Trailers From Hell

Academy Awards Play

• 2:25

  Allan Arkush on GOODFELLAS (Trailer Commentary)

  • 9 months ago
  • 1,144 views

  Martin Scorsese's most acclaimed film after Raging Bull was considered a return to form but in fact showed the director stretching himself toward new cinematic heights. Alongside The Godfather it is now regarded as the definitive gangster movie. Scorsese envisioned the style of the piece, based on Nick Pileggi's true crime best seller, as lightning-paced, "almost like a two and a half hour trailer". The entire music score is made up of period source cues that comment on the action and the frenetic editing adapts elements of the French New Wave. Joe Pesci won a supporting actor Oscar. "What do you mean funny? Funny how? How am I funny?"
  
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• 2:16

  Rod Lurie on THE COLOR OF MONEY (Trailer Commentary)

  • 9 months ago
  • 1,417 views

  Martin Scorsese's 10th feature (discounting documentaries) doesn't get much love, as it tends to be compared unfavorably to its progenitor, Robert Rossen's 1961 classic The Hustler. Paul Newman won the Oscar that eluded him the first time he played "Fast Eddie" Felson, the now-aging hotshot who's lured back to he pool room by costar Tom Cruise. Great use of Warren Zevon's "Werewolves of London".
  
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• 2:53

  John Badham on NO COUNTRY FOR OLD MEN (Trailer Commentary)

  • 10 months ago
  • 1,922 views

  Javier Bardem enters the pantheon of formidable movie monsters as the implacable killing machine on the prowl for his $2 million. Not since Robert Mitchum in Night of the Hunter has an actor made evil so unsettling. Widely acclaimed as one of the most accomplished films of its era; nonethless, some audiences found it impenetrable. The Coen Bros. take liberties with Cormac McCarthy's novel, particularly at the end, but their Oscar-winner found broad acceptance despite its pervasive air of bleak tragedy.
  
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• 3:04

  Larry Karaszewski on STARDUST MEMORIES

  • 10 months ago
  • 1,150 views

  At the height of his critical enshrinement after hitting the jackpot with Annie Hall and Manhattan Woody Allen attempted his own version of Fellini's 8 1/2, about a filmmaker who reexamines his life and loves at a fan-filled retrospective of his works. It was roundly rejected by critics and audiences as a misjudged, cynical muddle of pretension and narcissism. Overlooked was the fact that this intensely personal (as opposed to autobiographical) project was and remains one of Allen's most profound and lasting achievements, and one of his own favorites among his films.
  
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