GUESS WHAT'S ON THE MENU? YOU ARE!

The Krites have landed! Carnivorous creatures from outer space! Vicious vermin with very sharp teeth! The beloved sci-fi/comedy-horror franchise makes its UK Blu-ray debut in this special edition box set from Arrow Video.

A smart homage to 1950's B-movies, Critters sees a group of small but toothy extra terrestrials escape from an alien prison and land in small-town America with two shape-shifting bounty hunters in hot pursuit. Directed by Stephen Herek (Bill & Ted's Excellent Adventure) and starring genre stalwarts Dee Wallace (The Howling) and M. Emmet Walsh (Blood Simple), the film was a smash-hit on home video, launching a franchise for the ravenous furry fiends. Two years later, Critters 2: The Main Course sees the Krites come back for seconds as leftover eggs hatch and attack the rural town of Grover's Bend. Directed by Mick Garris (Sleepwalkers) with a script co-written by David Twohy (Pitch Black), Critters 2 is one big ball of toothy delight.

Celebrated horror author and screenwriter David J. Schow (The Crow) comes aboard for Critters 3, bringing the Krites to the big city. Marking the feature film debut of none other than Leonardo DiCaprio (Django Unchained), it was shot simultaneously with the darker, less comedic Critters 4, in which the ferocious furballs battle series stalwart Charlie (Don Opper, Android) in outer space, featuring a cast that includes Angela Bassett (Strange Days) and Brad Dourif (Child's Play).

A four course feast of fun, fur, fear and fangs, served with a platter of new and archive extras to whet your appetite! Go on, get stuck in!

4-DISC LIMITED EDITION CONTENTS

• High Definition (1080p) Blu-ray presentations of all four films

• Original lossless stereo 2.0 and 5.1 audio options

• Optional English subtitles for the deaf and hard of hearing

• 60-page hardbound collectors book featuring new writing on the films by screenwriter Shane Bitterling and film critics Meagan Navarro and Heather Wixson plus select archival material

• Double-sided fold out posters for all four films

• Limited edition packaging with newly commissioned artwork by Pye Parr

• Reversible sleeves featuring original and newly commissioned artwork by Pye Parr

DISC 1 - CRITTERS

• Brand new audio commentary by film critics Matty Budrewicz and Dave Wain with screenwriter Shane Bitterling

• Archive audio commentary with producer Barry Opper and star Don Opper

• Archive audio commentary with Critter designers Charles Chiodo, Edward Chiodo and Stephen Chiodo

• They Bite!: The Making of Critters documentary

• For Brian: A Tribute to Screenwriter Brian Domonic Muir featurette

• Behind-the-Scenes Footage

• Alternate Ending

• Theatrical Trailer

• TV Spots

• Image Gallery

DISC 2 - CRITTERS 2: THE MAIN COURSE

• Brand new audio commentary by film critics Matty Budrewicz and Dave Wain

• Archive audio commentary with director Mick Garris

• Archive audio commentary with Critters designers Charles Chiodo, Edward Chiodo and Stephen Chiodo

• The Main Course: The Making of Critters 2 archive documentary

• Behind the Scenes Footage

• Additional TV Scenes

• Theatrical Trailer

• TV Spot

• Image Gallery

DISC 3 - CRITTERS 3

• Brand new audio commentary by film critics Matty Budrewicz and Dave Wain

• Archive audio commentary with producer Barry Opper and star Don Opper

• You Are What They Eat: The Making of Critters 3, archive featurette

• Trailer

• Promo

• Image Gallery

DISC 4 - CRITTERS 4

• Brand new audio commentary by film critics Matty Budrewicz and Dave Wain

• Archive audio commentary with producer director Rupert Harvey

• Space Madness: The Making of Critters 4 archive featurette

• Trailer

• Image Gallery

THE FUTURE ISN’T BIG ENOUGH FOR THE BOTH OF THEM! Sylvester Stallone and Wesley Snipes go head-to-head in this classic sci-fi/action blockbuster from Joel Silver, the producer of Die Hard and The Matrix. In 2032, arch criminal Simon Phoenix (Snipes) awakens from a 35-year deep freeze in CryoPrison to find a world where crime is almost non-existent – a serene utopia ripe for the taking. With the police no longer equipped to deal with his 90s-style brutality, they revive ‘Demolition Man’ Sgt. John Spartan (Stallone), the no-holds-barred police officer unjustly sentenced to CryoPrison who originally took Phoenix down. Old-school cop against old-school criminal, settling their scores on the streets of San Angeles? The future won’t know what’s hit it. With a script co-written by Daniel Waters (Heathers, Batman Returns) and a supporting cast that includes Denis Leary, Benjamin Bratt, and Sandra Bullock in her breakout role, Demolition Man is an awesome mix of action and humor!

