eventual bio-pic of his life which has been in the works mmmmm 20 years. I almost got thrown out of a moving car, but hey it made so much sense, still does. 

Not only was the resemblance uncanny, but Sasha had the charisma in order to carry a role like that if not the acting pedigree, but that can be taught, as can those crazy high notes.

Why not? He's charismatic, he's outrageous, he's tall and basically looks a great deal like the legendary glam rock front man of my favorite band in the whole world. And after Les Miserables (2012) we all know he can sing, probably not like Freddie, because let's face it, no one can, but there's auto-tune for that. The look of Freddie was actually what worried me the most because no one has looked like that before or since, and I'm not talking about the black glitter fingernail polish nor the outrageous caped spandex onesies, or even the later mustached tight eighties dad jeans, with the leather bands everywhere look either, just the face, and that crazy mouth of his that he basically could unhinge like a snake so that he could hit all of those crazy notes. Also, Sacha's British, and when you hear him speak his dialectical accent is almost identical to Freddie's so I basically you know thought...mission accomplished. It will be great for him too, he'll be able to show off his acting range, and you know everyone and their mother would pay overpriced tickets at the multipex to watch Borat sing 4 bars of 'Seven Seas of Rye'. 

Then again looks and personality similarities aren't everything. An icon like Mercury is always going to be almost impossible to cast for.

So who do we have instead? Ben Whishaw from Skyfall (2012) fame, Hamlet on stage fame, and general British pouty lipped fame. I have a feeling they went to the totally opposing side of the spectrum. My friend is telling me that Queen (all both of them) fought really hard to get Sascha removed from the project as to not have their name 'sullied', seriously? And they decided to instead cast the most existentially sensitive crier in cinema today? Ok I'll bite. I'm curious to see it. After all, Whishaw is a hell fo an actor, though he's going to have to beef up considerably even though when Freddie and Queen started out first in the early 70's, he was pretty svelte, but Whishaw always looks like he just conquered a hunger strike. I still have somewhat of an amount of faith in this casting decision because Whishaw has a quiet fire to him; you're never really sure what he's capable of, and even though he seems to lack the charisma on the surface, considering how outgoing and extroverted Freddie Mercury was, he will definitely hit those high dramatic notes without effort, so I say more power to him, but that doesn't mean I still won't be imagining what it would have been like had Sacha been in the role, and hey if the movie as a whole sucks to high heaven, I'll start writing my own version the minute I get back home, and guess who would be my first casting choice?

I'll leave you with some music videos: They are my favorite band after all: 

Girls with Bows and Arrows are the New It Thing in Cinematic Fetish

Poster for Catching Fire (2013) 'More pouting Jennifer!'

I guess it all started a few years back when Keira Knightly was on every billboard dressed in little but leather straps standing next to Clive Owen who's wielding a giant sword in promo's for the awfully executed King Arthur (2004). They had the audacity to fuck with Arturian legend so much that they made Guinevere a leather-clad pouty lipped borderline porn star who shoots to kill with her rickety bow and arrow. 

Basically this suggests that women when put into ancient fighting situations can't do much in terms of strength, as in they're not good with a sword, ball and chain, or any medieval weaponry but damn it are they accurate at shooting a bow and arrow, that's how them bitches defend themselves. Is this a feminist concept or is it pandering? Probably the latter, because I've taken archery courses (Jew camp, 1996) and I sucked at it, it's way harder than it looks people. But apparently all a girl's got to do is work up some estrogen courage, breath in and release (no pun intended) she'll hit her mark every time. Right in the perp's heart where the arrow belongs. Take that fake vikings. 

promo still for King Arthur (2004) Look familiar?

Right now of course the huge deal is Jennifer Lawrence as the 'good at hunting' Katniss Everdeen, and driving past a billboard for Catching Fire (2013) this morning I couldn't help but notice that she's angled in almost the exact same way as Keira was, with her hair blowing in the wind, and her airbrushed face focused on whatever she's aiming at, and for some reason, even though we all know that the tributes of the hunger games wear plenty of clothes to protect themselves and keep themselves warm while they try to you know not get killed, she's barely wearing anything. Mulvey would have a field day with this. It is the utmost in visual pleasure and castration theory, for all you know boys, she could be pointing that thing right at your balls. And watch out then because Katniss never misses her mark. 

Evangeline Lilly as Tauriel in the upcoming Hobbit film. She does not look awesome.

And what do we have coming up next? The Hobbit: The Desolation of Smaug (2013) where a new character is introduced as a love interest for Legolas (the archer elf) who let's face it might as well be a girl. But no, it's Kate Austen I mean...Evangeline Lilly as Tauriel another goddamn archer elf. I mean, do elves do anything else? Or is it like a rule they made up in MiddleEarth; Dwarves only get axes, humans use swords, hobbits get comically tiny swords that glow in the dark, and elves get the gayest attire ever complete with a bow and arrow. 

Behind the scenes of Catching Fire (2013) I do believe Jennifer's bow has gotten bigger. It's like when you're given a bigger gun to use in the sequel than you had in the original. I remember the late great Steve McQueen used to complain about that on the set of The Magnificent Seven (1960) saying that Yul Brynner's gun was bigger than his and he wanted something done about it. Nothing ever was.

Why is it that women get to defend themselves only with bows and arrows, is it because it's the ancient version of a gun which is really sexy for a woman to know how to use. But it's usually in the sense that 'awww how cute, she knows how to aim and shoot a gun...ouch!' Or have we given too many guns to women in films of late. I mean, in The Heat (2013) Sandra Bullock literally shoots a man (Taran Killam) in the dick. Did I just give the movie away, sorry about that (not). So now we need something more subdued, something sexier, and just as deadly. Nun chucks and throwing stars are clearly out because they have a nerd derivative, and women need something elegant and yet sexy, also we all know that woman have terrible arm thrust capacity so swords are out as well, but we all know women are smart and can concentrate so a bow and  arrow seem perfectly logical, makes them less passive and gives them something to do, but while we're at it, let's dress them in half of what they should be wearing and give them long wavy hair. It's a new cinematic symbol, and trust me, it won't be long until Tarantino works this into one of his films, even though it's going to be completely anachronistic and thereby won't make any sense, but let's face it, what DOES make sense in a Tarantino film. If Zero Dark Thirty (2012) wasn't directed by a woman, I'm sure Jessica Chastain would have been walking the halls of the CIA with one. Ok that might be too unbelievable a conjecture, but you can't deny the fact that a bow and arrow adds to a woman's hottness factor these days. It's a recent trend but it looks like it will be around for a while. Gives totally new meaning to the term 'sex as a weapon' doesn't it?

Trailers below and some Zizek for you Film Studies buffs out there: