Turbo Trailer Starring Ryan Reynolds


With Monsters University and Despicable Me 2 set to battle it out as the biggest animated movies of the summer, there doesn’t seem to be much room for any other animated flicks to carve out their own piece of the family pie. That won’t stop Fox and DreamWorks from trying anyway with their own upcoming movies Epic and Turbo. A new trailer for the latter has arrived online this week and will be attached to The Croods this weekend.

The story revolves around a snail who is involved in a freak accident that grants him the ability to move really fast. He is determined to live out his dream of entering (and possibly even winning!) the Indy 500. As more proof that he should have been The Flash and not Green Lantern, Ryan Reynolds voices the lead character. Samuel L. Jackson, Maya Rudolph, Paul Giamatti and Snoop Dogg also co-star. Turbo hits theatres on July 17th (just two weeks after Despicable Me 2); check out the trailer after the jump and see what you think.

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  • La Menthe

    The “Drive” soundtrack in the beginning: what the fuck?

  • La Menthe

    Oh wait, I saw the wrong trailer: http://www.youtube.com/watch?v=ADuKkRTiCfI

  • Gerry

    As usual, whether it’s good or not depends on the writing. Wreck It Ralph was great but Rise of the Guardians was a bit meh, despite the stellar graphics and interesting concept.

  • Johnny

    Looks like shit. I’m sorry but I’m sick of these oversimplified and terribly derivative animation films. They are following the same footsteps as live-action blockbusters, and are practically becoming a parody of themselves. Fucking Dreamworks and Disney; why can’t they just stop making fucking films? They clearly have lost all artistic sense in their films; it has reached to a point where I would argue, without much exaggeration, that these films are no less of a “product” than a burger at McDonalds or a pair of pants at H&M. Not even Pixar makes anything with substance anymore. The last good animation at the hands of big studios was Rango (which I might add, wasn’t perfect). It doesn’t surprise me that stop-motion animation always end up far superior; the time it takes to the make these films actually permit and require of the developer(s) to construct something singular, exceptional and moving, rather than the recycled CGI-shit from the studios that only do the task of changing the names of the characters and the title of the film — keeping the same stories, characters, humor, cult-references and the rest of the god-awful elements that are a part of the “how-to-sell-shitload-to-stupid-children” recipe.

    Take a look at a Studio Ghibli film, and compare it to films like this one. The distinction in quality is so significant that it is astounding. And it is nothing less than heartbreaking to see that films like Valley of the Wind, Spirited Away or Howl’s Moving Castle never will reach up to the same viewing popularity as Turbo.

    This trend is as typical with live-action films as it is with animation. Just look at something like Iron Man 3 and you know what I mean. People going to the cinema has increased over the years. But at the same time, and as a result of the films becoming increasingly more valuable commodities to studios, who demonstrate this value by their excessive involvement in the moviemaking to get the required profitable results, the films are getting stupider and more alike.

    Even Filmjunk, a site that reviews and focuses on blockbusters, and in no way has a bias towards them (rather the opposite), display this phenomenon; if you listen to their reviews, and look at the stars they give, the number of poor-starred films have increased, along with the difference between films getting many stars and films getting few stars.

  • Adam lenehan

    Fuck off

  • Peter

    If Rise of the Guardians was so disappointing that they had to lay off 350 people, I am worried what the news will be after this one. This doesn’t even seem very appealing on a kid level.

  • La Menthe

    @Johnny, agree 100%

    I just read an interesting interview with Shane Carruth that might be relevant to this topic. He was interviewed about his upcoming film Upstream Color, which has, in my opinion, the best trailer in a long, long time (http://www.youtube.com/watch?feature=player_embedded&v=5U9KmAlrEXU).

    Like his previous film, Primer, he has made everything himself. He has financed the film all by himself (and is turning to self-distribution), and is the composer, writer, director, actor and cinematographer of the film. Since it is essentially a one-man project, it has taken him almost 10 years to produce. But in return he has full control of the project, allowing every creative idea to be included into the film When asked about how he pitched his film to those that could finance the film, he answered:

    ” I’d thought there was only a sliver of common ground between what I wanted to do and what a conventional film financier wants, and what I learned over the years is that there actually isn’t a sliver. There’s no common ground, at all. It took me a long time to figure that out.”

    THIS is how filmmaking should be. And there actually was time when Hollywood was as close to this as it ever will be: the period between 1965-1980 (also called New Hollywood, or American New Wave). You had films like 2001: A Space Odyssey, A Clockwork Orange, Bonnie and Clyde, The Godfather films, Midnight Cowboy, Taxi Driver, Cool Hand Luke, Chinatown, Dog Day Afternoon, Easy Rider, The French Connection, Harold and Maude, Deliverance, One Flew Over the Cuckoo’s Nest, The Elephant Man, and The Deer Hunter. And since you mentioned animation films: Watership Down and Plague Dogs.

  • Adam lenehan

    They even got the theory of relativity wrong “I’m moving so fast the world is moving in slow motion, baby!” How could they fuck that up?