Lava (2021)

In Lava, "Deborah, a lonely tattoo artist, endeavors to save herself and her town from an alien invasion. The aliens come in the form of large cats, cackling witches, and never-ending snakes; what's more, these dangerous invaders have harnessed the media as a means to hypnotize humanity into submission. Deborah must learn to resist their control and convince others to do the same" (Rock Salt Releasing). The movie is directed by Ayar Blasco, it is co-written by Ayar Blasco and Nicolas Britos, and it stars, among others, Janeane Garofalo and Cedric Williams. It is based on a comic by Salvador Sanz.

So, I had to dig a little into Lava to review it, which is something I try not to do. It's just one of those ones where it's hard to pull much out of it apart from the art style. So, let's start there. It's a very flat and simple style. The animation can be a little stiff, but movement is far from lifeless. Little touches, like the secondary motion of hair moving/reacting, give the feeling that as much care as possible was put into the animation and world, it just had to be allocated as best as possible. I really appreciated how this shined through in the background environments, and a few other places. A full-body blush of embarrassment isn't something you see in cartoons these days, so it's sweet to see something like that brought into contemporary adult animation. Along with some funny logos and titles, like Gain of Clones, that reminded me of the comic Sex Criminals, there were also WinRAR and VLC logos on a character's computer. The people who made this movie know and live the culture they are talking about, Generation X-ish geeks/nerds who are in their 20s-30s. Overall, they're very-well portrayed, but that really just comes out when the when the movie occasionally picks up steam. We'll get to that in a minute. 

Lava makes me less scared to get a tattoo, and that's an accomplishment. The sound design is a big part of that, and just shows that a lot of thought went into crafting a lot of what's on-screen, although the "why" of everything is something we'll get to.

The art style that Lava (Above) reminds me of is Lucy, Daughter of the Devil's (Below) | Above is Property of Warner Media. Below is Property of Rock Salt Releasing.

The look also is similar to a lot of classic flash videos. Where Lava falls short of even them though is in the lip syncing, but that's probably because it was re-dubbed in English. It just looks a little too exaggerated when lines don't match up, but that also positively lends itself to the ridiculous feel of the film.

At under 75 minutes, this should feel like a quick watch, but it wasn't. Lava, unfortunately, flows about as slowly as the real thing typically does. There seems to be two big problems with Lava. First, character interactions and relationships rarely have a lot of weight to them. Second, the film's editing is incredibly dry and static. The best scene in the movie is one where all cards are on the table and we know where Deborah (Garofalo), her roommate Nadia, and Samuel, who's into Deborah, are in relation to each other, as far as who is/isn't interested in whom. I think it stood out because it was more drawn out than most of the quick chats in the movie. It leads to something great later in the movie, where Deborah and Nadia's relationship grows. The movie has a solid LGTB+ moment, but how people react to them explicitly highlighting the moment may annoy some people. Lava's editing in between sequences is to cut to black and just stop for a second. Once or twice music bridged the gap, but it just felt so lacking that it had to be brought up. That's, apparently, a very tricky cut to pull off right. Luckily, there are some things about the movie that are nailed incredibly.

With that solid grasp of, as mentioned, "Generation X-ish geeks/nerds who are in their 20s-30s" comes a solid grasp of the crap they put up with. The takes some solid jabs at the business side of the entertainment industry, and it's through more than a tattoo of Mickey Deborah does for a client. Employee burnout is shown and how various types of studios and production studios can wreck someone's creativity is shown too. Knowing when to walk away from that kind of environment is a rough analogy, or metaphor(?),  that can be pulled out of Lava, but it's rough because it's also walking away from a probable apocalypse. It doesn't work when trying to apply the message to something like current politics, but the relatively small-scale of Lava doesn't make that a lasting issue. All-in-all, it's incredibly rough, but with it's choice moments. For every silent cut to black, there's an interesting tattoo scene or blink-or-you'll-miss-it reference. 

