I thought GREEN LANTERN was bad.
COWBOYS & ALIENS is a complete misfire. The scattered screenplay is the main culprit. It's such a bare-bones tale without any emotional heft to it.
Why waste time setting Paul Dano up as an obnoxious spoiled brat if he's going to disappear for practically the entire movie? Why make Harrison Ford a bad guy in the beginning if he's not going to be the main villain? Why include the Indians if they're not going to appear until the film's half over?
Did Olivia Wilde have to be an alien? Kinda kills the love interest angle which seems forced to begin with.
Making Daniel Craig's character a wanted outlaw brings nothing at all to the story.
Sam Rockwell's character was a complete waste.
The film feels robotic. Instead of a beating heart, it contains a CGI gloss that leaves the viewer distant and unconnected.
Sunday, July 31, 2011
Saturday, July 30, 2011
CRAZY, STUPID, LOVE
Yes!
Film is easily the best of the summer so far!!
Dan Fogelman knocked it out of the park. His script deftly hid the full identities of Marisa Tomei and Emma Stone for maximum comic payoff.
EASY A has done wonders for Emma Stone. Her comedic chops are on par with anyone of her generation now.
Ryan Gosling was unbelieveable. The film actually loses steam whenever he's gone.
Julianne Moore and Steve Carrell know how to bring an emotional weight to the comedic scenes.
Marisa Tomei gets the biggest laughs. Well done all around.
Ficarra and Requa lay claim to the A-List with this film!
Film is easily the best of the summer so far!!
Dan Fogelman knocked it out of the park. His script deftly hid the full identities of Marisa Tomei and Emma Stone for maximum comic payoff.
EASY A has done wonders for Emma Stone. Her comedic chops are on par with anyone of her generation now.
Ryan Gosling was unbelieveable. The film actually loses steam whenever he's gone.
Julianne Moore and Steve Carrell know how to bring an emotional weight to the comedic scenes.
Marisa Tomei gets the biggest laughs. Well done all around.
Ficarra and Requa lay claim to the A-List with this film!
Friday, July 29, 2011
ENTOURAGE - Season 8.1
You've got to start your seasons off with a bang.
Unfortunately, each season of ENTOURAGE gets progressively worse. The show was so much better when it detailed the inner workings of Hollywood.
Now, it's just about unnecessary cameos.
Vince is now out of rehab and looking to get back on track career-wise. Eric's engagement has fallen through. Ari's marriage is on the rocks.
Let's hope the episodes pick up after this premiere but judging from the last three seasons, it's highly unlikely.
Unfortunately, each season of ENTOURAGE gets progressively worse. The show was so much better when it detailed the inner workings of Hollywood.
Now, it's just about unnecessary cameos.
Vince is now out of rehab and looking to get back on track career-wise. Eric's engagement has fallen through. Ari's marriage is on the rocks.
Let's hope the episodes pick up after this premiere but judging from the last three seasons, it's highly unlikely.
TWELVE
Do we care about any of these characters?
Without likeable characters to draw you into the plot, the story grows increasingly tiresome. By the middle of the movie, without any redeeming qualities, the characters begin to aggravate you. You're completely turned off by their actions.
Is this what Joel Schumacher is reduced to making these days? The film is a complete waste of time.
Without likeable characters to draw you into the plot, the story grows increasingly tiresome. By the middle of the movie, without any redeeming qualities, the characters begin to aggravate you. You're completely turned off by their actions.
Is this what Joel Schumacher is reduced to making these days? The film is a complete waste of time.
Thursday, July 28, 2011
RIO BRAVO
Hard to believe, in an action film, the movie stops and has the characters sing not one but two songs. Times have changed.
John Wayne does his thing. There's no denying he commands the screen. Dean Martin has some nice moments. There's just not enough going on to fill two plus hours. The action sequences are scant.
Some good comic relief between the Duke and Angie Dickinson.
For the most part though, the film has a hard time holding up today.
John Wayne does his thing. There's no denying he commands the screen. Dean Martin has some nice moments. There's just not enough going on to fill two plus hours. The action sequences are scant.
Some good comic relief between the Duke and Angie Dickinson.
For the most part though, the film has a hard time holding up today.
Wednesday, July 27, 2011
THE HIT LIST
What has happened to Cuba Gooding, Jr? Is this the best work he can get?
Film's about a milquetoast guy who's just lost a promotion, been beaten up by a loanshark, and has walked in on his cheating wife with his best friend. Lead heads to a bar where he unknowingly strikes up a conversation with a hitman. The hitman tells the lead to make up a hit list: five people he'd like to see dead.
Trouble ensues when the hitman starts killing off the people on the list. Now the lead must man-up and stop this assassin.
Terrible premise. Film is even worse. Utterly forgettable. This is connect-the-dots type writing. The viewer is five scenes ahead of the movie at all times.
How does a script like this get funding?
Film's about a milquetoast guy who's just lost a promotion, been beaten up by a loanshark, and has walked in on his cheating wife with his best friend. Lead heads to a bar where he unknowingly strikes up a conversation with a hitman. The hitman tells the lead to make up a hit list: five people he'd like to see dead.
Trouble ensues when the hitman starts killing off the people on the list. Now the lead must man-up and stop this assassin.
Terrible premise. Film is even worse. Utterly forgettable. This is connect-the-dots type writing. The viewer is five scenes ahead of the movie at all times.
How does a script like this get funding?
Tuesday, July 26, 2011
EL DORADO
The film doesn't stand the test of time. It takes so long to get going. The action sequences are slow. The bad guy dies easily.
Robert Mitchum gives the best performance in the film. James Caan gives the worst.
John Wayne is able to ride his horse with a bullet in his back. Caan is able to go up against hired gunman with only one failed lesson on how to shoot a gun.
Extremely hard to watch at times.
Robert Mitchum gives the best performance in the film. James Caan gives the worst.
John Wayne is able to ride his horse with a bullet in his back. Caan is able to go up against hired gunman with only one failed lesson on how to shoot a gun.
Extremely hard to watch at times.
PITCHFORK
Finished this script by Mark and Jay Duplass.
Pitchfork is about Claire - a mother who has lost his indie rocker son in a fatal car crash. Unable to deal with her grief, Claire seeks out the music critic Tenderfoot who writes for a publication called Pitchfork. Tenderfoot has bashed her son's band and states he wants to strangle her son so he will stop playing music.
Claire doesn't know exactly what she'll do once she finds Tenderfoot but she's bought a gun at a pawnshop so we can expect the worse.
Tenderfoot turns out to be a 22-yr old loser kid though with extreme self-esteem issues.
I love Mark Duplass and his work on THE LEAGUE. PITCHFORK though is much different. Coming to terms with grief is a hard sell. If made, I don't see this film finding much of an audience. After watching CYRUS, Jonah Hill would be perfect for Tenderfoot but like that film, this project will find a hard time crossing over to a mainstream audience.
Nothing much happens visually. Claire doesn't kill Tenderfoot, instead she finds empathy for him. That may work well in a novel but cinematically, it's sparse.
This is a pass for me but I'm willing to look at anything and everything the Duplass brothers write in the future.
Pitchfork is about Claire - a mother who has lost his indie rocker son in a fatal car crash. Unable to deal with her grief, Claire seeks out the music critic Tenderfoot who writes for a publication called Pitchfork. Tenderfoot has bashed her son's band and states he wants to strangle her son so he will stop playing music.
Claire doesn't know exactly what she'll do once she finds Tenderfoot but she's bought a gun at a pawnshop so we can expect the worse.
Tenderfoot turns out to be a 22-yr old loser kid though with extreme self-esteem issues.
I love Mark Duplass and his work on THE LEAGUE. PITCHFORK though is much different. Coming to terms with grief is a hard sell. If made, I don't see this film finding much of an audience. After watching CYRUS, Jonah Hill would be perfect for Tenderfoot but like that film, this project will find a hard time crossing over to a mainstream audience.
Nothing much happens visually. Claire doesn't kill Tenderfoot, instead she finds empathy for him. That may work well in a novel but cinematically, it's sparse.
This is a pass for me but I'm willing to look at anything and everything the Duplass brothers write in the future.
Monday, July 25, 2011
FURRY VENGEANCE
What the heck was this?
I don't care what kind of film you're making, your danger must continually escalate. If it doesn't, your story gets boring. All that happens here is, the animals attack Brendan. That's it. It's a one-trick pony, a one-note song.
Brendan Fraser has gotten fat. A little of Ken Jeong goes a long way. Brooke Shields looks scary in some shots.
Terrible movie. A complete waste of time.
I don't care what kind of film you're making, your danger must continually escalate. If it doesn't, your story gets boring. All that happens here is, the animals attack Brendan. That's it. It's a one-trick pony, a one-note song.
