Tag Archives: soontobeangel

Jurassic Smashup

Alright! lets do this one already.  First teaser for the upcoming fourth film in Spielberg’s resurrection machine, and it fits into the modern style with ease.  Check out the trailer below and then catch the commentary after the break:

First, I think we can all acknowledge that this trailer succeeds in getting us excited.  It shows a very respectful modernizing of the classic dino-flick that I, for one, cannot wait to see.

Breaking it down, let’s look at “Trailer One”.  Yes, this is yet another trailer getting the mashup treatment – a run-on three minute extravaganza that dilutes its direction.  Which is tragic because the first minute is spectacular!  The music swells wonderfully, the reveal of the park is great; everything is teased beautifully without going overboard.  I couldn’t have more love for that first minute. 🙂

At 1:03, things take a turn.  The music abruptly cuts as we get our taste of the feeding sequence.  This is interesting, as it breaks up the tone rather unfortunately but it also acts as a sharp reminder of the dangers in store for Park patrons. It could have been worked in more smoothly with a softer transition, but at least it fits in with the overall tone the trailer is building.

Thus ends “Trailer One” and begins “Trailer Two”.  Whereas the first trailer is beautifully subtle, pairing good reveals with an honest bit of teasing, this second trailer was created as the modern “explain everything” portion.  Bluntly laying out the plot and focusing on the popular action hero casting, it cuts to black between all but two shots.  Its structure is straight out of the Avengers 2 fashion, artificially instilling tension rather than letting the film speak for itself.

AND speaking of the Avengers trailer, I’m copyrighting the term “Slowed Down / Set in minor key / Creepified” [or SSC] to describe trailer music.   I do like how minimal they go with it, but its still an obnoxious way of trying to jam suspense into a film’s trailer.  Make it stop.  Please.

Finally, at 1:51 we arrive at the Third and final “Trailer”.  As much as I like the source material, the current trend to try and recreate the original Alien trailer is growing very old.  The bwammbwamm noise, the dramatic pacing of cuts, the ratcheting up of action – these work perfectly for the Jurassic Park material but, having seen this scheme so often, it works against it.  Again, they used a structure that is getting old fast but it does provide effective teasing.  I particularly love the shot of Bryce Dallas Howard holding the flair a la Ripley, proving my judgement of its inspiration correct.

This last “Trailer” does end on a high note with a great final shot and a good musical cue over the title screen, but that does only so much to salvage the pileup of multiple parts.  Had they done either the first or last minutes on their own as a teaser trailer, I would call it nearly a masterpiece of marketing.  Instead, they slap-dashed three different trailer ideas together into a rough consortium that distracts from its content.  Luckily, the excellent film work behind it shines through its poorly cut trailer and manages to shine despite its ill-conceived medium.

Welp there you go!  This film looks like such a thrill ride and I cannot wait to see it!  I hope the marketing distills down as we get closer to release.  But until then, just remember: “if something chases you, run.” 🙂  Happy Thanksgiving!

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http://www.jurassicworldmovie.com


Nightcrawler – Let the Story Speak

Check out this trailer for the new Jake Gyllenhaal vehicle, Nightcrawler – a seedy adventure into the cutthroat, on-the-spot, voyeuristic possibilities in the world of crime journalism.

What makes this trailer work so well is not the promising premise, the clearly Drive-inspired aesthetic design, or even the slow burn buildup of tension across the tight 1 minute 33 seconds of the video.  No, what makes this connect so powerfully is the well chosen placement of shots and their interplay with the narration so that the viewer learns equal amounts of information about the film from the visual sequences as from the spoken audio.

Instead of following the pattern most trailers take – explaining point blank what the narrative is about and the purpose of the work (looking at you, TMNT) – this film’s trailer allows the visual data to show the audience what it needs to know about the characters.  Never once is it mentioned in the trailer what occupation Gyllenhaal’s character is pursuing.  A career in “TV News” is referenced, but it is by the myriad shots of him at crime scenes, listening to a police scanner, and interacting with officers that we learn about his crime journalism interests.

Further, the words spoken by as narration serve only the purpose of opening a window into the mindset of the protagonist, not expositing the central conflict or plot direction.  The monologue builds on the images shown, pitting the entrepenuerial attitude of the character against the somewhat horrific scenes he walks into so blasé.  By keeping his speech self-centric, the images are bolstered and create a dynamic, engaging introduction to the protagonist and the story he will be entering.

