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McCain vs. Obama: Round I

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McCain vs. Obama: Round I

As evidenced by the repugnant “tribute” to the victims of 9/11 at their national convention earlier this month, exploitation has become a cornerstone of the Republican platform in the last seven years. Evoking U.S. troops and claiming that theirs is the party of patriotism has become the standard Republican tack when faced with any kind of political adversity, and John McCain continued that tradition at the first presidential debate last night. When Barack Obama questioned McCain’s temperament, lambasting the Republican nominee for cavalierly singing about bombing Iran and threatening the extinction of North Korea, McCain’s immediate response was a thinly veiled anecdote about being given a bracelet from the mother of a fallen U.S. soldier. Democrats have routinely failed to deflect or challenge these manipulative appeals to voters’ emotions and fears—that is, until Obama rebutted with the grace and skill of a prizefighter: “I have a bracelet too.” It was a proud declaration that was a whole lot more than just a statement about who has the fancier bling; it was a direct disavowal of one of the vilest, most cynical political tactics.

Following the week he’s had, McCain scored a victory last night simply by not fumbling on the economic issues and navigating the conversation toward the domestic topics with which he’s most comfortable: taxes and earmarks. The economy should be, by default, the Democratic candidate’s strength in 2008, but in a surprising reversal, where Obama truly excelled was at foreign policy—by all accounts McCain’s strong suit. Despite McCain’s attempt to paint Obama as ignorant or naïve (he said the Illinois senator “doesn’t understand” a whopping seven times), Obama displayed a firm grasp of the issues and presented a clear alternative to both the Bush Doctrine and McCain’s nearly identical hawkish positions, even agreeing with McCain on several occasions—rendering Mac’s premeditated plan of attack an oblique condemnation of his very own views. Obama went straight for the jugular, not only questioning McCain’s temperament, but his judgment on the decision to invade Iraq, looking directly at him and repeatedly saying, “You were wrong.”

Obama’s biggest missed opportunity came when, during the closing remarks, McCain boasted of his supposed lovey-dovey relationship with war veterans: “I know the veterans. I know them well. And I know that they know that I’ll take care of them. And I’ve been proud of their support and their recognition of my service to the veterans. And I love them. And I’ll take care of them. And they know that I’ll take care of them.” Obama could have balked at such a statement, calling attention to McCain’s voting record, or at least stating the obvious: That taking care of the troops means not needlessly, perhaps illegally, putting them in harm’s way. Or he could have simply handed McCain a tissue.

McCain continued his campaign’s strategy of flagrantly misrepresenting Obama’s positions, most egregiously during an exchange where he deliberately tried to miscast Obama’s use of the word “preconditions” in the minds of voters, indignantly talking over both his opponent and moderator Jim Lehrer when corrected on the issue. McCain awkwardly boasted of his status as a maverick in the Senate and seemed dismissive, even contemptuous, of Obama, sneering and never once looking him in the eye. The viable candidacy of someone who represents a new, post-racial generation is a direct affront to the Washington establishment that McCain has long been a part of, and perhaps sharing a stage with Obama—at a debate McCain clearly tried to avoid—was difficult for the good ol’ boy to swallow. It’s this same air of superiority and condescension, this apparent sense of entitlement of power that is inherent in the delusion that he and his party have a monopoly on patriotism, strength and morality. “I have a bracelet too,” Obama said, and “I am an American too” is what he meant.

This blog entry was originally published on Slant Magazine on the date above.

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Film

Terminator: Dark Fate Official Trailer: Going Back to the Well with Sarah Connor

Linda Hamilton at least makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.

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Terminator: Dark Fate
Photo: Paramount Pictures

Today, Paramount dropped the trailer for the sixth entry in the Terminator series, Terminator: Dark Fate, which promises to deliver…more of the same? With this film, Deadpool director Tim Miller aims to give the series a reboot: by pretending that none of the films that came after Terminator 2: Judgement Day ever existed (sorry, Rise of the Machines fans), maybe even Terminator: The Sarah Connor Chronicles. “Welcome to the day after judgment day,” reads the poster, promising the badass return of Linda Hamilton’s Sarah Connor. And on that front, the film looks to deliver, as Hamilton certainly makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.