Brendan Fraser has gotten fat. A little of Ken Jeong goes a long way. Brooke Shields looks scary in some shots.
Terrible movie. A complete waste of time.
THE YOUNG, THE HOT, AND THE BOTHERED
Finished this script by Leah Rachel.
When you work in development, it used to be after you read a script, you’d ask yourself “do I want to see this movie?” Nowadays, after reading a script, you’re taught to ask yourself, “can we sell this movie?”
While I wouldn’t want to see THE YOUNG, THE HOT, AND THE BOTHERED, I know we could sell it. The production wouldn’t cost much, you fill the cast with a group of young, upcoming actors (preferably ones on hit tv shows that are looking to get into film) you get a killer soundtrack and you’re off to the races.
Story’s about Gloria “GLORY” Felker – a 15-yr-old girl that’s experiencing an all-consuming crush on 17-yr-old TJ Piradisse. It’s December 31, 1999 and there’s going to be a party to end all parties tonight. Glory vows to crash the party in order to tell TJ exactly how she feels.
Along the way, we meet the supporting cast who are all trying to figure out exactly what love is. Kinda reminds me of CAN’T HARDLY WAIT but told from the 15-yr-old girl’s point-of-view.
The script needs another draft – it desperately needs a couple of standout scenes that we can put in the trailer. The script needs more laugh aloud moments.
Sunday, July 24, 2011
CAPTAIN AMERICA
Film was better than I thought it would be. Chris Evans does a nice job.
I didn't get the feeling though that Steve Rogers and Bucky Barnes were best friends. They needed to play up the relationship and hit it much harder. They made a mistake by having Steve Rogers actually looking up to Bucky in the beginning. That throws off the whole dynamics of their friendship.
Also, if you're going to change the fact that Bucky and Steve don't perish at the same time, you've got to exploit the emotions that must be exploding out of Steve as he goes after the Red Skull. They needed to play up the drama there. But since we never really get a sense of how tight Steve and Bucky are, it's a wasted motivational point.
Stanley Tucci and Tommy Lee Jones are great as usual. Toby Jones is pretty much wasted in his role.
I liked the scene where Steve outthinks the other soldiers in capturing the flag. However, I should've loved that scene. I know what they're trying to do. Captain America fights with his brain as much as with his brawn but the writers needed to come up with a much more inventive and visual way of showing us this.
Both THOR and CAPTAIN AMERICA could've been great this summer. Instead, both are simply passable with several good scenes. Hopefully, THE AVENGERS will get it right.
I didn't get the feeling though that Steve Rogers and Bucky Barnes were best friends. They needed to play up the relationship and hit it much harder. They made a mistake by having Steve Rogers actually looking up to Bucky in the beginning. That throws off the whole dynamics of their friendship.
Also, if you're going to change the fact that Bucky and Steve don't perish at the same time, you've got to exploit the emotions that must be exploding out of Steve as he goes after the Red Skull. They needed to play up the drama there. But since we never really get a sense of how tight Steve and Bucky are, it's a wasted motivational point.
Stanley Tucci and Tommy Lee Jones are great as usual. Toby Jones is pretty much wasted in his role.
I liked the scene where Steve outthinks the other soldiers in capturing the flag. However, I should've loved that scene. I know what they're trying to do. Captain America fights with his brain as much as with his brawn but the writers needed to come up with a much more inventive and visual way of showing us this.
Both THOR and CAPTAIN AMERICA could've been great this summer. Instead, both are simply passable with several good scenes. Hopefully, THE AVENGERS will get it right.
ARTHUR (2011)
If you can't beat the original, why bother remaking it?
The film has some nice moments but Jason Winer proves just because you can excel in tv, it doesn't mean you can do film. Film requires much bigger moments and Winer, at least in this movie, shows he's not capable of delivering them.
It seems Russell Brand is only able to play slight variations of his Aldous Snow character from FORGETTING SARAH MARSHALL.
Why would Jennifer Garner take the villain role? She doesn't have the chops to pull it off.
Helen Mirren does an admirable job as always. It's worth watching just to see her performance. She's a total pro.
The film has some nice moments but Jason Winer proves just because you can excel in tv, it doesn't mean you can do film. Film requires much bigger moments and Winer, at least in this movie, shows he's not capable of delivering them.
It seems Russell Brand is only able to play slight variations of his Aldous Snow character from FORGETTING SARAH MARSHALL.
Why would Jennifer Garner take the villain role? She doesn't have the chops to pull it off.
Helen Mirren does an admirable job as always. It's worth watching just to see her performance. She's a total pro.
Saturday, July 23, 2011
BRONSON
The film is hard to watch at times. Boring in places, annoying in others (having Bronson talk to us in clown make-up) but there's no denying that Tom Hardy is mesmerizing in the role. He is powerful and his performance makes you watch the film to the end.
There's a lot of hype surrounding Nicolas Winding Refn which I just don't see. This movie could've been captivating in the hands of someone like Scorsese. Refn is unable to reveal why Bronson is the way he is. Refn doesn't get inside the character. Refn doesn't relate to the audience. The film is too indulgent. Instead of simply telling us a story, Refn keeps interrupting the narrative flow with needless scenes.
It's easy to see why Christopher Nolan cast Hardy as Bane in his upcoming Batman film. After seeing BRONSON, there's no other actor capable of playing Bane. Can't wait to see what Hardy does with the role.
There's a lot of hype surrounding Nicolas Winding Refn which I just don't see. This movie could've been captivating in the hands of someone like Scorsese. Refn is unable to reveal why Bronson is the way he is. Refn doesn't get inside the character. Refn doesn't relate to the audience. The film is too indulgent. Instead of simply telling us a story, Refn keeps interrupting the narrative flow with needless scenes.
It's easy to see why Christopher Nolan cast Hardy as Bane in his upcoming Batman film. After seeing BRONSON, there's no other actor capable of playing Bane. Can't wait to see what Hardy does with the role.
FRIENDS WITH BENEFITS
The film's worse than the romantic comedies the movie makes fun it. Stale story that's been rehashed one too many times.
Patricia Clarkson and Richard Jenkins save the film from being a complete bore. They both steal their scenes and the movie comes to life whenever they appear.
A winning rom-com requires complications. The more believable the complications, the stronger the story. In FRIENDS WITH BENEFITS, there's really nothing keeping our two leads apart. The complications are so easily overcome. That makes the story weak and boring.
This is the best performance I've seen Justin Timberlake give but is he a leading man? He doesn't capture the screen.
Mila Kunis does a good job with what little she's given but she should've held out for a stronger script.
I don't get the buzz surrounding Will Gluck. EASY A was a mess. FRIENDS WITH BENEFITS isn't much better.
Patricia Clarkson and Richard Jenkins save the film from being a complete bore. They both steal their scenes and the movie comes to life whenever they appear.
A winning rom-com requires complications. The more believable the complications, the stronger the story. In FRIENDS WITH BENEFITS, there's really nothing keeping our two leads apart. The complications are so easily overcome. That makes the story weak and boring.
This is the best performance I've seen Justin Timberlake give but is he a leading man? He doesn't capture the screen.
Mila Kunis does a good job with what little she's given but she should've held out for a stronger script.
I don't get the buzz surrounding Will Gluck. EASY A was a mess. FRIENDS WITH BENEFITS isn't much better.
Friday, July 22, 2011
LOCKED
Finished this script by Jeremy Haft & Ed Gonzalez
Story's about a father who takes on an El Salvadorian gang to save his son who will be killed in prison unless he's moved out of the jail.
Question: who's going to see this movie? The audience is going to be extremely narrow. Much smaller than the audience for AMERICAN HISTORY X.
With such a limited audience, who's going to take the risk and make this film when the upside is so minimal at best?
Hey, if you want to write a script that's in your heart, knock yourself out. However, if you're trying to sell a script, you've got to factor in all the elements that make for a successful sale.
You've got Hank (the father) fighting off Armenian gangs and Salvadorian gangs in his quest to save his son who's gotten mixed up with an Armenian gang and is now in prison for stealing six hundred grand worth of cocaine.
Do we care about this kid's fate? If not, we're certainly not going to care about his father's quest. We're dealing with vicious, brutal thugs living vicious, brutal lives. Not an easy sell at all. Hard to care what happens.
The writers write well. They just need a better story.
Story's about a father who takes on an El Salvadorian gang to save his son who will be killed in prison unless he's moved out of the jail.
Question: who's going to see this movie? The audience is going to be extremely narrow. Much smaller than the audience for AMERICAN HISTORY X.
With such a limited audience, who's going to take the risk and make this film when the upside is so minimal at best?