However, what sets this trailer over the edge is its masterful use of what I call the “Flying off the Cliff” principle.  In action scenes or in real-life escapades, moments arise where a person is about to make a giant leap to some next level (e.g. jumping off rocks into a lake).  Yet, when analyzed carefully, one will notice that it is not the time spent plummeting or the instance of impact that create the most tension.  Rather, it is that moment just after leaving the ground – a moment of weightless anticipation – that truly produces the drop in the stomach.  Samuel Barber’s 1938 Adagio for Strings” gives a perfect example of this principle, building up to a dramatic climax, then dropping into a long pause before quietly resuming.  It presents the listener with a feeling – a clawing for the note as it wafts away into the sky.

This principle comes into play at the very end of the trailer.  Music swells and the intensity of the editing rhythm quickens, driving to an inevitable crash!  Yet, when the break happens and the screen goes to black, what it comes back to is a near silent shot of Gyllenhaal sitting behind the desk staring at the audience, coyly grinning.  This, more than any “whomp” of a soundtrack or visually jarring hyper-edit of shots, cements the disturbing tone of the film.  Genuine fear arises as to what could have led to that moment – why is it so silent?  It is a profoundly affective moment that delivers exactly what the film wishes to convey.

Nightcrawler will be out in theaters on October 17th, 2014.

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http://www.imdb.com/title/tt2872718/


Teenage Mutant Ninja What Now?

Well it has finally arrived: the first visual proof that the best BAD film of next year will undoubtedly be Michael Bay’s over-serious Teenage Mutant Ninja Turtles.  Somehow embodying the gritty clout (and supporting actor) of The Dark Knight, throwing in some Inception-esque ice-capades, and ending with a joke that miraculously gives hope for the portrayal of Mikey – this first trailer proves something I am loathe to admit:  I LOVE Michael Bay’s marketing team.  Check out the trailer and then come back for the review after the jump.

Time and experience have taught me not to touch a hot stove, not to pick fights I cannot win, and not to EVER see a film Michael Bay’s hands have touched.  As much as I enjoy his very early work (namely Armageddon and Pearl Harbor), it didn’t take long to figure out that he was smoke and very large flash with little substance.

And yet every single time one of his movies is coming out (and yes, I know he didn’t direct this film), I find myself wrapped up in an swirl of trailers and printed material which somehow manages to draw me in while touting the Bay influence.  I was burned by the offensively bad second Transformers film, but come time for the first Dark of the Moon teaser and I found myself justifying and hoping for a change.  Of course I was let down by the film itself, but the trailers did get me into a theater seat.  And to be honest, Age of Extinction is doing the same thing (though with a much larger grain of bitter salt warning me).

But when I started to hear about this latest endeavor by Producer Bay, it wasn’t his involvement that invoked the most incredulity.  That came from the idea that anyone wanted to do a live-action reboot of the TMNT.  And yet watching this trailer gets me excited to see the film.  I still expect the central premise to be completely bonkers and most of the plot to be ridiculous and superfluous, but this trailer makes me want to sit through it anyway.

Bay

Interestingly, the three aforementioned films all employed a multitude of trailer houses, not united under a single marketing head as I initially expected.  Ignition Creative and Industry Creative created the incredible teaser for Dark of the Moon; AntFarm made the one for Age of Extinction, and – if they weren’t such humble people – the credit for this interesting trailer could be given to some excellent, currently anonymous Trailer House.  Though I cannot say this was the focused effort of a single marketing conglom, and I do not have time to give each creator credit for their part in the work, let me briefly say what works about each of these first teasers.

Dark of the Moon‘s first glance left me thinking that Bay had turned from his super-“hip”, sexist, and racist appeal to what middle school boys think is cool, and decided to make a more heady film with much higher stakes than whether LaBeouf would get with Megan Fox.  Cleverly disguising itself as an alternate history, found footage movie (a la Apollo 18 of the same year), this piece perfectly follows the rules of a teaser: drawing me in, presenting something intriguing, and only just paying off what’s actually going on before pulling a title screen over it and letting you wait months for the next tidbit.

