Why Previews Spoil Too Many Movies

(L–R) Kane (John Hurt), Captain Dallas (Tom Skerritt), and the ship's navigator Lambert (Veronica Cartright) in a scene from "Alien." Its trailer doesn't give away the story. (MovieStillsDB)

While attending a party last year, I was introduced to some friends of a friend who were quite interested in engaging me in conversation.

“We understand you’re a movie critic,” said the husband, smiling.

“Yes,” I said, “for over 25 years now.” After a long silent pause, I followed up with, “Are you and your wife big movie fans?”

She replied, “Yes, very much so. We’re just not big fans of critics.”

Not exactly your usual getting-to-know-you chitchat, but as they were both being semi-cordial, I tried to engage them further by mirroring their directness and asked, “What exactly is it you don’t like about critics?”

In what seemed like a prepared statement, they returned in unison: “You people give away too much in the reviews.”

As this wasn’t the first time I’d heard this, I asked them if they had ever read any of my reviews. She retorted, “No, we live in Virginia; we’re just visiting.”

I then asked if I could email links to some of my reviews, and they agreed. About a month later, I received a lovely note thanking me for the links and saying they would now be regular readers.

I extended my thanks and asked one more question: “Are you all fans of trailers?” The reply: “Of course! That’s how we determine what to see next.”

Trailer Industry

My new friends share the same feelings regarding both critics and movie trailers as about 95 percent of people who regularly watch films. And, while I was able to change their opinion of the former, getting them to stop using the one tool they employ in deciding how to spend their entertainment money would be a lost cause.

Once an industry afterthought (hence the word), trailers are almost as old as the movie industry itself. Tagged on to the end reel of features, they advertised upcoming titles to captive audiences. But soon the studios realized that most people (as they still do now) leave the theater as soon as the end credits start, and although the name stuck, trailers were made permanent opening acts.

For the next half-century, theaters spent about 10 minutes before the start of a movie with a cartoon short, a few 30-second trailers, and maybe a newsreel. By the mid-1970s, it was clear that not many people cared for cartoons, newsreels had vanished, and the studios reconsidered the massive power of trailers. You throw together some select bits from the finished film, perhaps toss in some stirring music and maybe a “voice of God” narrator—and, boom, you’re ready to go!

The arrival of “Alien” in 1979 marked a turning point for trailers. Containing no dialogue from the film or voice-over, it started slowly with 60 seconds of still images, graphics, and eerie ambient music, leading into a steady build to a frantic conclusion, capped with the text: “In space no one can hear you scream.” No spoilers, no plot overexplaining, and sporting one of the best tag lines ever conceived. It was and remains the perfect cinematic tease.

One of the best trailers made is for "Alien." (20th Century Fox)

With science fiction, horror, action-adventure, and comedy ruling the industry since the 1980s, the trailer business has become its own cottage industry. Usually clocking in at 2 minutes, 30 seconds, the average cost of trailers is now $200,000 with most blockbuster “tent pole” titles regularly exceeding $1 million.

You’d think that’s a lot for making something so short with already-shot footage. But that’s not always the case, and this is why some of us detest trailers and avoid watching them whenever possible.

Ignore ’Em

Some trailers include scenes that are not in the movie being advertised, which—no matter how you slice it—is blatant bait-and-switch. Many trailers often make movies seem funnier than they actually are by including every last drop of real or perceived humor. This is particularly prevalent in standard 30-second TV spots. Thirty seconds of laughs spread out over 90 minutes or more is not a desirable ratio.

I became increasingly frustrated with trailers a few years back and challenged myself to write a standard review based solely on seeing the (summer) trailer twice. The movie was “Mona Lisa Smile” starring Julia Roberts as the new teacher at an exclusive, private girls school. When I saw the full movie in the fall, the only changes I made were the addition of character names, places, and dates. I got it right only because the studio decided to explain the entire plot of the movie in less than three minutes—six months in advance.

One movie trailer to skip is for "Mona Lisa Smile." (Columbia Pictures)

It’s impossible to ignore trailers completely, but there is something you can do to avoid them when spending money at a theater. The current industry standard is filling the first 20 minutes at the start of a screening with a half-dozen or so trailers (including some for TV shows) and commercials. Buy your ticket early (or online) and enter the screening fashionably late.

Beginning in 1999, as it often does, self-aggrandizing Hollywood felt the need to create yet another awards gala (the Golden Trailer Awards) honoring the best trailers of the year. Initially bestowing 19 awards, awards ballooned up to 108 in 2021, which effectively reduced their prestige level to that of participation trophies.

Given the world’s ever-increasing shrinking of its collective attention span, it’s unlikely that trailers are only going to get bigger, bolder, and more revealing.

Too many people want Cliffs Notes versions of movies before paying to see them, and few would rather take a chance by knowing nothing going in.

Different strokes, I guess.