Did we really need to see a continuation of the characters introduced in WOMEN IN TROUBLE? What was so great about that film that warranted a sequel?
ELEKTRA LUXX isn't a bad film. It's just not a good one. It's easy to listen to the characters presented here, they just don't engage us. There isn't a standout scene, there isn't any side-splitting laughs, there isn't anything thought-provoking.
If you're going to gather such a talented cast, for heaven sakes, give them something to do.
Thursday, June 30, 2011
XOXO
Finished this script by Mark Heyman.
WILL CAMPBELL
He gets a “friend request” on Facebook from HELEN, a woman he doesn’t know but is intrigued by. A couple of IMs later, they’re engaged in a hot and heavy session which makes Will question the life he’s living. Is he really in love with Elizabeth
Turns out, Helen isn’t exactly who she says she is and turns obsessive.
The script is FATAL ATTRACTION. Unfortunately, FATAL ATTRACTION is ten times the story this script is. The writer, outside of Facebook and having Helen send a sex-tape to all of Will’s co-workers, doesn’t do much to update the tale.
With the technology available today, it would be intriguing to show just how easy it is to stalk someone and turn their life upside-down. How you can glean personal information and get to know someone without ever having met them.
Heyman’s a good writer. He just needs to delve deeper into his story to truly make this a horrifying thriller.
BURLESQUE
So this girl from Iowa ’s dream was to come to L.A.
Didn’t Stanley Tucci play his character before in THE DEVIL WEARS PRADA?
Was it really necessary to give Cher a second song? Isn’t she the supporting character?
All quibbling aside, the film is watchable. Christina Aguilera has her moments. The film isn’t a satisfying meal but if you’re looking for fast food, it’ll do the trick.
Wednesday, June 29, 2011
EYES OF LAURA MARS
Writer came in today with a pitch for a remake of the Irvin Kershner film. I always roll my eyes at the thought of remakes but the boss stresses them so I develop them.
The thing that always bothered me about EYES OF LAURA MARS is why did Faye Dunaway all of a sudden start to have these visions? Why did she see through the eyes of the killer? That was never explained in the film.
So the start of the meeting didn't exactly fill me with hope. I interrupted the writer two sentences into his pitch with this problem of mine. And I've got to say, this writer has it all worked out. It's the best pitch I've heard all year long. Could easily be made. A taut thriller.
Of course my boss passed on it an hour later. He kept referencing the tv show VERONICA MARS. Ass. Is it any wonder I drink the way I do?
The thing that always bothered me about EYES OF LAURA MARS is why did Faye Dunaway all of a sudden start to have these visions? Why did she see through the eyes of the killer? That was never explained in the film.
So the start of the meeting didn't exactly fill me with hope. I interrupted the writer two sentences into his pitch with this problem of mine. And I've got to say, this writer has it all worked out. It's the best pitch I've heard all year long. Could easily be made. A taut thriller.
Of course my boss passed on it an hour later. He kept referencing the tv show VERONICA MARS. Ass. Is it any wonder I drink the way I do?
THE RIFT
Finished this script by John Baizer & Marshall Johnson.
Let me start by saying nothing pisses a reader off more than blocks and blocks of descriptive writing. Hey, if you want to write a novel, go ahead and write one. If you want to write a screenplay, learn the proper format!
Normally, most people give a script ten pages before tossing it away. I gave this one thirty…and wished I had stopped at ten.
If nothing’s happened after thirty pages, you do not know what you’re doing as a writer.
All we’ve gotten is FRANK ROGERS hauling his three kids off to renovate property out on Reaver’s Rock. We’re told on our journey there that Reaver’s Rock is haunted. Local contractors won’t take the job. The last group of workers left the without completing the renovation.
That shouldn’t take more than ten pages to set up.
I guarantee you I can tell you what’s going to happen without reading any further. I bet Frank’s going to lose it – we already know he’s had anger management issues in the past and may have been responsible for the death of his wife.
I bet he turns crazed or becomes possessed and his kids have to fear for their lives as he goes insane.
Now, if I’m right, this script has no business going into development. If your reader can figure out your story thirty pages in, you haven’t done your job as a writer.
This script is shaping up to be THE SHINING set on an island with a light-tower.
A total waste of time.
Tuesday, June 28, 2011
THE COMPANY MEN
This film is a serious miscalculation.
The problem is the protagonist doesn't save himself, instead, he has to be saved. Ben Affleck's character is too passive. His brother-in-law has to give him a job. Tommy Lee Jones has to give him a job. Heck, everybody is giving him a job.
Things shouldn't happen to the hero, the hero should make things happen. It's hard to root for Ben here. There's nothing to get behind. Sure, you feel sorry for anyone that's gotten canned but at some point he's got to take charge of his own destiny.
Such a passive character as a lead will slow a story down. The plot never builds to anything thus boring the audience.
Due to the current economy, getting laid off is a topical subject. However, the message should be one of hope instead of hoping for a handout.
The problem is the protagonist doesn't save himself, instead, he has to be saved. Ben Affleck's character is too passive. His brother-in-law has to give him a job. Tommy Lee Jones has to give him a job. Heck, everybody is giving him a job.
Things shouldn't happen to the hero, the hero should make things happen. It's hard to root for Ben here. There's nothing to get behind. Sure, you feel sorry for anyone that's gotten canned but at some point he's got to take charge of his own destiny.
Such a passive character as a lead will slow a story down. The plot never builds to anything thus boring the audience.
Due to the current economy, getting laid off is a topical subject. However, the message should be one of hope instead of hoping for a handout.
SUITS
The latest from USA which has carved out a niche for itself with shows built around characters with heart.
SUITS however doesn't live up to BURN NOTICE, ROYAL PAINS, WHITE COLLAR, etc.
Gabriel Macht should be a big movie star. Okay, THE SPIRIT was terrible but Gabriel has the goods. He's just got to pick better projects. List SUITS as another poor choice.
The pilot is weighed down by the miscasting of Patrick J. Adams. He just doesn't have the charisma nor can he portray the idealism that the character of Mike needs. Without the right actor, this series built around Mike - super-smart; able to pass the bar without going to law school - falls flat fast.
SUITS however doesn't live up to BURN NOTICE, ROYAL PAINS, WHITE COLLAR, etc.
Gabriel Macht should be a big movie star. Okay, THE SPIRIT was terrible but Gabriel has the goods. He's just got to pick better projects. List SUITS as another poor choice.
The pilot is weighed down by the miscasting of Patrick J. Adams. He just doesn't have the charisma nor can he portray the idealism that the character of Mike needs. Without the right actor, this series built around Mike - super-smart; able to pass the bar without going to law school - falls flat fast.
THE MAGIC CITY
PASSION PLAY was so bad I had to take at look at Mitch Glazer’s THE MAGIC CITY to see if it was equally as terrible.
And what a pleasant surprise. The teleplay is great.
IKE EVANS is the proud owner of the Miramar Hotel located smack-dab on Miami Beach
But all is not well with Ike and the Miramar
The pilot is strong. Well-defined characters that are instantly likeable and a well-conceived plot that turns up the tension and conflict with each passing scene.
Hard to believe this is from the same guy that made PASSION PLAY. Just goes to show, you have to look at each property separately without any preconceived opinions.
WORST. HONEYMOON. EVER
Finished this script by Brian Duffield.
We meet BREE and SCOTT on their honeymoon. Only thing is, they’ve been abducted and are now tied up, minutes away from being tortured.
And then the story goes into a flashback (which is utilized a lot in the script) and we meet them four days before at their wedding reception. There’s no doubt they’re in love with one another.
It’s basically KNIGHT AND DAY (not a good thing) with the leads reversed. Here, Bree is the superstar agent capable of killing a boatload of assassins, escaping any handcuff, blowing up everything, handling assault weapons, speaking Korean, etc, etc. Scott is the hapless guy that’s totally clueless about the life his newlywed leads.
The thing about WORST. HONEYMOON. EVER is, it’s one long, drawn-out action sequence. They escape their captors and there’s a furious chase in which they get away. The captors find them and there’s a furious battle leading to our couple escaping. They’re found once again resulting in another violent conflict.
Enough already. This isn’t a story. It’s a video game (not in a good way). I wish I could hit the reset button.
Pass.
PASSION PLAY
Film was terrible. THE WRESTLER aside, is Mickey Rourke really a leading man any longer?
The big reveal at the end turns out to be Mickey’s character has been dead all along. Wow. Like we didn’t see that coming. And when it does finally come, do we even care?