Age of Extinction on the other hand, takes a different approach (if nothing else, you’ve got to give credit to Bay for having an amazing sense for Subtitles).  Though they commit the mortal sin of trailer making – telling me the whole story in its 2.5 minute timespan – and though the aesthetic of the film seems to not have progressed much in the three year gap, what sold me on this film is that Bay seems to have simultaneously found his roots and jumped the shark….TRex?  On the one hand, the trailer paints an excellent portrait of NOT SHIA LaBEOUF!!!!  Marky-Mark and his not-Megan-Fox daughter seem to be a very relatable, human pair of protagoni – unlike the college dropout and eye candy of the previous trilogy.  Meanwhile, we have DINOBOTS!!!!!!  I still expect a very poor narrative in the film, but this trailer makes me seriously consider breaking my moratorium on seeing a Bay film.  Because Dinobots…..

And finally, this trailer.  Despite the aforementioned Batman and Inception elements rampant throughout the teaser (which almost certainly point to another poorly constructed attempt to make a hero dark and gritty), what interests me about this trailer is that it looks so unbearably fun.  I know that much of the ridiculous humor that made the show great will be excised and that at its core it will be a very stupid movie which will likely give a strong showing at next year’s Razzies, but all of the characters just seem to be in their element.  Mikey is funny, Leo is serious; we see Donnie using tactics and Raph doing something brash.  Even William Fichtner seems to be having a sinisterly fun time as Shredder (yet to be seen if he goes the way of Jeremy Irons in D&D or not).  It looks like a fun romp that will no doubt reach for its roots in bringing some parody back to superhero stories.  I expect nothing less than a humorous ride from this upcoming flick.

If nothing else is said, it must be this:  the marketing teams and trailer houses who work on these projects do such a good job, they make me temporarily forget the bile produced by Bay in the past and remind me that cinema can be a purely entertaining experience.  I spend so much time watching cerebral movies that sometimes I forget that good, dumb fun can be helpful for the soul every once in a while.  Just when I want to walk away and never let Bay disappoint me again, his trailers come along and subconsciously invoke that inner part of me that really needs a bad movie to keep things in perspective.  Without these teasers, I would forget how to connect with my fellow cinematic buff, and thus I owe a sort of debt to the unnamed Production Company that made this incredibly enjoyable thing.

And that, dear readers, is the Art of the Trailer!   Thanks for reading!

Agree? Disagree? Comment Below!


Because it Deserves to be Seen…

Here is the launch trailer for what will undoubtedly be one of the weirdest games ever made, and it debuts with a hilarious parody of a great trailer from a few years ago.  Enjoy!

**UPDATE**
For anyone wishing to support this wonderful endeavor can saunter on over to goat-simulator.com to preorder the game on Steam (Windows only at the moment).  Enjoy and BLEH!!!!!


The “Herculian-Task” of Making an Awful Trailer

It is rare that I come across a trailer this bad.  I doubt there is a single good thing I could say about it – the narrative is bland and overdone, the cinematics shown are horrendously amateur, and there exists no flow amongst the trailer’s segments.  All this not to mention the fact that it spoils the film for the audience.  Take a watch and then lets break down why this trailer is so bad:

Where on earth to begin….
First and foremost, the trailer does a terrible job selling the film as anything new, exciting, or creative.  Hercules: The Legend Begins is a jumble of crudely attempted re-creations of scenes from popular films that came before.  Specific moments are very clearly ripped-off from better movies:

  • 2:06 = Gladiator
  • 2:25 = Clash of the Titans (or Percy Jackson.  Your pick.)
  • 2:36 = 300 (almost word for word)
  • 2:48 = Battlestar Galactica? (visually asymmetrical from the rest of the film)
  • 2:51 = Sherlock Holmes (underground battle)
  • 2:55 = Samson?

The whole thing reeks of imitation rather than creation and the trailer commits the sin of trying to sell me on this fact.  Watching through it, the makers hoped I would see familiar scenes and assume that this film will be as fun and exciting as those ones were.  In reality, I recognized moments from other films that I like and it inspired me to want to watch those films rather than this knock-off version of them.

Second, the cinematic quality of the trailer is extremely lacking.  A good trailer sells me on either the stunning visuals I will be treated to, the incredible score that will stir up my heartstrings, or at the very least that the film will be something I have seen before but with some new twists and technical experiments.  Think about a Romantic Comedy trailer: it usually does not boast the most technically impressive camera angles or unique perspectives, but it sells itself on the merits of knowing the genre cinematically and usually highlights itself with a quirky soundtrack to match its quirky characters.

