So far, easily the best new show of the television season. Everything works in the pilot. Introducing a new cast is hard. THE NEW GIRL pulls it off effortlessly. You like this group right from the jump. Jake Johnson and Damon Wayans Jr shine.
The trio of guys feel like they're real friends. The chemistry is there. Zooey Deschanel might be the weak link of the cast which is saying a lot since she generates her share of laughs.
The writing is good. The direction is great.
I'm sold on this.
Thursday, September 29, 2011
WORK SPOUSE
Finished this script by Geoff Barbanell and Arland DiGirolamo.
This is a classic example of a great concept with poor execution. The pitch is high-concept enough to get meetings. A jealous husband takes a job at his wife's company to compete against her work spouse.
However, once you read the script, you quickly realize this writing pair cannot pull it off. Script needs a page one rewrite.
Again, the plot is just too predictable and the jokes are non-existent. A great script will build upon its concept. A poor one relies on the concept to do all the work.
Story involves Steve, a failed baseball player stuck in the minor leagues at 36. His wife however is doing nicely at her company, working with Barry who appears to be the perfect man. However, complications ensue when Steve learns that Barry is secretly trying to steal his wife away from him.
This could've been a great commentary on work-place relationships. Instead, it relies on low-grade humor and subplots that go nowhere. Barry's in-laws are set up to be a plot complication. They're never developed. Barry's failure in life isn't really addressed. The whole baseball angle is wasted.
In fact, you start to wonder what Barry's wife ever saw in him in the first place.
Definite pass on the writers.
This is a classic example of a great concept with poor execution. The pitch is high-concept enough to get meetings. A jealous husband takes a job at his wife's company to compete against her work spouse.
However, once you read the script, you quickly realize this writing pair cannot pull it off. Script needs a page one rewrite.
Again, the plot is just too predictable and the jokes are non-existent. A great script will build upon its concept. A poor one relies on the concept to do all the work.
Story involves Steve, a failed baseball player stuck in the minor leagues at 36. His wife however is doing nicely at her company, working with Barry who appears to be the perfect man. However, complications ensue when Steve learns that Barry is secretly trying to steal his wife away from him.
This could've been a great commentary on work-place relationships. Instead, it relies on low-grade humor and subplots that go nowhere. Barry's in-laws are set up to be a plot complication. They're never developed. Barry's failure in life isn't really addressed. The whole baseball angle is wasted.
In fact, you start to wonder what Barry's wife ever saw in him in the first place.
Definite pass on the writers.
PERSON OF INTEREST
Caught the pilot of the new CBS series from J.J. Abrams and Christopher Nolan. With such an impressive pedigree, you would expect something fresher and exciting.
Jim Caviezel does a nice job in the lead role. He knows how to deliver the deadpan line and his eyes are capable of expressing deep emotions.
However, as with the case of most procedurals, the plot is basic. It doesn't really grab you. Michael Emerson might have been great in LOST but he might be a one-role actor. Here, he just doesn't bring any weight to the part. You need someone like a Gene Hackman-caliber actor to pull it off.
You need a much more complicated plot to match the technology employed in PERSON OF INTEREST. Hopefully, the story becomes more compelling as the series plays out. If not, the show won't be around long.
Jim Caviezel does a nice job in the lead role. He knows how to deliver the deadpan line and his eyes are capable of expressing deep emotions.
However, as with the case of most procedurals, the plot is basic. It doesn't really grab you. Michael Emerson might have been great in LOST but he might be a one-role actor. Here, he just doesn't bring any weight to the part. You need someone like a Gene Hackman-caliber actor to pull it off.
You need a much more complicated plot to match the technology employed in PERSON OF INTEREST. Hopefully, the story becomes more compelling as the series plays out. If not, the show won't be around long.
Monday, September 26, 2011
DJANGO UNCHAINED
This is the western that Tarantino wants to make? He should've gone for an epic instead.
What has happened to Quentin lately? If you take DEATH-PROOF, INGLORIOUS BASTERDS and now this, you can see the talent level drop off considerably from PULP FICTION and KILL BILL. Gone are all the memorable supporting characters. Gone are the insanely cool lines of dialogue.
With DJANGO, Tarantino comes up with his most boring idea yet. The slave-turned-bounty-hunter would be cool if there was more action in it. Instead, we're given this long, drawn-out, tedious plot that doesn't twist nor turn one bit. It's simply about Django searching for his wife and once found, freeing her.
Tarantino has chosen to ignore all the things that make westerns cool. The gunplay is pedestrian. There isn't any town that needs saving. The hero isn't battling the bottle.
Look for the film to suffer a quick death at the box office and tarnish Tarantino's star.
What has happened to Quentin lately? If you take DEATH-PROOF, INGLORIOUS BASTERDS and now this, you can see the talent level drop off considerably from PULP FICTION and KILL BILL. Gone are all the memorable supporting characters. Gone are the insanely cool lines of dialogue.
With DJANGO, Tarantino comes up with his most boring idea yet. The slave-turned-bounty-hunter would be cool if there was more action in it. Instead, we're given this long, drawn-out, tedious plot that doesn't twist nor turn one bit. It's simply about Django searching for his wife and once found, freeing her.
Tarantino has chosen to ignore all the things that make westerns cool. The gunplay is pedestrian. There isn't any town that needs saving. The hero isn't battling the bottle.
Look for the film to suffer a quick death at the box office and tarnish Tarantino's star.
Sunday, September 25, 2011
BRIDESMAIDS
The film has a lot of laughs in it. The opening was priceless. Kristen Wiig is a shining star. She easily carries the movie.