The story isn’t compelling. The characters aren’t engaging. The direction is dull. How did this ever get made?
Monday, June 27, 2011
NANNY MCPHEE RETURNS
Did we really need a sequel?
When you've got a cast that includes Ewan McGregor, Rhys Ifans, Maggie Gyllenhaal, Maggie Smith, Ralph Fiennes and not to mention Emma Thompson, you've got to bring more thunder than this.
Much more magical moments are called for as well as heartfelt emotional scenes as McPhee rounds the children into shape and teaches them the important lessons of life.
Plus, the film is crying out for a scene where McPhee bonds with all five children. The way it's written here, would they really miss her when she leaves?
A better script is needed.
When you've got a cast that includes Ewan McGregor, Rhys Ifans, Maggie Gyllenhaal, Maggie Smith, Ralph Fiennes and not to mention Emma Thompson, you've got to bring more thunder than this.
Much more magical moments are called for as well as heartfelt emotional scenes as McPhee rounds the children into shape and teaches them the important lessons of life.
Plus, the film is crying out for a scene where McPhee bonds with all five children. The way it's written here, would they really miss her when she leaves?
A better script is needed.
Sunday, June 26, 2011
THE HUM
Script's by David Carlyle and J.S. Mayank.
The "hum" is an unidentifiable sound that's unending. No one knows the source. Theories include insect noise, distant meteors and secret government experiments.
Andrew Mason, 44, is an expert on this hum. It's become an obsession for him.
He's also an expert on another phenomenon - numbers stations which are shortwave radio transmissions that broadcast artifically generated messages. No one knows where they come from or what they mean.
Andrew hosts a radio program in which callers call in with the most outlandish conspiracy theories regarding the hum.
One call comes in...broadcasting the hum. Andrew can't believe it. He's able to locate the location of the call: Wyoming. Off he goes. While driving towards the area of the call, his radio is taken over by a numbers station - a girl's voice speaking german, stating numbers.
The whole first act works. It reminds me of the good episodes of "THE X-FILES" and "LOST." We're into the mystery.
Unfortunately, everything that follows is terrible. Turns out a top-secret group has found the hum which is an energy source that could sustain the world indefinitely. All energy would be free which would send governments and huge corporations into chaos. This group guards the source in secret - talking to each other in code - numbers stations.
The final two acts reminds me of the bad episodes of "THE X-FILES" and "LOST."
Definitely passing on this script.
The "hum" is an unidentifiable sound that's unending. No one knows the source. Theories include insect noise, distant meteors and secret government experiments.
Andrew Mason, 44, is an expert on this hum. It's become an obsession for him.
He's also an expert on another phenomenon - numbers stations which are shortwave radio transmissions that broadcast artifically generated messages. No one knows where they come from or what they mean.
Andrew hosts a radio program in which callers call in with the most outlandish conspiracy theories regarding the hum.
One call comes in...broadcasting the hum. Andrew can't believe it. He's able to locate the location of the call: Wyoming. Off he goes. While driving towards the area of the call, his radio is taken over by a numbers station - a girl's voice speaking german, stating numbers.
The whole first act works. It reminds me of the good episodes of "THE X-FILES" and "LOST." We're into the mystery.
Unfortunately, everything that follows is terrible. Turns out a top-secret group has found the hum which is an energy source that could sustain the world indefinitely. All energy would be free which would send governments and huge corporations into chaos. This group guards the source in secret - talking to each other in code - numbers stations.
The final two acts reminds me of the bad episodes of "THE X-FILES" and "LOST."
Definitely passing on this script.
CHRONICLE
Finished this script from Max Landis.
I like his writing style. Script's a page-turner. Very quick read.
Story's about Andrew Detmer who starts chronicling his life with a videocamera to show proof of his abusive, alcoholic father.
One night, he and two friends find a hole at the base of a hill. They go inside and come out with superpowers.
However, this isn't a Marvel comics-type of movie. This thing is dark and edgy, showing how the powers corrupt and mentally warp a 17-yr old kid.
Script's written in the "found-footage" style. While it's easy to tell Landis has skills, I just don't know how you go about marketing this movie. Found-footage films seem to work best in the horror genre. I don't think this style will be that effective when dealing with kids flying in the air. It'll look gimmicky.
Definitely recommend the writer. Pass on the script.
I like his writing style. Script's a page-turner. Very quick read.
Story's about Andrew Detmer who starts chronicling his life with a videocamera to show proof of his abusive, alcoholic father.
One night, he and two friends find a hole at the base of a hill. They go inside and come out with superpowers.
However, this isn't a Marvel comics-type of movie. This thing is dark and edgy, showing how the powers corrupt and mentally warp a 17-yr old kid.
Script's written in the "found-footage" style. While it's easy to tell Landis has skills, I just don't know how you go about marketing this movie. Found-footage films seem to work best in the horror genre. I don't think this style will be that effective when dealing with kids flying in the air. It'll look gimmicky.
Definitely recommend the writer. Pass on the script.
FORTY
New series from Doug Ellin.
Centers on Kenny - used to make over $2mill annually in a high-finance position but now has been unemployed for a year. He's married with a son.
Kenny pals around with three friends from college. The series is about these four guys as they approach the big 4-0. The pilot's about the friends convincing Kenny to go on a trip to Dallas to watch the Cowboys play the Giants.
The episode really doesn’t have much going for it. ENTOURAGE has the superstar lifestyle that puled us in. HOW TO MAKE IT IN AMERICA had the hustler angle from the streets to pull us in. FORTY doesn’t have an angle...outside of four middle aged men talking about the problems of their lives which is done much better on TNT’s MEN OF A CERTAIN AGE.
Hard to see this taking off.
Centers on Kenny - used to make over $2mill annually in a high-finance position but now has been unemployed for a year. He's married with a son.
Kenny pals around with three friends from college. The series is about these four guys as they approach the big 4-0. The pilot's about the friends convincing Kenny to go on a trip to Dallas to watch the Cowboys play the Giants.
The episode really doesn’t have much going for it. ENTOURAGE has the superstar lifestyle that puled us in. HOW TO MAKE IT IN AMERICA had the hustler angle from the streets to pull us in. FORTY doesn’t have an angle...outside of four middle aged men talking about the problems of their lives which is done much better on TNT’s MEN OF A CERTAIN AGE.
Hard to see this taking off.
I HATE VALENTINE'S DAY
Terrible. Hard to believe Nia Vardalos wrote MY BIG FAT GREEK WEDDING after watching this. GREEK had such winning characters. Here, the characters are bland at best. They don't engage you. Their situation doesn't draw you in.
Worse, the acting is bad here. A sign that Vardalos shouldn't direct.
The whole thing about the five-date rule is a poor premise. You just knew she was going to fall in love. In a romantic comedy, it's key to keep your leads apart. The five date rule simply isn't a strong device to accomplish this. A weak complication will always lead to a weak story.
Worse, the acting is bad here. A sign that Vardalos shouldn't direct.
The whole thing about the five-date rule is a poor premise. You just knew she was going to fall in love. In a romantic comedy, it's key to keep your leads apart. The five date rule simply isn't a strong device to accomplish this. A weak complication will always lead to a weak story.
Saturday, June 25, 2011
THE NEW DAUGHTER
If you're going to go the slow-build route in a horror story, you'd better deliver fireworks in your reveal. Luis Berdejo effectively builds the horror but the payoff is a letdown which destroys the movie.
The whole thing about the burial mound and mound walkers is too much to take seriously. Plus the creatures at the end are laughable.
Berdejo should've picked a better script. Hopefully the film won't sink his career.
The whole thing about the burial mound and mound walkers is too much to take seriously. Plus the creatures at the end are laughable.
Berdejo should've picked a better script. Hopefully the film won't sink his career.
Friday, June 24, 2011
SECRET IDENTITY
Finished this script by Nick Daniels.
A military weapon - nanites (microscopic robotic insects that can be programmed to go after a specific person and administer a lethal dose of toxin) has been stolen for a mysterious arms dealer named Arnison. Agent Frank Hobbs goes in search of Arnison...only to find Arnison's his estranged 26-year-old son, Jason.
It's all a case of mistaken identity. Jason is innocent and teams up with his Dad to save the day.
Along the way, we get other forms of advanced weaponry like smart bullets (can change direction or fly around corners in pursuit of its intended target), jet-packs and stealth suits (enables you to blend in with the environment, rendering you invisible).
