Planet 51

Superproducción española de animacion con el guionista de Shrek!!

El astronauta capitán Charles “Chuck” Baker aterriza en Planeta 51. Creyendo ser el primero en pisar su superficie, descubrirá para su sorpresa que ya está habitado por unas curiosas personas verdes que viven en un mundo que recuerda a los Estados Unidos de los inocentes años 50, sumidos en la paranoia de una inminente invasión alienígena. Con la ayuda del joven Lem y sus amigos, Chuck intentará regresar a su nave antes de ser capturado.

TÍTULO ORIGINAL: Planet 51
NACIONALIDAD: España/Reino Unido
DURACIÓN: 91 min.
AÑO: 2009
GÉNERO: Animación
PRODUCTORA: HandMade Films, DeA Planeta Home Entertainment
DIRECTOR: Jorge Blanco, Javier Abad

GUION: Joe Stillman

FOTOGRAFÍA:Animation

MÚSICA: James Seymour Brett

WEB: http://www.planet51.com/

Trailer Subtitulado [HD]

Trailer con subtitulos [HD]

Katie Holmes stars in the upcoming horror remake “Don’t Be Afraid of the Dark”. Also in the cast are Bailee Madison and Guy Pearce.

Plot: “Don’t Be Afraid of the Dark” follows Sally Bailee Madison, a young girl who moves to Rhode Island to live with her father Guy Pearce and his new girlfriend Katie Holmes in the 19th-century mansion they are restoring. Having stumbled upon the mansion’s hidden basement, Sally starts hearing voices calling out from the bolted ash pit, imploring her to open it. Sally obliges and unwittingly unleashes something so terrible, so unthinkable, that everyone’s life, hers most of all – is placed in immediate and grave danger.”

Producer: Guillermo del Toro

Director: Troy Nixey

Release date: August 26, 2011
Don’t Be Afraid of The Dark – Trailer:

Arrástrame al infierno

El Secreto de sus ojos

Benjamín Espósito, secretario de un Juzgado de Instrucción de la Ciudad de Buenos Aires, está a punto de retirarse y decide escribir una novela basada en un caso que lo conmovió treinta años antes, del cual fue testigo y protagonista. Su obsesión con el brutal asesinato ocurrido en 1975 lo lleva a revivir aquellos años, trayendo al presente no sólo la violencia del crimen y de su perpetrador, sino también una profunda historia de amor con su compañera de trabajo, a quien ha deseado y amado fervorosamente y en silencio durante años. La novela que escribe Espósito nos hace recorrer los años 70, cuando en Argentina se vivían épocas turbulentas, el aire estaba enrarecido y nada era necesariamente lo que parecía ser.

TÍTULO ORIGINAL: El secreto de sus ojos
NACIONALIDAD: Argentina
DURACIÓN: min.
GÉNERO: Thriller, Drama.
DIRECTOR: Juan José Campanella
INTÉRPRETES: Ricardo Darín, Guillermo Francella, Pablo Rago, Soledad Villamil.
GUIONISTA: Juan José Campanella, Eduardo Sacheri.
MÚSICA: Federico Jusid, Emilio Kauderer.
FOTOGRAFIA: Félix Monti
PÁGINA WEB: http://www.elsecretodesusojos.com/

Fantasma de Buenos Aires
Primer largo del director Guillermo Grillo, director del corto “Bar de mala muerte”. Subo el muy buen trailer de la película y para los que quieran, tambien subo el corto de Bar…

Una historia fantástica con toques de comedia, sobre la relación entre un joven tímido de hoy y el fantasma de un malevo asesinado en 1920.

Before seeing Clash of the Titans in 3-D, filmgoers at AMC theaters must sit through previews for the Nightmare on Elm Street remake, Salt, and Step Up 3-D, among others. These films have little in common and seem intended for vastly different audiences. How do movie theaters decide which trailers to show?

The “quadrant” system. As many as six trailers play before features at major chains, like AMC and Regal. The studio releasing a given film typically has automatic rights to two of these slots, and theater executives in consultation with higher-ups from various studios select the remaining four. Though theoretically studios and theaters could attach any trailer to any movie, they usually decide which releases to promote by using the “quadrant” system, which divides potential audiences into four different categories: men under 25, women under 25, men over 25, and women over 25. Before chick flicks, theaters play previews for romantic dramas as well as romantic comedies, because they figure that’s what young women will eventually want to see. Regal Cinemas also began matching red band trailers, which include profanity and sexually explicit scenes, with R, NC-17, and unrated movies in 2008. And sometimes theaters disregard quadrants altogether if something else ties the movies together—say, if they’re all in 3-D. It’s impossible to show a 3-D trailer before a 2-D movie

Of course, since there are often more than four possible previews available in a given quadrant, negotiating which trailers make the cut can be tricky. The young men going to see Clash of the Titans might enjoy learning about any number of upcoming movies—Kick-Ass, The Losers, Iron Man 2—in addition to the films already being advertised before the feature. Theaters further narrow the field by trying to treat all major studios more or less equally. They might play Warner Bros. trailers on 20 percent of all screens and Disney trailers on 30 percent, for example. The same trailers don’t always play before the same movie at every branch of a large chain, so it’s possible to spread the wealth around.

Sometimes distributors don’t want to settle for equal treatment. Every studio wants its own films to piggyback on surefire hits, regardless of quadrants. As TiVo, the cable renaissance, and the Internet have eaten away at television audiences, theatrical trailers have become more and more important as marketing tools. Moviegoers are a captive audience, after all—and studios will do whatever they can to take advantage. Though such behavior is frowned upon, executives have on occasion paid exorbitant amounts to ensure that their trailers will be well-placed, as when Sony’s Jeff Blake gave a theater chain $100,000 to ensure that the trailer for The Animal, a Rob Schneider vehicle, would be shown before Universal’s The Mummy Returns in 2002.

The trailer placement system at independent theaters is much simpler: They only show trailers for movies that will soon be playing on one of their screens. For these exhibitors, the calendar is the only factor at play—and sometimes, their coming attractions don’t even have trailers, which simplifies things even further.