With Hercules: The Legend Begins, the trailer not only shows that the film has nothing new to show us, it further displays very poor quality on the part of the filmmakers.  Most of the shots appear grossly staged with obvious CG backgrounds and a lack of visual consistency throughout the film.  Though I am a proponent of the aesthetics of digital cinema, this film clearly shows the great visual flaws that can occur when it is not used properly – the characters are cut out from their environment, the motion seems to be overly crisp (as if shot at 30 fps rather than 24), and a general disassociation of the elements in each frame.  They do manage to pull off a few good looking shots but what is lacking is a consistency of that level of quality between each scene, and the trailer hurts the marketing of the film by highlighting this incongruity.

Further, I denounce whomever did the mix and score for this trailer.  Honestly I would have let this work fade into the obscurity it deserves were it not for the ATROCIOUS mixing at the beginning.  Watch the first battle sequence and tell me how many stock sounds you hear.  The horses galloping, the arrows being fired.  But the worst offender and the thing that drew my ire most clearly was that ridiculous marching loop used when the troops are advancing at 0:16.  It shows a laziness in sound design that I have never seen, and it echos throughout the trailer:  every sword clank, crowds clapping, horses galloping, water splash, crowd cheering, thunder storm, lightning strike, etc.

And worse, the audio for people speaking is never consistent with the previous shots.  In particular, look at the jump between what should be a J-cut at 2:43 – 2:46.  It demonstrates another issue I have with trailer-making called Quote-Chopping.  In order to sell the viewer the story, the creators feel the need to create newer and more exciting quips than those actually found in the film by cutting and pasting two lines near each other so that they sound somewhat connected (for a positive example of this check out the one at 1:38 in the Coriolanus trailer).  Hercules has some pretty egregious ones but worst of all the trailer builds its exposition on a painfully obvious splice (at 0:29).  This tells me not only do the filmmakers not find the film’s script interesting enough to sell me on it, but that I too should not expect much from it.

One final note on the audio: special thanks to Garageband and MIDI for the soundtrack.  Again, I found nothing new, nothing exciting in the score used for the film.  It is grossly bastardized from the aforementioned films it is ripping off, and further it does so in a way that any Music Major could have replicated in their first few days of university.  Simple and overly computerized music just adds another nail in the coffin of this trailer.

Third and lastly, the trailer suffers from a terrible case of segmentation.  I believe anyone watching the trailer, trained in the art of narrative or not, can peg exactly where all of the different beats are without much difficulty.  I say this because each chunk has its own style and lacks good transition between them.  This is something I hark on with every trailer I examine:  the key is to have a solid flow between everything you want to show the audience about the film.  Hercules does this very poorly and thus my interest in the film suffers greatly.

Overall, I find there is nothing about this trailer (and I suspect the film behind it) that is inspired.  The cinematics demonstrated are sub-par at best, the audio mix and score accompanying sound unprofessional and nigh-on stock, and the transitional flow between each story moment are horribly executed.   Again, I will not even bother expositing how the trailer commits the mortal sin of spoiling the film up to the final turn, thus removing any need for me to actually see the movie.  And further, though I am no Hercules expert, I do not believe anything in this film matches appropriately with the ancient Greek myth.  Thus, I am forced to believe that yet again Hollywood producers are trying to push a film on an audience simply by putting a famous name at the front of a bland and uninspired story.

Simply, put it is incredible how badly this trailer is made and I can only suspect that the film it tries to sell me will be just as poorly constructed.  I will not even stoop to the level of rating this trailer because it is so offensively bad.  Thanks for reading and I will see you next time for more lessons in the Art of the Trailer.

Agree? Disagree? Comment Below!


The Men are Back!

Well it is that time again, folks!  Another quandary into the art form that is a 2 minute trailer.  It markets and sells the picture, but it also has a style and a form which I find just as interesting as many movies themselves!  This week I turn to something that was a blast from the past.  I remember watching movies 1 & 2 as a kid and really enjoying them, so to see that the series was coming back was a happy surprise.  So, without further ado, please enjoy the Men in Black 3 trailer and then keep scrolling for my analysis.

As GLaDOS says, it has been a long time. 🙂  I have distinct memories of watching this with my friend Isaiah in the basement of his old house and laughing so hard at the witty banter between Will Smith and Tommy Lee Jones.  I also remember being really creeped out by the “Bug Man”.  Anyway, I really enjoyed the first two movies and seeing this trailer brought back a lot of the good memories.