It's certainly not for everyone, but people who love this style, or at least grew up around it, will find something to enjoy. That's actually a similar conclusion I arrived to with a movie called Unicorn Store, but its feel was more 2000s to mid 2010s quirky/indie. Just wanted to throw that comparion out there because the return to simplicity, in any and all aspects right now, is a welcome one. It's a knock against the Lava to say try to view it in chunks, but it may warm a few extra people up to it. And try the comic, too. I haven't yet, but this really feels like it plays a lot better as a book. 

A screener of this movie was provided to me by TriCoast and Rock Salt Releasing. Original reports of Rock Salt picking up the movie come from Variety. I was not compensated for this review. 

Promotional Poster | Property of Rock Salt Releasing 

Rock Salt Releasing will release Lava onto various digital streaming platforms for pre-sale on 2/22 and on 3/15/2021 (Amazon, InDemand, iTunes, Google Play, DirecTV, AT&T, Vimeo on Demand, FANDANGO) in both English & Spanish.

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Iron Man 3 | Mambo No 5 TV Spot (Fan Made)

Original start to this post: Similar to re-doing Hitman: Agent 47, this is just a bit of fun editing practice.  I'm not going to go into how the Mandarin was handled because it's been done to death, from both viewpoints. What I can say now, that I couldn't in my initial review, is that Kingsley's accent did seem slightly off in that first trailer. Clearly, it was intentional, and his performance was excellent from every angle. 

And the tone, post-Avengers, is perfect and drew us in, but I wanted to try something more in-line with the director. Shane Black's movies are silly, and he reminds me of Guy Ritchie and Quentin Tarantino, so that's definitely something to play with. 

Another great trailer without the big ticket villain is by Split Second Media. It's in the style of Logan, and that is super fitting.

New start: The FanTrailer subreddit had a Spot Contest in February. Hearing Mambo No. 5 in Iron Man 3 created a backup plan. It became the best option because the movie isn't as comedy heavy as Ant-Man, Ant-Man and the Wasp (reviewed here), and Thor Ragnarok. A solid fifteen seconds of jokes, and plot without mentioning Mandarin, was either non-existent, or I would've had to really squeeze material out of the movie. 

So, I went humorless and plotless. The first idea was to do Tony getting into a new suit with each name, but there was a surprising lack of moments like that. So, lone suits being used and incorporating Tony's friend's into the Iron Legion became the way to go. Tony himself kinda bookends things. Hopefully, it runs smooth moment-to-moment.

My family and a few friends looked this one over for me. Also Drw.17, Onomatopoeic Pictures, and  Joshnitt, all from the community (on Reddit and Discord), helped out tremendously, too. They suggested, among a couple other things,  ducking the music volume as needed to bring out the sound effects more, adding studio logos to the beginning, and adding extra dialogue, to break things up a little toward the end. 

Additionally, I'd like to give a special shoutout to Ntenis Kapanidis. He was very hands-on with assisting me. He gave me tips on spot making in general, and he recently found and shared a podcast all about teasers and trailers. It's called Trailer Geeks and Teaser Gods, it appears to be on all major podcast platforms, and I look forward to listening to it.

As always, please check out the community, and if anything you see sparks an idea, run with it and put together your own videos. Tons of free resources are available, like Blender 3D's video editor, GIMP (free Photoshop), and other tools you may need. 

It's not the most complex edit, but just getting back into the MCU and watching Robert Downey Jr. work his magic were just wonderful by themselves. Speaking of getting back into it, WandaVision is pitch-perfect. And I'm proud to say that J.A.R.V.I.S is in this spot!

This video, and others are collected, on-site, here.

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Malcolm & Marie (2021)

This film is an acute study of...Malcolm and Marie, and from there it branches out to cover the bases of relationships, film criticism, filmmaking, the "woke" versions of film criticism and filmmaking, and everything under the sun. It would be exhausting to write about this kind of movie "properly," according to Malcolm, but it was very interesting to watch...even if watching itself is exhausting. So the best way I can write about it is probably in a disjointed fashion. The synopsis, as always, is still a strong start.

