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Somewhere in an alternate universe, a multiplex is playing a curious slate of motion pictures: “The Dogwalker,” “Habeas Corpus,” “Mant!” and “Camp Bloodbath.” If you don’t recognize any of these titles, there’s a good reason: All of them are imaginary films that pop up in actual movies. We catch a glimpse of these fake flicks when characters watch them in “Trainwreck,” “The Player,” “Matinee” and “The Final Girls.”
Movies within movies have been around almost as long as movies, and at least since Buster Keaton played a daydreaming projectionist in “Sherlock Jr.” (1924). These meta-creations usually appear only in snippets, as when Bruce Willis saves Julia Roberts from a prison execution in “Habeas Corpus” in “The Player,” Robert Altman’s 1992 Hollywood satire. Sometimes they play a bigger role, as in “The Purple Rose of Cairo,” when Jeff Daniels exits the black-and-white movie Mia Farrow is watching and enters her world. (“The Purple Rose of Cairo” is also the title of the made-up movie.)Trainwreck,” “Clouds of Sils Maria” and “Maps to the Stars,” all from this past year, feature examples of movies within movies. The summer saw another twist on the device in “Me and Earl and the Dying Girl,” which features funny, punning takeoffs on video-store classics by the story’s pair of teenage boys. This week, “Sinister 2” presents yet another riff, continuing the conceit from “Sinister” concerning Super-8 short films that portray macabre killings.
It’s more than just a gimmick, or a way of working in clever references. The Super-8 reels are central to the “Sinister” stories about a series of occult family murders. In the first film, Ethan Hawke plays a writer who discovers a box of these films, and the sequel elaborates on the chilling fact that a child in each family directed each one.
“We were just keeping it simple and realistic: that these kids actually made these movies when they were 10 or 12 or 16,” Alfonso Gomez-Rejon, the director, said in a phone interview from the Locarno festival in Switzerland, where “Me and Earl and the Dying Girl” just had its European premiere. “The rule was that everything had to be made within their resources at the time. All the costumes had to come from their parents’ closets, and the cameras were what they had at the time.”
“We just tapped into our high school selves — we even used our old equipment we used back in high school,” said Mr. Bursch, who is now working on the next Wes Anderson movie.
The mini-films’ patchwork quality is part of their charm, but in “The Player,” Altman wanted a glossier, professional look for his parodies to hit home. These include the fictitious death-row thriller “Habeas Corpus,” which is described in the source novel by Michael Tolkin, as well as another takeoff with Lily Tomlin and Scott Glenn in a seedy hotel.
“In the prison scene, we strived for a look that conveyed that a Ridley Scott or Michael Cimino type was at the helm,” Stephen Altman, the production designer of “The Player” and a son of its director, said by email. “Bob wanted both of these films to be something a major studio would make for summer release.”
Other examples of simulated films are more fondly rendered. Nostalgia drove the filmmaker Joe Dante, a pop-culture maven who made “Gremlins” and more recently “Burying the Ex.” His 1993 film, “Matinee,” stars John Goodman as a schlocky film promoter in the 1960s whose chef d’oeuvre is a giant-insect B-horror movie called “Mant!” “With ‘Mant!’ I was referencing the sci-fi and horror pics I saw at kiddie matinees as a kid. Some were great, some were pretty bad, but I loved them all,” Mr. Dante wrote in an email. “We lifted more or less verbatim some of the dialogue from these movies, particularly the dumbed-down-for-the-kids exposition.”
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