Trailerblazing -- Star Wars: Episode VII - The Force Awakens/Jurassic World

Star Wars: Episode VII - The Force Awakens -- December 18, 2015 -- directed by J.J. Abrams -- starring Andy Serkis, Harrison Ford, Carrie Fisher, Domhnall Gleeson, Lupita Nyong'o 

This sign of what to expect from a galaxy far, far away in 2015 is a teaser if ever there was one. There is a collection of sequences from the reimagining of George Lucas's original, hinting only at visuals and not the story details. Among other elements, there are Stormtroopers and what looks like C-3PO's wacky little cousin. We also see who we think is Princess Leia's daughter (Daisy Ridley) speeding off in a panic, John Boyega's stormtrooper looking nervous and a hooded character wielding a new and rather cool lightsaber model. The trailer's narrator was just revealed to be Serkis, making me wonder if he could possibly be playing a mentor or someone related to a character in the previous six films. The secrecy is not surprising and, personally, I appreciate it -- what is the point of knowing all the surprises before seeing the actual film? I am happy that Abrams was chosen to be helming the franchise in Lucas's absence, considering the creativity and fun that he has brought to Star Trek. Based on this footage, fans are in for truly imaginative space conflict and intrigue.

Jurassic World -- June 12, 2015 -- directed by Colin Trevorrow -- starring Chris Pratt, Judy Greer, Bryce Dallas Howard, Vincent D'Onofrio 

Wow and... wow. When I first heard about this reboot, I did not think that Spielberg's unique brand of magic could ever be replicated, but the trailer has proved me wrong. The film promises surprise after surprise as far as effects go -- that shark scene! -- and a great story that once again involves humans tinkering with nature. The trailer makes me wonder if there are any character cameos being kept under wraps -- Dr. Alan Grant, anyone? I believe that Pratt will make for a good reluctant hero and I can never wait to see D'Onofrio in anything he does. I also look forward to seeing what IMAX 3D brings to the table. All in all, Jurassic World seems like a fine continuation of the legacy of Spielberg's film, as well as the legacy of Michael Crichton's novels.  

Trailerblazing -- Furious 7

Furious 7 -- April 3, 2015 -- directed by James Wan -- starring Vin Diesel, Paul Walker, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Jordana Brewster

  
The thrills are more spectacular than ever in the seventh installment of the Fast & Furious franchise, an entry as eagerly anticipated as it was initially haunted by the loss of one of its stars. After Paul Walker's tragic death last November, the cast and crew pulled together to complete the film as an homage to their friend and the end result seems stunning, for lack of a better word. From those gravity-defying stunts to Jason Statham as the new villain to the gorgeous locations, it is clear that we are in for a treat. Kurt Russell and Ronda Rousey are joining in on the gas-guzzling fun this time around, practically filling this cinematic cup to the brim with genre pedigree. Each entry in the series is more tricked out than the last, winning audiences over with the escapist concept, cast chemistry and wild rides. Finally, I am happy to note that there is no shadow of death looming over the story. Rather, Furious 7 is being considered and marketed as a fresh spring blockbuster and a celebration of a life cut short. It looks like an exciting action film, it looks like a terrific continuation of Dominic Toretto's team's journey and, most importantly, it looks like a worthy tribute to Paul Walker.

Trailerblazing -- A Girl Walks Home Alone at Night/Into the Woods

A Girl Walks Home Alone at Night -- January 19, 2014 -- directed by Ana Lily Amirpour -- starring Sheila Vand, Arash Marandi, Marshall Manesh

This gorgeous, eerie trailer for an Iranian vampire western noir comes to us after the film had been feted at Sundance. Ana Lily Amirpour's story of a female vampire stalking a city in ruins appears to be weaving the topics of freedom and women's rights into its narrative, while giving us a brand new fantasy world to admire. It should be noted that Amirpour had also written the graphic novel that the film was based on, just in case you feel particularly inspired to explore this realm further after viewing. The black-and-white cinematography adds to the mystery, while the offbeat types populating the landscape add to the sense of uncharted dread. The effects are void of any CGI, which makes for a refreshing change and a more genuine horror experience. Elijah Wood's production company SpectreVision is behind this title, and we can only hope that it is merely one of many a subversive film to come this season.  