The title characters, played by John David Washington and Zendaya | Copyright 2021 Netflix

Direct from Netflix's menu of endless browsing, "As a filmmaker (John David Washington) and his girlfriend (Zendaya) return home from his movie premiere, smoldering tensions and painful relations push them toward a romantic reckoning." It is written and directed by Sam Levinson, and he is also behind the HBO show Euphoria, which also stars Zendaya, and the movie Assassination Nation. I'm probably never going to do a full write up of Euphoria, so let's give it a few words here, since I already promised something disjointed. 

Euphoria is about high schoolers navigating their everyday life. Everything is a little bit heightened and exaggerated, but it comes from a very real place of millennials and younger struggling in a world designed to disenfranchise and drive them to vices. The best way to make extreme vices palatable, especially when their part of a self-destructive path, is to make the visuals and colors pop. It gave Euphoria a beauty and identity that drew people in to the little details of the characters' lives, while the big picture was sometimes given through narration. Malcolm & Marie is in black and white, and it makes a lot of sense, in the context of the show, because it's all about slowly discovering the intricacies of these two characters...That's just me reading into things though, and we'll get back to that.

John David Washington's performance is pretty great, as he makes an insufferable, and at times cruel and downright abusive, character fun to watch. It helps that the opening of the movie is him dancing, singing, and doing everything he can to set himself apart from his father. His energy is positively infectious. Unfortunately, it's not always channeled well, but that's not John David Washington's fault. When Malcolm is presenting some of his arguments about film criticism to Marie, the ratcheting up to eleven makes him come off like a cartoon character. This is also because Levinson writes him as some kind of "pull yourself up by your bootstraps" libertarian. He spouts occasional crap about hard work, not realizing that his work would be a lot easier, and possibly better, if he collaborated with people more. I think a conversation of different men comparing themselves to Malcolm could be incredibly eye-opening. With all that said, Malcolm's commitment to his point-of-view and learning more about what makes him tick made his insufferable and cruel moments, and his narcissistic personality, and the overall movie, more engaging, personally.

Zendaya gives one of the best performances of the year. It pains me to say that as someone who was absolutely floored by Promising Young Woman and Carey Mulligan. Speaking of which, to hear more about that movie and Mulligan, please check out the site Next Best Picture. They did a great podcast episode on it...I was too intimidated by the movie to review it, but it's one of my favorites of the year.

Back to this, Zendaya had a more "showy" performance and role, but there are plenty of smaller moments in it that stood out, too. It's in the ways she tilts her head and has to take on the form of a statuesque goddess for Marie to keep, or stop, wrapping Malcolm up in knots throughout the night. It's in the toe tapping to Dionne Warwick's "Get Rid of Him," which is just one of a few great music cues. She's also very funny. Her imaginary trajectory of her boyfriend's career paints a real picture of how people like me consume and talk about media, for better and worse. There's a lot of moments like that from both of them, but at least she's tongue-in-cheek about it instead of taking the stick-up-ass approach.

Between the two, Levinson is even-handed enough with everything he's trying to say, which is pretty much a stream of consciousness put onscreen...and on stream, since it's Netflix. And it's mostly just to get people talking in general, and I like that approach...or I miss talking to people about this stuff in-person. Either way works. As good as time as any to mention this was made, start to finish, during the pandemic.

So, the problem with reading into things is it's not how a movie is supposed to be reviewed, maybe? At least according to Malcolm, context and different directions the filmmaker could've gone with aren't supposed to be brought up, just what is presented should be. I haven't looked into it yet, but the movie is getting a lot of heat for a pretentious view of critics. Levinson, luckily, may not share these views. He said in an interview with Landmark Theatres that it's about presenting all sides of a subject or argument through Malcolm and Marie. If he keeps in mind that he can't control the discourse after the movie is out, then we're good. 

Levinson also said black and white was chosen because a lot of the visual references he and his cinematographer, Marcell Rév, used were from black and white movies, but "by the time black actors got the opportunity to be leads in film, black and white had sort of fallen out of fashion," and this was a way to immortalize these characters in a piece of that era, even if the movie takes place around now.  