4K ULTRA HD LIMITED EDITION CONTENTS

• Brand new 4K restoration from the original 35mm camera negative by Arrow Films, approved by director Marco Brambilla
• Includes both the domestic "Taco Bell" and international "Pizza Hut" versions of the film presented via seamless branching
• 4K Ultra HD (2160p) presentation in Dolby Vision (HDR10 compatible)
• Original lossless DTS-HD MA 5.1 and Dolby Atmos audio options
• Optional English subtitles for the deaf and hard of hearing
• Brand new audio commentary by director Marco Brambilla and screenwriter Daniel Waters
• Brand new audio commentary by film historian Mike White of the Projection Booth podcast
• Archive audio commentary by Marco Brambilla and producer Joel Silver
• Demolition Design, a new interview with production designer David L. Snyder
• Cryo Action, a new interview with stunt coordinator Charles Percini
• Biggs' Body Shoppe, a new interview with special make-up effects artist Chris Biggs
• Tacos and Hockey Pucks, a new interview with body effects set coordinator Jeff Farley
• Somewhere Over the Rambo, a new visual essay by film scholar Josh Nelson
• Theatrical trailer
• Image gallery
• 60-page perfect bound collector's book featuring new writing by film critics Clem Bastow, William Bibbiani, Priscilla Page and Martyn Pedler
• Limited edition packaging featuring newly commissioned artwork by Laurie Greasley
• Double-sided fold-out poster featuring original and newly commissioned artwork by Laurie Greasley
• 6 postcard sized artcards
• 'Three Seashells' and 'Edgar Friendly graffiti' stickers
• Reversible sleeve featuring original and newly commissioned artwork by Laurie Greasley

Alien: Romulus will be available to watch in the comfort of your own home, on the likes of Prime Video, Apple TV, and Fandango at Home, as of October 15th. Some retailers will be offering a 2-Movie Collection digital bundle that pairs the film with the original Alien. The 4K Ultra HD, Blu-ray, and DVD physical media release will follow on December 3rd. An image of the 4K steelbook can be seen at the bottom of this article.

Alien: Romulus will be available to watch in the comfort of your own home, on the likes of Prime Video, Apple TV, and Fandango at Home, as of October 15th. Some retailers will be offering a 2-Movie Collection digital bundle that pairs the film with the original Alien. The 4K Ultra HD, Blu-ray, and DVD physical media release will follow on December 3rd. An image of the 4K steelbook can be seen at the bottom of this article.

The film's home video release will include the following bonus features (which may vary by product and retailer): Return to Horror: Crafting Alien: Romulus featurette, which has five chapters:

• The Director's Vision -- Discover how one of today's greatest horror directors, Fede Alvarez, collaborated with master filmmaker Ridley Scott to craft a new, heart-pounding chapter in the Alien franchise.

• Creating the Story -- Learn what inspired the story of Alien: Romulus and see the many easter eggs from previous Alien installments that you may have missed.

• Casting the Faces -- Meet the stars of Alien: Romulus as they take us inside the hearts and minds of their characters. Explore the parallels between Rain and the iconic franchise heroine, Ripley, and learn how filmmakers brought back a face from the past.

• Constructing the World -- Explore the massive, practical sets of Alien: Romulus that hearken back to the futuristic style established in the '80s and get up close and personal with a hoard of practically built facehuggers, chestbursters, and xenomorphs.

• Inside the Xenomorph Showdown -- Experience the film's climactic zero-gravity sequence from every angle as filmmakers break down what it took to make the moment spectacular. From sets and performances, to wirework, stunts, and VFX, see how it all came together.

• Alien: A Conversation -- A special conversation with Ridley Scott and Fede Alvarez for the Alien 45th Anniversary theatrical re-release.

• Alternate / Extended Scenes -- Check out scenes that didn't make the final cut.

Filmmaker Mel Gibson has a couple of key sequels on his slate to direct in the coming years – namely a follow-up to “The Passion of the Christ” and a fifth “Lethal Weapon” entry.