It's all a bunch of hooey. It's amazing how Jason, without any kind of training at all, is able to thwart lethal assassins. It would be acceptable if this were a comedy, it's utterly preposterous since this is not.
The script takes itself way too seriously. Unfortunately, the reader won't.
A military weapon - nanites (microscopic robotic insects that can be programmed to go after a specific person and administer a lethal dose of toxin) has been stolen for a mysterious arms dealer named Arnison. Agent Frank Hobbs goes in search of Arnison...only to find Arnison's his estranged 26-year-old son, Jason.
It's all a case of mistaken identity. Jason is innocent and teams up with his Dad to save the day.
Along the way, we get other forms of advanced weaponry like smart bullets (can change direction or fly around corners in pursuit of its intended target), jet-packs and stealth suits (enables you to blend in with the environment, rendering you invisible).
It's all a bunch of hooey. It's amazing how Jason, without any kind of training at all, is able to thwart lethal assassins. It would be acceptable if this were a comedy, it's utterly preposterous since this is not.
The script takes itself way too seriously. Unfortunately, the reader won't.
BAD TEACHER
The first half was great. The set up is executed perfectly. We get Cameron Diaz' character. We even root for her because she rocks the house. She is able to make this unlikeable character winningly likeable. She brings the attitude, the posture, the facial expressions. A total comedic pro.
And then the script beautifully flips the switch and turns everything upside-down. This is a genius plot-twist. Now, Cameron has to become a great teacher and motivate her students to excel on a statewide test.
And this is exactly where the movie goes south. Everything's glossed over from this moment on. It would've been comedic gold having her change everything she is and believes in. She'd actually have to teach. Instead, the film simply cuts to one-month later after the test has already been given and her class has scored the highest in the state.
Cameron's character does in fact change in the end. It just would've better if we had got to witness her change.
And then the script beautifully flips the switch and turns everything upside-down. This is a genius plot-twist. Now, Cameron has to become a great teacher and motivate her students to excel on a statewide test.
And this is exactly where the movie goes south. Everything's glossed over from this moment on. It would've been comedic gold having her change everything she is and believes in. She'd actually have to teach. Instead, the film simply cuts to one-month later after the test has already been given and her class has scored the highest in the state.
Cameron's character does in fact change in the end. It just would've better if we had got to witness her change.
CARS 2
Easily the best film of summer so far. Pixar just keeps rolling along. Has there ever been another production company with this kind of box-office record?
Their films are the smartest, most-detailed, carefully crafted, emotionally rewarding movies made today. They make all the other studios summer fare look like fast-food in comparison.
Little things like using lug-nuts for ice-cubes or having the film "THE INCREDIMOBILES" playing at the "drive-in" are pure genius.
Pixar may go down as the greatest film company ever.
Their films are the smartest, most-detailed, carefully crafted, emotionally rewarding movies made today. They make all the other studios summer fare look like fast-food in comparison.
Little things like using lug-nuts for ice-cubes or having the film "THE INCREDIMOBILES" playing at the "drive-in" are pure genius.
Pixar may go down as the greatest film company ever.
Thursday, June 23, 2011
SWITCHED AT BIRTH
The pilot blew me away. Being on ABC Family, I didn't go in with high expectations but was immediately overwhelmed by the emotions of the story.
Katie LeClerc is outstanding. Effortlessly carries the show. The episode could easily have been played "cute" but instead highlights the conflicts inherent in the premise. The parents could've easily have been the wise, understanding, accepting characters but instead are written as confused, headstrong and in some situations, petty.
This is an example of what a great pilot should go: grab the viewer and refuse to let go. Here's hoping the conflicts deepen now as the series rolls on.
Katie LeClerc is outstanding. Effortlessly carries the show. The episode could easily have been played "cute" but instead highlights the conflicts inherent in the premise. The parents could've easily have been the wise, understanding, accepting characters but instead are written as confused, headstrong and in some situations, petty.
This is an example of what a great pilot should go: grab the viewer and refuse to let go. Here's hoping the conflicts deepen now as the series rolls on.
MR. POPPER'S PENGUINS
The penguins are in search of a better script. They steal the show. Unfortunately the story isn't on par with the visual effects.
This film should've been a huge hit. It has all the right elements. A broken family trying to get back together, the theme of undying love, a lead who realizes what's really important in life and is given a second chance after squandering away his happiness.
This film isn't a huge hit because the writers aren't able to bring across the emotional moments the story requires. What we get is a superficial gloss-over.
Take the scene where Jim Carrey realizes the egg won't hatch. That should be a powerful moment. One that makes him realize how fragile his family has become and how important they are to him. Up until this moment, he should give the egg everything he's got up only to realize he's failed.
This death should spur him onto a bigger goal - saving his own family. Instead, the writers use this scene to revert Carrey's character back to what he was in the beginning. So the moment loses its power.
The entire movie is filled with missteps like this. Take the opening with Popper's absentee father. That should hit much harder than it does. We should see young Popper's heart breaking and then understand why he grows up to be a cold, calculating man.
Instead, when we met Popper as a grown-up, he's not even that cold and calculating. In fact, he seems like a normal guy emotionally. By not emphasizing his emotional make-up, his arc doesn't seem all that dramatic. His change barely registers.
The script is half-baked throughout. Take David Krumholtz' character. Why is he even in the movie? What was the point of this character?
These major written flaws are too great for the movie to overcome. It's too bad. The movie should've been a classic.
And why is it coming out now? Wouldn't Christmas be a more appropriate release date?
This film should've been a huge hit. It has all the right elements. A broken family trying to get back together, the theme of undying love, a lead who realizes what's really important in life and is given a second chance after squandering away his happiness.
This film isn't a huge hit because the writers aren't able to bring across the emotional moments the story requires. What we get is a superficial gloss-over.
Take the scene where Jim Carrey realizes the egg won't hatch. That should be a powerful moment. One that makes him realize how fragile his family has become and how important they are to him. Up until this moment, he should give the egg everything he's got up only to realize he's failed.
This death should spur him onto a bigger goal - saving his own family. Instead, the writers use this scene to revert Carrey's character back to what he was in the beginning. So the moment loses its power.
The entire movie is filled with missteps like this. Take the opening with Popper's absentee father. That should hit much harder than it does. We should see young Popper's heart breaking and then understand why he grows up to be a cold, calculating man.
Instead, when we met Popper as a grown-up, he's not even that cold and calculating. In fact, he seems like a normal guy emotionally. By not emphasizing his emotional make-up, his arc doesn't seem all that dramatic. His change barely registers.
The script is half-baked throughout. Take David Krumholtz' character. Why is he even in the movie? What was the point of this character?
These major written flaws are too great for the movie to overcome. It's too bad. The movie should've been a classic.
And why is it coming out now? Wouldn't Christmas be a more appropriate release date?
COMBAT HOSPITAL
It's MASH set in Afganistan.
Why would ABC think a military setting for a medical drama would get high ratings? This series is going to suffer a quick death. Kandahar doesn't equal top-notch entertainment. And if you take Kandahar out of the equation, the series really has no reason to exist.
Elias Koteas is great as usual. Michelle Borth has a future. They're just in the wrong vehicle.
Why would ABC think a military setting for a medical drama would get high ratings? This series is going to suffer a quick death. Kandahar doesn't equal top-notch entertainment. And if you take Kandahar out of the equation, the series really has no reason to exist.
Elias Koteas is great as usual. Michelle Borth has a future. They're just in the wrong vehicle.
DIARY OF A WIMPY KID: RODRICK RULES
How do you turn a book that's basically made up of stick-figure illustrations into a film franchise? You do it with likeable characters and stories with heart.
DIARY's characters win us over early. When you do that, your audience is willing to follow you anywhere. Each child actor does an exemplary job of getting laughs as well as making their character sympathetic.
What could easily be run-of-the-mill instead becomes a stand-out here.
DIARY's characters win us over early. When you do that, your audience is willing to follow you anywhere. Each child actor does an exemplary job of getting laughs as well as making their character sympathetic.
What could easily be run-of-the-mill instead becomes a stand-out here.
Wednesday, June 22, 2011
CEDAR RAPIDS
My first question is, who's the audience for this movie? It's not zany enough to play to teens. It's not going to attract a female crowd. Its appeal is too narrow, too limited, too small. It's a coming of age story about a man in mid-life. Really?
Ed Helms was right on the money. Yet, is he a leading man? Highly doubtful.