The third major player in the movie, apart from Levinson, would be the film's composer Labrinth. His score is very jazzy and fits this 40s-era look incredibly well. Also, it makes the romance, and just general connection, between the two characters feel earned, in the moments where it plays. 

A few little touches that add to the look and sound are that it was shot on 35mm film and has the full set of credits at the beginning of the movie. There's so much about it that screams classic, and I just love that. No surprise here if Netflix sent screeners of this and Mank as a double-feature for critics and award voters. 

It's certainly not for everyone Still, I especially hope those guys share their thoughts on the film.

Finally, three little things are what put it over 3.5 for me. The first, was a little reference to BlacKkKlansman that extends to Sorry to Bother You (reviewed here). The second is this idea, does having a character you can point to as going through the same struggles as you rob you of your story? Is there a point where deep, personal relatability becomes a problem? The last was this line, "Thank you for being a drug addict. Thank you for being clean." The way it was said, that's the sign of a better world, and it's just one of a million little things people may get out of this movie. So, definitely write your own review of this one because we're all going to have to work together to touch on everything in it. This is especially needed because Zendaya's contributions are being sidelined in some reviews. 

Update: According to the podcast Black Men Can't Jump [In Hollywood],which is excellent, it's likely he didn't keep this in mind when some reviews for Assassination Nation said that the movie needed a female writer and more of a female perspective. That's what initially inspired this movie, along with Who's Afraid of Virginia Woolf. Of course, like everything else about Malcolm & Marie, how people feel he used this criticism and addressed it through this movie and the characters will vary person-to-person. If it results in growth or not will really be shown through future projects. Hopefully it does.

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White Lie (2021)

White Lie is about a student who fakes a cancer diagnosis for the attention and financial gain, and then struggles to keep up with that lie. It stars, among others, Kacey Rohl, Amber Anderson, Martin Donovan, Thomas Olajide, Connor Jessup, and Sharon Lewis. It is written and directed by Yonah Lewis and Calvin Thomas, and Thomas also acted as cinematographer. The music is by Lev Lewis, and that's as good a place as any to start things. 

After an opening of Katie Arenson (Rohl) shaving her head and giving the audience an idea of what this movie might be, the music kicks things off with a quick pace that mostly confirms it. That pace is accompanied by the opening credits and Katie hugging students, accepting donations, and living the lie with ease and grace. Within that all that though, there are this drum beat and guitar riff hinting at the pressure of maintaining everything. That, maintaining everything, and Katie's character is where the movie could fall apart at a moment's notice, but it remarkably doesn't. 

White Lie's greatest strength, aside from an exceptional cast, is in its script. Lewis and Thomas have thought of every aspect of what goes into not just performing fraud like this, but also how many different parties it can involve, all the costs, the different avenues it can take, and most importantly the best way to confront someone who's faking an illness and how someone's who's faking can deflect that confrontation. So, an as example, Katie has a medical resident, Dr. Jabari Jordan (Olajide)  help her forge medical records from the ground up, so a complete medical history starting from her diagnosis is necessary. In most movies, this stops at "what kind of cancer do you have?" White Lie keeps this moment going, "what type of melanoma do you have?" And they use someone else's actual records that can match up with the chemotherapy regimen she told people she had. 

Crowdfunding and cash donations each play a significant role in maintaining the illusion | Property of Rock Salt Releasing

Lewis and Thomas were interviewed by Karen Benardello at the Toronto International Film Festival during the film's release. They said "When you start doing research into people who fake cancer, a lot of the stories are pretty carbon copy...We did do a lot of research with lawyers and doctors, to help make the story feel real..." Even with a clear roadmap, it's not an easy thing to depict in a movie, especially one that doesn't show that roadmap ahead of time and has the audience as in-the-moment as the main character. 