But based on everything else that’s on display throughout the trailer, we’re worried that there’s not anything new that a film in this series stands to bring to the table besides running and gunning, with the occasional wink thrown in for good measure. Cast in point: Mackenzie Davis stars as Grace, an “enhanced human” who looks to fill the hanger-on role to Connor that Edward Furlong’s John Connor did to Arnold Schwarzenegger’s T-800, now apparently living in woodsy retirement, and at the ready to give sage advice. In short, we’re not impressed, and that also holds true of that cover of Björk’s “Hunter” by some zombie man singer.

Watch the official trailer below:

Paramount Pictures will release Terminator Dark Fate on November 1.

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Film

The Nightingale Trailer: Aisling Franciosi and Sam Claflin Star in Jennifer Kent’s Follow-Up to The Babadook

Today, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825.

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The Nightingale
Photo: Matt Nettheim

Jennifer Kent’s The Nightingale, the Aussie filmmaker’s much-anticipated follow-up to The Babadook, premiered way back in September at the Venice Film Festival, and to mostly positive notices. Today, ahead of its U.S. theatrical release in August, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825 and follows a young Irish convict settler, Clare (played by Aisling Franciosi), who, after finishing her seven-year sentence, struggles to be free of her abusive master, Lieutenant Hawkins (Sam Claflin). According to the studio’s official description of the film:

Clare’s husband Aidan (Michael Sheasby) retaliates and she becomes the victim of a harrowing crime at the hands of the lieutenant and his cronies. When British authorities fail to deliver justice, Clare decides to pursue Hawkins, who leaves his post suddenly to secure a captaincy up north. Unable to find compatriots for her journey, she is forced to enlist the help of a young Aboriginal tracker Billy (Baykali Ganambarr) who grudgingly takes her through the rugged wilderness to track down Hawkins. The terrain and the prevailing hostilities are frightening, as fighting between the original inhabitants of the land and its colonizers plays out in what is now known as “The Black War.” Clare and Billy are hostile towards each other from the outset, both suffering their own traumas and mutual distrust, but as their journey leads them deeper into the wilderness, they must learn to find empathy for one another, while weighing the true cost of revenge.

Watch the official trailer below:

IFC Films will release The Nightingale in NY and LA on August 2.

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Film

Downton Abbey Trailer Sees the Crawley Clan Prepping for a Royal Arrival

Kippers for breakfast, Aunt Helga? Is it St. Swithin’s Day already? No, it ain’t, dear. ‘Tis Downtown Abbey Day.

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Downton Abbey
Photo: Focus Features

Kippers for breakfast, Aunt Helga? Is it St. Swithin’s Day already? No, it ain’t, dear. ‘Tis Downton Abbey Day—that is, the release of the official trailer for the Downton Abbey movie. It’s been some three years since we’ve gotten to sip tea with the Crawley clan and hang out downstairs with the servants making sure that the biscuits are placed just right on the proper fine bone china tea set. And from the looks of the two-and-a-half-minute trailer, it would appear that nothing has changed at Downton Abbey since the series’s finale.

In the tradition of Mad Men’s episode-ending “next week on AMC’s Mad Men” teasers, it’s just a series of snappy snippets that suggest we’re in for more of the same, from Maggie Smith’s Dowager Countess of Grantham snarking up a storm to Robert James-Collier’s Thomas Barrow getting his gay on. And we are here for it. The cherry on top? The king and queen are coming to Downton! And as everything must be in tip-top shape for their arrival, the Crawleys must enlist the help of the one and only Charles Carson (Jim Carter), who is treated here with the reverence of a god, or a superhero from the Marvel Cinematic Universe.

Downton Abbey is directed by Michael Engler and written by Oscar- and Emmy-winning screenwriter Julian Fellowes. And in addition to the aforementioned actors, the film stars Hugh Bonneville, Laura Carmichael, Brendan Coyle, Michelle Dockery, Kevin Doyle, Joanne Froggatt, Matthew Goode, Harry Hadden-Paton, David Haig, Geraldine James, Simon Jones, Allen Leech, Phyllis Logan, Elizabeth McGovern, Sophie McShera, Tuppence Middleton, Stephen Campbell Moore, Lesley Nicol, Kate Phillips, Imelda Staunton, and Penelope Wilton.

Watch the official trailer below:

Focus Features will release Downton Abbey on September 20.

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Film

Watch the Teaser Trailer for Andy Muschietti’s It Chapter Two, Starring Jessica Chastain and Bill Hader

The teaser seems hell-bent on satisfying those who found the first film to be an over-directed succession of freakouts.

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It Chapter Two
Photo: Warner Bros.

