Caught the Disney film.
Give credit to the casting director. The actors were perfect in their roles. Aimee Teegarden, Thomas McDonell, Danielle Campbell - they all have promising futures ahead of them.
I realize this is a Disney film but the movie would've been better if it had an edge. It's crying for a scene in which a female character breaks down badly after having her heart torn out.
The project would work better as a tv series. 22 episodes that lead up to a prom. And then the next season, you bring in a new cast. This way, you can delve deeper into the angst and confusion and cockiness of being a teenager. You can get into the self-esteem issues, teen pregnancy, drugs, etc.
Monday, October 31, 2011
Sunday, October 30, 2011
J. EDGAR
Finished the script by Dustin Lance Black.
The script drifted. It didn't have a point of view or a point it was trying to make. J. Edgar was a conflicted man in the script and his closet homosexuality could have lead to his way of zealously persecuting others. He was also vain and hogged as much glory as he could.
So? What does that have to do with us now? The script needs to somehow tie things into the state of our union today so that the story becomes relevant. Instead, it goes about recreating J. Edgar's life which I doubt the 18-24 year-old movie-going crowd is going to have much interest in.
The script needs to dig much deeper into Hoover and Toulsen's relationship. This could tie in nicely with the fight over gay-marriages that's ongoing now. I'm afraid Black missed the boat on this one.
I predict the film will bomb at the box office.
The script drifted. It didn't have a point of view or a point it was trying to make. J. Edgar was a conflicted man in the script and his closet homosexuality could have lead to his way of zealously persecuting others. He was also vain and hogged as much glory as he could.
So? What does that have to do with us now? The script needs to somehow tie things into the state of our union today so that the story becomes relevant. Instead, it goes about recreating J. Edgar's life which I doubt the 18-24 year-old movie-going crowd is going to have much interest in.
The script needs to dig much deeper into Hoover and Toulsen's relationship. This could tie in nicely with the fight over gay-marriages that's ongoing now. I'm afraid Black missed the boat on this one.
I predict the film will bomb at the box office.
Saturday, October 29, 2011
GRIMM
Caught the pilot for the new NBC series.
The first five minutes was better than anything in ABC's ONCE UPON A TIME. Much grittier. Much more realistic which is what you need when you're dealing with fables.
Unfortunately, the rest of the episode doesn't live up to its opening. A straight-forward hunt for a werewolf/monster abducting little girls who wear red riding hoodies. When you're dealing with fairy tales, you cannot make a standard procedural. It has to go the way of TRUE BLOOD. The mystery must deepen each week to sustain our interest.
David Giuntoli isn't lead material. You need someone that's going to bring more heft to the role.
When the cancer-stricken aunt starts fighting a scythe-weidling demon out on the sidewalk, the show pretty died for me. Instead of scary, the scene looked comical. I expected the Wayan Brothers to pop up.
This show is DOA.
The first five minutes was better than anything in ABC's ONCE UPON A TIME. Much grittier. Much more realistic which is what you need when you're dealing with fables.
Unfortunately, the rest of the episode doesn't live up to its opening. A straight-forward hunt for a werewolf/monster abducting little girls who wear red riding hoodies. When you're dealing with fairy tales, you cannot make a standard procedural. It has to go the way of TRUE BLOOD. The mystery must deepen each week to sustain our interest.
David Giuntoli isn't lead material. You need someone that's going to bring more heft to the role.
When the cancer-stricken aunt starts fighting a scythe-weidling demon out on the sidewalk, the show pretty died for me. Instead of scary, the scene looked comical. I expected the Wayan Brothers to pop up.
This show is DOA.
Friday, October 28, 2011
AIR
Finished this script by Christian Cantamessa & Chris Pasetto.
I give it an A for originality. The world has undergone complete devastation. The survivors have been forced underground where they sleep in tanks, waiting for the atmosphere to become inhabitable.
There are two maintenance workers - Bauer and Cartwright - in charge of making sure the tanks are working properly. They are awaken periodically and perform routine maintenance before getting back into their tanks to sleep.
The situation turns deadly though when they can no longer trust each other. One of the tanks is damaged, meaning only one of them is going to survive. It quickly becomes a battle to the death.
I like the idea. I don't like the execution. There's not enough here to sustain a movie on the big screen. Also, I was expecting a big revelation regarding the survivors or the condition of earth's atmosphere.