The first 5 seconds of this trailer are SPECTACULAR!!!  Without need of obvious name dropping or anything more than a simple question, the audience can all feel the anticipation of what is to come (the logo all decked out also certainly helped).  After that we get what is know as “Fan Service” – deliberately marketed images and dialogue designed to tickle the outsider’s fancy enough to stay interested while giving the fan boys & girls what they have been waiting for. Lots of cool flashback shots to stuff from the previous films remind us of how good those were and get us excited for this coming one.

About 0:19, we get a shift into the new stuff and it looks pretty cool.  The new werewolf-looking bad guy and the graffiti alien, along with some NEW witty dialogue from Smith, all work to assure audiences that this third installment still has the style of the previous two but that it will be kicking it up a notch from there.

Then at 0:38, we start to get into the actual story arc of the movie.  What really works for this trailer (as I have been over many times already) is the blending of the old style with some new tricks.  I could honestly see this film having come out right after #2, yet the storyline does go to a whole new level, showing how long they have taken to craft it. The “Secrets of the Universe and nothing more” line really solidifies that union.  I think the premise given there is really spectacular and I look forward to seeing how far they let that go.

After that it gets a bit weird – but really that is on purpose.  Will Smith walks into his own offices with no apparent time change and then gets a clearly different answer than he was expecting to here.  This scene seems really odd just because at this point we have no idea where we are in time.  Last time I checked, Agent K was alive and now he is dead?  This is the brilliant design of the editor, showing us that MIB3 will be crossing the boundaries of Time.  We get a clear mental preview of where the film is headed by a simple editing trick 🙂

Best of all, the trailer climaxes on a really strong note.  The “Time Jump” joke clarification probably wasn’t needed but it gets us the necessary setup.  Anyway, Smith leaps off of the Empire State Building and we cut to a great POV shot as he falls towards the NYC pavement.  What works so well is the ramping music and the fact that, as he gets closer to the ground, we don’t really know whether he will pull out of it or not.  He just keeps getting closer and closer until CAMERA TILT onto an entirely different plain where the title slide is!!!  Holy Mackerel, that was sick!  You get some brief sense of vertigo followed by a visual metaphor saying, “This film is going to mess with your head!”  Really awesome stuff!

Finishing it off, playing up the theme really punches in how well this finale will cap off the MIB Trilogy in a magnificent way. The final scene we get with future J on past K’s desk gives me hope that the new actor will do at least decently and mostly acts as the “How will this work out?” hook needed to get the fan base buzzing about it again.  They had a great trailer prior, but this just stirs the pot a bit more, which is exactly what they are looking for.

Overall, I thought it was a great trailer that really got me pumped for the revival of a childhood favorite.  Whether all this hype will transfer into the film itself is yet to be seen, but I know that the marketing team can rest easy knowing they put out one heck of a trailer.

Final Rating:  5//5

Yup!  There you go!  If you can’t tell, I am excited 🙂  I really think this film is going to turn out well, and if the trailer has anything to say about that (and I think it does), then I don’t think I have much to worry about.  If you think I am full of it and have been zapped by their little Neuralyzer, let me know in the comments below.

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I wanted to take some time to say thank you.  This year has been great and I really appreciate you taking time to read my analyses of the art form that is a Trailer.  It has meant a lot to me over this year to see the viewer count rise and know that it all comes from people like you spreading the word and getting your friends to check it out.  So, from my heart to yours, my deepest thanks and a warm wish that you have a Happy Holiday season this year.

That being said, let me tell you what I am planning for next year!  Like most of you I assume, I will be taking a Christmas break from my work and thus this will be the last post of 2011.  However, don’t fret as I have big plans to kick off my second year as a blogger and critic.

As we kick off 2012, check back for my WEEK-LONG NEW YEAR TRAILER EXTRAVAGANZA!  On January 2nd, I will unveil my review of the brand-spanking new Hobbit: An Unexpected Journey trailer!  Following that, each weekday for the first week of the new year, one new trailer review will go up on the blog at noon.  Trailer season is in full swing and I have every intention of being on top of it, so stay tuned for a week chock full of great reviews for some very big trailers!

Again thank you for a fabulous year and I look forward to seeing you all in January.
Merry Christmas and God Bless!

