INHERENT VICE (No Major Spoilers)

[samsong]

fucking delightful trailer.  it made me laugh several times.  (MOTO PANUCAYKU.  HAI. HAI. HAI.)  presents something completely approachable and appealing for the layman while hinting at the outright zaniness that's in store. 

[Mel]

Call me a troll, but this trailer feels a lot like Wes Anderson with Owen Wilson, lots of center framing (still different lenses are used) and slapstick. This could be fun.

[Fuzzy Dunlop]

It feels like a desperate attempt by the studio to force this one into the mainstream. This is the first PTA trailer that doesn't feel at all like a PTA trailer. Call me underwhelmed. It's an average trailer and the poster is horrible.

PTA cuts beautiful trailers that we all love and the public at large has no idea what to do with. As much as I love them and respect him for trying to push boundaries in that area, I think that they are partially responsible for his films underperforming. I have no doubt that this is going to be a great movie, but I'm really hoping that it is also the big-dick hit he needs at this point to keep on making unique films with decent budgets. Letting the marketers do the marketing is a smart move. The peeps at Aspect Ratio know what they are doing; it's up to them and WB to get asses in the seats. Their trailer is joyous and wild and gets me so motherfucking pumped for this thing. Or as my girlfriend put it: "It looks like the movie American Hustle should have been."

[Lottery]

What's wrong with making a bit of dough though really, Paul's got like 12 kids to feed.

[Drenk]

The trailer wants to be fun and it is. That's fine! I love it. I don't want to see all the layers.

Oh, the legs on the poster are doing a V. Like Pynchon's first novel. You find V2 in Gravity's Rainbow. V everywhere. Or maybe legs just do V.

[Find Your Magali]

It feels like a desperate attempt by the studio to force this one into the mainstream. This is the first PTA trailer that doesn't feel at all like a PTA trailer. Call me underwhelmed. It's an average trailer and the poster is horrible.

PTA cuts beautiful trailers that we all love and the public at large has no idea what to do with. As much as I love them and respect him for trying to push boundaries in that area, I think that they are partially responsible for his films underperforming. I have no doubt that this is going to be a great movie, but I'm really hoping that it is also the big-dick hit he needs at this point to keep on making unique films with decent budgets. Letting the marketers do the marketing is a smart move. The peeps at Aspect Ratio know what they are doing; it's up to them and WB to get asses in the seats. Their trailer is joyous and wild and gets me so motherfucking pumped for this thing. Or as my girlfriend put it: "It looks like the movie American Hustle should have been."

I too hope this films makes boatloads of money and helps to green-light figure PTA movies. And, in general, I agree that you let the studios/marketers do their jobs. But they are not infallible. And there is a danger of backlash if what is presented by the trailer veers too far from the actual tone/content of the film.

WB, remember, gave us a trailer for a movie that appeared to be "Godzilla vs. Bryan Cranston"

Did it get people into the seats? Yes.  And that's good. But making a trailer too misleading is dangerous ground to tread.

I see this trailer and I think this is The Long Goodbye meets The Big Lebowski, by way of Cheech and Chong.

[©brad]

PTA cuts beautiful trailers that we all love and the public at large has no idea what to do with.

Boogie Nights, CWBB and hell even Magnolia had pretty mainstream trailers that any mouth breather could understand.

[Jeremy Blackman]

The music choices FOR THIS TRAILER are also pretty dull.

That overlaid sting is definitely a bit awkward.

The Sam Cooke is an oddly obvious choice, like it was sitting at the top of the pile, yet still feels random... it kinda works, though. Reminded me slightly of God Only Knows in BN.

[I am Schmi]

Oh come on guys! I for one think this is possibly the best modern trailer I have ever seen produced. It's fantastic, and reminiscent of trailers from the 60s and 70s. It was funny too!

I'm really grateful that Warner Brothers did not go their traditional route of inserting terrible rap/hip hop songs in a period piece too!

I feel like a lot of hate this trailer is getting is from people who are mostly upset about the way Warner Bros has gone about advertising, with a tinge of the hipster attitude of hating on the mainstream. :P

Chin up, this was amazing! 

[Fuzzy Dunlop]

PTA cuts beautiful trailers that we all love and the public at large has no idea what to do with.

Boogie Nights, CWBB and hell even Magnolia had pretty mainstream trailers that any mouth breather could understand.

"BUT IN 1980....THE PARTY WAS OVERRR"
I don't think he cut the Boogie Nights trailer, that feels like a marketing department all the way. Its an interesting example bc it didn't really get into the darkness or the sadness at all. It totally glosses over the tragic elements and makes it look pretty much like a fun romp from beginning to end, even when its cutting to scenes like Jack stomping that guy or Rahad shooting up the place. And it was a huge hit, maybe the only one he's made that you could really consider a pop culture phenom.