Much of the comedy is over-the-top but that's the state of the genre these days. Wiig makes the most of it and pushes the boundaries as far as possible in the vomiting/shitting in the dress shop scene.
Chris O'Dowd did a nice job and grounded the film in reality in his scenes.
Paul Feig should have reined Melissa McCarthy and Sam Hamm in a bit. They're so far over-the-top that their scenes become unbelieveable. A lot of the film is guilty of this.
Much of the comedy is over-the-top but that's the state of the genre these days. Wiig makes the most of it and pushes the boundaries as far as possible in the vomiting/shitting in the dress shop scene.
Chris O'Dowd did a nice job and grounded the film in reality in his scenes.
Paul Feig should have reined Melissa McCarthy and Sam Hamm in a bit. They're so far over-the-top that their scenes become unbelieveable. A lot of the film is guilty of this.
Saturday, September 24, 2011
MONEYBALL
Why hasn't Bennett Miller directed more? The film is enjoyable and a lot of credit has to go to his guiding hand. I'm willing to see anything written by Aaron Sorkin because I know the dialogue will be razor-sharp and intelligent.
Jonah Hill shines in his role. He's got an instant chemistry with Brad Pitt and their scenes together form the heart of the film.
Robin Wright-Penn and Philip Seymour Hoffman are wasted here though. That's a big complaint I have. If you're going to bring in this caliber of actor, give them something to do.
Another complaint is, several big scenes lead to nothing. For example, take the scene where Pitt wheels and deals to land Rincon in a trade. That scene is great. However, is Rincon a missing piece? We never learn if he's vital to the season. There's a lot of scenes like this which is why I cannot rate the film up there with Sorkin's last effort - THE SOCIAL NETWORK.
An entertaining movie but ultimately, not a great one.
Jonah Hill shines in his role. He's got an instant chemistry with Brad Pitt and their scenes together form the heart of the film.
Robin Wright-Penn and Philip Seymour Hoffman are wasted here though. That's a big complaint I have. If you're going to bring in this caliber of actor, give them something to do.
Another complaint is, several big scenes lead to nothing. For example, take the scene where Pitt wheels and deals to land Rincon in a trade. That scene is great. However, is Rincon a missing piece? We never learn if he's vital to the season. There's a lot of scenes like this which is why I cannot rate the film up there with Sorkin's last effort - THE SOCIAL NETWORK.
An entertaining movie but ultimately, not a great one.
Friday, September 23, 2011
PRIME SUSPECT
There's really nothing earth-shattering about this pilot. However, Peter Berg's direction zips the episode along and Maria Bello shines in every scene. Plotwise, the episode is blah but the acting is top-notch. The great thing is, it doesn't feel like a procedural even though it is. The crime itself barely registers as the pilot instead focuses on the strained relationship between the tight unit of detectives and Bello.
How far can that go is the question that remains? Pilot's good enough to make me want to find out.
How far can that go is the question that remains? Pilot's good enough to make me want to find out.
Thursday, September 22, 2011
REVENGE
ABC's new primetime soap opera. I hate to say it but we should put a couple of vampires in it to liven it up.
The plot is boring. The startling twists that are revealed by flashing back to the past are stale. Emily VanCamp is completely miscast. The characters are horrid so you could care less about what happens to them.
This series is going to sink like a lead balloon. Poor writing and poorer execution. Nobody stands out. I'd hate to see what the other ABC pilots looked like that didn't make the cut.
The plot is boring. The startling twists that are revealed by flashing back to the past are stale. Emily VanCamp is completely miscast. The characters are horrid so you could care less about what happens to them.
This series is going to sink like a lead balloon. Poor writing and poorer execution. Nobody stands out. I'd hate to see what the other ABC pilots looked like that didn't make the cut.
Wednesday, September 21, 2011
TWO BROKE GIRLS
Kat Dennings shines in this sitcom. Her comic timing is razor sharp. She's able to get laughs with practically every single line reading. Beth Behrs starts off slow but gains steam as the episode unfolds. She's able to play off Dennings perfectly.
The dialogue is above-average. The relationship between the two leads is believable. The biggest downfall of the show is all the supporting characters. Not one of them is funny including Garrett Morris. Hopefully, the show will be able to grow and move out of the diner in order to introduce a better support staff.
Show had a big opening due to having TWO AND A HALF MEN as its lead-in. Let's see how much of that audience they're able to hold onto.
The dialogue is above-average. The relationship between the two leads is believable. The biggest downfall of the show is all the supporting characters. Not one of them is funny including Garrett Morris. Hopefully, the show will be able to grow and move out of the diner in order to introduce a better support staff.
Show had a big opening due to having TWO AND A HALF MEN as its lead-in. Let's see how much of that audience they're able to hold onto.
THE PLAYBOY CLUB
If you're going to ripoff MAD MEN you'd better make a superior version of it in order to hold our interest. NBC's effort here falls well short.
Eddie Cibrian does a nice Sam Hamm impersonation. Amber Heard is miscast as the ingenue. Laura Benanti is a poor man's Christina Hendricks.
The whole subplot about the aging bunny becoming den mother is boring. The relationship between Eddie Cibrian and Amber Heard lacks chemistry. The plot about the dead mob boss is a waste.
The show is stillborn. Look for a quick cancellation here.
Eddie Cibrian does a nice Sam Hamm impersonation. Amber Heard is miscast as the ingenue. Laura Benanti is a poor man's Christina Hendricks.
The whole subplot about the aging bunny becoming den mother is boring. The relationship between Eddie Cibrian and Amber Heard lacks chemistry. The plot about the dead mob boss is a waste.
The show is stillborn. Look for a quick cancellation here.
RAMPART
Finished this script by James Ellroy and Oren Moverman.