Today, Warner Bros. revealed the teaser trailer for It Chapter Two, Andy Muschietti’s highly anticipated follow-up to his worldwide box-office smash It. The teaser is certainly promising, if only because it seems hell-bent on satisfying above all else those who might have found the first film to be an over-directed succession of freakouts. Indeed, while the trendy retroism of that film is certainly evident across this teaser’s three minutes, there’s something rather impressive about how it forces us to spend so much time stewing in the atmosphere of dread that slowly overcomes the adult Beverly (Jessica Chastain) inside an old woman’s house as she comes to realize that she and other grown-up members of the Losers Club may not have fully shaken off the horror that is Pennywise.

In addition to Chastain, It Chapter Two stars James McAvoy as Bill, Bill Hader as Richie, Isaiah Mustafa as Mike, Jay Ryan as Ben, James Ransone as Eddie, and Andy Bean as Stanley. Reprising their roles as the original members of the Losers Club are Jaeden Martell as Bill, Wyatt Oleff as Stanley, Jack Dylan Grazer as Eddie, Finn Wolfhard as Richie, Sophia Lillis as Beverly, Chosen Jacobs as Mike, and Jeremy Ray Taylor as Ben. And, of course, there’s Bill Skarsgård, who reprises his role of Pennywise.

See the teaser trailer below:

Warner Bros. will release It Chapter Two on September 6.

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Film

Francis Ford Coppola’s Apocalypse Now Final Cut Coming to Theaters in August

The film remains as legendary for its artistry as it is for the difficulty of its making.

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Apocalypse Now Final Cut
Photo: Paramount Pictures

Francis Ford Coppola’s Apocalypse Now is as legendary for its artistry as it is for the difficulty of its making. Some have argued that Coppola became the victim of the film’s legend with the 2001 release of Apocalypse Now Redux, a significant re-edit of the original film put together by the director and editor Walter Murch. The two most famous additions made to the original had its naysayers for being flow-breaking: the second meeting with the Playboy playmates, and the meeting with a family of holdout French colonists on a remote rubber plantation. I recommend you read the responses to this tweet from critic Glenn Kenny to get a sense of what we have in store from the new, never-before-seen restored version of the film, entitled Apocalypse Now: Final Cut, coming our way in August.

According to Lionsgate, the film, which premiered at the Tribeca Film Festival on Sunday, has been remastered from the original negative in 4K Ultra HD.

The Beacon Theatre will be outfitted for this exclusive occasion with Meyer VLFC (Very Low Frequency Control), a ground-breaking loudspeaker system engineered to output audio frequencies below the limits of human hearing, giving the audience a truly visceral experience. In addition, the film has been enhanced with Dolby Vision, delivering spectacular colors and highlights that are up to 40 times brighter and blacks that are 10 times darker, and Dolby Atmos, producing moving audio that flows all around you with breathtaking realism.

Audiences will be able to experience a special NAGRA myCinema theatrical release of Apocalypse Now Final Cut on the giant screen in select theaters nationwide on August 15. Then, on August 27, the film will be available to own on a 4K Ultra HD Combo Pack, which will include a 4K disc, plus three Blu-ray discs and a digital copy.

Watch the trailer for the film below:

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Film

Sonic the Hedgehog, Starring Jim Carrey, Gets Weird, Teeth-Forward Trailer

Sonic the Hedgehog and Slant’s nine-year relationship has seen its ups and downs.

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Sonic the Hedgehog
Photo: Paramount Pictures

Sonic the Hedgehog and Slant’s nine-year relationship has seen its ups and downs. Outside of a rare rave we extended to Sonic Colors way back in 2010, most of our writers have been mixed about the Sega flagship mascot’s output over the last decade, even as they acknowledge the wily speed demon’s nostalgic appeal. Per our own Jaime N. Christley: “A free agent with no history, no employment, Sonic has no agenda, except one: run like hell.” Paramount’s Sonic the Hedgehog, though, would appear to want to change that—not by slowing him down but by giving him more of a purpose than just saving a bunch of captive animals at the end of every level and acting all smug about it.

Today, the studio released the trailer for the Jeff Fowler-directed film, a live-action comedy adventure that sees Sonic (voiced by Ben Schwartz) navigating, um, “the complexities of life on Earth” alongside his best human friend, Tom Wachowski (played by James Marsden). That unmistakable ring sound that litters the trailer will surely bring a smile to the faces of Sonic fans young and old, but Sonic the Hedgehog feels like it’s going to be a hard sell, given its positioning of Sonic—so full of a sass, not to mention a mouthful of teeth—as a pubescent nuisance. Good luck picking your jaw up from the floor once Sonic takes on Jim Carrey’s villainous Dr. Robotnik to the sounds of “Gangsta’s Paradise.”

