Connect with us

News

Notes on the RNC #3: It’s Wonk-a Vision

Published

on

Notes on the RNC #3: It’s Wonk-a Vision

Gustav’s threat seemingly over, day two of the RNC was a return to semi normalcy. For all my grousing Tuesday about the wall-to-wall coverage the hurricane received on the news channels, I was equally taken aback by how quickly things snapped back to business as usual.

At the RNC (and DNC for that matter) “business as usual” means speeches. In fact, the basic building block of any nominating convention is the speech.

Personally, I’ve always felt that too much emphasis is placed on such political oratories. Commentators of every stripe discuss beforehand what the speaker needs to accomplish with a given speech as if a good performance somehow directly translates into good policy (it seldom does). Afterward, these same commentators dissect what the person has just said, how they said it, and judge if they did what they needed to.

There’s a wonderful line from an otherwise forgettable 1970 Stanley Kramer movie called R.P.M. (Revolutions Per Minute). Anthony Quinn plays a college professor at a university that finds itself under siege by student protesters who, led by would-be revolutionary Gary Lockwood, take over part of the campus. To calm things down, Quinn gets up before a large mass of demonstrators and delivers a powerful message urging cooler heads to prevail. The once angry crowd, moved by Quinn’s words, peacefully disperses. Afterward, the leaders of the campus militants discuss what they just saw happen. One of the Lockwood’s lieutenants marvels at the verbal dexterity Quinn employed to win over the crowd. Unimpressed, Lockwood quips, “Mussolini gave great speeches too!” I used that line often during the Clinton years (God, that man was good!)

The major events scheduled for Tuesday night’s events at the RNC were appearances by George W. Bush, Fred Thompson and Joe Lieberman.

Interestingly, or should I say suspiciously, George W. Bush opted not to appear live in St. Paul, choosing instead to broadcast his remarks to the convention via the sixty by thirty foot hi-definition screen at the front of the hall.

I say “suspicious” because it’s unprecedented for an outgoing two-term president to avoid appearing at the party’s convention and bless the nomination of his hopeful successor. The obvious reason for Bush’s absence, of course, is his low approval ratings with the general public and the desire of the McCain team to carve out it’s own a separate identity.

Gustav provided a plausible excuse for Bush to not be there on Monday. With the threat over, using that same rationale would have been pretty thin. So, they came up with this apparent compromise.

In terms of staging, the modern nominating convention faces the same challenge as the modern Super Bowl half-time show.

On the one hand, the performance is ostensibly designed for the live audience who are physically present at the venue. However, that same performance has to be packaged for consumption by the much larger population tuning in on television. What works for one audience generally doesn’t work for the other.

It’s like watching one of those old Busby Berkeley musicals that employ creative camera angles. No matter how impressive the dance numbers are, I can’t stop wondering how it’d be possible for the “audience” in the movie to appreciate any of it.

Complicating the dynamic for convention planners is the nature of the different crowds. The two types of Super-Bowl audiences, ticket holders at the stadium itself and those watching on television, are arguably the same sort of people. This can’t be said of the respective convention audiences. Those in attendance are “true-believers” already sold on the merits of the hosting political party while a significant portion of the at-home viewers are still in the tire-kicking stage.

Bill Clinton made a great entrance for his “farewell” speech at the DNC in 2000 that was cleverly designed for a television audience yet could also be appreciated by the people in the cheap seats. Almost like the unbroken opening shot in Touch of Evil, a Steadicam followed him from the dressing room, walking past various backstage activities, and right onto the convention stage. As he made his way forward, a list of his accomplishments flashed across the screen.

When it was announced that Bush would be appearing on the “big board” and knowing that such prepared speeches aren’t his strong suit, I had images of Debbie Reynolds in Mother as she hilariously tried to talk to her son Albert Brooks on the picture phone he had given her. She never quite figured out how to work the damn thing and would invariably end up out of frame while constantly repeating “hello, hello.”

The mental image wasn’t too far off.

One wonders if Marshall “the medium is the message” McLuhan would categorize the big screens that now appear at all sorts of large televised events, such as awards shows, as “hot” or “cool.” According to McLuhan, a movie screen, by it’s larger than life nature is “hot,” because it demands attention from the viewer. Television is a “cool” medium because its smaller size is less dramatic and invites more participation. But what about a big screen that’s being viewed on television?

Just before Bush’s appearance, shots of the RNC crowd showed them holding up small signs that read “Country” on one side and “Service” on the other. Because the “Service” signs had white letters on a brown background, it looked like the audience was holding up giant Hershey bars.

My mind flashed back to the scene in Willy Wonka & the Chocolate Factory where Mike Teavee fails to heed the warnings of the confectionery magnate and broadcasts himself across the room after leaping into the “WonkaVision” equipment.

I just hate it when I get one of those ideas stuck in my head. Because as I watched Bush from this perspective, I couldn’t shake the thought of him walking off the screen as a sixty foot giant to receive the adulation of the adoring RNC crowd.