John C. Reilly, Sigourney Weaver, Anne Heche - all terrific. The problem isn't with the acting, it's with the script. The hilarity feels forced, the situations contrived. Are we really supposed to laugh aloud when Ed Helms comes across, evidently, the first black man he's ever encountered?
This is a good example of winning characters in search of a better plot.
Ed Helms was right on the money. Yet, is he a leading man? Highly doubtful.
John C. Reilly, Sigourney Weaver, Anne Heche - all terrific. The problem isn't with the acting, it's with the script. The hilarity feels forced, the situations contrived. Are we really supposed to laugh aloud when Ed Helms comes across, evidently, the first black man he's ever encountered?
This is a good example of winning characters in search of a better plot.
MIDNIGHT IN PARIS
The film is an improvement over YOU WILL MEET A TALL DARK STRANGER and WHATEVER WORKS yet it appears Woody's best films are long behind him.
The painful truths of reality are never evident when you're nostalgic for something. The film reminds me a lot of THE PURPLE ROSE OF CAIRO. Yearning for a different situation is the same as running away from your truths or living in denial in Woody's world.
It's a nice theme. However, it's better dealt with in a novel than on screen. Today's film comedy works best when it's visual. Woody's material is cerebral. Not a good marriage with today's audience. It's a sad statement but Woody Allen has become irrelevant.
The painful truths of reality are never evident when you're nostalgic for something. The film reminds me a lot of THE PURPLE ROSE OF CAIRO. Yearning for a different situation is the same as running away from your truths or living in denial in Woody's world.
It's a nice theme. However, it's better dealt with in a novel than on screen. Today's film comedy works best when it's visual. Woody's material is cerebral. Not a good marriage with today's audience. It's a sad statement but Woody Allen has become irrelevant.
BLUE VALENTINE
The reason why most indie films fail is there's simply not enough talent on display. Whether it's from the writing or the acting or the directing. There's just not enough to sustain our interest.
BLUE VALENTINE is the exception. Powerful acting from Ryan Gosling and Michelle Williams. And Derek Cianfrance is in total control of the film from the very first frame.
The performances carry the show. Riveting. You can't stop watching. A hard look at a relationship - how it can heal and how deeply it can damage. Truly a work of art. Bravo.
BLUE VALENTINE is the exception. Powerful acting from Ryan Gosling and Michelle Williams. And Derek Cianfrance is in total control of the film from the very first frame.
The performances carry the show. Riveting. You can't stop watching. A hard look at a relationship - how it can heal and how deeply it can damage. Truly a work of art. Bravo.
Tuesday, June 21, 2011
THE ADJUSTMENT BUREAU
A couple meet by chance yet, for the sake of both their lives, it is destined they not see each other again. They attempt to fight fate in order to be together, risking everything they have.
I love the premise. Free will vs. fate. It reminds me of the brilliant Demetri Martin script WILL.
The problem with THE ADJUSTMENT BUREAU is the premise is played straight. It would work so much better if the film was a whimsical romantic comedy. Keep everything intact, put Ben Stiller in the lead, play up the zaniness, put more visual effects in and the movie would be a hit.
Then the whole bit about the hats works. And the doors become hilarious. And the romance would be greater and more satisfying.
By choosing to play the story straight, the fantastical elements never mesh and the audience can't get behind the film. Instead of thrilling, the plot becomes hard to swallow.
I love the premise. Free will vs. fate. It reminds me of the brilliant Demetri Martin script WILL.
The problem with THE ADJUSTMENT BUREAU is the premise is played straight. It would work so much better if the film was a whimsical romantic comedy. Keep everything intact, put Ben Stiller in the lead, play up the zaniness, put more visual effects in and the movie would be a hit.
Then the whole bit about the hats works. And the doors become hilarious. And the romance would be greater and more satisfying.
By choosing to play the story straight, the fantastical elements never mesh and the audience can't get behind the film. Instead of thrilling, the plot becomes hard to swallow.
THE PERFECT COUPLE
Hank Nelken is definitely a good writer. His style is fast, his characters are identifiable, his pages are funny.
Script's about a couple - DAVID and SARAH LAFFERTY - and their relationship with their best friends BEN and VIVIAN. The relationship is tested though when Ben and Vivian meet another couple - ELI and MAXINE - and start hanging out with them instead.
David and Sarah - jealously growing by the page - go to war with Eli and Maxine in an effort to win Ben and Vivian back.
There are two standout moments in the script. The first occurs when all six go skydiving. Eli and Maxine are pros and are able to pull off complex maneuvers with Ben and Vivian in mid-air. David and Sarah try to complete their own maneuvers with horrifying results.
The second fall-down-on-the-floor-laughing sequence comes when all six are on ecstacy and David mistakenly thinks that Ben and Vivian are about to have sex with Eli and Maxine. Not to be outdone, David and Sarah charge into Ben and Vivian's bedroom, promptly disrobing in order to have sex with them first. Put Steve Carrell and Kristen Wiig in this scene and you'll have cinematic gold.
The problem with the script though is David and Sarah's relationship. Their own marital problems have to be magnified. Then, throughout the course of the story, we'll watch as these problems sink them. It can't just be about them wanting to spend more time with their friends than each other. We have to see why. We've need to see the spark's gone out of their marriage. Intensifying their problems will bring about bigger comedic situations. The script needs to dig deep into marital problems and shine a light on all the conflicts inherent in marriage. This way, audiences will relate to the movie more.
Script's about a couple - DAVID and SARAH LAFFERTY - and their relationship with their best friends BEN and VIVIAN. The relationship is tested though when Ben and Vivian meet another couple - ELI and MAXINE - and start hanging out with them instead.
David and Sarah - jealously growing by the page - go to war with Eli and Maxine in an effort to win Ben and Vivian back.
There are two standout moments in the script. The first occurs when all six go skydiving. Eli and Maxine are pros and are able to pull off complex maneuvers with Ben and Vivian in mid-air. David and Sarah try to complete their own maneuvers with horrifying results.
The second fall-down-on-the-floor-laughing sequence comes when all six are on ecstacy and David mistakenly thinks that Ben and Vivian are about to have sex with Eli and Maxine. Not to be outdone, David and Sarah charge into Ben and Vivian's bedroom, promptly disrobing in order to have sex with them first. Put Steve Carrell and Kristen Wiig in this scene and you'll have cinematic gold.
The problem with the script though is David and Sarah's relationship. Their own marital problems have to be magnified. Then, throughout the course of the story, we'll watch as these problems sink them. It can't just be about them wanting to spend more time with their friends than each other. We have to see why. We've need to see the spark's gone out of their marriage. Intensifying their problems will bring about bigger comedic situations. The script needs to dig deep into marital problems and shine a light on all the conflicts inherent in marriage. This way, audiences will relate to the movie more.
FALLING SKIES
Two-hour premiere was boring. The design of the mechs is comical. We need to learn so much more about the characters in order to care about them. Right now, they're lifeless.
The scene at the end of the first hour with the son riding his skateboard as everyone in the troop stops and watches is embarrasingly bad. It's supposed to be poignant. It's laughable.
The scene at the end of the first hour with the son riding his skateboard as everyone in the troop stops and watches is embarrasingly bad. It's supposed to be poignant. It's laughable.
Monday, June 20, 2011
THE VIRGINITY HIT
Terrible. Hard to sit through. Tedious when it's supposed to be entertaining. Annoying when it's supposed to be funny.
This type of YouTube-like format may yield a huge comedic hit. This, however, is not it. Yes, it's a new look for a comedy but new in this case doesn't mean good. You should never come away from a movie feeling like you've just wasted your time.
This type of YouTube-like format may yield a huge comedic hit. This, however, is not it. Yes, it's a new look for a comedy but new in this case doesn't mean good. You should never come away from a movie feeling like you've just wasted your time.
THE GREEN LANTERN
The problem is with the ring itself. Did anyone watch the constructs and think "how cool is that?" After awhile, do you even pay attention to all the goofy green contraptions Hal Jordan can create? Those visual effects are just plain boring. That's a huge obstacle to overcome because it's inherent in the character which is why the film fails.
Still, they could've come up with a better tale. The major flaw is spending too much time on OA. You start to mentally check out everything they go back there. The plot should've been rooted on earth to help us relate visually and emotionally to what's happening. Plus, do we need to see the Green Lantern Corp? Focus solely on the Green Lantern as he tries to figure out what's going on and save the Corp for the sequel.