Both projects have been floated as possibilities for many years now, but they have also taken on a new urgency recently and are seemingly much closer to fruition than ever before.

Gibson is also an industry veteran and is well aware of how film productions are all about various elements aligning just right – a big reason why so many filmmakers have multiple projects in development as you never know which one may suddenly be ready to move forward.

Speaking with ComicBook.com, Gibson was asked what film he would direct first to which he said it’s not completely clear which of the films might go sooner:

“I don’t know, and that’s the funny thing, I mean, there’s various obstacles to getting any film up on its feet, and not just budgetary, but there’s like, there’s 1,000,001 reason why something goes and why it doesn’t. So it’s really kind of a crapshoot at this point. You know, what goes first and which came first, whether it’s the chicken or the egg.”

The comments follow on from Gibson revealing earlier this year that he was still planning on directing “Lethal Weapon 5,” stepping in for the late Richard Donner who passed away in 2021.

Donner had done a bunch of work on a screenplay for a fifth film with Gibson getting further work done on it and, as of earlier this year, he was “pretty happy” with how it turned out.

The comments also follow reports a week ago that Gibson has been in Malta with a production team scouting potential filming locations for the “Passion” sequel and production could begin as soon as early next year.

Personal opinion, neither? 🤷‍♂️😄

New RoboCop TV series has James Wan as executive producer

James Wan is on board to executive produce a new TV series inspired by the classic 1987 film RoboCop for Amazon MGM

Back in 2022, Amazon closed an $8.5 billion acquisition of the film studio MGM, giving them ownership of the studio's thousands of films and TV shows. Last year, we heard that the six MGM properties Amazon was most interested in doing something with were Poltergeist, *Stargate, The Thomas Crown Affair, Legally Blonde, Rocky, *and RoboCop... and we've recently heard updates on some of those projects, with a Poltergeist TV series finding its showrunners and Michael B. Jordan signing on to both direct and star in a new version of The Thomas Crown Affair. Now Deadline has broken the news that a new RoboCop TV series is moving forward and has James Wan, the director of such films as Saw, The Conjuring, and Aquaman, on board as executive producer.

Peter Ocko (Lodge 49) has been hired to write, executive produce, and serve as showrunner on the potential series. Wan, Michael Clear, and Rob Hackett are executive producing through their company Atomic Monster, while Danielle Bozzone is overseeing the project for Atomic Monster. The series is being produced by Amazon MGM Studios.

Directed by Paul Verhoeven from a screenplay by Edward Neumeier and Michael Miner, the 1987 film RoboCop has the following synopsis: In a violent, near-apocalyptic Detroit, evil corporation Omni Consumer Products wins a contract from the city government to privatize the police force. To test their crime-eradicating cyborgs, the company leads street cop Alex Murphy (Peter Weller) into an armed confrontation with crime lord Boddicker (Kurtwood Smith) so they can use his body to support their untested RoboCop prototype. But when RoboCop learns of the company's nefarious plans, he turns on his masters. The movie was followed by sequels RoboCop 2 (1990) and RoboCop 3 (1993), an animated series that ran for one season in 1988, a live-action TV series that ran for one season in 1994, a 2001 mini-series called RoboCop: Prime Directives, and a 2014 remake, as well as video games, comic books, toys, clothing, and other merchandise.

The new TV series has the following official logline: A giant tech conglomerate collaborates with the local police department to introduce a technologically advanced enforcer to combat rising crime

a police officer who's part man, part machine.

Now the last time they did this, it was back in 2000 with a series called RoboCop: Prime Directives. It comprised of four 90 minute films. I followed the official website for all the news, it sounded great. It was going to ignore the sequels and follow on from the original. I was quite excited as RoboCop is a scifi classic.

When I finally managed to see it here in the UK, I was so disappointed I didn't even finish the first episode. So I'm not holding out any hope here. I didn't think much of the 2014 remake either.

The new Hellboy movie, Hellboy: The Crooked Man, is skipping theatres and going right to a digital release this October (8th)

Casino Royale filmmaker Martin Campbell directs, with Ridley starring alongside Clive Owen and Taz Skylar. Anton produces with UK outfit Qwerty Films.

The story begins when a group of radical activists take over an energy company's annual gala in London, seizing 300 hostages. But their cause is hijacked by an extremist within their ranks, who is ready to murder everyone in the building to send his anarchic message to the world. It falls to an ex-soldier turned window cleaner, played by Ridley, to save the day.