Wasn't impressed with it. Yeah, it may show what it's really like to be a beat cop - it has the locations, it has the dialogue, it shows the grind - but is it entertaining? That's what's important? Would it make a great movie? The answer is no. TRAINING DAY had a compelling story with a villain that drove the plot through to its satisfying ending. In RAMPART, we don't have a comparable villain. This is why the plot sags and we start to lose interest one-third of the way through.
It's not enough to be authentic. You've got to floor us. You've got to mesmerize us. This script clearly doesn't. It's easy to see why real cops would applaud during this film. The problem is, the rest of us are going to sit there bored.
Wasn't impressed with it. Yeah, it may show what it's really like to be a beat cop - it has the locations, it has the dialogue, it shows the grind - but is it entertaining? That's what's important? Would it make a great movie? The answer is no. TRAINING DAY had a compelling story with a villain that drove the plot through to its satisfying ending. In RAMPART, we don't have a comparable villain. This is why the plot sags and we start to lose interest one-third of the way through.
It's not enough to be authentic. You've got to floor us. You've got to mesmerize us. This script clearly doesn't. It's easy to see why real cops would applaud during this film. The problem is, the rest of us are going to sit there bored.
Monday, September 19, 2011
PROTOTYPE
Finished this script by Grant Myers.
Story's DIE HARD with the lead wearing the exoskeleton suits from G.I. JOE. A wounded ex-soldier-turned-security guard with a limp is the last line of defense against an extreme unit that has taken control over a government-run, defense building that houses the military's next generation of weapons.
Might've been a good script. The germ of an idea is there. However, it's poorly executed by Myers. A definite pass on him as a writer. Pages are full of descriptive paragraphs. Tries to explain every single punch between the characters.
If you're going to write an action film, you need to have great character development to set your screenplay above a hack script. Myers has no character development whatsoever. It's just a videogame with a bunch of weapons to use.
The weapons are neat but without characters to truly care for, the script quickly turns tedious.
Page one rewrite is called for with a new writer.
Story's DIE HARD with the lead wearing the exoskeleton suits from G.I. JOE. A wounded ex-soldier-turned-security guard with a limp is the last line of defense against an extreme unit that has taken control over a government-run, defense building that houses the military's next generation of weapons.
Might've been a good script. The germ of an idea is there. However, it's poorly executed by Myers. A definite pass on him as a writer. Pages are full of descriptive paragraphs. Tries to explain every single punch between the characters.
If you're going to write an action film, you need to have great character development to set your screenplay above a hack script. Myers has no character development whatsoever. It's just a videogame with a bunch of weapons to use.
The weapons are neat but without characters to truly care for, the script quickly turns tedious.
Page one rewrite is called for with a new writer.
Sunday, September 18, 2011
RIZZOLI & ISLES
The subject matter warrants much more grittiness than cable tv will allow. That's a shame because the plot is strong enough to make a tension-wracked feature ala SEVEN. I love how the serial killer Hoyt escapes to track down Rizzoli.
Sasha Alexander has nice moments. She's one to watch out for. Angie Harmon does a good job but I still would have cast a different actress in this role. Bruce McGill is good as always as is Lorraine Bracco.
Too bad this is a procedural. It would be thrilling if the series could be one long extended case. Rizzoli could spend the entire season trying to put Hoyt away, growing more fearful as he gets closer and closer to her.
Sasha Alexander has nice moments. She's one to watch out for. Angie Harmon does a good job but I still would have cast a different actress in this role. Bruce McGill is good as always as is Lorraine Bracco.
Too bad this is a procedural. It would be thrilling if the series could be one long extended case. Rizzoli could spend the entire season trying to put Hoyt away, growing more fearful as he gets closer and closer to her.
WRECKED
Whenever I see "IFC Films," I have to steel myself during the viewing because they're usually boring and look bad.
WRECKED is a pleasant surprise. It's a testament to Adrian Brody's acting that you continue watching because for the first half hour of the movie, he's trapped inside a car and he's the only character on screen.
Director Michael Greenspan does a good job keeping you interested in the plot. I like the look of the movie which you have to credit to cinematographer James Liston. I would never have greenlit this script because I would have thought it would be visually boring. This film should get Liston more work.
In the end though, I have to pass on the film. The plot simply isn't strong enough. The danger doesn't escalate high enough. Good calling card film though for Greenspan. Looking forward to seeing what he makes next.
WRECKED is a pleasant surprise. It's a testament to Adrian Brody's acting that you continue watching because for the first half hour of the movie, he's trapped inside a car and he's the only character on screen.
Director Michael Greenspan does a good job keeping you interested in the plot. I like the look of the movie which you have to credit to cinematographer James Liston. I would never have greenlit this script because I would have thought it would be visually boring. This film should get Liston more work.
In the end though, I have to pass on the film. The plot simply isn't strong enough. The danger doesn't escalate high enough. Good calling card film though for Greenspan. Looking forward to seeing what he makes next.
Saturday, September 17, 2011
RINGER
The CW swings and misses on this series. The episode is flat right from the jump. Sarah Michelle Geller just can't seem to get it in gear. The plot flounders. We have a twin sister, a killer on the loose, an unplanned pregnancy, adultery, a murder in self-defense and a twisted, ingenious escape plan. With all that going on, the show still manages to be boring. Quite an accomplishment.
The problem is the lead and her contrived situation. Both Geller and the plotting hit one false note after another. Never once do we feel she's in imminent danger even though she's supposed to be. Never once do we think her ruse will unravel even though it should.
Can't see this series lasting an entire season.