Keeping scenes going a little longer than expected and keeping everything in the moment are a very naturalistic approach to filmmaking and letting this story unfold, and that's what really stuck with me during the movie. An example of this would be how someone who doubts the story comes into play. It's the big third act bombshell in front of a crowd or even a couple people. It's a Facebook post on the fundraiser/event page. As true to life as it gets, with all the right follow-through to a plot like that.  A result of this is there's so much we don't know because the filmmakers don't waste their runtime or want to force exposition dumps on us or their actors. This leads to some notable moments like when Katie's father, Doug (Martin Donovan), gets the name of Katie's partner, Jennifer (Amber Anderson), wrong and is quickly corrected. It may have been intentional, it may have been something that just worked out on-screen, but either way it works and fits this tone. There's only one moment when the movie isn't like this, and it's more noticeable than it would be in any other film. It's just one cut during a "pivotal reveal." It seems like a better take just had to be used, but if the camera was still rolling, maybe that didn't have to be the case? It was just oddly jarring because of everything onscreen before and since. 

Jennifer (Amber Anderson) | Property of Rock Salt Releasing

Finally, I want to talk about the character of Katie herself. She is where it's easy to step away from the technical aspects of the movie and get into something more. It seems like the filmmakers researched people as thoroughly as the intricacies of their actions. At least up to a point, I didn't not feel forced to judge her, and that's a surprising feeling others may encounter, too. There's sympathy somewhere in her story, and it is what sets the movie apart from anything else like it, although it's possible, based on a different interview "no one had made a film about faking cancer for personal gain." That's as far as they know. So that's another reason why research was key. Something everyone involved really seemed to nail is how people react to this pressure. Katie is able to deflect, project, and think fast, but in the end there's are still some signs, still some missteps. It was something I heard on a podcast. Now please, please take this with a grain of salt because everyone is different, and this is highly subjective. It just happens to fit this piece of fiction well. When accused, those who are telling the truth get angry, and the liars will cry and double down with these "convincing statements." She's not a master manipulator, she just is lucky that a lot of people need to hold on to what they believe. It's all incredibly well shown through Rohl, as she portrays confidence, that in this situation hints at someone mentally and/or emotionally unbalanced. It's a really tough role to pull off, especially with the genuine warmth trapped behind the lie.  

So, with all that said, this is an incredibly engaging film. Please give it a shot. 

A screener of this movie was provided to me by TriCoast and Rock Salt Releasing. I was not compensated for this review. 

White Lie will be available for pre-order on 12/20 and Rock Salt Releasing will release it on various digital streaming platforms on 1/5/2021 (DirecTV, Amazon, InDemand, iTunes, FlixFling, AT&T, Vimeo on Demand, Vudu, Fandango & Google Play).

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Harley Quinn: Season 2 (2020)

One complaint I had about the first season of Harley Quinn is that "some episode endings seemed a little rushed so that they could save pieces of an arc for the rest of the season." With the show established that's no longer an issue, and it's able to go into the second season expanding on what it does best. Story arcs are written tighter, many characters from the year before are given additional depth, some new ones are given fantastic introductions, and the jokes just keep coming. Unfortunately, some characters feel sidelined at best, and at worst others are just painfully underwritten. The action and animation is still largely the same and feels like it's on the lower-end, but that's not a real problem. It's a mixed bag, if you dig through it too much, but odds are you're going to really like what you see. 

This season is cleanly divided into a couple neat stories. There's Harley (Kayley Cuoco) taking control of a divided Gotham, one villain-controlled territory at a time, and then there's the fallout from the volatile shifts in power. The first part is pretty clear roadmap to get people back into the swing of things, as each villain takedown gets an episode. Personally, I really needed this since binging shows can leave the details of the previous season a little fuzzy. A season recap, even as a bonus extra on the show page, would've been even better, but we're all just counting our blessings this year.

