Danny Baldwin

Danny Baldwin has been writing about film on the Internet for over a decade, initially for BucketReviews and now for Critic Speak. He holds a Master's degree in Critical Studies from the University of Southern California and in past years served as a member of both the Online Film Critics Society and the San Diego Film Critics Society. Danny's favorite films include “The 400 Blows,” “Imitation of Life" (1959), “My Neighbor Totoro” and “The Silence of the Lambs.” He lives in Los Angeles.

Rian Johnson's LOOPER drops September 28.

Trailer Overkill: Taking the Mystique out of Looper

Rian Johnson's LOOPER drops September 28.

Last week, the trailer for Rian Johnson’s (Brick, The Brothers Bloom) highly anticipated new film Looper hit the web. I watched once out of curiosity and it solidified the movie’s place on my personal list of Fall must-sees. I was prepared to not think any more of the trailer — after all, why should I? The purpose of a trailer is to convince you to buy a ticket and this assemblage of Looper did exactly that for me.

But over the next few days, it seemed like my Twitter and Facebook feeds were crowded with nothing but re-posts of said trailer, with friends and colleagues practically analyzing it frame-by-frame. At the very least, some had watched it dozens of times. My big question was: Why? Surely, the trailer is expertly edited enough that it gets your adrenaline pumping as you watch it… But don’t repeat viewings of promotional materials ultimately take away from the experience of watching the movie once it’s out?

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Making Sense of the Digital Conversion

An image from the website for Pennsylvania's Ambler Theater, which needs to raise $100,000 per screen for digital projectors or risks shutting down. This article details why the ongoing digital conversion poses a threat to movie-going.Over the past decade, the movie theater industry has spent millions of dollars converting their traditional 35mm film projectors to digital projectors. Saturday, at the NAB’s Technology Summit on Cinema, it was announced that 50 percent of screens worldwide had made the switch to digital, 70 percent in the United States.

On film blogs, this conversion has largely been derided and smeared — “How can they get rid of 35mm? It’s the best way to watch a movie!” While I understand the sentiment behind this protest, it seems to me that the approach is rather narrow — Hollywood isn’t going to fix the “problem” just because a niche group of purists say it exists. There’s too much money to be saved by going 100 percent digital. What is necessary to actually create positive change is for the everyday moviegoer to join in the fight to keep 35mm alive. Which first requires them to understand what’s at stake.

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