Sky Cinema has snapped this up for broadcast in UK/Ireland early next year. Personally, I'm interested in seeing Daisy in an action role that sounds very Statham-y.

Kevin Smith's The 4:30 Movie set for November 4K and Blu-ray release

Kevin Smith's sixteenth feature film, The 4:30 Movie, is coming to 4K and Blu-ray in November, including an Amazon exclusive steelbook

The 4:30 Movie, the sixteenth feature film from director Kevin Smith, received a theatrical release on September 13th, and now it has been revealed that the movie is coming to 4K and Blu-ray on November 5th! Copies of the physical media versions of the movie are available for pre-order on Amazon -- including an Amazon-exclusive steelbook edition where the case is designed to look like a large VHS tape and the discs look like VHS tape spools! A fitting design for a movie that's set in 1986. Images of the steelbook design can be seen right here:

The 4:30 Movie is a coming-of-age comedy that follows three sixteen-year-old friends who spend their Saturdays sneaking into movies at the local multiplex. But when one of the guys also invites the girl of his dreams to see the latest comedy, each of the teens will learn something serious about life and love before the credits roll.

Austin Zajur (Scary Stories to Tell in the Dark), Nicholas Cirillo (Outer Banks), and Reed Northrup (High Maintenance) play the sixteen year old friends, with Siena Agudong (Resident Evil) as the dream girl. Ken Jeong (The Hangover), Genesis Rodriguez (Tusk), Justin Long (Barbarian), Sam Richardson (Veep), Jason Lee (Almost Famous), Rachel Dratch (I Love My Dad), Kate Micucci (The Big Bang Theory), Adam Pally (Sonic the Hedgehog), Harley Quinn Smith (Once Upon a Time... in Hollywood), Jason Biggs (American Pie), and Method Man (How High) are also in the cast.

The 4:30 Movie was filmed at Smodcastle Cinemas in New Jersey, a theatre Smith now co-owns and used to hang out in every weekend when he was a teenager. Liz Destro, Josh Bachove, and Jordan Monsanto produced, with Bill Bromiley, Shanan Becker, and Jonathan Saba executive producing.

The back of the 4K release reveals that bonus features include an audio commentary with Kevin Smith and a making of featurette, as well as the trailer.

This film had a very limited release in the UK, you had to be either in Birmingham or London at the right time. Looks like I'll be catching the streaming version next month. Looking forward to it!

Celebrate 20 Bloody Years of 'Shaun of the Dead' with a Newly Remastered 4K UHD Blu-ray & SteelBook December 3rd

Put in your pre-order, grab your friends, calibrate your 4K TV, kill Phillip, and go to the Winchester, snag a pint and wait for it all to blow over! Edgar Wright's classic zombie horror comedy is getting a brand new 4K UHD Blu-ray with Dolby Vision and Dolby Atmos on December 3. A limited edition 4K UHD SteelBook will also be available on the same date.

The film stars Simon Pegg, Kate Ashfield, Lucy Davis, Nick Frost, Dylan Moran, Bill Nighy, Penelope Wilton, Jessica Stevenson and the 4K UHD Blu-rays feature a new 4K remaster.

There comes a day in every man's life when he has to get off the couch...and kill some zombies. When flesh-eating zombies are on the hunt for a bite to eat, it's up to slacker Shaun (Simon Pegg) and his best pal Ed (Nick Frost) to save their friends and family from becoming the next entrée. Satisfy your bloodthirsty appetite with the movie that masters of horror and film critics alike are hailing as a screamingly hilarious zomedy that will have you dying with laughter.