Harley's Progress (Season 2 Promo Image) | Copyright 2020 Warner Media

Old characters are fleshed out, new ones get proper intros, and the show is able to experiment even more with just about everyone. It's not everyday that Nora Fries (Rachel Dratch) is given the opportunity to have character outside of her husband (Alfred Molina), let alone...move or talk. In fact, the "additional story," in Arkham Knight may be the only other example. Other great examples include Christopher Meloni's Jim Gordon. As much as I loved him last season "flipping the Bat Signal on-and-off [for emotional support]," seeing him actually get some of that support through his daughter (Brianna Cuoco, Kayley's sister) was even better. He even cleans himself up, albeit too quickly, "in a montage where we skip past the hard parts of beating an alcohol addiction." Taking a little more time with Jim's journey would've been great, but still, it honestly was unexpected either way, since characters outside of the main ensemble are not treated seriously all that much in the first place. It may be growth from the creators, and it holds a lot of promise of things to come. I still believe this particular Gordon and Batman (Diedrich Bader) should have more time to shine, but Harley Quinn isn't the place for it. Some characters have a long way to go, in this regard. This version of Two Face (Andy Daly) is a serious letdown, thanks to shallow characterization in a mostly filler episode. 

This is my main black mark on the season. "All the Best Inmates Have Daddy Issues" is midway through the season, and it's about Harley's time in Arkham as a psychiatrist, and it does something I had a problem with in Solo: A Star Wars Story. "Some of these references unnecessarily setup the original trilogy, or foreshadow it in a way that's more like fortune-telling." And with characters many know very well already from other media, it just doesn't feel like it's doing anything really new with them. All these interpretations may have just backed the writers into a corner, and that's understandable, but in that case a less-is-more approach would've done the trick. Joker, who is very well-crafted by Alan Tudyk, asks "You wanna know how I got these emotional scars?" It'll make people either chuckle or groan, but at least it's just one line. This unscarred Harvey Dent constantly refers to the citizens of Gotham as voters, and it gets old quick. Making him one dimensional is one thing, but at least give him some kind of creativity to go along with it. It's like that acid also kicked the vocabulary section of his brain into action, too. On the bright side, Poison Ivy (Lake Bell) revealing why she thinks so little of humanity does a lot for her as a character and propels her, Harley, and the show to a fantastic rest of the season. 

The action and animation could still use a touchup, and that might've actually happened in the last couple episodes. Starting out though, there's just stupid little errors I noticed, like someone drinking something, but then the same amount is in the glass in the next shot. Toward the end though, there are some fun arena-type fights. The GCPD taking on Darkseid's (Michael Ironside) parademons, for this show, is a matchup made in heaven. The highlight, however, has to be Batman getting his own version of Tony Stark's Extremis armor, complete with his own J.A.R.V.I. S-like companion. First, it gives Alfred (Tom Hollander...so, so close) a much-needed break from Bruce's shenanigans. Second, it leads to a fight with Bane (James Adomian) and some thugs that includes flight and lightning punches, and those are always great things. Still, even if that flash was throughout the season, it wouldn't compete with the show's humor. 

Remember, they both had to put a ton of makeup on to achieve this look. It's a great detail | Copyright 2020 Warner Media

For last season, I said "the jokes had a certain South Park quality to them, and that's not just due to the MA rating of the series. It's in the little things, too." That actually might just be strong sitcom humor in general, since I ran across Josh Weinstein's study of Simpsons jokes, recently. Whatever the case, for me, that off-the-cuff clean humor feels like Harley's secret weapon. Stuff like Bane going for one of the open cushy office chairs, now that other villains are incapacitated, and then being shut down for "honorary purposes" and forced to sit on a crappy folding chair. Last time, I said it was just a good way to break up the more mature material. This time, with that joke sowing the seeds of Bane's rivalry with other villains, I'm calling it character-building. This quickly found its identity. With it knowing exactly what it is, and a confirmation of a third season, it feels like it can run straight ahead into what's next. There's just some tiny bumps along the way to smooth out. 