The problem is the lead and her contrived situation. Both Geller and the plotting hit one false note after another. Never once do we feel she's in imminent danger even though she's supposed to be. Never once do we think her ruse will unravel even though it should.
Can't see this series lasting an entire season.
UP ALL NIGHT
The opening was funny. By muting out the cursing, the show hints at being irreverent and snarky. Christina Applegate and Will Arnett are certainly capable of bringing that across. However, as the episode unfolds, it quickly becomes dull and listless.
Here's a couple that are ill-equipped to be parents. I'm sure there are many times that every parent wishes they could strangle their child. It's a ripe situation to mine for comedy. However, that's where the episode fails. The comedy isn't strong enough. The plot segues into Maya Rudolph's character who seems to be in a different show altogether. That B plot doesn't support the A plot at all. Oddly enough, the B plot - a satrical look at an Oprah-type show - might actually be the better idea for a sitcom.
Hopefully, the series will find its footing as it unfolds. Right now, it's a mixed bag.
Here's a couple that are ill-equipped to be parents. I'm sure there are many times that every parent wishes they could strangle their child. It's a ripe situation to mine for comedy. However, that's where the episode fails. The comedy isn't strong enough. The plot segues into Maya Rudolph's character who seems to be in a different show altogether. That B plot doesn't support the A plot at all. Oddly enough, the B plot - a satrical look at an Oprah-type show - might actually be the better idea for a sitcom.
Hopefully, the series will find its footing as it unfolds. Right now, it's a mixed bag.
FREE AGENTS
Shouldn't a sitcome be funny? NBC has a total bomb on their hands with FREE AGENTS. There's no way Kathryn Hahn can carry a leading role. She's unappealing and kills the show off right from the start. Hank Azaria deserves so much better. How are we supposed to follow such a whiny character?
The premise itself dooms the show. Two lonely people get together for sex. Fine. But where are you going to take this series now? The sexual tension is gone. Of course they're going to try to forge a relationship but since they're not in love, once they come across any bump in the road, we're going to wonder why they're staying in it?
I'd hate to see what NBC passed on after viewing this.
The premise itself dooms the show. Two lonely people get together for sex. Fine. But where are you going to take this series now? The sexual tension is gone. Of course they're going to try to forge a relationship but since they're not in love, once they come across any bump in the road, we're going to wonder why they're staying in it?
I'd hate to see what NBC passed on after viewing this.
LEAVING PETE
Finished this script by Morgan Murphy and Ali Waller.
The duo can definitely write. The characters come alive and the dialogue is fast and smart. However, judging from recent romantic comedies - FRIENDS WITH BENEFITS, NO STRINGS ATTACHED - for a romcom to work, you have to turn the genre upsidedown - CRAZY, STUPID, LOVE.
Script's about Paul whose ex writes a book about their marriage detailing how awful he was. It's a female empowerment book called Leaving Pete which quickly becomes a bestseller. Everywhere Paul goes, he sees women reading the book and he soon becomes Public Enemy#1.
Paul rebounds though, meeting and quickly becoming smitten by a new woman. The only drawback though is she works for LEAVING PETE's publishing company. He fears if he reveals he's actually Pete from the book it'll ruin this newfound relationship.
The problem with the script is, it's not a big enough conflict to keep the two leads apart. That is key in a romcom. The plot isn't big enough to fill the big screen. The writers' talents are more suited to television.
The duo can definitely write. The characters come alive and the dialogue is fast and smart. However, judging from recent romantic comedies - FRIENDS WITH BENEFITS, NO STRINGS ATTACHED - for a romcom to work, you have to turn the genre upsidedown - CRAZY, STUPID, LOVE.
Script's about Paul whose ex writes a book about their marriage detailing how awful he was. It's a female empowerment book called Leaving Pete which quickly becomes a bestseller. Everywhere Paul goes, he sees women reading the book and he soon becomes Public Enemy#1.
Paul rebounds though, meeting and quickly becoming smitten by a new woman. The only drawback though is she works for LEAVING PETE's publishing company. He fears if he reveals he's actually Pete from the book it'll ruin this newfound relationship.
The problem with the script is, it's not a big enough conflict to keep the two leads apart. That is key in a romcom. The plot isn't big enough to fill the big screen. The writers' talents are more suited to television.
Thursday, September 15, 2011
WHITNEY
Whitney Cummings. What a year. Stars in one sitcom she created while another goes to series as well.
I liked the show and she's the reason. She's instantly likeable. That's what it's all about on tv. You're bringing these people into your home and she's someone we'd enjoy spending time with.
Good lines. And she was able to pull off the visual humor in the scene with her nurse's outfit as she walks to the bedroom.
Whitney simply gets it. She can make fun of life while at the same time embracing it.
A star has been born.
I liked the show and she's the reason. She's instantly likeable. That's what it's all about on tv. You're bringing these people into your home and she's someone we'd enjoy spending time with.
Good lines. And she was able to pull off the visual humor in the scene with her nurse's outfit as she walks to the bedroom.
Whitney simply gets it. She can make fun of life while at the same time embracing it.
A star has been born.
THE CHRONICLES OF RIDDICK: DEAD MAN STALKING
Finished this latest chapter of the Riddick saga by David Twohy.
The thing about Twohy's writing - he makes you absolutely believe that Riddick is capable of doing all the crazy shit he pulls off. He's a cunning animal with lethal strength and supreme intelligence. What a character.
Let's hope though that he's able to pull it off directorial-wise. The last chapter was terrible. Just because you can write doesn't mean you can direct.
Here, we've got a simple story. It's the same thing as the first act of the last film. Riddick is trapped on a planet with no escape. Bounty hunters land in hopes of capturing him. Riddick outsmarts them all and rides off in a ship.
