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The Empire Strikes Back is a great movie. It’s also arguably the most important sequel ever. It definitely deserves a glorious and moving trailer. But back in 1979 and 1980, movie trailers featured cheesy voiceovers that made it hard to understand the tone of the movie. Thanks to a fan recut, Empire now has the serious and adventurous trailer it deserves. This modern Star Wars trailer is classic 2020s, complete with a slow version of the theme music and many hero shots. There are also the disembodied voices of Emperor Palpatine and Obi-Wan Kenobi. Even though we’ve seen the movie countless times, watching this trailer gives us goosebumps. Now we can’t wait to see the movie all over again.
Though the modern vision of this Star Wars trailer does introduce the new character Lando Calrissian, there are no shots of Yoda. The lack of spoilers is admirable, though we’ve definitely seen modern previews that give away too much. This may be more of a teaser. There are some great shots of new planets like Hoth, Dagobah, and Bespin but little about the plot. The modern trailer, which we saw on Boing Boing, is one of many on the Floris De Canne YouTube channel. They also put together modern trailers for Star Wars‘ A New Hope, Return of the Jedi, The Phantom Menace, and Revenge of the Sith.
We have seen other modern trailer takes for Empire Strikes Back. This one really plays up the fact that it’s Episode V, though that’s not mentioned in any of the real trailers we’ve seen for the movie. Those, like the one below, narrated by Harrison Ford, sometimes include scenes that didn’t make it into the final cut of the movie. Other trailers, meanwhile, showed lightsabers without any color added.
In contrast to the modern trailer treatment, fans also recently made a perfectly retro Andor opening credits sequence. If Star Wars came out in timeline order and Andor premiered in 1975, there would be plenty of camp, low-definition, and interesting font choices. Of course, we all know what happens in the movies. But it is a lot of fun to reimagine what may have gotten us excited for them across time.
Melissa is Nerdist’s science & technology staff writer. She also moderates “science of” panels at conventions and co-hosts Star Warsologies, a podcast about science and Star Wars. Follow her on Twitter @melissatruth.
The post We Got Goosebumps From This Modern STAR WARS Trailer for EMPIRE STRIKES BACK appeared first on Nerdist.
The Empire Strikes Back is a great movie. It’s also arguably the most important sequel ever. It definitely deserves a glorious and moving trailer. But back in 1979 and 1980, movie trailers featured cheesy voiceovers that made it hard to understand the tone of the movie. Thanks to a fan recut, Empire now has the serious and adventurous trailer it deserves. This modern Star Wars trailer is classic 2020s, complete with a slow version of the theme music and many hero shots. There are also the disembodied voices of Emperor Palpatine and Obi-Wan Kenobi. Even though we’ve seen the movie countless times, watching this trailer gives us goosebumps. Now we can’t wait to see the movie all over again.
Though the modern vision of this Star Wars trailer does introduce the new character Lando Calrissian, there are no shots of Yoda. The lack of spoilers is admirable, though we’ve definitely seen modern previews that give away too much. This may be more of a teaser. There are some great shots of new planets like Hoth, Dagobah, and Bespin but little about the plot. The modern trailer, which we saw on Boing Boing, is one of many on the Floris De Canne YouTube channel. They also put together modern trailers for Star Wars‘ A New Hope, Return of the Jedi, The Phantom Menace, and Revenge of the Sith.
We have seen other modern trailer takes for Empire Strikes Back. This one really plays up the fact that it’s Episode V, though that’s not mentioned in any of the real trailers we’ve seen for the movie. Those, like the one below, narrated by Harrison Ford, sometimes include scenes that didn’t make it into the final cut of the movie. Other trailers, meanwhile, showed lightsabers without any color added.
In contrast to the modern trailer treatment, fans also recently made a perfectly retro Andor opening credits sequence. If Star Wars came out in timeline order and Andor premiered in 1975, there would be plenty of camp, low-definition, and interesting font choices. Of course, we all know what happens in the movies. But it is a lot of fun to reimagine what may have gotten us excited for them across time.
Melissa is Nerdist’s science & technology staff writer. She also moderates “science of” panels at conventions and co-hosts Star Warsologies, a podcast about science and Star Wars. Follow her on Twitter @melissatruth.