Shaun of the Dead - 20 Bloody Years 4K UHD Blu-ray***

*** 

Shaun of the Dead - 20 Bloody Years 4K UHD Blu-ray Limited Edition SteelBook
 

**BONUS FEATURES on 4K Ultra HD, BLU-RAY & DIGITAL: **

• SHAUN OF THE DEAD: 20 BLOODY YEARS! (NEW)*
  • Director Edgar Wright joins actors Simon Pegg and Nick Frost to reflect on the funniest zombie movie ever made
• MISSING BITS
  • Kitchen Pow-Wow
  • Body on the Line
  • Body on the Line / Yvonne
  • Taxi Driver
  • Bathroom Blowout
  • In the Bedroom
  • Meercats United
  • Alternate Ed
  • The Dopplegang
  • Q.W.A.
  • David vs. Shaun
  • More Peanuts
  • Rifle Trifles
  • David's Redemption
  • Bar Extension
• OUTTAKES
  • The Man Who Would be Shaun
  • Funky Pete
  • Plot Holes
• RAW MEAT
  • Simon Pegg's Video Diary
  • Lucy Davis' Video Diary
  • Joe Cornish's Video Diary
  • Casting Tapes
  • Edgar and Simon's Flip Chart
  • SFX Comparison
  • Make-Up Tests
  • EPK Featurette
• TV BITS
  • T4 with Coldplay
  • Fun Dead
  • Trisha -- Your Nine Lives Are Up
  • Trisha -- I Married a Monster
  • Remembering Z Day
• TRAILERS
  • US Trailer
  • UK Teaser Trailer
  • UK Trailer
  • UK TV Spot #1
  • UK TV Spot #2
  • Fright Fest Trailer
• AUDIO COMMENTARY
  • Feature Commentary with Simon Pegg & Edgar Wright
  • Feature Commentary with Simon Pegg, Nick Frost, Dylan Moran, Kate Ashfield and Lucy Davis
  • Feature Commentary with Bill Nighy and Penelope Wilton
  • Feature Commentary with the Zombies

*4K Disc & Digital only

1: Twenty years, damn I'm old!

2: Sucks air throughout his teeth Hot Fuzz is the better film in the trilogy. 😁

AGBO Creative Chief spills details about the upcoming sci-fi film, The Electric State

Angela Russo-Otstot, sister of Joe and Anthony Russo, shares new information on their production company’s new ambitious film.

September 24th 2024, 9:01am The Russo Brothers' sci-fi adventure film The Electric State, starring Millie Bobby Brown, has secured a PG-13 rating

The Russo brothers have quite a bit on their plate. Not only are they returning to one of the biggest franchises in movies with future Avengers films, but the brothers’ artist-led production company, AGBO, is also bringing the Citadel franchise to Prime Video with its many incarnations, as well as finally releasing their long-awaited sci-fi film, The Electric State, next year in March. The Chris Pratt and Millie Bobby Brown film would finally secure a rating from the MPA with a PG-13 for sci-fi violence/action, language and some thematic material.

The Hollywood Reporter recently got to sit down with the Russo’s sister, Angela Russo-Otstot, who is the Creative Chief for AGBO, as she talks about the upcoming projects from their company. Russo-Otstot would divulge some details about The Electric State. She calls the film “a really interesting exploration of a world where service robots live alongside humans. Within their time performing specific services for humans, the robots start to realize that they may want something more than the purpose they [were made] for, and the humans begin to fear this. So, eventually, a conflict plays out. There’s a war between the humans and the robots, and the humans leverage technology to win, and they take all of the robots and banish them into an exclusion zone in the middle of a desert wasteland in the center of the U.S. But it’s a global conflict as well. So there are other stories and narratives that can play out in different countries around the world, but we witness the U.S. story in this film.”

Russo-Otstot also mentions that the robots “have a real nostalgia to them.” Some of them are based on actual brands, like Woody Harrelson’s Mr. Peanut-inspired robot. “And I remember when we had to approach Hormel to ask permission to do this. We were like: ‘It has to be Mr. Peanut. We have to make this work.’ And fortunately, it did work out.”

The Russo sister also talks a bit of the background behind the film, saying, “It’s a wonderfully imaginative alternate history that takes place in the 1990s. It’s based on an illustrated novel by an artist [from Sweden] named Simon Stålenhag.” It was adapted by frequent Russo and Marvel collaborators Christopher Markus and Stephen McFeely. “They were the writers that did all four of the Marvel movies that Anthony and Joe directed. They work at our company as the co-presidents of story department. Christopher found this book on Facebook in a crowdfunding. And he said, there’s a movie here. And so we optioned the book, and he and Stephen built out a really rich mythology. There was an existing mythology in the book, but they expanded upon it.”

Can we talk about? - Fan service getting out of control.

By Martyn Conterio [Total Film magazine, October 2024 issue]

‘Get away from her, you bitch.’ Great line. Actually, it's iconic. But when it's uttered towards the end of Alien: Romulus, you won't believe your ears. Same goes for the other memorable bits cribbed directly from Ridley Scott's Alien and James Cameron's Aliens. Because it's not just dialogue: there are shots replicated, moments revisited from the series (and video game Alien: Isolation) and one familiar actor from the franchise is brought back from the dead with VFX.