Hey, if you want to write a script that's in your heart, knock yourself out. However, if you're trying to sell a script, you've got to factor in all the elements that make for a successful sale.
You've got Hank (the father) fighting off Armenian gangs and Salvadorian gangs in his quest to save his son who's gotten mixed up with an Armenian gang and is now in prison for stealing six hundred grand worth of cocaine.
Do we care about this kid's fate? If not, we're certainly not going to care about his father's quest. We're dealing with vicious, brutal thugs living vicious, brutal lives. Not an easy sell at all. Hard to care what happens.
The writers write well. They just need a better story.
Thursday, July 21, 2011
SECRETARIAT
The movie is well made. It looks good. It feels good.
Still, there are things that are missing. We never really see what made Lucien Laurin a great trainer. Outside of him making the decision to run Secretariat harder in the weeks leading up to the Belmont, we never see him train the horse. We don't know what techniques he employed. We don't see the methods he used. For the most part, he's a bystander, cheering the horse on as he runs.
Same goes for Eddie Sweat. Outside of him soaping up the horse in one scene, we don't see any of his contributions.
The subplot about Penny having to choose between her family and the horse didn't have the emotional heft it should have.
However, the theme about not being afraid of anything and running your own race rings true. That becomes the heart of the tale and its message is stirring. It's the reason why the film wins you over.
Still, there are things that are missing. We never really see what made Lucien Laurin a great trainer. Outside of him making the decision to run Secretariat harder in the weeks leading up to the Belmont, we never see him train the horse. We don't know what techniques he employed. We don't see the methods he used. For the most part, he's a bystander, cheering the horse on as he runs.
Same goes for Eddie Sweat. Outside of him soaping up the horse in one scene, we don't see any of his contributions.
The subplot about Penny having to choose between her family and the horse didn't have the emotional heft it should have.
However, the theme about not being afraid of anything and running your own race rings true. That becomes the heart of the tale and its message is stirring. It's the reason why the film wins you over.
Wednesday, July 20, 2011
REC
The thing that bothers me about these "found footage" films is, when all hell breaks loose, as it does here, would a guy seriously continue to lug a camera around? You've got death on your heels, chasing you up the stairs and you're going to continue filming? You see people under attack and instead of helping, you're just going to stand there and film? It doesn't make any sense whatsoever.
I didn't like THE BLAIR WITCH PROJECT, CLOVERFIELD, BATTLE: LOS ANGELES, etc. I don't think it adds a sense of authenticity to the films. I find the technique annoying.
REC is a terrible film. A pointless exercise that doesn't have enough story to fill its length. Talk about stretching the material. The entire opening at the fire station is simply filler.
Once the characters learn the virus is passed through saliva, watch how many of them gets their arms and faces close to the infected mouths. The film would work if the characters were smarter. Instead, they're bumbling about the building senselessly, screaming and yelling like fools.
I didn't like THE BLAIR WITCH PROJECT, CLOVERFIELD, BATTLE: LOS ANGELES, etc. I don't think it adds a sense of authenticity to the films. I find the technique annoying.
REC is a terrible film. A pointless exercise that doesn't have enough story to fill its length. Talk about stretching the material. The entire opening at the fire station is simply filler.
Once the characters learn the virus is passed through saliva, watch how many of them gets their arms and faces close to the infected mouths. The film would work if the characters were smarter. Instead, they're bumbling about the building senselessly, screaming and yelling like fools.
SEASON OF THE WITCH
What a bunch of hooey!
I liked the opening sequence. It was moody, it had edge, it set the tone. The problem is, the opening clearly shows the witch is here. So why bother making us guess whether of not the caged girl is a witch? We already know she is. Why have Nicolas Cage unsure? It's a waste of time and energy.
Same problem with the rickety bridge sequence. It's looks like a death-trap. Yet, our group is able to bring horses and a cart holding a caged girl across. What's the purpose of this scene? They safely make it across so why introduce this danger if it's not going to play?
Same thing about Cage losing faith in the church. That's a great subplot. The errant knight on a quest. But the quest we're given is dull and boring.
Ron Perlman does a great job with what little he's given.
This is clearly a script that needed drastic work done before filming began.
I liked the opening sequence. It was moody, it had edge, it set the tone. The problem is, the opening clearly shows the witch is here. So why bother making us guess whether of not the caged girl is a witch? We already know she is. Why have Nicolas Cage unsure? It's a waste of time and energy.
Same problem with the rickety bridge sequence. It's looks like a death-trap. Yet, our group is able to bring horses and a cart holding a caged girl across. What's the purpose of this scene? They safely make it across so why introduce this danger if it's not going to play?
Same thing about Cage losing faith in the church. That's a great subplot. The errant knight on a quest. But the quest we're given is dull and boring.
Ron Perlman does a great job with what little he's given.
This is clearly a script that needed drastic work done before filming began.
Tuesday, July 19, 2011
HARRY POTTER AND THE DEATHLY HALLOWS, PART II
I, for one, am glad the series is finally over. I never took to the magic of Harry Potter. It seems strange to me that each film doesn't come with a moral to learn. I would think Harry would learn each lesson on his way to becoming a wise wizard.
It also seems strange to me that none of the three - Harry, Hermoine or Ron - did away with the snake at the end.
I never got the feel that the series was building to a climatic conclusion. The movies didn't hold power, never overwhelmed me.
In the end, I'm glad this episode didn't contain another Quidditch match. Those sequences in the previous fillms bored the hell out of me.
It also seems strange to me that none of the three - Harry, Hermoine or Ron - did away with the snake at the end.
I never got the feel that the series was building to a climatic conclusion. The movies didn't hold power, never overwhelmed me.
In the end, I'm glad this episode didn't contain another Quidditch match. Those sequences in the previous fillms bored the hell out of me.
WELCOME TO THE RILEYS
Great acting elevates the material. James Gandolfini, Melissa Leo and Kristen Stewart shine in their roles. You're willing to follow them anywhere even to cliche-land where the story lives.
Kristen Stewart does a memorable job playing a stripper that's so far damaged, she willingly repels people she knows are trying to help her.
James Gandolfini plays his part perfectly showing us a man who's desperately searching for meaning in his life.
Jake Scott shows he's able to handle actors. Hopefully, next time out he can find a script with a little more action in it.
Kristen Stewart does a memorable job playing a stripper that's so far damaged, she willingly repels people she knows are trying to help her.
James Gandolfini plays his part perfectly showing us a man who's desperately searching for meaning in his life.
Jake Scott shows he's able to handle actors. Hopefully, next time out he can find a script with a little more action in it.
Monday, July 18, 2011
MISFITS
Caught the pilot of this British series currently airing on HULU. Show's about a group of teenagers doing community service who gain superpowers during a freak storm.
It's watchable. Unlike other superhero-type shows, you don't really like these kids in the beginning. That approach is unusual.
Also, they're freaked out about these newfound abilities at the start. That makes this show more grounded in reality than others which also makes it watchable.
It's good enough to make me want to see the next episode. It's not good enough though to make me commit to the series. At least, not yet.
It's watchable. Unlike other superhero-type shows, you don't really like these kids in the beginning. That approach is unusual.
Also, they're freaked out about these newfound abilities at the start. That makes this show more grounded in reality than others which also makes it watchable.
It's good enough to make me want to see the next episode. It's not good enough though to make me commit to the series. At least, not yet.
HYDE
I loved the concept. Cole Haddon has come up with a fantastic idea. Dr. Jekyll is still alive, held prisoner in a dungeon beneath Scotland Yards. The police are stymied by an vicious serial killer named Jack the Ripper and must seek out Jekyll's help in order to capture him. However, the only way Jekyll can capture the Ripper is to take his deadly serum.
Now that's a pitch! One of the best I've ever heard.
The script is a letdown however. Don't get me wrong, it's an enjoyable read - it just doesn't live up to that pitch.
Jekyll retains Mr. Hyde's personality. He's Hannibal Lecter amped up on depravity. That works.
The letdown comes from the lead character Adye. Frankly, he's boring. He's supposedly our moral center who learns morality is truly in the eye of the beholder. But throughout the course of the script, he doesn't do anything significant except decide to give Jekyll his serum. Big deal.
The script's failure also comes from not having a strong enough villain to match Hyde. When the identity of Jack the Ripper is finally revealed, we no longer care. The Ripper needs to be ten times worse than Hyde. You don't get that sense though when all you see are the remains of his victims throughout most of the film. The Ripper needs to be a fully realized character. Instead of hiding his identity, let's see him in all his wickedness early on. Witness his madness.
We've got a movie then.
This script could be great. I especially love the coda which has a disgraced Adye reporting to his new job and told there's a new killer on the loose - the Invisible Man.
