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No other recent filmmaker comes close.
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Perfect execution, concept and originality.
___________________ Starring Noomi Rapace, Charlize Theron and Patrick Wilson, Prometheus follows a team of explorers determined to find the answers to mankind. But when their expedition takes a disastrous turn, survival becomes the ultimate goal. Directed by Ridley Scott, “Prometheus” hits theaters in the US on June 8th.
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“Perfect Ten Throwback”
Powerhouse editing that expertly blends media footage from the film against striking visuals. The haunting track frames the trailer perfectly.
___________________ “Battle: LA” follows a Marine Staff Sergeant who has just had his retirement approved and goes back into the line of duty in order to assist a 2nd Lieutenant and his platoon as they fight to reclaim the city of Los Angeles from alien invaders. Directed by Jonathan Liebesman from a script by Christopher Bertolini, the 2011 movie stars Aaron Eckhart, Michelle Rodriguez and Bridget Moynahan.
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“Shame” Drops Sexiest Red Band Trailer… Ever For the first time in TFI History, One campaign has TWO Perfect 10 Trailers “Shame’s” new red band lays bare the mind and soul of a sex-addict. With a clear beginning, middle & end, this isn’t just a brilliant trailer — it’s a short film. We open on Brandon’s (Michael Fassbender, who won Best Actor at the Venice Film Fest) tortured visage with not a sound, save for the distant churning of New York City’s “F” train — not an accidental bit of symbolism. The object of his obsession is an ivory skinned sultress who, by crossing her legs, sets off a ticking time bomb. As the strangers mentally undress each other, pheromones pulsing, we cut away to various scenes of orgasmia, breathy moans and gasps intermixing with the sounds of the coursing train. In subtle exposition (“laying pipe”) a diamond is revealed shining from the woman’s left ring finger — only a minor obstacle for Brandon. But like any good trailer, for the real climax we’ll have to see the movie. Can you resist?
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TFI Perfect 10: “Shame” Sexy, Stirring “Shame” Trailer Will Stick with You It was hard to imagine anything better than “Shame’s” breathy first trailer. But with this the campaign has one-up’d itself in a big way: sexier, darker, and deeper, with an impact that’ll last right up until you see the movie (watch this and try to tell me you won’t). New York City is as much a character as anyone. We see Michael Fassbender prowl the concrete jungle for a sex-fix like a tiger in the real one. Jumping from one shadowy shot to another, each dripping with hormones, the melancholic vocal track, which demands full attention on its own, gives the trailer an undercurrent of shame (no better word). It’s the most iconic song ever written about the Big Apple — bellowed from tour busses and by Frank Sinatra, heard so many times over it’s almost cliche. But somehow this version manages to make it seem brand new. Then, near the end of the trailer, the crooner casting pathos over this man’s sex-addicted lifestyle with her soft voice is revealed — it’s his sister (Keri Mulligan).
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 MUST-SEE PERFECT 10 TRAILER: “ParaNorman” Drops what’s likely the Best Animation Trailer of the Year Only one poster and trailer down, “ParaNorman” is already looking like it could do for animation what “Paranormal” did for horror. With a score that synchs uncannily with what’s on screen, this stunning first teaser trailer moves swiftly and cunningly through a montage of stop-motion eye-candy as distinctive and gorgeous as anything in recent animation memory — including Pixar. From the first beat when Norman wakes up and pears despondently out his bedroom window as the soundtrack croons, “when I look out my window,” to the final roaring monster who spits lightning from his mouth, we’re ushered through what looks like a micro-version of the film’s entire plot. Then, in the last beat, we end up back where we began, in Norman’s house as he continues to plod through the monotony of his morning routine. While he looks at the mirror brushing his teeth he channels that lightning monster — only trade in lightning for toothpaste. If only this strange little boy knew what lay ahead.
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 “The Raid’s” Ass Kicking First Teaser is a TFI Perfect 10 On the heals of a sensational world premier at TIFF last weekend, “Raid” producers have followed up with this jaw-dropping red band teaser. Setting and premise be damned, all this crazy couple of minutes offers is one mind-blowing kung-fu set piece after another, with a score from Mike Shinoda of Linkin Park that keeps pace. Sony Pictures picked “The Raid” up for domestic distribution, so stay tuned… more to come. “The Raid,” an Indonesian film, is about an elite SWAT police squad that raids a drug lord’s building in the projects. In the tradition of rock stars turned film score composers, a la Trent Reznor, Sony reports that Mike Shinoda of Linkin Park and Joe Trapanese will compose a totally new, original score for the film’s US release.
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 Can Silent Film Survive? The Weinsteins say Yes In a world of acronym moviemaking — 3D, HD, IMAX, CGI — a silent film is a bit like a Playboy fold-out of Betty White: sexy in her time, not anymore. But this past May at Cannes when the Weinsteins saw “The Artist,” a new silent film from French director, Michel Hazanavicius, they decided to make the hard sell and pick it up for stateside release. Watch the trailer above and you’ll understand why. With a score that captures the kinetic energy of the roaring 20s, and celluloid that shimmers like the top of the Chrysler Building, this trailer’s eye-candy is just as sweet as any James Cameron 3D affair. But it also uncovers timeless themes and a relatable premise that indicate a movie with more than just a shiny exterior. “The Artist” harks back to an era of mink coats, pencil mustaches and movie magic. Set in Hollywood at the dawn of the Great Depression, it follows two different stars, and how the innovation of sound in movies drastically affects both of their respective careers. While George Valentin’s star diminishes as a result of the new technology, Peppy Miller’s is on the rise. The symbolism is rich: a shot of Valentin covering his ears in agony is followed by the three wise monkey’s (“see no evil, hear no evil, speak no evil”). It provokes the question of survival, which is pertinent not only to the movie’s plot, but also to the silent film genre as a whole. How can the old actor or the old genre stay alive amidst the constant flux of vogue and technology? What “The Artist” has proven at Cannes, and what the Weinsteins are betting on stateside, is that even in a market saturated with 3D, a silent film as good as this will find a place.
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The Dance Doc that lit up Telluride This weekend the quiet, mountain town of Telluride, Colorado was hit by a movie maelstrom, as cinephiles nationwide busted nuts. Films from Payne, Conenberg, Scorsese, McQueen, and Herzog were all featured at the 38th annual Telluride Film Festival. But one of the most buzz-worthy entrees was “Pina,” a 3D dance doc from German director, Wim Wenders, about the famous modern dance choreographer, Pina Bausche. The trailer (above), a TFI Perfect 10, provides an inkling of what all the fuss was about. With a jazzy score, it moves through several high-charged modern dance sequences in drastically different, yet strikingly cohesive, settings — from urban to suburban, from rural to underworld. Each clip has clear and powerful symbolic import, while the most moving shots surround male and female relationships. But what this trailer cannot convey is “Pina’s” unlikely use of 3D filmmaking. During a festival Q&A, director Wim Wenders explained that without 3D he couldn’t have done Pina Bausch’s work justice. The debate over this new technology has riled the movie community for a decade. Some say it’s nothing but a blockbuster-maker, others claim it to be an enabler of a new kind of cinematic beauty. With “Pina,” Wender’s offers a potentially revolutionary new take on 3D. If the buzz at Telluride is any indication, it could just be the movie that gives 3D serious artistic justice, and puts the whole debate to rest.
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