In such instances, does fan service start to feel like a snake eating its own tail? Say what you like about the various merits (or lack thereof) of anything after Aliens, but each film had a distinct identity. Alien movies should aspire to be more than fan fiction.

Audiences have always gotten a kick out of movies referencing other movies (they were doing it as far back as the silent era). But fan service is a relatively new phenomenon linked to properties such as the MCU, the DCEU and Star Wars. A savvy, geek-literate audience now demands Easter eggs and callbacks in every film, every show, and acts vocally disappointed when those treats fail to materialise to their satisfaction.

‘A SAVVY, GEEK-LITERATE AUDIENCE NOW DEMANDS CALLBACKS IN EVERY FILM, EVERY SHOW’ f0026-03 Fury Road: fan service done right (ALAMY) Still, fan service can be creative. George Miller's Mad Max: Fury Road provided a laundry list of nods to the original Mad Max trilogy: it just didn't shout about it. And the nostalgia factor worked too - primarily because it was Miller's own creation, not somebody else's.

The recent Deadpool & Wolverine is another film stuffed to the gills with scenes designed to cause whooping, hollering, and ‘amagawd’ reactions in the auditorium. Meanwhile, 2023's The Flash is a comic-book spectacle that delivered fan service up the wazoo. Did we really need Michael Keaton returning as Batman? Or a CGI Nicolas Cage as Superman (in reference to Tim Burton's abandoned 1990s project)?

How can a blockbuster film stand any chance of becoming a potentially beloved classic on its own terms? A line must be drawn between heartfelt homage and unnecessary (and lazy) nostalgia.

We all love these characters, these franchises, but it's how they're served creatively that matters the most.

Stolen from Empire magazine, October 2024. This short piece is written by the magazines editor.

"The trailers I remember most fondly are the ones that tantalise"

NICK DE SEMLYEN ON THE FADING ART OF MAKING MOVIE PREVIEWS THRILLING

IN 1996, BACK when I was a teenage Empire reader, I eagerly pawed open the gift that came with issue 80: a videotape containing "an hour's worth of the best trailers of the year". Popping the cassette into my cumbersome VHS machine, I devoured the teasers for Toy Story, Heat, Broken Arrow, Loch Ness and more. It didn't matter if some of the films looked a bit lame

who greenlit a meet-up between Ted Danson and a water-monster?

because in my book, movie trailers were great. They sizzled with promise, splicing together thrilling and funny moments, fizzed up with clever editing and judicious deployment of Voiceover Man.

Flash forward to 2024, and my love of movie trailers has dwindled. In fact, I even sometimes find myself jettisoning out of them midway through. Partly, admittedly, it's because they're just so accessible now

you can't go on social media without running across a teaser or two, let alone the infinite array you can find on YouTube. Partly it's because of the deeply annoying trend of trailers starting with their own three-second mini-teaser, ruining the best bits. But mostly it's because they are frequently happy to give the house away. They just keep going and going and going, throwing expensive money shots at you that will consequently be less dazzling when you see them on a cinema screen.

Take the marketing for Speak No Evil (pictured above), the new remake of a 2022 Danish horror film. Over almost three minutes, the trailer rattles through the film chronologically, blithely revealing twists, turns and huge moments. Would it not have been more effective to just tease the unease, to hint at the darkness behind James McAvoy's eyes without roughly 120 seconds of him going full fruit-loop? Or there's the trailer for Gladiator II. Rather than trust that the sight of Paul Mescal facing down a rhino will get people into cinemas (if that won't, what will?), it throws so much ancient Rome at you that you end up dazed. "Brevity is a great charm of eloquence," said legendary Roman orator Marcus Tullius Cicero. I reckon he had a point.

The trailers I remember most fondly are the ones that tantalise, that give you a vibe without spoon-feeding you a plot. Like the genius one for Terminator 2 that whisks us through the infernal machinery of a robot-factory. Or the one for 1998's Godzilla, which sees the giant lizard total a T-Rex skeleton in a glorious example of inter-studio passive-aggression (The Lost World: Jurassic Park was in cinemas when the teaser dropped). The art of trailer-making is still alive

the promo for Longlegs is an outstanding mood-piece that gave little away

but they too often feel mechanical and desperate, rather than bold and ingenious. It's time to make teasers that tease again.