Now that's a pitch! One of the best I've ever heard.
The script is a letdown however. Don't get me wrong, it's an enjoyable read - it just doesn't live up to that pitch.
Jekyll retains Mr. Hyde's personality. He's Hannibal Lecter amped up on depravity. That works.
The letdown comes from the lead character Adye. Frankly, he's boring. He's supposedly our moral center who learns morality is truly in the eye of the beholder. But throughout the course of the script, he doesn't do anything significant except decide to give Jekyll his serum. Big deal.
The script's failure also comes from not having a strong enough villain to match Hyde. When the identity of Jack the Ripper is finally revealed, we no longer care. The Ripper needs to be ten times worse than Hyde. You don't get that sense though when all you see are the remains of his victims throughout most of the film. The Ripper needs to be a fully realized character. Instead of hiding his identity, let's see him in all his wickedness early on. Witness his madness.
We've got a movie then.
This script could be great. I especially love the coda which has a disgraced Adye reporting to his new job and told there's a new killer on the loose - the Invisible Man.
STONE
What the hell? The film is tedious. Plus, the plot twists play false. Do any of us believe that De Niro's character would fall for Lucretta? Once that happens, we lose interest because the story becomes incredulous.
And do we really believe that Edward Norton's character is going to turn once he witnesses a brutal murder in prison? The spiritual awakening rings hollow.
When you don't believe in the characters and their motivations, the film will always sink fast and that's exactly what happens here. The moral ambiguity the film desperately tries to get across is buried beneath the boredom. You don't care about the message when you don't like the movie.
And do we really believe that Edward Norton's character is going to turn once he witnesses a brutal murder in prison? The spiritual awakening rings hollow.
When you don't believe in the characters and their motivations, the film will always sink fast and that's exactly what happens here. The moral ambiguity the film desperately tries to get across is buried beneath the boredom. You don't care about the message when you don't like the movie.
Sunday, July 17, 2011
LIMITLESS
I liked the film although it runs out of juice towards the end. Bradley Cooper carries the movie and De Niro gives strong support.
The first act is by far the best. It makes you want to go out and accomplish things.
The film starts to slow because they needed to make the side-effects much greater. Headaches aren't enough. The consequences had to be great enough to make Bradley Cooper swear off the pills...only to retake them in order to save somebody he loves.
I'm not sold on Neil Burger as a director. THE ILLUSIONIST had the same problem of dragging when the tension should be building. Take the sequence where Cooper's contemplating suicide while the bad guys are banging at his front door. That should be gripping. We should feel Cooper sweat. The banging should get louder. Cooper's thoughts should grow hazier. The tension should be squeezing us. Instead, it's flat. The sequence plays like a bad episode of NCIS.
A better director would have made a better film.
The first act is by far the best. It makes you want to go out and accomplish things.
The film starts to slow because they needed to make the side-effects much greater. Headaches aren't enough. The consequences had to be great enough to make Bradley Cooper swear off the pills...only to retake them in order to save somebody he loves.
I'm not sold on Neil Burger as a director. THE ILLUSIONIST had the same problem of dragging when the tension should be building. Take the sequence where Cooper's contemplating suicide while the bad guys are banging at his front door. That should be gripping. We should feel Cooper sweat. The banging should get louder. Cooper's thoughts should grow hazier. The tension should be squeezing us. Instead, it's flat. The sequence plays like a bad episode of NCIS.
A better director would have made a better film.
FIRE WITH FIRE
Finished this script by Tom O'Connor.
Story's about a firefighter that witnesses a brutal murder at the hands of an Aryan leader intent on a turf war. The firefighter must go into witness protection until it's time to testify at the trial.
The story's...ok. I seriously doubt there's enough here for a feature though. This plays much better on the small screen. O'Connor writes fast and his pages flow nicely. However, he doesn't bring anything new to this tired tale of a man taking justice in his own hands when the law fails him.
The action sequences aren't spectacular. The plot twists aren't surprising. The lead isn't engaging.
The characters are stock and the story's connect-the-dots.
This is a definite pass.
Story's about a firefighter that witnesses a brutal murder at the hands of an Aryan leader intent on a turf war. The firefighter must go into witness protection until it's time to testify at the trial.
The story's...ok. I seriously doubt there's enough here for a feature though. This plays much better on the small screen. O'Connor writes fast and his pages flow nicely. However, he doesn't bring anything new to this tired tale of a man taking justice in his own hands when the law fails him.
The action sequences aren't spectacular. The plot twists aren't surprising. The lead isn't engaging.
The characters are stock and the story's connect-the-dots.
This is a definite pass.
HANSEL AND GRETEL: WITCH HUNTERS
There may be a story in here somewhere but we’ll never know because Tommy Wirkola doesn’t know how to write a screenplay. He gives blocks and blocks of descriptions, painstakingly detailing every single punch, kick, strike, slam in every single fight in the script. Listen, if it takes the reader more than two minutes to read a page, the screenwriter doesn’t know what he’s doing.
A possible fatal flaw in its concept though is this film will be rated a hard R. Not sure that’s the rating you want when dealing with Hansel and Gretel. The pages drip with gruesome violence and profanity.
We open with Hansel and Gretel trapped in the candy house. They escape the evil witch by pushing her in an oven and closing the door.
We then cut to fifteen years later.
Basically, Hansel and Gretel look to eradicate the world of witches. Along the way though, they come to realize that their mother was a witch (although a pure, white witch that used her powers to help others). The reasoning for this is, Hansel hates all witches with a fury. He falls for Mina though who turns out to be a witch. He’s totally conflicted because he's now in love with someone that he's sworn to kill. However, none of this really matters since Mina is violently killed in the last third of the script. Again, another sign that Wirkola is a terrible writer.
Having said all that, I would look to develop this idea. A total page-one rewrite is called for though but there is a movie here. You’d just have to hire a real writer to solve the problems.
A possible fatal flaw in its concept though is this film will be rated a hard R. Not sure that’s the rating you want when dealing with Hansel and Gretel. The pages drip with gruesome violence and profanity.
We open with Hansel and Gretel trapped in the candy house. They escape the evil witch by pushing her in an oven and closing the door.
We then cut to fifteen years later.
Basically, Hansel and Gretel look to eradicate the world of witches. Along the way though, they come to realize that their mother was a witch (although a pure, white witch that used her powers to help others). The reasoning for this is, Hansel hates all witches with a fury. He falls for Mina though who turns out to be a witch. He’s totally conflicted because he's now in love with someone that he's sworn to kill. However, none of this really matters since Mina is violently killed in the last third of the script. Again, another sign that Wirkola is a terrible writer.
Having said all that, I would look to develop this idea. A total page-one rewrite is called for though but there is a movie here. You’d just have to hire a real writer to solve the problems.
HOBO WITH A SHOTGUN
Terrible film. May be the worst film I see all year.
Did Rutger Hauer think this was going to be his THE WRESTLER?
You watch with revulsion. The amount of violence and sadism is a turn-off. How does a film like this even get financing?
It's a shame because Hauer does a good job. Given a better story, the film would've been worth watching. They could've made a strong statement about the homeless today. They had a strong lead reminiscent of John Rambo in FIRST BLOOD. Instead, they mixed in Roger Corman's DEATH RACE 2000 and HOSTEL to make a gore-fest.
Did Rutger Hauer think this was going to be his THE WRESTLER?
You watch with revulsion. The amount of violence and sadism is a turn-off. How does a film like this even get financing?
It's a shame because Hauer does a good job. Given a better story, the film would've been worth watching. They could've made a strong statement about the homeless today. They had a strong lead reminiscent of John Rambo in FIRST BLOOD. Instead, they mixed in Roger Corman's DEATH RACE 2000 and HOSTEL to make a gore-fest.
Saturday, July 16, 2011
PIRATE RADIO
If you have to depend on your soundtrack to sell your film, you're in trouble.
Take away the songs and the film would fall flat. There's not enough conflict to sustain a film. The characters are somewhat likeable but they're not really doing anything throughout the movie.
Was this a story that needed to be told? Especially when you consider the state of rock 'n roll today? Maybe twenty years ago.
Good performances all around. The actors have to carry the film because the story isn't there.
Take away the songs and the film would fall flat. There's not enough conflict to sustain a film. The characters are somewhat likeable but they're not really doing anything throughout the movie.
Was this a story that needed to be told? Especially when you consider the state of rock 'n roll today? Maybe twenty years ago.
Good performances all around. The actors have to carry the film because the story isn't there.
Friday, July 15, 2011
ATM
I liked INCIDENT ON 459 so much, I read Chris Sparling's ATM.
This one was a disappointment. I guess the theme is some violent acts are random. Story's about three people that visit an ATM late at night only to become stuck inside when a homicidal man stands out in the parking lot, ready to kill them.