Might be too simplistic for a film. Again, as with the other two installments, the story doesn't hold out much hope for finding a female audience. That was okay for the first film since it was a lower-budgeted movie. We'll see what happens with this third go-round.
The thing about Twohy's writing - he makes you absolutely believe that Riddick is capable of doing all the crazy shit he pulls off. He's a cunning animal with lethal strength and supreme intelligence. What a character.
Let's hope though that he's able to pull it off directorial-wise. The last chapter was terrible. Just because you can write doesn't mean you can direct.
Here, we've got a simple story. It's the same thing as the first act of the last film. Riddick is trapped on a planet with no escape. Bounty hunters land in hopes of capturing him. Riddick outsmarts them all and rides off in a ship.
Might be too simplistic for a film. Again, as with the other two installments, the story doesn't hold out much hope for finding a female audience. That was okay for the first film since it was a lower-budgeted movie. We'll see what happens with this third go-round.
Wednesday, September 14, 2011
EVERYTHING MUST GO
There could've been a great point here - how material possessions really possess you. Or how your stuff really isn't important. The important things are what you have inside. Or how once you free yourself of your possessions, you actually free yourself. Any number of themes could've been used.
I don't get what the film is saying here. Is it once Will Ferrell lets go of his wife, he somehow finds peace? That's a hard theme to pull off when we're never introduced to the wife nor see her at any point in the movie.
This is simply a boring film that meanders around, appearing on the verge of delivering a BIG message that ultimately never comes.
You keep waiting for something to happen....besides boredom.
Not worth watching.
I don't get what the film is saying here. Is it once Will Ferrell lets go of his wife, he somehow finds peace? That's a hard theme to pull off when we're never introduced to the wife nor see her at any point in the movie.
This is simply a boring film that meanders around, appearing on the verge of delivering a BIG message that ultimately never comes.
You keep waiting for something to happen....besides boredom.
Not worth watching.
Tuesday, September 13, 2011
THE IMITATION GAME
Finished this script by Graham Moore.
Wow. Amazing story about Alan Turing who cracked Germany's Enigma code in WWII. Turing was a homosexual and was later arrested for being one ultimately leading to his suicide.
If you get the right director and the right actor, this could be the next THE KING'S SPEECH. The story is that strong. Turing is a fascinating character. Complex yet so simplistic. No one could understand him yet he was so easily understood. His intelligence was on another plane. Who knows how many lives he saved by cracking the code?
Moore is a fantastic writer. Makes us understand Turing's complexities. Makes us root for him.
Unbelievable script. Should be made immediately.
Wow. Amazing story about Alan Turing who cracked Germany's Enigma code in WWII. Turing was a homosexual and was later arrested for being one ultimately leading to his suicide.
If you get the right director and the right actor, this could be the next THE KING'S SPEECH. The story is that strong. Turing is a fascinating character. Complex yet so simplistic. No one could understand him yet he was so easily understood. His intelligence was on another plane. Who knows how many lives he saved by cracking the code?
Moore is a fantastic writer. Makes us understand Turing's complexities. Makes us root for him.
Unbelievable script. Should be made immediately.
Monday, September 12, 2011
SIDNEY GRIMES
Finished this script by Brian Helgeland.
Story's about Sidney Grimes, an ex-cop who was set up and sent to prison for the last ten years. He gets out and immediately goes about exacting revenge.
Reminds me of Helgeland's PAYBACK and MAN ON FIRE. All three deal with men that can get things done - things no men should do.
The problem is, it's a story we've seen before. And the script doesn't bring anything new to the party. It's the kind of film that sadly has seen its day. Audiences have moved on. You'd have to set this film on another planet or maybe back in the past in order to make the plot appear new.
Outside of MYSTIC RIVER, Helgeland hasn't written anything interesting since CONSPIRACY THEORY. That script had interesting ideas (how the company used THE CATCHER IN THE RYE) and factual tidbits (assassins having three names) strewn throughout its plot. There's none of that to be found here.
Story's about Sidney Grimes, an ex-cop who was set up and sent to prison for the last ten years. He gets out and immediately goes about exacting revenge.
Reminds me of Helgeland's PAYBACK and MAN ON FIRE. All three deal with men that can get things done - things no men should do.
The problem is, it's a story we've seen before. And the script doesn't bring anything new to the party. It's the kind of film that sadly has seen its day. Audiences have moved on. You'd have to set this film on another planet or maybe back in the past in order to make the plot appear new.
Outside of MYSTIC RIVER, Helgeland hasn't written anything interesting since CONSPIRACY THEORY. That script had interesting ideas (how the company used THE CATCHER IN THE RYE) and factual tidbits (assassins having three names) strewn throughout its plot. There's none of that to be found here.
Sunday, September 11, 2011
X:MEN: FIRST CLASS
First hour was well-made. Seeing young Erik and Charles as they start to formulate their agendas was entertaining. The second hour was boring. None of the young X-Men stand out. None of Magneto's crew were worth watching.
It was a mistake not to have Charles accept Mystique in her natural form. That's not Xavier at all. They used it as a way to explain why she would join Magneto's side but the motivation rings false.
Sebastian Shaw's character was a total waste. Not compelling at all.
Was Matthew Vaughn the right choice as director? Was setting the story against the backdrop of the Cuba Missile Crisis the right decision? No on both questions. Vaughn was too caught up in the politics. The X-Men have always been about outsiders trying to fit in. Even with Beast and Mystique, that overriding theme was poorly explored.
The action was boring. Film's a misfire. Too bad Marvel cannot regain the rights to this title so they can make a proper X-Men film.