Into the Woods -- December 25, 2014 -- directed by Rob Marshall -- starring Meryl Streep, Anna Kendrick, Chris Pine, Emily Blunt, Johnny Depp

  

It is official: Meryl Streep can do ANYTHING. Well, that fact really became official a while ago, but this time the actor taps into her mystical side to bring to life yet another character in her diverse canon -- a singing witch. The trailer brings to mind the cinematic musicals of yesteryear, but Into the Woods has a decidedly contemporary flavor and what seems to be excellent, observant dialogue with a dash of irony. I like the twists on the fairy tale tropes and the gorgeous cinematography by Dion Beebe. On another note, I look forward to seeing Pine in a musical, because this man truly is a revelation -- you're welcome -- and I do hope that he gets to use those pipes again in the future. It is also good to see the multitalented James Corden in a big production, as well as a mini Prada reunion as a bonus. Finally, it is a treat to see Rob Marshall return to the genre with such a cast. From the looks of it, this is without a doubt the film event of the Christmas season and a potential award contender come January.   

Weekly Review -- Soul in wilderness

The Rover (2014) -- There are not many films dealing with post-cataclysmic Earth that turn away from action when exploring their narratives. Those that do occasionally reward us with deep reflections on human nature and relationships, but also with stories about situations that might well be timeless. David Michôd's The Rover is one of these films, a piece that employs visceral altercations to shock the audience, before turning its objective upside down and punching the viewer in the gut.     

**THIS REVIEW CONTAINS HUGE SPOILERS, INCLUDING ENDING SPOILERS**

In a post-apocalyptic Australia, Eric (Guy Pearce) is a loner whose car is his sole possession. When it gets stolen by one of many ruthless gangs, Eric intends to keep searching for it until he can take it back, happening upon the gang leader's wounded brother (Robert Pattinson) along the way. Wandering the bleak landscape and engaging in survivalist violence, the pair manage to forge a quasi-friendship...

From an almost complete lack of music composed by Antony Partos to Natasha Braier's grim cinematography, The Rover is a slice of life that none of us would wish to experience. Its portrayal of a world at a standstill and humanity at an all-time low is uncompromising, peppered by images that feel like postcards from hell. In this context, Eric is an undefined narrator as much as he is an unreliable one. We think that he might be a good guy simply because minding one's own business is the morality standard here, until he shoots someone in the head without flinching. As we learn that this dystopia only tolerates survival and survivalism, we can see that Eric is forced to do what he does and that, after his losses, he is a shell of the man that he used to be.

And this knowledge leads us to one of the most thoughtful and relevant cinematic endings that I have seen in years.

Once we see the reason why Eric has gone after his car, we understand his motivation and his intentions. In the process of burying his dog's body, Eric is showing mercy reserved for the creature, a compassion that he had lost for people a long time ago and one that they had long not been entitled to. Furthermore, with this single act, he is refusing to allow the wasteland of today to destroy the virtue of yesterday. He is taking a stand against the desensitized world the only way he knows how, while also saying goodbye to the last remnant of his earlier -- or previous -- life. His decency, as buried as it is in the muck of killing and stealing and who knows what else, is still there. Hope is still there and will always exist, as long as we are alive.    

The film shows us why Pearce is one of the best actors out there. Much of the screenplay relies on the physical aspects of performances, and the actor conveys Eric's unyielding demeanor though facial expressions and body language for most of the film. Pearce weaves Eric's potential breakdown moments into a trajectory of toughened pragmatism and unruly intensity, creating a broken yet undefeated figure. As a gang leader's vulnerable brother, Pattinson is a true revelation, playing possibly the only character whose soul might retain a shred of innocence. The two men's differences are brought forth through a great chemistry that the actors share, as well as through the situations that they are forced into by sheer circumstance. 

The Rover is a beautiful paradox of pure savagery and pure love. It does not back down from showing the greatest cruelties that people are capable of, but it never separates them from the righteousness that is ingrained in our DNA. While desperate situations may push people to resort to desperate measures, there is always a reason behind the agony, always a need to move forward and forever the promise of a new sunrise.        

9/10