So, there's a lot that's not being covered in this review for plot reasons. Look forward to the shakeups that'll be explored further in the future.  Instead of that, and because the basic circumstances leading to this review. There's just a couple little things to add as a wrap-up. This character, and her associates, was one of the major pieces of fiction I kept coming back to during this horrible fucking year. There's three other posts here (1, also linked above) (2) (3), plus a little something just two paragraphs down. Maybe it's because of the (almost) guaranteed humor, because Birds of Prey might've been the last thing I saw in an (indoor) theatre, or because that movie helped me grow as a hobbyist video editor? It could be a combo of these things, but whatever the case, she and her cronies helped a lot. Knowing that this review is how I may have wanted to cap off 2020 was something to hold onto through quarantine and recovering from fucking heart surgery (valve replacement in March). 

Similar to last time, HBO Max may still be doing some kind of free trial or starting discount to help promote Wonder Woman 1984. So if you can watch the season, and Zendaya's show Euphoria because I just want to throw that out there, without a major financial commitment, definitely go for it. Finally, there's one last thing. Doing a full write up on it is a little tough because I have trouble smoothly jumping back and forth between all these interpretations of the characters sometimes, and reconciling them with each other, but if you love the character in general, please check out the graphic novel Harleen by Stjepan Sejic. This is a version of Dr. Quinzel, emphasis on doctor, and the clown you've probably never seen before, and the slow burn approach to Harley's transformation builds upon the wonderful introduction from character creators Bruce Timm and Paul Dini. Hearing Harley in your head without the resonance of Cuoco, Strong, Sorkin, or Robbie may not sound "right," but I promise you the voice Sejic gives her is a long time in coming, and it doesn't take away from those wonderful portrayals in the slightest.

Harleen Cover | Copyright 2019-2020 Warner Media

And give Sejic's other work a shot too, but just keep in mind it's usually made with a mature audience in mind, and discretion is advised. 

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Agent 47: The Silent Assassin | Fan Trailer for Hitman: Agent 47 (2015)

Last post, I said "I'm definitely taking a break from videos after this. I need to get back to basics" and reviews. And then...

If Hollywood can crank out remakes, why can't we? For reference, please go here to watch my fan trailer for the 2007 Hitman movie. And reviews for both movies are here (2007) and here (2015). If you'd like to know more about this rehash, and the personal value I felt in putting it together, please keep reading. 

In all honesty, I'm out of fresh trailer ideas for the time being. What I figured instead was that I could give Hitman: Agent 47 the same treatment I gave the original movie, but with some technical and visual upgrades thanks to switching from Blender to Final Cut Pro and additional editing experience since the summer. However, that also made me a bit conflicted, as someone who always says that everyone should at least try free and open-source software first, and not shell out money unless it's absolutely necessary. So, Blender was used for the text, that Fox logo is someone else's (beautiful) Blender model, and that scramble effect on the text is not something I would've figured out in Final Cut. Unless it wasn't allowed for some reason, I'm really surprised 20th Century didn't do something special with the searchlights in the movie's actual opening. It felt like a missed opportunity. 

For a ridiculous concept, as far as copying something I did earlier in the year, I ended up going all out and getting good editing practice in with this project. I did a lot more sound work than usual, and I have my main process/pipeline pretty much down at this point. As someone who's mostly self-taught and regularly flailing through these, feeling like I was successfully following some kind of checklist for this one flattened the uphill battle of getting this movie to pretend it's faithful to its source material. One day stealth will be its own tv and film genre...but today, unfortunately, is not that day. My first complete draft of a trailer is usually much rougher, but what I initially showed people really felt like 80 or 90% there. So, I'm getting better at this, and it's a nice thing to celebrate. Still, I'm really glad they got a first glance at the video before it went public. 

Like I always say, these wouldn't come out as well as they do without the screen tests with the FanTrailer community. TheMarvelStark and Will Wallberg gave me some great notes on finishing touches. Sound design was improved further under their direction, and they found an area where one more mechanic of the games could be shown, disguises! Please check out their wonderful work and other projects that people are doing, too.

This video, and others are collected, on-site, here.

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The Emancipation of Harley Quinn | Birds of Prey Horror Style Trailer

Update: Winners of the Halloween/Horror contest can be seen here. Sadly, I didn't place, but there's always next time. These guys, really all of us, did fantastic work. The whole community, on and off reddit, always does. 