It was a mistake not to have Charles accept Mystique in her natural form. That's not Xavier at all. They used it as a way to explain why she would join Magneto's side but the motivation rings false.
Sebastian Shaw's character was a total waste. Not compelling at all.
Was Matthew Vaughn the right choice as director? Was setting the story against the backdrop of the Cuba Missile Crisis the right decision? No on both questions. Vaughn was too caught up in the politics. The X-Men have always been about outsiders trying to fit in. Even with Beast and Mystique, that overriding theme was poorly explored.
The action was boring. Film's a misfire. Too bad Marvel cannot regain the rights to this title so they can make a proper X-Men film.
COLLEGE REPUBLICANS
Finished this script by Wes Jones.
Story's about the rise of Karl Rove as he becomes Chairman of the College Republicans.
Well-written but would you make this movie? Politics is a hard sell. Plus, Hollywood being the Democractic town it is, having the Republicans being front and center makes it even a harder sell. It would be one thing if the script goes all-out in making fun of them but it doesn't. Sure, there's laughs to be found but they'd have to come across as straight buffoons for a big sale.
Wes Jones can write. There's no doubt about it. He easily brings his characters to life and his plot moves effortlessly. The end where Karl Rove meets young George W. is priceless.
Best bet in making this film: HBO.
Story's about the rise of Karl Rove as he becomes Chairman of the College Republicans.
Well-written but would you make this movie? Politics is a hard sell. Plus, Hollywood being the Democractic town it is, having the Republicans being front and center makes it even a harder sell. It would be one thing if the script goes all-out in making fun of them but it doesn't. Sure, there's laughs to be found but they'd have to come across as straight buffoons for a big sale.
Wes Jones can write. There's no doubt about it. He easily brings his characters to life and his plot moves effortlessly. The end where Karl Rove meets young George W. is priceless.
Best bet in making this film: HBO.
HANNA
Film has a strange rhythm to it. One that jars you out of the film. The editing, the music, the way the plot moves - all strange. I'm not sure about Joe Wright. I liked ATONEMENT but this and THE SOLOIST are terrible movies. Movies that call Wright's competence as a director into question.
He cannot shoot action. The scene where Eric Bana takes down five or six actors looks embarrassingly staged.
He cannot get powerful emotions across. I never felt the pain Hanna's feeling when she learns Bana is not her father and that her entire life is a lie.
If you had put this script into Luc Besson's hands, the film might have rocked. In Wright's hands, the film becomes a muddled mess.
He cannot shoot action. The scene where Eric Bana takes down five or six actors looks embarrassingly staged.
He cannot get powerful emotions across. I never felt the pain Hanna's feeling when she learns Bana is not her father and that her entire life is a lie.
If you had put this script into Luc Besson's hands, the film might have rocked. In Wright's hands, the film becomes a muddled mess.
Saturday, September 10, 2011
CONTAGION
For storytelling purposes, it's always hard when you don't have a villain personified. Films like that always seem a step slow and in worst cases, absolutely boring. So you have to give kudos to Soderbergh for making a film that moves forward. For making a thriller that really contains zero thrills. For creating a horror film without any bloody scenes.
It's a first-rate film. But is it enjoyable? Is it entertaining? I'd have to say no. It's detached filmmaking. It's a clinical film. It's a documentary. It's cold and cynical. It's almost as if Soderbergh doesn't care about a shared human experience - his film is more of an outsider's heartless point-of-view because that outsider feels the human experience has become heartless. The movie is remote and distant. The emotions needed to reach a wide-audience are nowhere to be found here.
Of course, a true artist doesn't care about that and Soderbergh is definitely an artist. At times, like this though, he seems to have trouble relating to his audience.
It's a first-rate film. But is it enjoyable? Is it entertaining? I'd have to say no. It's detached filmmaking. It's a clinical film. It's a documentary. It's cold and cynical. It's almost as if Soderbergh doesn't care about a shared human experience - his film is more of an outsider's heartless point-of-view because that outsider feels the human experience has become heartless. The movie is remote and distant. The emotions needed to reach a wide-audience are nowhere to be found here.
Of course, a true artist doesn't care about that and Soderbergh is definitely an artist. At times, like this though, he seems to have trouble relating to his audience.
Friday, September 9, 2011
HUMPDAY
Mumblecore?
Must equal boredom. C'mon, is this even a film? Do we care about any of the characters or their plight?
Film's about two friends who decide they can make a work of art by making a gay porn film. That's the plot.
It may have worked if the two guys were interesting but they're anything but. The film has nothing to say.
The only real laugh was when Mark Duplass is woken up in the middle of the night by his wife's yelling and he rushes into the kitchen wielding....a clothes-hanger.
Movie is a complete waste of time.
Must equal boredom. C'mon, is this even a film? Do we care about any of the characters or their plight?
Film's about two friends who decide they can make a work of art by making a gay porn film. That's the plot.
It may have worked if the two guys were interesting but they're anything but. The film has nothing to say.
The only real laugh was when Mark Duplass is woken up in the middle of the night by his wife's yelling and he rushes into the kitchen wielding....a clothes-hanger.
Movie is a complete waste of time.
Wednesday, September 7, 2011
ROCKABYE BABY
Finished this script by Christopher Baldi.
Story's about an aging rock star who becomes a nanny in order to prove to his pregnant model-girlfriend that he's ready to settle down and have kids.
Most family-film scripts are nauseating to me but this one was enjoyable. Baldi knows how to write, allowing his comedic skills shine through the pages. He's adept at both visual humor and one-liners. He's created a likeable lead that will carry the film. Put Johnny Depp in the role or Bradley Cooper and the film should be a hit.