The “big-screen” approach didn’t work. Without any way for Bush to connect with the live audience (and vice versa), there was no give-and-take between him and the crowd. Bush would step on applause lines or wait for applause that wasn’t there. He didn’t seem to be talking to anyone because, in effect, he was talking to no one.

In a word, fiasco. It fell flat like one of those Comedy Central roast appearances by a guest who can’t be bothered to appear in person. Or worse, like a Dean Martin roast where the guest clearly isn’t there, but they do camera tricks to make it appear that they really are (I just hate that).

Fred Thompson, of Law and Order fame, gave a barn-burner of a live keynote speech that provided plenty of red-meat for the McCain cause. He movingly outlined in graphic detail the treatment McCain received in Vietnam at the hands of his captors that could best be described as “The Passion of John McCain.” Thompson showed much more energy last night than he did during any of his primary debate appearances. In fact, the joke during the primaries was that the problem with Thompson coming in third in Iowa was that he had to keep campaigning.

But, I will give Fred a piece of advice. Pop a cough drop before going onstage. By MSNBC’s count, he cleared his throat seventy times during the speech.

The night ended with a whimper, rather than a bang, as Democrat/Independent Joe Lieberman gave a more subdued presentation aimed as much to Democrats watching at home as to those in the hall. Lieberman stressed the need for voters to rise above partisan politics for the good of the country.

The crowd responded with the same sort of polite applause that you hear at a recital from parents for another kid’s performance that they have to sit through after their own child has already been on.

This sets the stage for day three of the RNC and Palin’s first major speech since being named by McCain. Her selection has cast an even larger shadow over the proceedings than Gustav had promised to.

And, of course, it’s already being characterized as the “speech” of her life. While I hate that, I have to admit that this, for me, may be the exception that proves the rule.

Matt Maul is author of the blog Maul of America.

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Advertisement
Comments

Film

Disney’s Mulan Live-Action Remake, Starring Yifei Liu, Gets Teaser Trailer

The film follows a young Chinese woman who disguises herself as a warrior in order to spare her ailing father from war.

Published

on

Mulan
Photo: Walt Disney Studios Motion Pictures

Today, during the Women’s World Cup final between America and the Netherlands, Disney premiered the first trailer for its live-action remake of the 1998 animated move of the same name. The film follows a young Chinese woman (Yifei Liu) who, after the Emperor of China (Jet Li) issues a decree that one man per family must serve in the Imperial army, disguises herself as a warrior in order to spare the life of her ailing father (Tzi Ma). According to Disney’s official description of the film: “Masquerading as a man, Hua Jun, she is tested every step of the way and must harness her inner strength and embrace her true potential. It is an epic journey that will transform her into an honored warrior and earn her the respect of a grateful nation…and a proud father.”

Mulan features a celebrated international cast that also includes Donnie Yen as Commander Tung, Jason Scott Lee as Böri Khan, Yoson An as Cheng Honghui, and Gong Li as Xianniang. The film is directed by Niki Caro from a screenplay by Rick Jaffa, Amanda Silver, Elizabeth Martin, and Lauren Hynek based on the narrative poem “The Ballad of Mulan.”

See the action-packed teaser trailer below:

Disney will release Mulan in March 2020.

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Music

Taylor Swift Drops Star-Studded, Pride-Themed “You Need to Calm Down” Video

The video takes the notion of visibility as a means of acceptance to the extreme.

Published

on

Taylor Swift
Photo: YouTube

After years of political agnosticism, Taylor Swift endorsed two Tennessee Democrats during the 2018 midterm elections, prompting a backlash from white supremacists and their dear leader, Donald Trump. In the span of less than a year, the singer went from being the Aryan goddess of the alt-right to being called out as an agent of sodomy in a sermon by a homophobic pastor and sheriff’s deputy in her home state.

Swift’s path to wokeness has been a long one, and while the launch of her new single, “You Need to Calm Down,” during LGBT Pride Month might feel like the equivalent of Google slapping a rainbow flag on their logo, her activism—which included a recent $113,000 donation to a Tennessee LGBT organization—seems like more than just a branding opportunity. “To be an ally is to understand the difference between advocating and baiting,” Swift posted on Tumblr after rumors circulated that she kisses former rival Katy Perry in the video for “You Need to Calm Down,” the second single from Swift’s seventh album, Lover.

The clip does, however, take the notion of visibility as a means of acceptance to the extreme, featuring cameos from RuPaul, Ellen DeGeneres, Adam Lambert, Adam Rippon, Laverne Cox, Billy Porter, Jesse Tyler Ferguson (whom she serenaded at a surprise performance at New York’s Stonewall Inn last week), and other queer celebrities, YouTube stars, and allies.