The writers describe too much. Again, blocks of descriptions are the fastest way to ruin your script.
There's just not enough plot here. It's got a claustrophobic feel which can grow old fast upon the big screen. Plus, who are we rooting for? Without a clear-cut hero, it's hard for the audience to remain interested.
Needs another draft.
I give it an A for originality. The world has undergone complete devastation. The survivors have been forced underground where they sleep in tanks, waiting for the atmosphere to become inhabitable.
There are two maintenance workers - Bauer and Cartwright - in charge of making sure the tanks are working properly. They are awaken periodically and perform routine maintenance before getting back into their tanks to sleep.
The situation turns deadly though when they can no longer trust each other. One of the tanks is damaged, meaning only one of them is going to survive. It quickly becomes a battle to the death.
I like the idea. I don't like the execution. There's not enough here to sustain a movie on the big screen. Also, I was expecting a big revelation regarding the survivors or the condition of earth's atmosphere.
The writers describe too much. Again, blocks of descriptions are the fastest way to ruin your script.
There's just not enough plot here. It's got a claustrophobic feel which can grow old fast upon the big screen. Plus, who are we rooting for? Without a clear-cut hero, it's hard for the audience to remain interested.
Needs another draft.
Thursday, October 27, 2011
THE GOOD WIFE - Season 3.2. - THE DEATH ZONE
Something's off this season. The drama isn't as heightened as the past two seasons. Maybe it's because Alicia isn't torn any longer over what to do about her husband.
The cases aren't interesting. The partners aren't worried about their firm going under. Kalinda's conflict with Scott Porter is gone. Without any of this, the series is actually boring this season.
There's no dramatic bang to be found.
This episode's about a libel suit against an author of a book that detailed a treacherous climb up a mountain. Big whoop. And the legal twist here is that the firm has to try the case twice. Once under U.S. rules and then again under British rules since the book was sold in England. That's a case that doesn't grab me at all.
It's a shame. The first two seasons were about as good as you can get on network tv. The spark is gone from the series.
The cases aren't interesting. The partners aren't worried about their firm going under. Kalinda's conflict with Scott Porter is gone. Without any of this, the series is actually boring this season.
There's no dramatic bang to be found.
This episode's about a libel suit against an author of a book that detailed a treacherous climb up a mountain. Big whoop. And the legal twist here is that the firm has to try the case twice. Once under U.S. rules and then again under British rules since the book was sold in England. That's a case that doesn't grab me at all.
It's a shame. The first two seasons were about as good as you can get on network tv. The spark is gone from the series.
SET UP
Caught this awful film starring 50 Cent. He's simply not an actor. At least not a leading man. What the heck is Bruce Willis doing in this?
The script is third-rate. A story we've seen before. The direction is terrible. There's no chemistry between any of the actors. The action is tepid.
Story's about friends pulling off a diamond heist job. No sooner than the job's successfully completed does Ryan Phillippe turn on 50 Cent and shoot him. You would think he'd want to make sure 50 is dead before leaving.
50's a tough guy though and he's not going to let a little thing like getting shot point blank in the chest faze him. He's going to get his revenge. The gunshot wound never bothers him in the slightest for the rest of the movie.
The biggest problem is, we never get a sense of how close 50 and Ryan are supposed to be so we're not shocked when the set up occurs.
Terrible film. Not worth watching at all.
The script is third-rate. A story we've seen before. The direction is terrible. There's no chemistry between any of the actors. The action is tepid.
Story's about friends pulling off a diamond heist job. No sooner than the job's successfully completed does Ryan Phillippe turn on 50 Cent and shoot him. You would think he'd want to make sure 50 is dead before leaving.
50's a tough guy though and he's not going to let a little thing like getting shot point blank in the chest faze him. He's going to get his revenge. The gunshot wound never bothers him in the slightest for the rest of the movie.
The biggest problem is, we never get a sense of how close 50 and Ryan are supposed to be so we're not shocked when the set up occurs.
Terrible film. Not worth watching at all.
RED STATE
Film's not that good but it's worth seeing Michael Park's performance. He holds the film together. John Goodman is always good in anything he does.
Kevin Smith rambles too much as a screenwriter. It may work on the page but definitely does not work on the screen. The sermon scene goes on far too long. We get the fact that this church is going to kill the boys. I understand you want to build the tension and the horror but once we understand what's happening, it becomes overkill.