We never learn why the murderer wants to kill. We never learn what this will accomplish for him. We never learn anything at all about him except the fact that he works in a coffee shop.
His goal is to kill them. Their goal is to survive. There isn't any other layers to the script, no other subplots other than the fact that two of the ATM's inhabitants like each other.
That's pretty thin. Certainly not enough to fill a film. At least in PHONE BOOTH, the bad guy had a reason for doing what he does.
I doubt I would've recommended Sparling as a writer after reading this. Good thing I read INCIDENT ON 459 first. The guy has amazing skills, he just doesn't demostrate them in ATM.
This one was a disappointment. I guess the theme is some violent acts are random. Story's about three people that visit an ATM late at night only to become stuck inside when a homicidal man stands out in the parking lot, ready to kill them.
We never learn why the murderer wants to kill. We never learn what this will accomplish for him. We never learn anything at all about him except the fact that he works in a coffee shop.
His goal is to kill them. Their goal is to survive. There isn't any other layers to the script, no other subplots other than the fact that two of the ATM's inhabitants like each other.
That's pretty thin. Certainly not enough to fill a film. At least in PHONE BOOTH, the bad guy had a reason for doing what he does.
I doubt I would've recommended Sparling as a writer after reading this. Good thing I read INCIDENT ON 459 first. The guy has amazing skills, he just doesn't demostrate them in ATM.
Thursday, July 14, 2011
THE JONES PARTY
Finished this script by Josh James.
Story's about a party thrown by Derwin and Hope where everyone invited can drink as much as they want, do as much drugs as they want, have as much sex as they want for free but at the end of the night, they're all going to commit suicide.
Now that's a happy concept.
The group invited are all ready to die. They have nothing to live with. Clinical depressed, suffering from terminal illness, self-hatred, etc. They all want to die.
Throughout the course of the night, the people go into the closet and record a confessional, revealing their problems.
While I wouldn't make this movie, I would recommend Josh James as a writer. He's able to grab you. His characters feel real. His pages move fast. He's definitely not a commercial writer but he can write the hell out of a page.
Can't wait to read what he writes next.
Story's about a party thrown by Derwin and Hope where everyone invited can drink as much as they want, do as much drugs as they want, have as much sex as they want for free but at the end of the night, they're all going to commit suicide.
Now that's a happy concept.
The group invited are all ready to die. They have nothing to live with. Clinical depressed, suffering from terminal illness, self-hatred, etc. They all want to die.
Throughout the course of the night, the people go into the closet and record a confessional, revealing their problems.
While I wouldn't make this movie, I would recommend Josh James as a writer. He's able to grab you. His characters feel real. His pages move fast. He's definitely not a commercial writer but he can write the hell out of a page.
Can't wait to read what he writes next.
ALPHAS
Checked out the new series from SYFY. I haven't liked much of the SYFY offerings - WAREHOUSE 13, EUREKA, or HAVEN. ALPHAS is a step above those shows but that's not saying much.
We have a group of individuals with special powers that belong to a unit under the guidance of David Strathairn. Sounds like the X-MEN.
However, unlike the X-MEN, this group's powers aren't so cool. Seriously, who thought up having Malik Yoba break out into a full sweat every time he uses his ability? That's not visual, that's just not hygienic.
Ryan Cartwright's power becomes visually boring in a hurry.
And Nina has been miscast. She needs to be much hotter.
The biggest question I have is why would Nina kissing Bill prevent him from killing Strathairn?
The pilot though is good enough to get me to watch the next episode. I want to know what Red Flag is.
We have a group of individuals with special powers that belong to a unit under the guidance of David Strathairn. Sounds like the X-MEN.
However, unlike the X-MEN, this group's powers aren't so cool. Seriously, who thought up having Malik Yoba break out into a full sweat every time he uses his ability? That's not visual, that's just not hygienic.
Ryan Cartwright's power becomes visually boring in a hurry.
And Nina has been miscast. She needs to be much hotter.
The biggest question I have is why would Nina kissing Bill prevent him from killing Strathairn?
The pilot though is good enough to get me to watch the next episode. I want to know what Red Flag is.
Wednesday, July 13, 2011
INSIDIOUS
There are several scenes in the film that are unintentionally hilarious...and when that happens in a horror story, you're movie is dead. Take the scene where the family moves into a new house and Rose Byrne peeks in through the window and sees a ghost dancing to a song. Or how about when Patrick Wilson goes into the Further and is attacked by a huge ghost. He's then told that he's stronger than the ghosts and angrily pushes the ghost out of his way. Or when the ghosts start to cross over and are coming out of the closet and one of the ghost-hunters closes the closet door on them.
Scenes like this take you right out of the film.
Leigh Whannell and James Wan have great moments and know how to deliver suspenseful sequences. However, you have to be able to do it throughout the entire film. They had the same problem in DEAD SILENCE.
Ultimately, the film fails. POLTERGEIST did the similar theme so much more innovatively and intelligently.
Scenes like this take you right out of the film.
Leigh Whannell and James Wan have great moments and know how to deliver suspenseful sequences. However, you have to be able to do it throughout the entire film. They had the same problem in DEAD SILENCE.
Ultimately, the film fails. POLTERGEIST did the similar theme so much more innovatively and intelligently.
Tuesday, July 12, 2011
HORRIBLE BOSSES
I didn't find the film funny at all. They needed to tone it down, go much darker and make it more relatable to the bosses we all have and hate.
By making the evil bosses cartoonish, it robs the film of satirical bite.
Colin Farrell does a nice job - who knew he had comedic chops? Kevin Spacey was so much better doing the same type of role in SWIMMING WITH SHARKS.
The trio of leads do a nice job but much more visual humor is called for in order to pull this film off. They spend most of the film sitting around and talking.
Seth Gordon's FOUR CHRISTMASES has the same problem. His scenes are never grounded in emotional reality so it makes it impossible for the audience to feel for the characters.
By making the evil bosses cartoonish, it robs the film of satirical bite.
Colin Farrell does a nice job - who knew he had comedic chops? Kevin Spacey was so much better doing the same type of role in SWIMMING WITH SHARKS.
The trio of leads do a nice job but much more visual humor is called for in order to pull this film off. They spend most of the film sitting around and talking.
Seth Gordon's FOUR CHRISTMASES has the same problem. His scenes are never grounded in emotional reality so it makes it impossible for the audience to feel for the characters.
Monday, July 11, 2011
HARKER
Lee Shipman and Brian McGreevy knock this script right out of the park. They’ve mastered every trick in the book. Their pages crackle with energy and drip with menace. The scenes are, and this is a rarity in screenplays today, intelligent. A thoroughly enjoyable read!
They’ve reworked the Dracula tale, breathing new life into it with an innovative take on the material. All the characters are here but it’s almost if we’re seeing them for the first time.
I absolutely love their depiction of Renfield. The character jumps off the page, becoming riveting in a way he never was in any other depiction. Their Van Helsing is also a nice touch.
Dracula’s intent on bringing back the black death. Jonathan Harker must stop him as Mina Murray’s life hangs in the balance.
I’d make this movie in a heartbeat. Without a teenage romance at its center though we’ll see if Hollywood
UNKNOWN
Jaume Collet-Serra does an effective job of keeping you guessing. He did the same with ORPHAN. He knows how to keep you in the story. He knows how to visually build suspense. He’s even able to get a decent performance out of January Jones (did you see X-MEN: FIRST CLASS?)
Would January Jones really go back to try to diffuse the bomb at the end? I know she states she’s worried about being linked to it but it she’s aware of how much time is left. She had to know she wouldn’t disarm it in time.
Liam Neeson does a nice job as the lead. He gains our sympathy early on and never lets go. Bruno Ganz steals his scenes. How is it he’s not getting more work?
The chase sequences are stale and the film could've been shorter but all in all, worth viewing.
Sunday, July 10, 2011
ZOOKEEPER
Story about a zookeeper who turns to the animals to help him win over a woman that turned down his marriage proposal five years ago.
It would've have been funnier if the animals actually helped Kevin James out. Here, their advice is so ill-advised, you'd have to ask why does Kevin continue to heed their words. And since their advice doesn't work, what are they doing in the film?
Even in voice-over, Stallone's acting is terrible.
Nick Nolte steals his scenes. His line readings are heart-felt and full of emotion.
Rosario Dawson should hold out for better scripts...but are there really any out there? I feel for her. She deserves to be in much better movies.
Kevin James is good. He's got a connection with the audience. We like him, we root for him. He's got to get better material though.
It would've have been funnier if the animals actually helped Kevin James out. Here, their advice is so ill-advised, you'd have to ask why does Kevin continue to heed their words. And since their advice doesn't work, what are they doing in the film?