Directed by Swift and Drew Kirsch, the video opens with the pop singer waking up in a pastel-colored trailer home adorned with kitschy paintings and a framed Cher quote (“Mom, I am a rich man”). She makes herself a cotton-candy smoothie, takes a dip the cleanest above-ground pool you’ll ever see, and parades through the trailer park’s pride-themed festivities, which includes a “pop queen pageant” featuring drag versions of Swift, Ariana Grande, Lady Gaga, Adele, Cardi B, Beyoncé, Nicki Minaj, and Katy Perry.

The real Katy pops up for a heartfelt reunion with Swift that makes “You Need to Calm Down”—which seems to strive for, but falls short of, the campy eye candy that Perry has honed in her own videos over the years—feel like a bachelorette party at a gay bar. But just in case you question Swift’s allegiance to the cause, the video ends with a message urging viewers to sign her petition for Senate support of the Equality Act.

Watch below:

Swift’s album, Lover, is due August 23 via Republic Records.

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Music

Mykki Blanco Is a Trans Joan of Arc in Madonna’s “Dark Ballet” Video – Watch

The self-described transfeminine rapper stars in the video from the queen of pop’s upcoming album Madame X.

Published

on

Mykki Blanco
Photo: YouTube

While presenting Madonna with GLAAD’s Advocate for Change award last month, Mykki Blanco hinted that a collaboration with the queen of pop might be imminent. Sure enough, the self-described transfeminine rapper stars in the video for “Dark Ballet,” the final track to be released in the lead-up to Madonna’s new album, Madame X.

Directed by Dutch Ghanaian visual artist Emmanuel Adjei, “Dark Ballet” echoes the themes of Madonna’s infamous “Like a Prayer” video, awash with Catholic iconography and a storyline revolving around a persecuted black person. But that’s where the similarities end. The singer only briefly appears in the clip, behind a black veil, and the burning crosses of her 1989 video are traded for a ceremonial burning at the stake.

The video is frenetic and non-linear, opening with Blanco held captive in a stonewalled room, wrapped in a dirty white robe. Wrists bound with rope, he’s led by clergymen to be executed for an undisclosed crime. He’s then seen dancing, first in a cathedral—pleading with the men, who forsake him—and then in the church’s sanctuary, dressed in a gold corset reminiscent of the iconic one designed by Jean Paul Gaultier for Madonna’s Blond Ambition Tour. Madonna is, in effect, all over the video, but her casting of a queer person of color as the oppressed, rather than herself, spotlights the disproportionate impact of the patriarchy on minorities.

Produced by Madonna and longtime collaborator Mirwais, the song itself is an ambitious electro suite featuring a heavily Auto-Tuned denouncement of gender, lies, and fame, before the track breaks into Tchaikovsky’s “Dance of the Reed Pipes” from The Nutcracker accompanied by a robot Joan of Arc proclaiming her faith. (There’s a brief, blink-and-you’ll-miss-it shot from Carl Theodor Dreyer’s 1928 film The Passion of Joan of Arc near the beginning of the video.) The song is a reminder of the wacky magic Madonna and Mirwais are capable of cooking up together.

Watch below:

Madame X will be released on June 14 via Interscope Records.

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Film

James Gray’s Ad Astra, Starring Brad Pitt, Gets Official Trailer

It has been a wild ride to the screen for the film, which Gray announced way back in 2016 at the Cannes Film Festival.

Published

on

Ad Astra
Photo: 20th Century Fox

It has been a wild ride to the screen for Ad Astra, which director James Gray announced way back in 2016 at the Cannes Film Festival. Originally it was set to come out in the doldrums of January, then on May 24, but as a trailer had yet to be announced in the leadup to that date, it was inevitable that the release would get bumped again. And it was probably for the best, as a film with the obvious ambition as this one wouldn’t get the attention it deserved from its studio—or is it studios?—had it opened in the midst of the confusing Disney-Fox Hollywood merger continuing to play out at that time.

Anyway, today we’ve been gifted with the official trailer for Ad Astra, and the official announcement that it will be coming out on September 20, which suggests that a world premiere at a fall festival is in order. The film tells the story of an astronaut, Roy McBride (Brad Pitt), who “travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet.”

Shot by Oscar-nominated cinematographer Hoyte Van Hoytema (Dunkirk) and scored by post-minimalist composer Max Richter, Ad Astra has been likened by Gray to Joseph Conrad’s Heart of Darkness, and described as “the most realistic depiction of space travel that’s been put in a movie and to basically say, ‘Space is awfully hostile to us.’” In addition to Pitt, who’s also a producer on the film, Ad Astra stars Tommy Lee Jones, Ruth Negga, Liv Tyler, Donald Sutherland, Jamie Kennedy, John Finn, Kimberly Elise, Bobby Nish, and LisaGay Hamilton.

Watch the official trailer below:

20th Century Fox will release Ad Astra on September 20.

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

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.

Published

on

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.

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

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.

Published

on

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.

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

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.

Published

on

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.

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

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.

Published

on

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.

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

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.

Published

on

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:

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

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.

Published

on

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.

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading
Advertisement

Giveaways

Advertisement

Newsletter

Advertisement

Preview

Trending