Just a thought. When the ring went searching for the chosen one, it would've been cool to have it
momentarily halt in the presence of Clark Kent or Bruce Wayne before moving on. DC has got to do a better job of integrating their properties. Plus, you give the fanboys something to hoot and holler about with little touches like this.
Still, they could've come up with a better tale. The major flaw is spending too much time on OA. You start to mentally check out everything they go back there. The plot should've been rooted on earth to help us relate visually and emotionally to what's happening. Plus, do we need to see the Green Lantern Corp? Focus solely on the Green Lantern as he tries to figure out what's going on and save the Corp for the sequel.
Just a thought. When the ring went searching for the chosen one, it would've been cool to have it
momentarily halt in the presence of Clark Kent or Bruce Wayne before moving on. DC has got to do a better job of integrating their properties. Plus, you give the fanboys something to hoot and holler about with little touches like this.
BODIES AT REST
Story feels stretched. There’s not enough material for three acts. The key to a good plot is having the danger escalate. That’s the problem here. The dangerous situation presented doesn’t grow.
We have two medical examiners - LIA and ABE - working in the morgue at night. Three masked gunmen break in and force Abe to remove a bullet from a dead body. Turns out, the gunmen are cops gone bad and that bullet could send them all away for murder.
That’s the entire story. We never leave the morgue except for flashbacks that show how the murder went down. Since the danger doesn’t increase, the situation grows old fast, killing off our interest.
Worse, not only does Abe cracks jokes while they’re held at gunpoint, he also asks Lia out on a date. By having Abe act fast and loose, the story loses dramatic tension when the material is screaming for an increase in pressure.
We have two medical examiners - LIA and ABE - working in the morgue at night. Three masked gunmen break in and force Abe to remove a bullet from a dead body. Turns out, the gunmen are cops gone bad and that bullet could send them all away for murder.
That’s the entire story. We never leave the morgue except for flashbacks that show how the murder went down. Since the danger doesn’t increase, the situation grows old fast, killing off our interest.
Worse, not only does Abe cracks jokes while they’re held at gunpoint, he also asks Lia out on a date. By having Abe act fast and loose, the story loses dramatic tension when the material is screaming for an increase in pressure.
Sunday, June 19, 2011
BIG MOMMAS: LIKE FATHER, LIKE SON
Not a good movie but worth watching simply because of Jessica Lucas. She should become a superstar. She shines in every scene and really stands out when she sings Chaka Khan's Ain't Nobody.
Everything else is a waste. Why can't Martin Lawrence get better material? He has screen presence. He's in need of a career makeover fast.
I'm not sure how Brandon T. Jackson gets work. I never find him funny at all.
This chapter should kill off the franchise.
Everything else is a waste. Why can't Martin Lawrence get better material? He has screen presence. He's in need of a career makeover fast.
I'm not sure how Brandon T. Jackson gets work. I never find him funny at all.
This chapter should kill off the franchise.
Saturday, June 18, 2011
THE NEXT THREE DAYS
The theme here is similar to Paul Haggis' IN THE VALLEY OF ELAH. How far would you go for a loved one? However, in both films, the situations are so far removed from the norm that it's hard for an audience to relate. So while there's expert filmmaking going on in both movies, the viewing experience is one of distance. Instead of engaging the audience, the films leave them out in the cold.
Haggis certainly knows how to wring tension out a scene. And he knows how to keep us off-balance. He just has to apply these skills to a story that will involve us rather than detach us.
Haggis certainly knows how to wring tension out a scene. And he knows how to keep us off-balance. He just has to apply these skills to a story that will involve us rather than detach us.
Friday, June 17, 2011
TOO BIG TO FAIL
I finally got around to watching HBO's film about the financial meltdown and after viewing it, I mentally kicked myself for waiting so long.
Why isn't Curtis Hanson making theatricals? He's got such a sure hand directing actors. William Hurt absolutely crushed it. James Woods, Billy Crudup, Paul Giamatti, Tony Shaloub - all excellent here under Hanson's direction. Curtis is able to wring dramatic tension and compellling situations out of scenes in which his actors are simply sitting and talking.
This film is easily the best thing I've seen on HBO this year. Might very well be the best thing I've seen on cable all year long.
Why isn't Curtis Hanson making theatricals? He's got such a sure hand directing actors. William Hurt absolutely crushed it. James Woods, Billy Crudup, Paul Giamatti, Tony Shaloub - all excellent here under Hanson's direction. Curtis is able to wring dramatic tension and compellling situations out of scenes in which his actors are simply sitting and talking.
This film is easily the best thing I've seen on HBO this year. Might very well be the best thing I've seen on cable all year long.
THE AMATEUR
Finished this script by David Matthew Case.
The rule of thumb is, when developing a script, a strong premise is easy to sell. A preposterous premise is hard to sell. The suspension of belief is so much greater. You're simply asking too much of your audience.
The script is a thriller along the lines of TAKEN. Here though, we have a 20-yr-old kid named Ben Newman in the role of hero instead of Lian Neeson who was an ex-CIA-trained agent with a special skill set.
A lethal virus called The Snow Maiden has been developed. Death comes quickly for all that come into contact with it.
Ben has to somehow thwart a rogue police group that's hellbent on using the Snow Maiden to get their hands on a massive payoff $206 billion dollar payout. The fact that Ben is in Prague, doesn't speak the language, fights against armed forces, infiltrates a World Economic Summit that is being attended by ambassadors from around the world and our own U.S. President, and in the end operates a U.S. Military Osprey aircraft is beside the point. The only skill set that Ben exhibits early on is an ability to sneak into dance clubs yet it's all up to him to save the day. Did I mention that he's only 20-years old?
This is a preposterous premise.
It would be one thing if this was a comedy. It is not. We'll see if this sells.
The rule of thumb is, when developing a script, a strong premise is easy to sell. A preposterous premise is hard to sell. The suspension of belief is so much greater. You're simply asking too much of your audience.
The script is a thriller along the lines of TAKEN. Here though, we have a 20-yr-old kid named Ben Newman in the role of hero instead of Lian Neeson who was an ex-CIA-trained agent with a special skill set.
A lethal virus called The Snow Maiden has been developed. Death comes quickly for all that come into contact with it.
Ben has to somehow thwart a rogue police group that's hellbent on using the Snow Maiden to get their hands on a massive payoff $206 billion dollar payout. The fact that Ben is in Prague, doesn't speak the language, fights against armed forces, infiltrates a World Economic Summit that is being attended by ambassadors from around the world and our own U.S. President, and in the end operates a U.S. Military Osprey aircraft is beside the point. The only skill set that Ben exhibits early on is an ability to sneak into dance clubs yet it's all up to him to save the day. Did I mention that he's only 20-years old?
This is a preposterous premise.
It would be one thing if this was a comedy. It is not. We'll see if this sells.
THE ROMANTICS
If you're going to make a film that's strictly "talking heads," you'd better make sure your characters are interesting enough to listen to. THE BIG CHILL is a perfect example of doing "talking heads" superbly. At the end of that movie, you know each character as well as you do your best friends.
Galt Niederhoffer's film takes an indie approach to the "talking heads" genre. She introduces us to her characters and makes us see they're all screwed up. And by examining them, maybe we come to realize that we're screwed up as well. Emotionally lost, living a lie, finding fault with others as a way to avoid your own deficiencies, being a dreamer even after reality has crushed those dreams.
Her characters aren't neat, they're messy. Their problems aren't resolved at the end of the movie, they're intensified. Answers aren't provided, only more questions.
Now, does any of this scream out big box office? A movie like this is unfortunately going to have an extremely limited audience. To even have a chance at being a hit, the characters would have to be much more likeable. We'd also need a lot more "visual" humor, an improbable race-to-the-finish, more sexual situations and a couple of bodily fluid jokes.
Having Josh Duhamel not knowing which way to part his hair as a way of symbolically showing us how lost he is makes today's mass audience work too hard. They'll simply avoid this and instead go see the latest sequel playing in the next theater.
I liked the movie. However, this is the type of film that hits big in Sundance but fails everywhere else.
Galt Niederhoffer's film takes an indie approach to the "talking heads" genre. She introduces us to her characters and makes us see they're all screwed up. And by examining them, maybe we come to realize that we're screwed up as well. Emotionally lost, living a lie, finding fault with others as a way to avoid your own deficiencies, being a dreamer even after reality has crushed those dreams.
Her characters aren't neat, they're messy. Their problems aren't resolved at the end of the movie, they're intensified. Answers aren't provided, only more questions.