Good moments between the lead and the kids. If there's one thing that's missing, it's heavy emotional scenes. He should somehow horrendously ruin their lives and then make amends.
A good read. A filmable script. That's rare these days.
Story's about an aging rock star who becomes a nanny in order to prove to his pregnant model-girlfriend that he's ready to settle down and have kids.
Most family-film scripts are nauseating to me but this one was enjoyable. Baldi knows how to write, allowing his comedic skills shine through the pages. He's adept at both visual humor and one-liners. He's created a likeable lead that will carry the film. Put Johnny Depp in the role or Bradley Cooper and the film should be a hit.
Good moments between the lead and the kids. If there's one thing that's missing, it's heavy emotional scenes. He should somehow horrendously ruin their lives and then make amends.
A good read. A filmable script. That's rare these days.
Tuesday, September 6, 2011
SHELTER
Finished this script by Karl Mueller.
Story's about a group of survivors locked away in a basement shelter after nuclear war. We learn that it's really not the attack that we have to survive, it's...each other.
Mueller can write. His characters jump off the page. The situation grows steadily worse as our survivors start to turn on one another.
My only problem I have with the script is the ending. A woman we've never seen comes out and saves our lead. Realistically, it might work. After all, we don't know what's going on topside. It's entirely plausible that there are people roaming about. However, it doesn't work dramatically. The lead has to save herself. There cannot be a deus ex machina here. It ruins everything that has transpired.
The script rocks. The pages flow. You feel trapped down there with them. Would I make this movie though? I seriously doubt it. While I love the writing, I don't see tremendous box office here. It's a depressing situation with non-existent ancilliary markets to plunder. Hard to turn a profit with this project.
Mueller's got talent. I'd get ahold of his agent and implore him/her to get Mueller to write something commercial now.
Story's about a group of survivors locked away in a basement shelter after nuclear war. We learn that it's really not the attack that we have to survive, it's...each other.
Mueller can write. His characters jump off the page. The situation grows steadily worse as our survivors start to turn on one another.
My only problem I have with the script is the ending. A woman we've never seen comes out and saves our lead. Realistically, it might work. After all, we don't know what's going on topside. It's entirely plausible that there are people roaming about. However, it doesn't work dramatically. The lead has to save herself. There cannot be a deus ex machina here. It ruins everything that has transpired.
The script rocks. The pages flow. You feel trapped down there with them. Would I make this movie though? I seriously doubt it. While I love the writing, I don't see tremendous box office here. It's a depressing situation with non-existent ancilliary markets to plunder. Hard to turn a profit with this project.
Mueller's got talent. I'd get ahold of his agent and implore him/her to get Mueller to write something commercial now.
Monday, September 5, 2011
I DO AGAIN
Finished this script by Jenna Milly & Ann Marie Allison.
Story's about a married couple that find out the husband accidentally never signed their marriage license, making their marriage invalid. They then go through trials and tribulations in trying to decide whether or not they want to get married for real.
For this script to work, the trials and tribulations have to be enormous. The bigger, the better. Here, all we get is the husband rekindling a romance with an ex and the wife's business partner telling her he's been secretly in love with her all this time.
Those complications are too run-of-the-mill to hold interest. This is the kind of script you can see where everything's going twenty pages before you read them.
It's got an interesting premise but the writers are unable to deliver the goods.
Pass on the writers. I'd give the concept to someone else and let them run with it.
Story's about a married couple that find out the husband accidentally never signed their marriage license, making their marriage invalid. They then go through trials and tribulations in trying to decide whether or not they want to get married for real.
For this script to work, the trials and tribulations have to be enormous. The bigger, the better. Here, all we get is the husband rekindling a romance with an ex and the wife's business partner telling her he's been secretly in love with her all this time.
Those complications are too run-of-the-mill to hold interest. This is the kind of script you can see where everything's going twenty pages before you read them.
It's got an interesting premise but the writers are unable to deliver the goods.
Pass on the writers. I'd give the concept to someone else and let them run with it.
REPLAY
Finished this script by Jason Smilovic.
Wow. Smilovic can write. The plot flies along. Story's about a man that gets to relive his life over and over and shows the different paths he takes by making different decisions.
Very interesting. A page-turner. Here's a great example of the plot always staying ahead of its reader. Whenever that happens, you've got a great script.
However, the question is, will it make a great movie? After THE TIME TRAVELER'S WIFE, it's hard to say. Sometimes, concepts like these work great on the page but end up unfilmable. This might be the case here.
REPLAY is better than the TIME TRAVELER'S WIFE though because it has a villain. That certainly helps but would it make a great movie? I have my doubts. The constant switching throughout time can grow old on screen.
You'd have to get this type of material into the hands of Fincher in order to make it work.
Wow. Smilovic can write. The plot flies along. Story's about a man that gets to relive his life over and over and shows the different paths he takes by making different decisions.
Very interesting. A page-turner. Here's a great example of the plot always staying ahead of its reader. Whenever that happens, you've got a great script.
However, the question is, will it make a great movie? After THE TIME TRAVELER'S WIFE, it's hard to say. Sometimes, concepts like these work great on the page but end up unfilmable. This might be the case here.
REPLAY is better than the TIME TRAVELER'S WIFE though because it has a villain. That certainly helps but would it make a great movie? I have my doubts. The constant switching throughout time can grow old on screen.
You'd have to get this type of material into the hands of Fincher in order to make it work.
MARLEY & ME: THE PUPPY YEARS
Marley can talk now. And they've brought in other talking dogs. So, they've taken a film that appealed to all ages and made a sequel that will just appeal to children.
This film is terrible. Sight gags and jokes that don't end in laughs. Bad acting all around except for Donnelly Rhoads as the grandfather.