"Anderson felt New Line's marketing on his last movie, "Boogie Nights," a thrilling film set in the porno world of the 70's, was not all that it might have been, and "Magnolia" is not an easy movie to sell. "This is their trailer," he spits. As Anderson jumps up and down and swears (and Tichenor smiles), the voice-over begins: "You can spend your whole life waiting for the truth. Today, for nine people, the wait is over. From Paul Thomas Anderson, the director of -" Anderson shrieks, "Don't say my name!" and throws himself onto the couch. He has cut together his own trailer -- less Cruise, better music, no pretentious narration -- and he is sending it over to New Line today."

The Magnolia trailer is probably my all-time favorite but its pretty out there. At the end when Mackey says "Was that unclear?" Its either a reference to it being "A P.T. Anderson Picture", or the fact that the trailer is so packed with different stories and images that its almost mocking the idea of trying to break the film down into a 3 minute ad. It really is a work of art unto itself and still gives me chills when I watch it. But most people hate not knowing exactly what a movie is about before they see it, especially complex 3-hour dramas. We'll never know if using New Line's version would have made a difference at the box office, but they probably would have pushed the movie harder in middle America if there had been more Cruise etc.

And the final CMBB trailer is pretty straight-forward, but that first teaser was totally batshit bananas.

[Frederico Fellini]

Everyone knows the CMBB and MASTURR teaser trailers are the GOAT teaser trailers...

IV tráiler 9.5/10, could've used some frozen bananas.

[jumjum]

Does anyone know the name of the boomshakalaka song?
That's a great trailer song! Boomshakalaka Boom!

[Kellen]

i don't give a fuck who cuts the trailer, i'm just hyped that a new p.t. flick is coming out!!!

[modage]

Does anyone know the name of the boomshakalaka song?
That's a great trailer song! Boomshakalaka Boom!

Sly and the family Stone's "I Want to Take You Higher" and Sam Cooke's "Wonderful World" play in the background.

Read more: http://www.rollingstone.com/movies/videos/watch-the-smoky-mysterious-new-trailer-for-inherent-vice-20140930#ixzz3EpGMJKlf

[max from fearless]

Biopics and Noir Dominate a Festival - Stephen Holden, NYTimes
http://www.nytimes.com/2014/09/30/movies/at-new-york-film-festival-history-and-detectives.html?_r=0

With three high-profile mysteries — "Inherent Vice," "Gone Girl" and "Maps to the Stars" — it might seem as though film noir was the dominant flavor of this year's New York Film Festival. But another theme runs through four selections: artist biographies. Call it a continental face-off between North America and Europe.

Starting this week, the festival brings biopics of the English Romantic painter J. M. W. Turner, the French couturier Yves Saint Laurent, the 18th-century German poet Friedrich Schiller, and the Italian filmmaker Pier Paolo Pasolini. In each instance, a rebellious artistic sensibility coincides with transgressive personal behavior to wreak emotional havoc.

That said, there is nothing in the festival remotely like "Inherent Vice," Paul Thomas Anderson's uproarious screen adaptation of Thomas Pynchon's 2009 novel. The festival's official centerpiece, this comic noir-to-end-all-noirs is set in 1970, and is suffused with the paranoia of the post-Charles Manson era when the hippie dream had entered its terminal phase and American culture seemed adrift in a purple haze.

Joaquin Phoenix portrays Doc Sportello, a lackadaisical private investigator combing the underbelly of Los Angeles and its environs for two missing persons, one of them his ex-girlfriend Shasta (Katherine Waterston). Josh Brolin, in a cartoonish flattop haircut, portrays Bigfoot Bjornsen, a corrupt, bullying police officer with a hilarious oral fixation. And Martin Short has a small, juicy turn as a beady-eyed druggy dentist. Reese Witherspoon, Benicio Del Toro, Owen Wilson and Jena Malone also pop into view. Behind it all lurks the menace of a mysterious, perhaps imaginary crime cartel known as the Golden Fang.

The movie creates a surreal vision of a bygone Southern California dense with smog and reeking of marijuana, when every street seemed to have its own massage parlor. The atmosphere is so steeped in vintage psychedelia that it is impossible to distinguish reality from fantasy; it could all be a dream. The best approach to "Inherent Vice" is not to look for profundity but to lie back, inhale imaginary clouds of secondhand pot smoke, and go with the flow of a yarn so amusingly convoluted it makes "The Big Sleep" feel like children's bedtime reading.

But while "Inherent Vice," is one of the high points, the honor of the week's best film belongs to Mike Leigh's "Mr. Turner." Its artistic title character, who describes himself as a "gargoyle," is magnificently embodied by Timothy Spall. A Caliban-like grotesque who expresses himself in grunts and snorts and has a cavalier attitude toward women, Turner is so obsessed with capturing atmospheric detail that as part of his research, he lashes himself to the mast of a ship during a blizzard.

Mr. Leigh's visual palette, which has tended toward artfully drab kitchen-sink realism, here explodes into grimy color in cinematography by Dick Pope that evokes the murky hues and textures of Turner canvases. The movie's procession of gnarly faces and hunched postures suggests a gallery of Dickensian caricatures drawn by Hogarth.