Even in voice-over, Stallone's acting is terrible.
Nick Nolte steals his scenes. His line readings are heart-felt and full of emotion.
Rosario Dawson should hold out for better scripts...but are there really any out there? I feel for her. She deserves to be in much better movies.
Kevin James is good. He's got a connection with the audience. We like him, we root for him. He's got to get better material though.
Saturday, July 9, 2011
COVERT AFFAIRS - Season 2.1
Watched all of the first season and was surprised the show got renewed.
The problem with the episodes is there isn't any sense of urgency. The missions are all....blah. There never seems to be any imminent danger. They go in, they put two-and-two together, they get out. You've got to have missions where everything goes to shit in a hurry. That makes the situations compelling.
Then there's all drama surrounding the characters. Again, no urgency. Take Peter Gallagher for example. Do we ever get a feeling that his job is in jeopardy? The subplot is handled in such a low-key way that it becomes boring. This conflict should escalate throughout the season yet it plays under the radar the entire time.
Same thing with the subplot about an agency leak and the reporter. By the time the leak is revealed, do we even care? The leak has done nothing to elevate the danger so it doesn't sustain our interest.
And let's drop Annie Walker's sister already. She's annoying. That entire subplot regarding Annie's cover life at the Smithsonian is supposed to bring comic relief. It doesn't. All it does is slow down the episodes which are already limping along to begin with.
I had hoped the premiere episode of Season 2 would correct a lot of these problems. Unfortunately, we've given more of the same.
A bore-fest.
The problem with the episodes is there isn't any sense of urgency. The missions are all....blah. There never seems to be any imminent danger. They go in, they put two-and-two together, they get out. You've got to have missions where everything goes to shit in a hurry. That makes the situations compelling.
Then there's all drama surrounding the characters. Again, no urgency. Take Peter Gallagher for example. Do we ever get a feeling that his job is in jeopardy? The subplot is handled in such a low-key way that it becomes boring. This conflict should escalate throughout the season yet it plays under the radar the entire time.
Same thing with the subplot about an agency leak and the reporter. By the time the leak is revealed, do we even care? The leak has done nothing to elevate the danger so it doesn't sustain our interest.
And let's drop Annie Walker's sister already. She's annoying. That entire subplot regarding Annie's cover life at the Smithsonian is supposed to bring comic relief. It doesn't. All it does is slow down the episodes which are already limping along to begin with.
I had hoped the premiere episode of Season 2 would correct a lot of these problems. Unfortunately, we've given more of the same.
A bore-fest.
DRESSED TO KILL
We got pitched a great suspense-thriller this week which the powers-that-be upstairs turned down flat. The reason - there isn't any money to be made in the original R-rated thriller anymore.
That's a shame. It made me go home and rewatch De Palma's DRESSED TO KILL. De Palma was an absolute master behind the camera and this film showed him at height of his powers. Great suspense sequences. Angie in the museum, vacillating, without any dialogue, is the work of a visual genius. The subway sequence also keeps the viewer off-balance and on the edge.
It's a complete shame we don't develop material like this. We're given boxes of comics to read and told to ignore screenplays that can't sell a ton of merchandise after the film's been made. Films have become a portal to the ancilliary markets. Marketing drives all the major decisions and product that lends itself to multiple platforms get all the love.
I doubt DRESSED TO KILL would get made by a major today. That's an indictment on the business.
That's a shame. It made me go home and rewatch De Palma's DRESSED TO KILL. De Palma was an absolute master behind the camera and this film showed him at height of his powers. Great suspense sequences. Angie in the museum, vacillating, without any dialogue, is the work of a visual genius. The subway sequence also keeps the viewer off-balance and on the edge.
It's a complete shame we don't develop material like this. We're given boxes of comics to read and told to ignore screenplays that can't sell a ton of merchandise after the film's been made. Films have become a portal to the ancilliary markets. Marketing drives all the major decisions and product that lends itself to multiple platforms get all the love.
I doubt DRESSED TO KILL would get made by a major today. That's an indictment on the business.
INCIDENT ON 459
Finished this script by Chris Sparling.
Hell yeah! This script kicked ass. Very moody, effectively scary, tension builds and builds. If you want a perfect example of getting a reader to live inside the page, this is it. You're right there on the plane with the passengers. You're no longer reading the script after ten pages, you're experiencing it.
Story's about a group of passengers trapped on the plane with a woman who's possessed. With nowhere to run and no place to hide, the group has to figure out what's going on and find some way to stop this woman before they all die.
Sparling is right there at the top of screenwriters right now. He knows how to build his plot, his knows how to write visually and he can deliver with the best of them.
Definitely one of the best scripts I've read this year.
Hell yeah! This script kicked ass. Very moody, effectively scary, tension builds and builds. If you want a perfect example of getting a reader to live inside the page, this is it. You're right there on the plane with the passengers. You're no longer reading the script after ten pages, you're experiencing it.
Story's about a group of passengers trapped on the plane with a woman who's possessed. With nowhere to run and no place to hide, the group has to figure out what's going on and find some way to stop this woman before they all die.
Sparling is right there at the top of screenwriters right now. He knows how to build his plot, his knows how to write visually and he can deliver with the best of them.
Definitely one of the best scripts I've read this year.
SHREK FOREVER AFTER
Don't know what you've got till it's gone. It's a good theme executed well in this chapter of the Shrek franchise. Not as many laughs as the others but this film shows there's still life in the ole Orge.
Rumplestiltskin makes a great villain. The bit about the contracts works. Shrek getting Fiona to realize he's her true love plays well.
The sense of a great big adventure is missing though. The film needs to be bigger than life. Instead, it plays small.
Rumplestiltskin makes a great villain. The bit about the contracts works. Shrek getting Fiona to realize he's her true love plays well.
The sense of a great big adventure is missing though. The film needs to be bigger than life. Instead, it plays small.
Friday, July 8, 2011
FLIGHT RISK
Finished this script by Mike Le.
The opening is fantastic. A passenger on a plane receives a text stating that he must kill a fellow passenger or his sister and young daughter will be murdered.
Le expertly draws us in with this compelling situation.
The script reminds me a lot of RED EYE. However, Le is unable to sustain the pace of his opening and the pages lose their steam. More complications are required. The problems are solved too easily.
The ending leads right into a sequel which makes me roll my eyes. Sure, there's nothing wrong with a franchise - just make sure you hit the first one out of the park before you assume we'll want more.
The opening is fantastic. A passenger on a plane receives a text stating that he must kill a fellow passenger or his sister and young daughter will be murdered.
Le expertly draws us in with this compelling situation.
The script reminds me a lot of RED EYE. However, Le is unable to sustain the pace of his opening and the pages lose their steam. More complications are required. The problems are solved too easily.
The ending leads right into a sequel which makes me roll my eyes. Sure, there's nothing wrong with a franchise - just make sure you hit the first one out of the park before you assume we'll want more.
WAKE
Finished this script by Christopher Borrelli.
A group is stuck in an isolated inn on an island while a murderous band of thieves attack, searching for a hidden number inside the inn. The group’s only chance at survival…a sociopath on the run from the law.
Definitely not up to Borrelli’s high standards. THE VATICAN TAPES and STRANDED are far superior scripts. Maybe it’s because this story doesn’t contain any supernatural elements.
The story is actually boring. Outside of the main character, a sociopath named Red who’s incapable of feeling fear, the script doesn’t have much going for it. You read it at a distance instead of being with them on the page. It’s hard to establish a connection.
I didn’t feel anything for the group that’s being attacked. I didn’t feel anything for the group that’s attacking. It’s like watching a sporting event where you don’t know the rules or any of the participants. When that happens, the writer hasn’t done his job.
Thursday, July 7, 2011
THE EAGLE
Who was their target audience? The film's too wimpy to satisfy the GLADIATOR crowd. It's too old-fashioned to play to the 300 crowd. It's not epic enough to attract the BRAVEHEART crowd. You're not going to draw any females. Who did they expect would pay to watch this?
The script's too slow. The story doesn't have enough drama. The fight sequences are boring. Here's the simple plot: Lead goes to retrieve the eagle. Lead and his slave get captured. Lead spots the eagle. While the enemy is sleeping, Lead and slave reclaim the eagle and run away in the night.
This is a movie?
I expected greatness from Kevin Macdonald after he made THE KING OF SCOTLAND. I was sadly disappointed with this film.
Channing Tatum has to pick better projects. He should be up there with the likes of The Rock, Hemsworth and Worthington when it comes to action projects.