For better and worse—okay, just worse—the film looks like it’s straight from 1991, the year that the first Sonic the Hedgehog game was released. See the trailer below and cringe for yourself as the blue speed freak gets his Coolio on:

Paramount Pictures will release Sonic the Hedgehog on November 8.

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Awards

2019 Tony Nominations: Hadestown and Ain’t Too Proud Lead Field

Both shows were joined in the Best Musical category by Beetlejuice, The Prom, and Tootsie.

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Hadestown
Photo: Matthew Murphy

Nominations for the 73rd Tony Awards were announced this morning, with CBS This Morning co-host Gayle King and actors Bebe Neuwirth and Brandon Victor Dixon revealing the nominees in the top eight categories. Leading the pack with 14 nominations Hadestown, followed by Ain’t Too Proud—The Life of the Temptations with 12. Both shows were joined in the Best Musical category by Beetlejuice, The Prom, and Tootsie.

See below for a full list of the nominations.

Best Musical
Ain’t Too Proud—The Life and Times of The Temptations
Beetlejuice
Hadestown
The Prom
Tootsie

Best Play
Choir Boy by Tarell
The Ferryman
Gary: A Sequel to Titus Andronicus
Ink
What the Constitution Means to Me

Best Revival of a Play
Arthur Miller’s All My Sons
The Boys in the Band
Burn This
Torch Song
The Waverly Gallery

Best Revival of a Musical
Kiss Me, Kate
Rodgers & Hammerstein’s Oklahoma!

Best Performance by an Actor in a Leading Role in a Play
Paddy Considine, The Ferryman
Bryan Cranston, Network
Jeff Daniels, To Kill a Mockingbird
Adam Driver, Burn This
Jeremy Pope, Choir Boy

Best Performance by an Actress in a Leading Role in a Play
Annette Bening, Arthur Miller’s All My Sons
Laura Donnelly, The Ferryman
Elaine May, The Waverly Gallery
Janet McTeer, Bernhardt/Hamlet
Laurie Metcalf, Hillary and Clinton
Heidi Schreck, What the Constitution Means to Me

Best Performance by an Actor in a Leading Role in a Musical
Brooks Ashmanskas, The Prom
Derrick Baskin, Ain’t Too Proud—The Life and Times of the Temptations
Alex Brightman, Beetlejuice
Damon Daunno, Rodgers & Hammerstein’s Oklahoma!
Santino Fontana, Tootsie

Best Performance by an Actress in a Leading Role in a Musical
Stephanie J. Block, The Cher Show
Caitlin Kinnunen, The Prom
Beth Leavel, The Prom
Eva Noblezada, Hadestown
Kelli O’Hara, Kiss Me, Kate

Best Book of a Musical
Ain’t Too Proud—The Life and Times of the Temptations, Dominique Morisseau
Beetlejuice, Scott Brown and Anthony King
Hadestown, Anaïs Mitchell
The Prom, Bob Martin & Chad Beguelin
Tootsie, Robert Horn

Best Original Score (Music and/or Lyrics) Written for the Theatre
Be More Chill, Joe Iconis
Beetlejuice, Eddie Perfect
Hadestown, Anaïs Mitchell
The Prom, Matthew Sklar and Chad Beguelin
To Kill a Mockingbird, Adam Guettel
Tootsie, David Yazbek

Best Performance by an Actor in a Featured Role in a Play
Bertie Carvel, Ink
Robin De Jesús, The Boys in the Band
Gideon Glick, To Kill a Mockingbird
Brandon Uranowitz, Burn This
Benjamin Walker, Arthur Miller’s All My Sons

Best Performance by an Actress in a Featured Role in a Play
Fionnula Flanagan, The Ferryman
Celia Keenan-Bolger, To Kill a Mockingbird
Kristine Nielsen, Gary: A Sequel to Titus Andronicus
Julie White, Gary: A Sequel to Titus Andronicus
Ruth Wilson, King Lear

Best Performance by an Actor in a Featured Role in a Musical
André De Shields, Hadestown
Andy Grotelueschen, Tootsie
Patrick Page, Hadestown
Jeremy Pope, Ain’t Too Proud—The Life and Times of the Temptations
Ephraim Sykes, Ain’t Too Proud—The Life and Times of the Temptations

Best Performance by an Actress in a Featured Role in a Musical
Lilli Cooper, Tootsie
Amber Gray, Hadestown
Sarah Stiles, Tootsie
Ali Stroker, Rodgers & Hammerstein’s Oklahoma!
Mary Testa, Rodgers & Hammerstein’s Oklahoma!