The post We Got Goosebumps From This Modern STAR WARS Trailer for EMPIRE STRIKES BACK appeared first on Nerdist.
If you’ve ever wondered what the take on the superhero genre from Nicolas Winding Refn (The Neon Demon) would look like, Netflix has you covered in the new year.
Four years after directing his first television series Too Old to Die Young, the Danish visionary returns to streaming with Copenhagen Cowboy, a neo-noir set in his native Denmark. The six-episode series was penned during the pandemic by Refn and co-writers Sara Isabella Jønsson Vedde (Miss Osaka), Johanne Algren (Kamikaze), and Mona Masri (Snabba Cash). The production was also a family affair with his wife, filmmaker Liv Corfixen (My Life Directed By Nicolas Winding Refn) executive producing the series which stars their daughters Lola and Lizzielou.
The female-centric story of Copenhagen Cowboy follows Miu (Angela Bundalovic), a young woman of mysterious origins. We first see her in the servitude of an older woman Rosella (Dragana Milutinović), just one of the many evolving masters employing Miu as a “good luck charm” or “lucky coin.” Her seemingly magic abilities aren’t explicitly explained, but she’s able to help greedy people with things like fertility issues and migraines.
Though it seems like she lacks humanity, Miu is a good person at her core, seeking justice for the wronged. She finds herself going further and further into Copenhagen’s crime world, which is filled with temperamental gangsters and their various human trafficking empires from sex work to drug dealing. Her petite size is brought up often and she’s always talked about like she’s not there, but these things don’t seem to bother her. As one person says to her, “You’re a strange one.”
She’s passive, introspective, and generally emotionless, like the other enigmatic protagonists of the Refn-verse. The director told Cineuropa, “She is indeed of the very same, very dim, mysterious family as One-Eye, the Driver and Lieutenant Chang in Only God Forgives — a kind of alter ego I like to revisit from time to time.”
The first couple of episodes drag, but things get more interesting once Miu meets restaurant owner Mother Hulda (Li Ii Zhang) and subsequently meets gang leader Chiang (Jason Hendil-Forssell). She later crosses paths with a wealthy serial killer Nicklas (Andreas Lykke Jørgensen) who is oddly similar to Michael Pitt’s Mason Verger in NBC’s Hannibal though not nearly as flamboyant or talkative. As described in the series synopsis, Miu also encounters her nemesis Rakel (Refn’s eldest daughter, Lola Corfixen) who makes a brief but memorable appearance.
Miu is an unconventional hero, super or otherwise. She has an ethereal quality that reads more like a mythical being with unseen and undefined supernatural abilities who we’re not sure is a witch, fairy, angel, alien, robot, or an enhanced human a la Winter Soldier. I predict that her blue tracksuit, glitter eye makeup, and bowl cut combo will be one of 2023’s top Halloween costumes. She sort of looks like an anime character, and, with her inexplicable fighting skills, the latter half of the series feels like she’s stuck in a twisted Nintendo game that can’t be won.
Refn is a divisive artist often accused of valuing “style over substance.” He has received plenty of criticism for his films having characters gazing for long stretches without dialogue. The series does the same, and the prolonged silence is frustrating and intentionally uncomfortable. I wonder if this gripe inspired the writers to have a character say to Miu, “You’re stressing me out with your gaze.” But all the silent stares and awkward pauses build tension that gives the short yet brutal action scenes more of an impact. Refn also has a distinct brand of cinematic violence. He uses brutality in a way that isn’t glorified but stylized, telling Variety, “Art is an act of violence. It’s meant to violate you, penetrate your mind. It’s like giving birth. It’s beautiful, but also a violent act.”
There’s not a lot of depth in terms of plot and character development, but those elements aren’t necessarily sacrificed in favor of style. That’s just how Refn chooses to tell his stories. Instead of traditionally structured scenes, it’s like he’s created moving paintings. The stunning cinematography of Magnus Nordenhof Jønck (A Hijacking) further creates an otherworldly atmosphere with slow-motion sequences and sweeping shots.