I'm definitely taking a break from videos after this. I need to get back to basics. 

At the end of my Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) review, I said there was "a depth given to Harley Quinn that hasn't been seen since her beginnings on Batman The Animated Series." What made me think of that was her abuse by The Joker and the fear that a breakup in this movie would lead her to replacing him with Roman Sionis. It's definitely a viable option for the character and film, and the filmmakers demonstrate that it could literally be triggered by a slap. At least, that's where my mind immediately went in the theatre. Please read more for a bit more info on how this was cut together and a "Thank You" section.

Thanks, once again, to the FanTrailer community, I got to explore that for their Halloween/Horror contest. And thanks to the Blender community on reddit and their contests, 3d models I made of Harley's weapons were thrown in for good measure. Animation was added just for this though. If you're curious about Blender or 3d art, please leave a comment or message if you'd like help getting started. Same goes with editing, of course, especially since Blender is one of many free editors out there...although this was done with Final Cut Pro. 

Speaking of the theatre, I'm so glad this was one of the last ones I got to see before all hell broke loose. If Hollywood immediately halted all production and releases in March, this would probably be in the Top 5 of 2020.

While it worked for me, the movie and actual marketing for it were both a bit all over the place. So, besides creating this "romantic" abusive relationship between Harley and Roman, I also wanted to try to re-focus everything a bit. The diamond weirdly wasn't mentioned in the official trailers, so it became a trailer plot point, and this largely replaced the focus on The Birds of Prey. That's why the title change happened, too. Probably not the right move for WB to make, but that's why this community exists, to play with fun ideas. 

Joining in for the fun this time are Harrison and, once again, TheMarvelStark. Harrison made sure the music, which I really just put down and didn't edit to this time (thank goodness) had a huge impact on the overall video. Based on his work, incorporating music well appears to be his specialty. TheMarvelStark gave me a full workup of technical improvements and suggestions. They're both great editors, please check out their channels!

This video, and others are collected, on-site, here.

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Booksmart | Teenage Dirtbag TV Spot (Fan Made)

Update: Please check out Riptide Fugitive's work. They saw this and decided to use the song for their own Alita: Battle Angel video. They're also just an awesome person!

I ended my review of Booksmart saying "One more thing, before or after seeing it, I recommend listening to this cover of Teenage Dirtbag [by Jax]. They match up together pretty well." To put that to the test, I made a short ad powered by the song. Read more for a tiny bit more background and a "Thank You" section.

Two of the greatest gifts of college (SUNY New Paltz) were swing dance lessons and a re-introduction to music. Specifically swing covers of non-swing songs, like this. Before that, it was mainly the soundtrack to The Mask. It just opened up a whole new world, and not just instrument-wise. Whenever a song went from a male singer to a female singer, or vice-versa, they usually wouldn't adjust the lyrics. So gay relationships were finally being "talked" about the same way straight ones have been forever. That's what Booksmart does, too, with Amy (Kaitlyn Dever). Something about that, mixed with the universal relatability of surviving high school, and the personal relatability of not partying until college, struck a chord, made me actually tear up a little, and made the idea more than worth pursuing. Adding onto that, I wanted to replace the raunchiness and wackiness in the real marketing with sweetness that's also more relatable to all of us. And it may have helped lessen the Superbad comparisons.

Plus, while this has been in my head for over a year, I really wanted a quick bounce back after being told about the issues in The Devil's Advocate trailer. You shouldn't sweat the small stuff, but sometimes you just can't help yourself.

Again, the FanTrailer community on Discord and Reddit was a huge help. This time, William Eklöf took the lead and gave me fantastic advice about how to add some more shots and give the spot more life. His work can be found here. Additional feedback from TheMarvelStark and, again, Will Walberg.

This video, and others are collected, on-site, here.

Another Update: A couple years later, I made a little something for Wilde's second movie, Don't Worry Darling, starting from a Reddit Photoshop Battle.

  

The second one is an update, but I like both

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