Now, does any of this scream out big box office? A movie like this is unfortunately going to have an extremely limited audience. To even have a chance at being a hit, the characters would have to be much more likeable. We'd also need a lot more "visual" humor, an improbable race-to-the-finish, more sexual situations and a couple of bodily fluid jokes.
Having Josh Duhamel not knowing which way to part his hair as a way of symbolically showing us how lost he is makes today's mass audience work too hard. They'll simply avoid this and instead go see the latest sequel playing in the next theater.
I liked the movie. However, this is the type of film that hits big in Sundance but fails everywhere else.
Thursday, June 16, 2011
RED RIDING HOOD
I read the script last year and found it an interesting mix of Little Red Riding Hood, Peter and the Wolf and The Wolfman.
However, under Catherine Hardwicke's direction, the script limps along and never finds sure footing.
The love triangle, handled so expertly in TWILIGHT, is weak here. That's partly due to the casting of Shiloh Fernandez and Max Irons (neither performance stands out). However, most of the blame must fall squarely on Hardwicke's shoulders. Burning passion and forbidden desire should drip from the screen. Instead, we're given a languid feel that seems only half-awake at times.
The horror isn't scary enough and the romance is lifeless and dull.
And just how do you waste Gary Oldman? There aren't many actors better than holding the screen like Oldman yet he's never given a chance to shine. You've got to give the man more close-ups if you want him to get the tension and emotions across. He could've been the dramatic spark the film is crying out for.
Don't don't get me started on the werewolf talking. Once that happens, the movie is over. An audience should never roll their eyes while watching a film yet that's what happens time and again here.
However, under Catherine Hardwicke's direction, the script limps along and never finds sure footing.
The love triangle, handled so expertly in TWILIGHT, is weak here. That's partly due to the casting of Shiloh Fernandez and Max Irons (neither performance stands out). However, most of the blame must fall squarely on Hardwicke's shoulders. Burning passion and forbidden desire should drip from the screen. Instead, we're given a languid feel that seems only half-awake at times.
The horror isn't scary enough and the romance is lifeless and dull.
And just how do you waste Gary Oldman? There aren't many actors better than holding the screen like Oldman yet he's never given a chance to shine. You've got to give the man more close-ups if you want him to get the tension and emotions across. He could've been the dramatic spark the film is crying out for.
Don't don't get me started on the werewolf talking. Once that happens, the movie is over. An audience should never roll their eyes while watching a film yet that's what happens time and again here.
THE NINE LIVES OF CHLOE KING
How did this show make it past the pilot stage? There's so many things wrong with this series. We can start with the casting. Skyler Samuels simply doesn't have enough screen presence to pull this role off.
Then there's the shoddy effects. Chloe has cat-like agility, claws, super-hearing and exceptional strength. Yet the scenes that depict these powers are underwhelming visually.
There's also the poor plotting. The people around Chloe are amazed at how much she's changed yet, we meet her as her powers develop so we don't get to witness these changes to her character.
Worse, Chloe causes the death of a teenage club-goer by kissing him. Isn't that murder? At best, it's an accidental homicide. Yet, it's quickly written off as if she's just stood him up on a date instead of ending his life.
Chloe is part of a race called the Mai. She learns she's got the powers to protect this species. She also has nine lives and loses one as she's tossed off a tower. Seems there's hunters out to exterminate the Mai - we don't learn why in the pilot (I guess character motivations are trivial to the writers).
ABC Family needs to do a much better job in selecting material. This project is a third-rate BUFFY, THE VAMPIRE SLAYER.
Then there's the shoddy effects. Chloe has cat-like agility, claws, super-hearing and exceptional strength. Yet the scenes that depict these powers are underwhelming visually.
There's also the poor plotting. The people around Chloe are amazed at how much she's changed yet, we meet her as her powers develop so we don't get to witness these changes to her character.
Worse, Chloe causes the death of a teenage club-goer by kissing him. Isn't that murder? At best, it's an accidental homicide. Yet, it's quickly written off as if she's just stood him up on a date instead of ending his life.
Chloe is part of a race called the Mai. She learns she's got the powers to protect this species. She also has nine lives and loses one as she's tossed off a tower. Seems there's hunters out to exterminate the Mai - we don't learn why in the pilot (I guess character motivations are trivial to the writers).
ABC Family needs to do a much better job in selecting material. This project is a third-rate BUFFY, THE VAMPIRE SLAYER.
HAPPILY DIVORCED
Fran should've teamed up with Chuck Lorre who's the master at this type of sitcom. The pilot isn't bad but the jokes can be punchier with more zing.
Again, you can't judge a series off of one episode but you can tell that they need to raise the quality of the writing to become a breakout hit.
Again, you can't judge a series off of one episode but you can tell that they need to raise the quality of the writing to become a breakout hit.
Wednesday, June 15, 2011
HALL PASS
The Farrelly Brothers used to be Kings of the raunchy comedy. However, Todd Phillips has surpassed them. There is readily apparent when you watch HALL PASS. It actually plays slow and tame compared to Todd Phillips’ films.
To be a big hit today, you have to get outrageous and push the envelope hard with this premise. The Farrelly Brothers no longer push. They’ve grown old. The majority of their visual jokes fall flat now. The laughs are too few and far in between.
To be a big hit today, you have to get outrageous and push the envelope hard with this premise. The Farrelly Brothers no longer push. They’ve grown old. The majority of their visual jokes fall flat now. The laughs are too few and far in between.
SOMEWHERE
Come on! What are we supposed to take away from this film? How did this script ever get financial backing?
I don’t care what kind of movie you make, you must NEVER ever bore your audience. Practically every single minute of this film is boring which is quite an accomplishment when you really think about it.
I expect to see Stephen Dorff banished to the tv realm any day now. As for Sofia Coppola, she should relocate to Europe to make the rest of her films.
I don’t care what kind of movie you make, you must NEVER ever bore your audience. Practically every single minute of this film is boring which is quite an accomplishment when you really think about it.
I expect to see Stephen Dorff banished to the tv realm any day now. As for Sofia Coppola, she should relocate to Europe to make the rest of her films.
Tuesday, June 14, 2011
KUNG FU PANDA 2
The reason DreamWorks animation will never beat Pixar has nothing to do with the animation itself. Put the companies films side-by-side and you would be hard-pressed to tell the difference.
No, the reason DreamWorks films are inferior to Pixar is because of their stories. They’re simply not as well-written. Pixar films earn our emotional response through their portrayal of realistic characters and compelling situations. We don’t just watch their movies, we FEEL them.
Outside of Po‘s backstory of being abandoned as a child, every emotion in KUNG FU PANDA 2 is forced upon us instead of earned. Our laughs aren’t heartfelt, our fears aren’t drawn from deep within, our relief when the characters succeed isn’t real.
There’s so much going onscreen yet we’re sitting in the theater bored. Instead of playing to the audience, the movie surrounds us with a whole lot of sizzle and not much substance.
No, the reason DreamWorks films are inferior to Pixar is because of their stories. They’re simply not as well-written. Pixar films earn our emotional response through their portrayal of realistic characters and compelling situations. We don’t just watch their movies, we FEEL them.
Outside of Po‘s backstory of being abandoned as a child, every emotion in KUNG FU PANDA 2 is forced upon us instead of earned. Our laughs aren’t heartfelt, our fears aren’t drawn from deep within, our relief when the characters succeed isn’t real.
There’s so much going onscreen yet we’re sitting in the theater bored. Instead of playing to the audience, the movie surrounds us with a whole lot of sizzle and not much substance.
SUPER 8
The first twenty minutes are the best thing I’ve seen so far this summer and they feel like Spielberg himself shot them. The scenes are warm with edge. They have a great mixture of laughs with rising dread. We care about the characters and we’re ready to follow them on their journey as the film unfolds.
Unfortunately, the last twenty minutes are terrible and serve to remind us that there’s only one Steven Spielberg. If your film has a bad ending, everything good that came before will be forgotten. That’s what happens here.
The flaw is the alien. Once it takes center-stage, all the heart and drama the film has displayed quickly dissipates. The kids go from being compelling to cardboard action figures and the plot stops developing.
The best Spielberg films always saved the biggest twists and thrills for the final act. He understood you had to end with a bang. Abrams’ films tend to end with a whimper.
Unfortunately, the last twenty minutes are terrible and serve to remind us that there’s only one Steven Spielberg. If your film has a bad ending, everything good that came before will be forgotten. That’s what happens here.
