Alissa Wilkinson, a contributor covering film and culture for Vox, shares an insightful perspective on the disconnect between movie trailers and the actual cinematic experience. In her piece, she advocates for breaking free from the constraints of trailers and relying on alternative methods to choose movies.
The Holiday Revelation:
During the holiday season, Wilkinson unveils a valuable trick for enhancing the enjoyment of movies: ditching trailers. She argues that trailers often reveal too much information, serving as mini-movies aimed at selling tickets rather than providing a genuine glimpse into the film.
The Trailer Mismatch:
Wilkinson exemplifies the trailer mismatch phenomenon using examples like "The Fabelmans" and "Armageddon Time." She recounts her experience with "The Fabelmans," where the trailer portrayed a conventional story about making movies, while the actual film delved into complex themes of familial relationships and personal growth. Similarly, she contrasts the misleading trailer of "Armageddon Time" with the nuanced exploration of racial dynamics in the film.
The Deceptive She Said Trailer:
The author points out another instance of a misleading trailer with "She Said," where the promotional material sells a triumphalist journalism narrative that differs significantly from the measured and realistic portrayal of the challenges faced by reporters breaking a story.
Trailer Pitfalls:
Wilkinson questions the logic behind putting the best jokes in comedy film trailers and highlights the perplexing decision to market "The Northman" as a triumphant epic, contrary to its theme of facing an inevitable fate. She also criticizes the omission of crucial information about cannibalism in the trailer for "Bones and All" and the misrepresentation of "White Noise" as a quirky family drama.
Evolution of Trailers:
While acknowledging the evolution of trailers over time, with modern ones often featuring overwhelming noise and intensity, Wilkinson reminisces about trailers from the 1940s that hinted at the essence of films without giving everything away. She suggests that contemporary trailers may stem from risk aversion or a lack of trust in the audience's ability to appreciate something new and different.
A Call to Action:
The article concludes with a call to reconsider the reliance on trailers and encourages moviegoers to seek alternative methods for choosing films. Wilkinson suggests following trusted critics or exploring information about the cast, director, and previous works. Ultimately, she advocates for introducing an element of pleasant surprise back into the movie-watching experience by breaking free from the influence of trailers.
