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Trailer Central #2

Posted by Josh Martin on July 01, 2011

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Here are this week's newest trailers.

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'Mission: Impossible- Fallout' review

Unlike the last chapter in the franchise, the opening of Mission: Impossible- Fallout does not feature Tom Cruise's Ethan Hunt in the middle of a monumentally daring task. He's not jumping on an airplane or climbing the tallest building in the world. No, Fallout cuts right to the chase, catching up with Hunt as he learns the details of his next mission, while simultaneously informing us of what exactly has transpired since the capture of Solomon Lane (Sean Harris) at the end of 2015's Rogue Nation . We learn the task at hand, the dangerous players involved, and what could happen if it all goes wrong. To be fair, it's a lot of exposition right off the bat, and I was slightly amazed that writer/director Christopher McQuarrie (who was also at the helm for the fifth installment in the series) chose to start this high-octane sequel with such a giant info dump. Trust in McQuarrie. Fallout may begin with a massive amount of story details, but it immediately puts its fo

'The Irishman' review

Martin Scorsese's The Irishman , a gangster drama/historical epic decades in the making, is a bleak, pitch-black comedy about waiting a lifetime to purchase your own coffin. If this seems like a reduction of a complex, monumental work from one of our greatest living filmmakers, it probably is. But the scene, which happens late in the film's distinctive and devastating final hour, is arguably the key to the whole thing. Having seen most of his colleagues and enemies pass on in one way or another, former mob operative Frank Sheeran (Robert De Niro), now confined to a wheelchair, looks through his various options for his future home in the ground of the Earth. Different colors, different prices it's all worth considering now that he's got nothing but time. It's funny (particularly with Action Bronson playing the casket salesman), but it's also a grim moment at the end of a film concerned with mortality in all its forms. The Irishman runs 3 hours and 29

The Pandemic, 'Once Upon a Time... in Hollywood,' and the End of Theatrical Moviegoing as We Know It

By the time Quentin Tarantino’s ‘Once Upon a Time… in Hollywood’ debuted in theaters on the evening of July 25 th , 2019, it had already been hailed as the end of a certain era of big-budget, auteur-driven filmmaking. At a time when the most popular films were sequels (‘Spider-Man: Far From Home,’ ‘Toy Story 4’) and remakes (‘The Lion King,’ ‘Aladdin’), and the title of the most successful movie of all time finally shifted from James Cameron’s groundbreaking ‘Avatar’ to the massive cross-over event of ‘Avengers: Endgame,’ it wasn’t difficult to imagine a narrowing theatrical space, in which it would be impossible for a studio to hand a filmmaker like Tarantino $100 million dollars to perfect his lengthy, idiosyncratic vision. The feeling of an era’s sudden conclusion was part of the discourse around ‘Once Upon a Time’ since its premiere at the Cannes Film Festival—in the moments after its first Cannes screening, critic Charles Bramesco tweeted simply “the end of an era,” an

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Trailer Central #2

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