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Making the Cut: A Look at The Lorax

Last week I caught the trailer for Illumination Entertainment’s latest contribution to the animation world – The Lorax. When I heard that this film was being done, I wasn’t really happy about it as I love that old Dr. Seuss story and didn’t want to see Hollywood destroy it.  However, this trailer did a lot to assuage my fears and give me hope that this could be something spectacular even!  The only problem is that my apprehensions were lessened because I just saw the whole movie.  Anyway, without further ado, please enjoy this trailer for The Lorax:

First of all, I think the style they chose to pitch it with is fascinating.  It comes off somewhere between the poignant quirkiness and social consciousness of Wall•E and the typical silliness that Illumination Entertainment usually puts out. They seem to be pitching it: as that fun, family film that all can enjoy, as the “ironic” indie film that all Hipsters will like before it becomes mainstream, AND as an environmental justice film that we should all take a lesson from.  All that to say, I see what they are doing (marketing to a diverse audience) and I kinda like it!  It is weird but I like it.

The first 20 seconds are Gold.  Instantly we know that this has to be a Dr. Seuss story because of the characteristic rhyme (which DeVito reads perfectly).  We are introduced to the world and given a good idea of the style of the film very quickly.  This is also where the indie music begins to kick in, again reinforcing the overall style of the flick.

After that we get a great introduction to the two main characters, voiced by heartthrob T.Swift and even BIGGER heartthrob – Zefron!  At first I was weary of casting the romantic leads as such because, to me, Efron is always connected to being a High Schooler and so I thought we had a weird age gap there.  However, to my surprise, Zefron is actually 2 years older than Ms. Swift, so that’s taken care of.

Anyway, we get a clear picture of what the problem is:  The Plot is shown here….I mean the trees aren’t around anymore.  That was basically the biggest problem with the trailer – we saw all three acts and most of the stuff in between.  No, they didn’t show us the ending, but we saw him discover the problem, leave to go find a solution, return and face obstacles, keep trying to overcome, be GIVEN THE LAST SEED, and ultimately I feel like I just watched a wonderful short film.  This is exactly what I preach against on this blog:  I do not want the plot spoiled before I get to the theatre. Why would I pay $11.50 to go see what I just did for free on Youtube?  Honestly, that is why I titled this post as I did.  I wish they would have cut it down a lot more so I didn’t have to see the entire film in 2 minutes.  Now I have no real reason to go see it… Well…actually I do.

What the trailer does to redeem itself is it promotes the great sense of humor the filmmakers have.  The jokes in this trailer are really funny and are well crafted in the editing to sell me on going, if for nothing else then, for the hilarity I know will be there.  The editor did a great job of crafting the action in the trailer to fit the music, particularly in the scene where Ted arrives at the Once-ler’s house.  They really accentuate the great lines from Zefron and Danny DeVito – whom I think they casted perfectly.  Honestly, the reason I am going to see this film is because of gags like the one after the Title slide (“That’s a woman!?”).  It just look really funny and I can’t wait to see what they do to a priceless story.

Two more reasons I am actually excited about this film because of what I see in this trailer:
First, I am looking forward to meeting Edna Mode’s brother, the mayor of town 🙂

Second, THERE ARE NO MINIONS IN THIS MOVIE!!!!!!!!   I love that gambit – it is funny – but Illumination has WAY overplayed that bit.  They were really funny in Despicable Me, but by the time that Hop rolled around and Arthur Christmas jumped on the bandwagon, the joke got real old real fast.  Now, they might try to sneak them in somewhere (those bears certainly might end up in that role) but as of now I anticipate a Minion-free film.

Overall, I thought this was a decent trailer.  It did a great job of showing me that this film would probably be worth my time if I went to see it in theaters, yet it did so by showing me the whole film.  I am excited about it and really looking forward to catching this flick with my family and friends when it comes out next March.

Final Rating:  3//5

Yup!  There you go!  I am really curious to see how this film will turn out in the box office – will fans of the out-of-nowhere animation company flock to see another Seussian tale or will nostalgia for the old handdrawn TV Special cut this films’ profits and ratings?  Not really sure yet but I am curious as to what you think.  Let me know in the comments below!

I thought I knew which trailer I was going to review next week, but then this guy in sunglasses came by and had me look at this little thing that flashed really bright and I can’t really remember what it is now.  There was something about him that struck me…..he was dressed in all Black… I don’t know.  See you guys next week!

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