The script's too slow. The story doesn't have enough drama. The fight sequences are boring. Here's the simple plot: Lead goes to retrieve the eagle. Lead and his slave get captured. Lead spots the eagle. While the enemy is sleeping, Lead and slave reclaim the eagle and run away in the night.
This is a movie?
I expected greatness from Kevin Macdonald after he made THE KING OF SCOTLAND. I was sadly disappointed with this film.
Channing Tatum has to pick better projects. He should be up there with the likes of The Rock, Hemsworth and Worthington when it comes to action projects.
BARNEY'S VERSION
It's a testament to Paul Giamatti's skills as an actor that you sit through the entire film. He's able to make you feel something for the guy early on when most actors playing this part would've made us lose interest.
The script is at fault here. It's not sharp enough. This is a complex character in need of a complex script. What we're given is a superficial rendering with few highlights and even fewer insights.
It's such a shame especially the scenes involving Giamatti and Dustin Hoffman. You can almost hear these two fine actors begging for more meat to their roles.
Richard J. Lewis is equally at fault. He doesn't stir our emotions so when the the heart-felt scenes play out, they fall flat. When Rosamund Pike realizes Giamatti has cheated on her, we should feel her whole world crashing. Instead, we're given a shallow scene that doesn't move us one bit.
This is a movie that should've been an Oscar contender but its flawed execution dooms it.
The script is at fault here. It's not sharp enough. This is a complex character in need of a complex script. What we're given is a superficial rendering with few highlights and even fewer insights.
It's such a shame especially the scenes involving Giamatti and Dustin Hoffman. You can almost hear these two fine actors begging for more meat to their roles.
Richard J. Lewis is equally at fault. He doesn't stir our emotions so when the the heart-felt scenes play out, they fall flat. When Rosamund Pike realizes Giamatti has cheated on her, we should feel her whole world crashing. Instead, we're given a shallow scene that doesn't move us one bit.
This is a movie that should've been an Oscar contender but its flawed execution dooms it.
Wednesday, July 6, 2011
SMOTHER
I get pitched a lot of comedies. I tell writers that we're only interested in developing high-concept, visual comedies. Like it or not, we're dealing with the global box office today. If your comedy script relies on dialogue for laughs, chances are, you're not going to get made. Lines get lost in translation. Your jokes have to play visually.
GULLIVER'S TRAVELS was terrible but that script has a much easier chance of seeing money because it's story is visual. It's easy to translate.
The reason most comedic pitches are rejected is because the idea simply isn't large enough to fill the big screen. When writers ask me what I mean, I point them towards films like SMOTHER. It's not a bad movie. But it plays better as a tv series than a feature film. The jokes aren't big. It's visually boring. You have to listen instead of watch. It's a pathetic statement but we want comedies that we have to watch instead of listen to.
Dax Shepard has skills. He's good in PARENTHOOD. He just has never taken the right role in films. Other than his performance, there's not much else worth watching in SMOTHER.
GULLIVER'S TRAVELS was terrible but that script has a much easier chance of seeing money because it's story is visual. It's easy to translate.
The reason most comedic pitches are rejected is because the idea simply isn't large enough to fill the big screen. When writers ask me what I mean, I point them towards films like SMOTHER. It's not a bad movie. But it plays better as a tv series than a feature film. The jokes aren't big. It's visually boring. You have to listen instead of watch. It's a pathetic statement but we want comedies that we have to watch instead of listen to.
Dax Shepard has skills. He's good in PARENTHOOD. He just has never taken the right role in films. Other than his performance, there's not much else worth watching in SMOTHER.
EVIDENCE
Finished this script by John Swetnam.
The opening scene is a grabber. This is how you start a script. Vegas P.D. rush onto a scene that contains an abandoned shuttle bus, a burned-down gas station, dismembered bodies, a welder’s mask and a video camera. I see an opening like this on screen, I’m immediately in.
You want to shake your audience. You want them hit them hard. You need to capture their attention. Swetnam effectively accomplishes this in half-a-page. Very impressive.
The detectives now must piece together what’s happened and catch this murderer. They have two shell-shocked witnesses and three video cameras that just may have recorded the killer’s identity.
Unfortunately, the set-up’s greater than the story. It turns into a slasher film. The kind where you really don’t care about the victims since their only purpose on screen is to die.
I can easily see this script as a movie as written…it just wouldn’t be a great one.
Tuesday, July 5, 2011
FROM PRADA TO NADA
The film is lifeless. The characters are one-dimensional. The situations are predictable and poorly executed not to mention implausible. Are we supposed to believe that as soon as Nora shuns Edward, he turns around and gets engaged to someone else and then just as quickly flip-flops and tells Nora he's in love with her? In real-life that kind of behavior is deemed creepy.
Nicholas D'Agosto and Camilla Belle need the right vehicle in order to shoot to superstardom. This film is not it however. They've shown talent in other movies. This cannot be the best script they've been offered.
The film lacks spark, wit, comedy, feelings. The movie would have to journey far just to rise up to "boring" status. A total zero.
Nicholas D'Agosto and Camilla Belle need the right vehicle in order to shoot to superstardom. This film is not it however. They've shown talent in other movies. This cannot be the best script they've been offered.
The film lacks spark, wit, comedy, feelings. The movie would have to journey far just to rise up to "boring" status. A total zero.
THE WARRIOR'S WAY
The film should’ve been a monster hit. The story was there. Sngmoo Lee screwed his script over with his own direction. The producers should not have let Lee take the reins. He doesn’t have the chops to pull this off. Just think if this story was directed by someone like Zack Snyder or Jaume Collet-Serra. You need someone that knows how to enhance the special effects with the story, someone that knows how to build a scene, someone that can strengthen the characters visually.
Lee lets the effects overwhelm the story. On screen, his characters don’t stand out when they should be iconic. The drama isn’t squeezed, the tension isn’t tightened. This movie should have been epic. It had all the right ingredients. The chef botched the film in the kitchen.
Monday, July 4, 2011
PLEASE GIVE
Nicole Holofcener is a master at writing the deeply layered character. In a lesser writer's hands, we would hate the characters in PLEASE GIVE. Under her direction, they shine. We can't help but like them. They're vain, self-centered, mean, self-delusional yet we can't stop watching and, even in some cases, rooting for them.
We have a couple that's waiting for their elderly neighbor/tenant to die so they can enlarge their apartment. Holofcener makes us understand their, what could be construed as, morally reprehensible behavior, getting us to follow them throughout the film's journey. In this way, she mirrors life. Who amongst us is totally pure or wicked? We all have moments we're not proud of or characteristics we wish we could purge. Holofcener is able to bring these complexities to the screen. As we examine and judge them, the film makes us examine and judge ourselves.
We have a couple that's waiting for their elderly neighbor/tenant to die so they can enlarge their apartment. Holofcener makes us understand their, what could be construed as, morally reprehensible behavior, getting us to follow them throughout the film's journey. In this way, she mirrors life. Who amongst us is totally pure or wicked? We all have moments we're not proud of or characteristics we wish we could purge. Holofcener is able to bring these complexities to the screen. As we examine and judge them, the film makes us examine and judge ourselves.
RABBIT HOLE
The film's about grief as a married couple try to cope with the accidental death of their four-year-old son. Film goes to great lengths to show that different people grieve in different ways. How the death of an individual can shatter relationships and feelings, killing off more than just a person.
There isn't any easy answers on how to recover from tragedy. The film suggest in the end that all you can do is take things one step at a time.
ORDINARY PEOPLE covered the same territory and did so more successfully. RABBIT HOLE doesn't rachet up the conflict and thus suffers in comparison. Nicole Kidman is falling apart but we're never fully exposed to that. We need to see that pain and suffering in order to fully connect with her character. By keeping everyone at bay she isolates herself from us as well. We watch her as the film unfolds instead of truly feeling for her.
There isn't any easy answers on how to recover from tragedy. The film suggest in the end that all you can do is take things one step at a time.
ORDINARY PEOPLE covered the same territory and did so more successfully. RABBIT HOLE doesn't rachet up the conflict and thus suffers in comparison. Nicole Kidman is falling apart but we're never fully exposed to that. We need to see that pain and suffering in order to fully connect with her character. By keeping everyone at bay she isolates herself from us as well. We watch her as the film unfolds instead of truly feeling for her.
POWDER BLUE
Timothy Linh Bui's film is simply too slow. The characters don't engage us. The theme of lonliness and how the heart desperately needs love doesn't connect. There's too much whining going on. The situations are too dreary. The movie doesn't lift us, it drags us down.
The talented cast is game. It's the writing that lets us down.
The situations are too passive. Take the mortician for example. He's desperate for a connection. He deals with dead people all day, he's never had a girlfriend and the only time live interaction he gets is when he presents puppet shows for children. This could be a great character. All he needs is a compelling situation to pull us in. Some kind of drama that'll engage us. What we get is him hitting a dog and then falling in love with the dog's owner. That's so boring.