Refn’s trademark of nearly nothing but neon lighting soaks the streets of Copenhagen, making the characters look like they’re perpetually in the red-light district of another dimension, or maybe hell. It’s this blend of the seductive and surreal that reminds me a little of Twin Peaks: Fire Walk with Me. Though the frequent unnerving sounds of squealing pigs (that sometimes come from human men) are more along the lines of Sorry to Bother You.
Another Refn signature is the haunting synth-focused score from previous collaborators Cliff Martinez (Too Old to Die Young), Peter Peter (Pusher), Peter Kyed (Valhalla Rising), and Julian Winding (The Neon Demon). With dreamy synth-wave beats and striking red, magenta, purple, and blue hues, some scenes play like a music video.
Similar to other auteurs like David Lynch and Yorgos Lanthimous, Refn has a specific style that doesn’t work for everyone. The six-hour series could’ve been a 2-hour film, but I appreciate his approach to episodic television, challenging the norms as he does with films. It’s not an ideal binge; perhaps only three episodes at a time. The sprawling story would be easier to digest in smaller doses. However, I doubt that’s anything Refn’s concerned about.
Copenhagen Cowboy is a beautiful mind-bending noir crime thriller about exploitation and greed, as well as a revenge-fueled science fiction fairy tale. Anyone familiar with Nicolas Winding Refn’s previous work will know what to expect with this latest addition to his oeuvre — extremely slow-moving storytelling that requires patience and a reasonable attention span.
Copenhagen Cowboy had its world premiere at the 2022 Venice Film Festival. The series begins streaming Thursday, January 5, 2023, on Netflix.
Recently released from Pendulo Studios is their next adventure game, Alfred Hitchcock’s Vertigo. There is something to be said for remakes. Once made there is the inevitable comparisons that can fairly or unfairly color the experience.
Back in the late 1950s, Alfred Hitchcock released his mystery thriller of the same name, which starred the iconic Jimmy Stewart. Based on a novel written in the same decade, the movie when watched now is very campy, which may be a why it was not consistently well received at the time. Some critics saw the movie more as an examination of Hitchcock himself, while others had issue with a mystery thriller being solved early in the movie. Pendulo’s offering reflects the cerebral nature of the movie, even though at its center is the examination of one man’s psyche and for the most part that is where the similarity to Alfred Hitchcock’s film should and does end.
In the game, a psychologist is enlisted to work with an author who was in a car crash and claims he was traveling with his wife and daughter. However, the remains of his family were not found. The story jumps to him in a cabin alone and then out of the blue rendering aid to a beautiful injured hiker. While recovering, she “innocently” ends up half-naked in his shirt and…yep. For an alleged grieving car crash survivor that seems to be a strange place to start up, but hey the therapist asked, right? Not even close.
This is where the ability to connect with the protagonist seems to go astray, which is very early in the story. While there is quite a mystery that unfolds, it is sort of hard to care about the angst of the protagonist as the consequence of the initial car crash seem to be secondary to the author’s writer’s block.
The thing about adventure games is that there is the need to care about the outcome, which requires you to care about the protagonist. Other adventure games can lose this in the adventure part. Vertigo seems to get lost in the gaming experience at the expense of the story. There was the exploration of various past memories that are meant to help explain the source of the author’s vertigo, but again the reason to really care was missing. The story pacing was interesting, with a creepy kitchen scene and an investigation on a farm, which has some Hitchcock easter eggs, including a Psycho shower scene. While entertaining, given the day and age, there is a certainty that many of these will be missed.
The gameplay prompts seem inconsequential. While I understand the need to keep a story along a central story line, choices made in various places do little to change the outcome. This lack of player impact on the direction of the story in seemingly any way changes it from a game experience to a digital video, which leaves the graphics.
Graphically, this is not the most stunning presentation since the boxy graphics harken back a decade or so. While not required for an adventure game, as the locations tended to be remote, there is a chance to at least have stunning venues or iconic music to help the story along. With neither present, this may not be the best offering for someone stepping into the world of adventure gaming.
This virtual novel seems to have too much mystery and not enough story to make you care about how it ends. But if you are really into the genre and have some time to spend there are some interesting hours ahead. Be careful, though, that the constant environment swirling around without much of a center doesn’t give you vertigo as well.
You can find Alfred Hitchcock’s Vertigo on most of the gaming platforms and on PC.