The flaw is the alien. Once it takes center-stage, all the heart and drama the film has displayed quickly dissipates. The kids go from being compelling to cardboard action figures and the plot stops developing.
The best Spielberg films always saved the biggest twists and thrills for the final act. He understood you had to end with a bang. Abrams’ films tend to end with a whimper.
I AM NUMBER FOUR
What the hell was this?
Nothing really happens for the entire first hour of the movie. And then when the film gets going, the results are predictable and boring.
How was Timothy Olyphant, who’s supposed to be a fighter, captured by a human? What kind of protector is he?
You can tell DreamWorks was trying to cash in on the Twilight-craze but their film comes across as a weak imitator that’s lacking in every way imaginable.
Nothing really happens for the entire first hour of the movie. And then when the film gets going, the results are predictable and boring.
How was Timothy Olyphant, who’s supposed to be a fighter, captured by a human? What kind of protector is he?
You can tell DreamWorks was trying to cash in on the Twilight-craze but their film comes across as a weak imitator that’s lacking in every way imaginable.
THE PROTECTOR
Checked out Lifetime’s new series and found it entertaining. It’s nice to see Ally Walker snagging the lead role - she stole her scenes in SONS OF ANARCHY.
As far as procedurals go, THE PROTECTOR measures up against anything on the major networks.
As far as procedurals go, THE PROTECTOR measures up against anything on the major networks.
SANCTUM
I liked the movie. It was entertaining and interesting, taking us into the realm of cave diving. Hats off to Universal for releasing this film that is neither a sequel nor an adaptation. We need a lot more diversity at the box office for the sake of cinema.
My only problem is the casting of Rhys Wakefield as the son. He’s terrible.
Richard Roxburgh was great in the role of Frank McGuire. He deserves more Hollywood roles.
My only problem is the casting of Rhys Wakefield as the son. He’s terrible.
Richard Roxburgh was great in the role of Frank McGuire. He deserves more Hollywood roles.
Monday, June 13, 2011
GAME OF THRONES
Long gone are the days when HBO created series like THE WIRE, SEX AND THE CITY, THE SOPRANOS and even ENTOURAGE. The strategy these days seems to be throw a lot of money at the productions and hope they’re successful.
The GAME OF THRONES pilot has the same problem as the pilot of BOARDWALK EMPIRE: it’s boring! HBO used to be about characters and those characters drove the plots. We tuned in each week to follow Jimmy, Carrie, Tony and Vince. After watching GAME OF THRONES, is there ANY character that you are really dying to follow?
The GAME OF THRONES pilot has the same problem as the pilot of BOARDWALK EMPIRE: it’s boring! HBO used to be about characters and those characters drove the plots. We tuned in each week to follow Jimmy, Carrie, Tony and Vince. After watching GAME OF THRONES, is there ANY character that you are really dying to follow?
GNOMEO & JULIET
Pixar and DreamWorks have nothing to worry about. For that matter, neither do Blue Sky or Illumination. This is an inferior product in every area.
I get it. If you can’t match the visuals of the big boys, you have to combat them with a better story. In this case, the filmmakers have turned to Shakespeare to save the day. Unfortunately, they’ve decided to combine the bard’s words with...garden gnomes? Really? This is the best they could come up with?
Pieces seemed forced to fit including Elton’s songs. This is a film that should never have gotten past the storyboard stage.
I get it. If you can’t match the visuals of the big boys, you have to combat them with a better story. In this case, the filmmakers have turned to Shakespeare to save the day. Unfortunately, they’ve decided to combine the bard’s words with...garden gnomes? Really? This is the best they could come up with?
Pieces seemed forced to fit including Elton’s songs. This is a film that should never have gotten past the storyboard stage.
NO STRINGS ATTACHED
Wow. This film has a ton of female acting talent: Natalie Portman - easily the best actress of her generation, Greta Gerwig - incapable of not standing out in a scene, Lake Bell - should’ve become a superstar after her performance in OVER HER DEAD BODY, Olivia Thirlby - definitely up and coming, and Mindy Kaling - wickedly smart with perfect comic timing. Yet with all this talent on display, the film is so disappointing.
The problem is the story itself. In a romcom, complications must ensue that keep our leads apart. The bigger the complication, the more compelling the story becomes. Here, there’s really nothing separating Natalie Portman from Ashton Kutcher. The script hints at Portman’s personality dysfunction but since we know the two will end up together, the dysfunction seems trivial at best which weakens the story considerably.
The problem is the story itself. In a romcom, complications must ensue that keep our leads apart. The bigger the complication, the more compelling the story becomes. Here, there’s really nothing separating Natalie Portman from Ashton Kutcher. The script hints at Portman’s personality dysfunction but since we know the two will end up together, the dysfunction seems trivial at best which weakens the story considerably.
LOVE BITES
Hey, give NBC credit for greenlighting something different. However, in order to get an A, NBC would have to greenlight something...good.
LOVE BITES is an anthology series. A bad anthology series. If you’re going to do this type of format, you’d better make damn sure the stories are compelling. The stories here are limp complete with characters we forget about as soon as their segment is over. Not a good sign if you want your viewers to return.
Why NBC was so high on this project is beyond me. It could explain why they’re in last place.
LOVE BITES is an anthology series. A bad anthology series. If you’re going to do this type of format, you’d better make damn sure the stories are compelling. The stories here are limp complete with characters we forget about as soon as their segment is over. Not a good sign if you want your viewers to return.
Why NBC was so high on this project is beyond me. It could explain why they’re in last place.
Sunday, June 12, 2011
SEX TAPE II
Just finished the other SEX TAPE script. This one's written by Kate Angelo. What is Sony thinking? Didn’t they see THE BACK-UP PLAN?
While it’s better written that Nick Kreiss’ script, the story’s not as good. Kate’s reminds me of DATE NIGHT. Both have simple premises that are stretched out to 110 painful pages. Both are just one-joke stories without enough material to fill a film.
A married couple with three kids has seen the spark go out of their marriage. They get high one night and make a sex tape. When they wake up in the morning, they find the video camera missing.
What could become a HANGOVER type situation instead becomes a run-of-the-mill plotline that's not much fun nor anywhere near outrageous.
The sex scene in the jumperoo had me falling on the floor laughing though. The script needs many more scenes like this one.
While it’s better written that Nick Kreiss’ script, the story’s not as good. Kate’s reminds me of DATE NIGHT. Both have simple premises that are stretched out to 110 painful pages. Both are just one-joke stories without enough material to fill a film.
A married couple with three kids has seen the spark go out of their marriage. They get high one night and make a sex tape. When they wake up in the morning, they find the video camera missing.
What could become a HANGOVER type situation instead becomes a run-of-the-mill plotline that's not much fun nor anywhere near outrageous.
The sex scene in the jumperoo had me falling on the floor laughing though. The script needs many more scenes like this one.
SEX TAPE
Okay, Nick Kreiss’ script is basically NOTTING HILL with a sex tape thrown in.
However, I loved the non-linear approach. Switching back and forth between past and present keeps the plot fresh and moving. Easily the best rom-com I’ve read this year.
Actress and a Blockbuster employee hook up for a night of drunken sex and make a sex tape. All hell breaks loose when the tape is "accidentally" leaked.
Premise was good enough to make me pick up the script. The script was good enough to make me read the entire thing.
Good breakout role for an up-and-coming female actress. If filmed correctly, the film should launch her into superstar status.
However, I loved the non-linear approach. Switching back and forth between past and present keeps the plot fresh and moving. Easily the best rom-com I’ve read this year.
Actress and a Blockbuster employee hook up for a night of drunken sex and make a sex tape. All hell breaks loose when the tape is "accidentally" leaked.
Premise was good enough to make me pick up the script. The script was good enough to make me read the entire thing.
Good breakout role for an up-and-coming female actress. If filmed correctly, the film should launch her into superstar status.
THE DILEMMA
I really feel for Universal’s marketing team. How in the world were they suppose to sell this? It’s not funny enough to be called a comedy nor is it dramatic enough to be a drama. It’s an in-betweener that calls into question of how it ever got made in the first place.
What was with the flashbacks? Seriously? Ron Howard used to be a great storyteller. I just did not find enough story here to tell.
Channing Tatum needs a franchise. G.I. JOE didn’t do it for me.
This is the type of material better left to Judd Apatow.
What was with the flashbacks? Seriously? Ron Howard used to be a great storyteller. I just did not find enough story here to tell.
Channing Tatum needs a franchise. G.I. JOE didn’t do it for me.