Best Scenic Design of a Play
Miriam Buether, To Kill a Mockingbird
Bunny Christie, Ink
Rob Howell, The Ferryman
Santo Loquasto, Gary: A Sequel to Titus Andronicus
Jan Versweyveld, Network

Best Scenic Design of a Musical
Robert Brill and Peter Nigrini, Ain’t Too Proud—The Life and Times of the Temptations
Peter England, King Kong
Rachel Hauck, Hadestown
Laura Jellinek, Rodgers & Hammerstein’s Oklahoma!
David Korins, Beetlejuice

Best Costume Design of a Play
Rob Howell, The Ferryman
Toni-Leslie James, Bernhardt/Hamlet
Clint Ramos, Torch Song
Ann Roth, Gary: A Sequel to Titus Andronicus
Ann Roth, To Kill a Mockingbird

Best Costume Design of a Musical
Michael Krass, Hadestown
William Ivey Long, Beetlejuice
William Ivey Long, Tootsie
Bob Mackie, The Cher Show
Paul Tazewell, Ain’t Too Proud—The Life and Times of the Temptations

Best Lighting Design of a Play
Neil Austin, Ink
Jules Fisher + Peggy Eisenhauer, Gary: A Sequel to Titus Andronicus
Peter Mumford, The Ferryman
Jennifer Tipton, To Kill a Mockingbird
Jan Versweyveld and Tal Yarden, Network

Best Lighting Design of a Musical
Kevin Adams, The Cher Show
Howell Binkley, Ain’t Too Proud—The Life and Times of the Temptations
Bradley King, Hadestown
Peter Mumford, King Kong
Kenneth Posner and Peter Nigrini, Beetlejuice

Best Sound Design of a Play
Adam Cork, Ink
Scott Lehrer, To Kill a Mockingbird
Fitz Patton, Choir Boy
Nick Powell, The Ferryman
Eric Sleichim, Network

Best Sound Design of a Musical
Peter Hylenski, Beetlejuice
Peter Hylenski, King Kong
Steve Canyon Kennedy, Ain’t Too Proud—The Life and Times of the Temptations
Drew Levy, Rodgers & Hammerstein’s Oklahoma!
Nevin Steinberg and Jessica Paz, Hadestown

Best Direction of a Play
Rupert Goold, Ink
Sam Mendes, The Ferryman
Bartlett Sher, To Kill a Mockingbird
Ivo van Hove, Network
George C. Wolfe, Gary: A Sequel to Titus Andronicus

Best Direction of a Musical
Rachel Chavkin, Hadestown
Scott Ellis, Tootsie
Daniel Fish, Rodgers & Hammerstein’s Oklahoma!
Des McAnuff, Ain’t Too Proud—The Life and Times of the Temptations
Casey Nicholaw, The Prom

Best Choreography
Camille A. Brown, Choir Boy
Warren Carlyle, Kiss Me, Kate
Denis Jones, Tootsie
David Neumann, Hadestown
Sergio Trujillo, Ain’t Too Proud—The Life and Times of the Temptations

Best Orchestrations
Michael Chorney and Todd Sickafoose, Hadestown
Simon Hale, Tootsie
Larry Hochman, Kiss Me, Kate
Daniel Kluger, Rodgers & Hammerstein’s Oklahoma!
Harold Wheeler, Ain’t Too Proud—The Life and Times of the Temptations

Recipients of Awards and Honors in Non-competitive Categories

Special Tony Awards for Lifetime Achievement in the Theatre
Terrence McNally
Rosemary Harris
Harold Wheeler

Special Tony Awards
Jason Michael Webb
Sonny Tilders
Marin Mazzie

Regional Theatre Tony Award
TheatreWorks Silicon Valley

Isabelle Stevenson Tony Award
Judith Light

Tony Honors for Excellence in the Theatre
Broadway Inspirational Voices
Peter Entin
Joseph Blakely Forbes
FDNY Engine 54