Then there's Ray Liotta. He's been in prison for the last twenty-five years. Ontop of that, he finds out he's dying of cancer. He's got one last chance for redemption. This is a great set up. So what happens? He finds his stripper-daughter, sends her on a trip to Paris and pays off his grandson's medical bills. Big deal. It's so boring. We need fireworks here. We need explosions. We need a bang but are left with a whimper. Films should never be a whimper.
The talented cast is game. It's the writing that lets us down.
The situations are too passive. Take the mortician for example. He's desperate for a connection. He deals with dead people all day, he's never had a girlfriend and the only time live interaction he gets is when he presents puppet shows for children. This could be a great character. All he needs is a compelling situation to pull us in. Some kind of drama that'll engage us. What we get is him hitting a dog and then falling in love with the dog's owner. That's so boring.
Then there's Ray Liotta. He's been in prison for the last twenty-five years. Ontop of that, he finds out he's dying of cancer. He's got one last chance for redemption. This is a great set up. So what happens? He finds his stripper-daughter, sends her on a trip to Paris and pays off his grandson's medical bills. Big deal. It's so boring. We need fireworks here. We need explosions. We need a bang but are left with a whimper. Films should never be a whimper.
MIRRORS 2
Most of these sequels made strictly for the home entertainment market are terrible. This one though is watchable.
The pace is fast, the effects are good, the acting is fine. Speaks volumes for director Victor Garcia. He should get feature work. The problem is the script is so run of the mill. I caught the Twilight Zone shout-out to Matheson and Beaumont. If only the story had nice touches like that.
Woman was murdered in the store. Her spirit escaped into the mirror upon death. Now she haunts the place, looking to exact revenge. The script didn't provide any plot twists at all.
William Katt looked like Gary Oldman.
Why hasn't Emmanuel Vaugier landed the lead in a tv series yet? She's great in everything she guest-stars in.
The pace is fast, the effects are good, the acting is fine. Speaks volumes for director Victor Garcia. He should get feature work. The problem is the script is so run of the mill. I caught the Twilight Zone shout-out to Matheson and Beaumont. If only the story had nice touches like that.
Woman was murdered in the store. Her spirit escaped into the mirror upon death. Now she haunts the place, looking to exact revenge. The script didn't provide any plot twists at all.
William Katt looked like Gary Oldman.
Why hasn't Emmanuel Vaugier landed the lead in a tv series yet? She's great in everything she guest-stars in.
Sunday, July 3, 2011
THE GREEN HORNET
A total misfire in its concept.
The Green Hornet CANNOT be a buffoon. It ruins the entire film. He cannot be an egotistical, lazy, clumsy moron. If you're going to take that route then the whole movie has to be a parody.
I like Seth Rogen. But somebody needed to shake some sense into him on this one. THE GREEN HORNET should've been an ultra-cool franchise. Because the stink of this film is so great, it'll be ten years before a reboot can be considered. That's a shame.
The film though is worth watching just to see the scene with Christopher Waltz and James Franco. Very funny and well-acted. The rest of the movie though is a waste.
The Green Hornet CANNOT be a buffoon. It ruins the entire film. He cannot be an egotistical, lazy, clumsy moron. If you're going to take that route then the whole movie has to be a parody.
I like Seth Rogen. But somebody needed to shake some sense into him on this one. THE GREEN HORNET should've been an ultra-cool franchise. Because the stink of this film is so great, it'll be ten years before a reboot can be considered. That's a shame.
The film though is worth watching just to see the scene with Christopher Waltz and James Franco. Very funny and well-acted. The rest of the movie though is a waste.
STRANDED
Finished this script by Christoper Borrelli.
I liked Borrelli's script THE VATICAN TAPES and thought it would make a better movie than THE LAST EXORCISM or THE RITE.
Here, we have a group of friends stranded on a trip of snowboarding. I immediately thought of FROZEN. However, this group is stuck in an SUV and find themselves attacked by a witch.
Borrelli has the skills to make the unbelieveable believeable and frightening. His pages drip with tension. His scenes expertly mount with fear.
You keep the budget low, you get a director with edge and you'll have a hit on your hands. Why this hasn't been put into production yet is beyond me.
A definite recommend.
I liked Borrelli's script THE VATICAN TAPES and thought it would make a better movie than THE LAST EXORCISM or THE RITE.
Here, we have a group of friends stranded on a trip of snowboarding. I immediately thought of FROZEN. However, this group is stuck in an SUV and find themselves attacked by a witch.
Borrelli has the skills to make the unbelieveable believeable and frightening. His pages drip with tension. His scenes expertly mount with fear.
You keep the budget low, you get a director with edge and you'll have a hit on your hands. Why this hasn't been put into production yet is beyond me.
A definite recommend.
Saturday, July 2, 2011
STATE OF GEORGIA
The new Raven Symone vehicle on ABC Family about the comical antics of two friends who work at the perfume counter in a department store.
Pilot has a couple of laughs and Raven brings her charm and spirit to the series. I've seen worse. Good enough to check out the next episode. Not good enough to commit to the entire series however.
Pilot has a couple of laughs and Raven brings her charm and spirit to the series. I've seen worse. Good enough to check out the next episode. Not good enough to commit to the entire series however.
YOUR NEW BEST FRIEND
Finished this script by Eirene Donohue. Story's about two lifelong female best friends who go through a rough patch, fight over another woman and eventually reconcile and swear to be best friends forever.
Along the way they each get a boyfriend, find direction in their lives and learn to be comfortable with who they are.
The problem is, the script is just not funny. The comedy is absurd and would quickly grow tedious on screen. Both lead characters spend the entire story bitching about each other and whining about their own problems. They deserve each other but not our attention.
Pass.
Along the way they each get a boyfriend, find direction in their lives and learn to be comfortable with who they are.
The problem is, the script is just not funny. The comedy is absurd and would quickly grow tedious on screen. Both lead characters spend the entire story bitching about each other and whining about their own problems. They deserve each other but not our attention.
Pass.
Friday, July 1, 2011
NECESSARY ROUGHNESS
I usually enjoy the USA shows. However, this one is lacking in so many ways. The whole football team in need of a shrink doesn't work.
Callie Thorne, who was so good in RESCUE ME, can carry the show for awhile but she's in need of better stories. What is she going to do, help out a different player each week?
There isn't enough material to sustain a series.
Callie Thorne, who was so good in RESCUE ME, can carry the show for awhile but she's in need of better stories. What is she going to do, help out a different player each week?
There isn't enough material to sustain a series.
WILFRED
Pilot didn't grab me. There's a few laughs when Wilfred does things dogs are hard-wired to do. If the idea is man's best friend is going to give advice on how to truly be a man, the series isn't going to last long. Episode felt kinda light. It's supposed to provide insight.
We're going to need bigger laughs and plots that actually make us think about the human condition.
We're going to need bigger laughs and plots that actually make us think about the human condition.
BEASTLY
C'mon, this movie isn't even good enough to make CBS' made-for-tv film lineup. Easily the worst movie so far this year.
Poorly directed by Daniel Barnz. Figures, he wrote the script as well which is equally inept.
Alex Pettyfer doesn't have it. He was terrible in I AM NUMBER FOUR. He should try to latch onto a series on the CW pronto.
Poorly directed by Daniel Barnz. Figures, he wrote the script as well which is equally inept.
Alex Pettyfer doesn't have it. He was terrible in I AM NUMBER FOUR. He should try to latch onto a series on the CW pronto.
WHIP IT
Shauna Cross was robbed.
Several years back, her script was one of the best I had read. It just nailed it. How you feel like you just don't fit in. And how that feeling is turned into a celebration as Bliss learns to be herself and to follow her heart. I remember how emotional it was when her family accepted her as a roller derby girl.
The movie completely blows it. Gone are the emotional highpoints. Gone are the poignant moments. Gone are the uplifting scenes in which you cheer Bliss on as she comes into her own.
We need more writers like Shauna Cross. Her scenes ring true. We need less directors like Drew Barrymore. Her scenes don't impact the way they should.
Several years back, her script was one of the best I had read. It just nailed it. How you feel like you just don't fit in. And how that feeling is turned into a celebration as Bliss learns to be herself and to follow her heart. I remember how emotional it was when her family accepted her as a roller derby girl.
The movie completely blows it. Gone are the emotional highpoints. Gone are the poignant moments. Gone are the uplifting scenes in which you cheer Bliss on as she comes into her own.
We need more writers like Shauna Cross. Her scenes ring true. We need less directors like Drew Barrymore. Her scenes don't impact the way they should.
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