This is the type of material better left to Judd Apatow.
JUST GO WITH IT
I was all set to give up on Adam Sandler films. GROWN-UPS is one of the worst movies ever made. Talk about just mailing it in.
However JUST GO WITH IT (aside from a horrible title) is decent. It’s certainly not great but it’s watchable. Also one of the few times I’ve seen Jennifer Aniston in a role I liked
Kudos to Nicole Kidman. Very courageous of her to take this part and fully commit to it.
I like Adam Sandler better when he’s doing other people’s films - FUNNY PEOPLE, SPANGLISH, REIGN OVER ME, etc. The Happy Madison productions are usually a bore.
However JUST GO WITH IT (aside from a horrible title) is decent. It’s certainly not great but it’s watchable. Also one of the few times I’ve seen Jennifer Aniston in a role I liked
Kudos to Nicole Kidman. Very courageous of her to take this part and fully commit to it.
I like Adam Sandler better when he’s doing other people’s films - FUNNY PEOPLE, SPANGLISH, REIGN OVER ME, etc. The Happy Madison productions are usually a bore.
Saturday, June 11, 2011
FRANKLIN & BASH
Caught the pilot. I liked CBS’ THE DEFENDERS better and we’ve seen what happened to that show.
THE DEFENDERS was better written, had better acting and their leads were much more charismatic and likeable.
I’m disappointed with TNT. Their slate should be much stronger. Mark Paul Gosselaar and Breckin Meyer are serviceable but leads should stand out. Malcolm McDowell was so much better on ENTOURAGE.
Still, you can’t judge a series strictly on a pilot. Hopefully, this show finds its rhythm and gains strength. We can already tell there’s going to be fireworks between Franklin and his father whom we haven’t met at this point.
THE DEFENDERS was better written, had better acting and their leads were much more charismatic and likeable.
I’m disappointed with TNT. Their slate should be much stronger. Mark Paul Gosselaar and Breckin Meyer are serviceable but leads should stand out. Malcolm McDowell was so much better on ENTOURAGE.
Still, you can’t judge a series strictly on a pilot. Hopefully, this show finds its rhythm and gains strength. We can already tell there’s going to be fireworks between Franklin and his father whom we haven’t met at this point.
Friday, June 10, 2011
HIGHER LEARNING
I don’t get what all the buzz is about. I would think the lead should be a likeable character if we’re going to build a series around her. I suppose it could fit into the Showtime universe of THE C WORD, NURSE JACKIE and WEEDS however, I like all the leads in those shows.
Her home life is a complete disaster, she shows up for class late and drunk, she can’t commit to AA – I thought entertainment was suppose to make up forget about our problems? I don’t have to turn on the tv to see this kind of stuff.
DRIVE ANGRY
I caught this late last night. And the first ten minutes of the film hooked me. An old-fashioned drive-in movie. I’m in! Unfortunately…the rest of the movie followed. What a waste.
I don’t think I’ve ever seen William Fichtner or Billy Burke give a bad performance. Yet, both were terrible here. That usually means the director’s at fault. Patrick Lussier. What happened? You showed such promise in DRACULA 2000. I even liked some parts of WHITE NOISE 2. But MY BLOODY VALENTINE and DRIVE ANGRY are horrible.
Worst dialogue I’ve heard this year. This should’ve been a fast, fun ride. Instead, the car blew a tire and then exploded twenty minutes into the trip.
THE RITE
We’re developing a film about an Exorcist. This brings to mind WB’s THE RITE.
I thought that film was ok but can totally understand why it failed to find a wide audience. THE RITE is made for adults. It doesn’t have the huge special effects, it doesn’t have the big sets or grotesque sequences. Its horror is subtle instead of in-your-face. It asks the question of possession vs. mental instability. It wants you to ponder your own definition of faith. It’s a meal. Maybe not a great meal, but a meal nonetheless.
Our film is made for teenagers. It’s got huge action sequences with a mass of special effects. Our Exorcist is a comic-book character who sees the world completely in black and white. No subtlety found here. It’s a non-stop action-thriller with gobs of blood and extreme gratuitous violence complete with harrowing situations and death-defying act. We couldn’t care less about an adult audience. We’re making a snack.
THE COLONY
I enjoy David Leslie Johnson’s work. I found his scripts ORPHAN and RED RIDING HOOD inventive with good visual moments. The only problem I have is he tends to fill pages with blocks and blocks of descriptions. Hey, when I’ve got to read eight scripts over the weekend and provide coverage, dense pages like these fill me with horror.
I liked THE COLONY. The whole thing about how ants become smarter as their colony grows bigger draws parallels with all the social networking going on today.
However, how visually scary can ants or bees or wasps really be? Yes, it works when they attack en masse but how many times can you go to that well in a film? It’s just the same note being played. Same thing with the giant ant-hills, beehives and wasp nests. The first couple of times, the visual works. After that, it gets old fast.
If we compare this to PIRANHA 3D, the writing here is far superior. The fish in PIRANHA 3D however are bigger with eyes and sharp teeth which helps. The insects here are regular sized so there’s not much of a fear factor at play.
THE COLONY’s conflicts between family members needs to be strengthened. Plus, the message of “working together to overcome all obstacles” needs to be hit much harder.
A good read. What we want is a great read however.
Thursday, June 9, 2011
TEEN WOLF
I was all set to hate it. But it wasn’t half-bad. I’m glad to see more scripted fare coming out of MTV.
The show had some nice touches. I like the shot of Scott rolling out of bed....only to find he’s out in the woods. I also loved the reveal at the end with the hunter turning out to be Allison’s father.
Crystal Reed is stunning to watch and Tyler Posey grew on me. Tyler Hoechlin does a nice job as well.
It’s nice to see Russell Mulcahy behind the camera. He’s got a keen eye and a sure hand. I still watch his HIGHLANDER film.
I was worried the effects would look hokey but the full-length werewolf shots were decent.
All in all, good enough to make me watch the second episode. We’ll see what happens then.
The show had some nice touches. I like the shot of Scott rolling out of bed....only to find he’s out in the woods. I also loved the reveal at the end with the hunter turning out to be Allison’s father.
Crystal Reed is stunning to watch and Tyler Posey grew on me. Tyler Hoechlin does a nice job as well.
It’s nice to see Russell Mulcahy behind the camera. He’s got a keen eye and a sure hand. I still watch his HIGHLANDER film.
I was worried the effects would look hokey but the full-length werewolf shots were decent.
All in all, good enough to make me watch the second episode. We’ll see what happens then.
HARLAN COBEN
I overheard a conversation yesterday about Harlan Coben. Mmmmm, I have to look at his novels. Might be a project there. Always on the lookout for material to develop.
Guillaume Canet did a good job adapting Coben’s TELL NO ONE a couple years back. I liked the plot twists. I love scripts with a lot of reversals. It’s easier to get actors excited and attached if the story keeps turning.
If you keep your audience guessing, you have an engaged audience. If your audience is way ahead of your plot, your audience is bored.
Wednesday, June 8, 2011
THE MECHANIC (2011)
Totally behind on my reading. I’ve got a pile of scripts here that’s growing by the second. But instead of working, I……watched CBS/MILLENNIUM’S THE MECHANIC last night. Don’t know why I bothered, I knew the film was going to be a bust when I read the script last year. You want to know why? It’s because I didn’t want to follow the lead. I couldn’t care less about his plight.
It’s a simple rule. YOU’VE GOT TO CARE ABOUT THE LEAD. THE MECHANIC’S DOA because we don’t care enough about Jason Statham. He’s woefully underwritten. Compare this film to THE PROFESSIONAL or GROSSE POINTE BLANK. Those films are entertaining because we’re willing to follow the lead on their journey.
I don’t understand how the film got made. What was CBS’ gameplan? Release run-of-the-mill, mediocre films that are just a step above our made-for-tv movies of the week? THE BACK-UP PLAN, EXTRAORDINARY MEASURES, FASTER????? C’mon, who put this slate together? Maybe entertaining an audience wasn’t a top priority.
Ben Foster is a capable actor. The guy can play “anger” with the best of them (see ALPHA DOG). Yet, he’s simply not someone that’s going to deliver an audience. If they wanted a hit, they needed a bigger name in this role.
Jason Statham is Jason Statham. The guy is good at what he does. However, if he wants to raise his box office numbers, he’s got to find projects that’ll allow him to be more vulnerable. He can still be a lethal machine, we just need to understand why he’s become this way.
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