Tony Nominations by Production
Hadestown – 14
Ain’t Too Proud—The Life and Times of the Temptations – 12
Tootsie – 11
The Ferryman – 9
To Kill a Mockingbird – 9
Beetlejuice – 8
Rodgers & Hammerstein’s Oklahoma! – 8
Gary: A Sequel to Titus Andronicus – 7
The Prom – 7
Ink – 6
Network – 5
Choir Boy – 4
Kiss Me, Kate – 4
Arthur Miller’s All My Sons – 3
Burn This – 3
The Cher Show – 3
King Kong – 3
Bernhardt/Hamlet – 2
The Boys in the Band – 2
Torch Song – 2
The Waverly Gallery – 2
What the Constitution Means to Me – 2
Be More Chill – 1
Hillary and Clinton – 1
King Lear – 1

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Music

Madonna Unveils Carnivalesque “Medellín” Music Video Featuring Maluma

The video for Madonna’s new single is steeped in Portuguese and Latin-American influences.

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Medellin
Photo: Interscope Records

Today MTV took a break from its around-the-clock programming of mind-numbing reality TV to air the exclusive world premiere of Madonna’s new music video, “Medellín,” like it’s 1995 all over again. In the video, Madonna dons a white wedding dress reminiscent of her iconic look in the clip for “Like a Virgin” and the VMA performance of the song that helped make her a household name nearly 35 years ago. And like “Like a Virgin,” which was shot in Venice, Italy, the new video is also an international production, filmed in Portugal, where the queen of pop has lived on and off for the past two years.

But that’s essentially where the similarities end, both in terms of Madonna’s less-than-virginal mien—the wedding dress is accessorized with a cowboy hat, a red leather glove, and a safety-pin-covered eye patch—as well as the video itself. The nearly seven-minute “Medellín” is the official introduction to Madame X, the persona Madonna has adopted for her 14th album of the same name, out on June 14, and features the singer in various guises, including a cha-cha instructor and a bride to Colombian reggaeton star Maluma.

An extended intro finds Madame X delivering her manfesto via prayer:

“Dear God, how can I trust anyone after years of disappointment and betrayal? How could I not want to run away again and again, escape? I will never be what society expects me to be. I have seen too much. I cannot turn back.”

Reportedly shot at the Quinta Nova de Assunção palace near Lisbon, and co-directed by Diana Kunst, who was raised in Spain and has helmed videos for A$AP Rocky and Rosalía, “Medellín” is steeped in Portuguese and Latin-American influences that culminate in a carnivalesque wedding reception. Watch below:

Madonna and Maluma will perform “Medellín” for the first time at the 2019 Billboard Music Awards on May 1.

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Music

Watch: FKA twigs Drops Trippy “Cellophane” Music Video

The singer-songwriter returns today with “Cellophane,” her first single in over three years.

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Cellophane

Singer-songwriter FKA twigs returns today with “Cellophane,” her first single in over three years. Written and produced by FKA twigs, Jeff Kleinman, and Michael Uzowuru, the track is the first taste of her as-yet-untitled sophomore effort, the follow-up to her Mercury Prize-nominated LP1. “Cellophane” is a delicate, piano-driven ballad that finds FKA twigs more vulnerable than ever before: “Didn’t I do it for you?/Why don’t I do it for you?” she begs at the very top of her vocal range.

The trippy music video for “Cellophane” was directed by Andrew Thomas Huang, best known for his work with Björk. The striking clip juxtaposes the song’s emotional lyrics with images of FKA twigs pole dancing in nothing more than platform heels and a bikini. She encounters a CGI winged creature at the top of the pole, sending her plummeting into a pit, where she’s bathed in red mud by several masked women. Watch below:

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Film

Ang Lee’s Gemini Man, Starring Will Smith, Gets Official Trailer

Ang Lee’s three-year marriage to the 120fps format appears to be in strong shape.

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Gemini Man
Photo: Paramount Pictures

Ang Lee’s last film, Billy Lynn’s Long Halftime Walk, was praised on these pages for astoundingly animating the mind of its young soldier. The film, shot in 3D at a resolution of 4K, was supposed to be some kind of game-changer. But its 120fps format, which is almost three times the 48fps that Peter Jackson used for The Hobbit, annoyed just about everyone for resembling a soap opera or football game.

Nonetheless, Lee’s has remained committed to the format. His latest film, Gemini Man, tells the story of an aging assassin (played by Will Smith) who’s being chased by a younger clone of himself. Admittedly, the hyper-real textures of the film look more convincing than those of either Billy Lynn’s Long Halftime Walk or The Hobbit. But you can make your own assessment from the two-minute trailer that Paramount Pictures released today:

Paramount Pictures will release Gemini Man on October 11.

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