How many times were they're going to show Marley jumping into a pool as a highlight?
Making another Marley movie was a good idea. There's so many places you could go with a sequel. It was also brilliant to make Marley a puppy. However, the execution is lacking. Once they decided to make Marley talk, the concept was dead.
This film is terrible. Sight gags and jokes that don't end in laughs. Bad acting all around except for Donnelly Rhoads as the grandfather.
How many times were they're going to show Marley jumping into a pool as a highlight?
Making another Marley movie was a good idea. There's so many places you could go with a sequel. It was also brilliant to make Marley a puppy. However, the execution is lacking. Once they decided to make Marley talk, the concept was dead.
THE LAST GODFATHER
Shim Hyung-rae may be a big deal in Korea but here he's a comedian whose sense of slapstick went out of style fifty years ago. His jokes fall flat, his timing seems off, his scenes are sometimes painful to watch.
Getting hit on the head with a baseball bat, stinky feet and trying on women's underpants may make five year olds laugh but that's about it.
Harvey Keitel deserves much better than this and Michael Rispoli does a good job. You wish they'd put these two together in a different film.
Film's a total waste of time.
Getting hit on the head with a baseball bat, stinky feet and trying on women's underpants may make five year olds laugh but that's about it.
Harvey Keitel deserves much better than this and Michael Rispoli does a good job. You wish they'd put these two together in a different film.
Film's a total waste of time.
Sunday, September 4, 2011
SEVEN MINUTES
Finished this script by Jay Martin.
Story's about three guys who turn to a life of crime and attempt a robbery that goes awry with fatal consequences.
Jay Martin can write. There's no doubt about that. His format is smooth, his pages are fast. Script's an extremely easy read.
Unfortunately, if you take away his cutting backwards and forwards in time technique, there's really not much to this story.
Sam was a great high-school quarterback with everything going for him. A couple of years have passed though and we learn that he suffered a career ending injury. So he turns to a life of crime.
Are we supposed to root for him now? He tries to elevate from a low-level drug dealer to armed robbery. I guess it's supposed to be okay since his intended target is a crook but his brother dies in the attempt. Thus, it feels kind of hollow when Sam escapes to Paris with his high-school sweetheart, giving the script a happy ending it hasn't earned.
Sam is not heroic. He had other options. He chose to become a dealer. That decision should not be rewarded. Neither should this script. Jay Martin though is a writer to lookout for. Let's see if he can come up with a better tale next time around.
Story's about three guys who turn to a life of crime and attempt a robbery that goes awry with fatal consequences.
Jay Martin can write. There's no doubt about that. His format is smooth, his pages are fast. Script's an extremely easy read.
Unfortunately, if you take away his cutting backwards and forwards in time technique, there's really not much to this story.
Sam was a great high-school quarterback with everything going for him. A couple of years have passed though and we learn that he suffered a career ending injury. So he turns to a life of crime.
Are we supposed to root for him now? He tries to elevate from a low-level drug dealer to armed robbery. I guess it's supposed to be okay since his intended target is a crook but his brother dies in the attempt. Thus, it feels kind of hollow when Sam escapes to Paris with his high-school sweetheart, giving the script a happy ending it hasn't earned.
Sam is not heroic. He had other options. He chose to become a dealer. That decision should not be rewarded. Neither should this script. Jay Martin though is a writer to lookout for. Let's see if he can come up with a better tale next time around.
Friday, September 2, 2011
HENRY'S CRIME
A crime caper, whether played for drama or laughs, should never be slow-moving. It doesn't help with Keanu Reeves in the lead. He acts as if he's just woken up from a nap throughout the movie.
James Caan does a nice job and tries to bring some life into the film but is unable since the majority of the movie is talking heads.
Vera Farmiga is wasted here. There's no chemistry whatsoever between her and Keanu.
Again, hard to believe a film like this could get made. You needed some kind of dramatic moment to happen. Maybe a scene where Caan feels he should've stayed in jail. Or maybe somebody stumbling upon the tunnel. Some sense of turmoil. Because without any dramatic tension to be found anywhere, the film dies a quick death.
James Caan does a nice job and tries to bring some life into the film but is unable since the majority of the movie is talking heads.
Vera Farmiga is wasted here. There's no chemistry whatsoever between her and Keanu.
Again, hard to believe a film like this could get made. You needed some kind of dramatic moment to happen. Maybe a scene where Caan feels he should've stayed in jail. Or maybe somebody stumbling upon the tunnel. Some sense of turmoil. Because without any dramatic tension to be found anywhere, the film dies a quick death.
Thursday, September 1, 2011
THE WARD
What the heck happened to John Carpenter? Hard to believe that the man who brought us HALLOWEEN, THE FOG, ESCAPE FROM NEW YORK and THE THING also brought us PRINCE OF DARKNESS, VAMPIRES and ESCAPE FROM LA. THE WARD clearly falls in the latter category.
It would've been boring back in the 70's but if you compare it to films like THE RING or SAW, it looks amateurish. It's clear Carpenter lost it a long time ago and will never get it back.
Compare this script to Brian DePalma's RAISING CAIN. One has fun with the plot of split personalities while the other is dreary, leaden and stale.
Film's not worth watching. Carpenter should call it a day. Film has past him by. This film is embarrassingly bad.
It would've been boring back in the 70's but if you compare it to films like THE RING or SAW, it looks amateurish. It's clear Carpenter lost it a long time ago and will never get it back.
Compare this script to Brian DePalma's RAISING CAIN. One has fun with the plot of split personalities while the other is dreary, leaden and stale.
Film's not worth watching. Carpenter should call it a day. Film has past him by. This film is embarrassingly bad.
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