In 1992, Crystal Pepsi came onto the scene, and despite heavy promotion was gone by 1994, having taken its place alongside New Coke as a failed attempt at shaking up the entrenched American soda paradigm. However, just as Surge was brought back from the dead, so, to my surprise, has Crystal Pepsi been given a new lease on life.
You know I’ve got to give it a shot. I missed it the first time around (that I can remember). I’m not making that mistake again. I’ll be honest, I’m not a Pepsi fan – I’m definitely on the Coke side of the eternal cola dichotomy – but no matter.
Probably, unfortunately, no one’s idea of a whizzpopper. (Source)
There’s not much to say about The BFG, as it is quite frankly Spielberg’s slightest film in a long while, and a decided come-down after the excellent Bridge of Spies. That is still a decent film, and at least free of the stodgy tastefulness which marred some of his other recent output, is at best a mild comfort, but it will have to do.
It’s time to close the door on 2015. Past time, even. But I wanted to round off this awards season, as patchy as my coverage of it may have been, with a poll (seen above), some statistical fun, and some reflection on my awards past.
I realize updates have been very slow on here lately. It may be that way for a while.
But it ain’t over till I am. There will be new content coming before the end of the month, including possibly the single most ambitious post in this blog’s history. I won’t reveal what that particular post is, but here are a few other posts in various stages of planning:
A list of films I wish to see which are especially difficult to track down;
An overview of the first five years of my film awards and the past five years of the Oscars, with a tentative prediction of my 6th annual awards;
And an update on the status of my All-Time Film Awards.
Also, there will be more soda reviews in the coming weeks in between the more complex posts.
I will close with an aphorism I recently concocted:
I’m very fond of Fentimans’ Cherrytree Cola, which I’ve previously reviewed, but I’m not entirely sure if I’ve ever even had their Curiosity Cola. If I had, it was some time ago, and a revisit – and a review – are in order.
Movie posters are one of my very favorite art forms – they comprise about 99% of my interior decoration – but my love for them goes beyond aesthetics.
In essence, what I love about them is that they establish a reality for a film outside of itself. They stand as proof that a film was not just made, but was sold, possibly to those who had no knowledge of it or its makers, with the fundamental concept of “Come in. Spend your money. Make this film your evening’s entertainment.” And once upon a time, they exhibited a handcraftsmanship which the current era of Photoshopped portrait-salads too often lacks.
Most fascinating of all to me are the posters for foreign films being given American release. While foreign film has been fairly consistently embraced by the intelligentsia, fairly few films have crossed over to become a true popular success in addition to their critical embrace; only six non-Anglophone films have made more than $25 million at the U.S. box-office, and just 27 have made more than $10 million. The world of foreign film promotion is therefore a rather unique one.
I’ve chosen to highlight 50 separate entries (two of which contain two films) covering a spectrum of foreign cinema as advertised for the American market. The majority of these images I found at MoviePosterShop, which has high quality scans of nearly all the posters they sell. Images found elsewhere will be noted as they come up.