The Waco-shootout was nicely handled. Smith gets across how conflicted the FBI agents are.
The whole thing about Gabriel blowing his horn is poorly handled. The explanation is given via a long dialogue by Goodman's character at the end. See my rambling comment above.
I can see why Smith had such a hard time finding a distributor for the film. However, it's much better than a lot of dreck that manages to get a DVD release.
At least Smith had something to say.
Kevin Smith rambles too much as a screenwriter. It may work on the page but definitely does not work on the screen. The sermon scene goes on far too long. We get the fact that this church is going to kill the boys. I understand you want to build the tension and the horror but once we understand what's happening, it becomes overkill.
The Waco-shootout was nicely handled. Smith gets across how conflicted the FBI agents are.
The whole thing about Gabriel blowing his horn is poorly handled. The explanation is given via a long dialogue by Goodman's character at the end. See my rambling comment above.
I can see why Smith had such a hard time finding a distributor for the film. However, it's much better than a lot of dreck that manages to get a DVD release.
At least Smith had something to say.
Wednesday, October 26, 2011
TWEAKED
Finished this teleplay by Jon Favreau.
This just goes to show, you direct a huge blockbuster, you can write your own ticket.
There is nothing about this pilot that warrants a greenlight. There isn't even anything in this script that warrants development.
Story's about a single mother dealing who meets a single guy while dropping off her son at school. Turns out the guy is a chef and his restaurant is the hottest spot in town.
That's the whole plot. Talk about thread-bare. This is a series??? This is an article in Cosmopolitan. This is ridiculous. CBS clearly wants to be in the Jon Favreau business. This project though is half-baked. Unless Iron Man is going to show up in the second episode, I'd get out now.
This just goes to show, you direct a huge blockbuster, you can write your own ticket.
There is nothing about this pilot that warrants a greenlight. There isn't even anything in this script that warrants development.
Story's about a single mother dealing who meets a single guy while dropping off her son at school. Turns out the guy is a chef and his restaurant is the hottest spot in town.
That's the whole plot. Talk about thread-bare. This is a series??? This is an article in Cosmopolitan. This is ridiculous. CBS clearly wants to be in the Jon Favreau business. This project though is half-baked. Unless Iron Man is going to show up in the second episode, I'd get out now.
TERRA NOVA - Season 1.2 - INSTINCT
The writing is clunky. You're in prehistoric times. The episodes should reflect this. We should see the beauty as well as the danger of this situation. Use the past as the arena and bring it to life. Instead, we could be in Hawaii in present day dealing with a swarm of bats as far as this episode in concerned. There's nothing about the past that causes a unique danger.
The problem is, the colony is too high-tech. There isn't any hardship to be found. So this dangerous condition stops being dangerous. Instead, we should have a problem finding medical supplies. We should have a problem finding a food source. Maybe an unforseen virus hits the camp. Maybe weather conditions couldn't be predicted and are treacherous and dire. Maybe the heat causes their equipment to fail. You have to use the past to bring about conflict.
Instead, we're given a former flame of the wife's is responsible for getting her transported here. That's the big conflict. That's childish. The conflict has got to be upgraded in a hurry. As it stands, this series is in danger of becoming extinct.
The problem is, the colony is too high-tech. There isn't any hardship to be found. So this dangerous condition stops being dangerous. Instead, we should have a problem finding medical supplies. We should have a problem finding a food source. Maybe an unforseen virus hits the camp. Maybe weather conditions couldn't be predicted and are treacherous and dire. Maybe the heat causes their equipment to fail. You have to use the past to bring about conflict.
Instead, we're given a former flame of the wife's is responsible for getting her transported here. That's the big conflict. That's childish. The conflict has got to be upgraded in a hurry. As it stands, this series is in danger of becoming extinct.
FRINGE - Season 4.4 - SUBJECT 9
Peter has finally resurfaced. It took FRINGE four episodes to bring him back. It would be riveting except for the fact that it's been a foregone conclusion. Which makes this subplot rather annoying. It also makes this particular episode a complete waste of time.
Subject 9 didn't have anything to do with the plot at all. All it did was point out another child damaged by the Cortexiphan trials. This could however lead to something. You can gather up the patients which could then become the movie PUSH. In this episode though, the patient doesn't do a thing to further the plot and that's the problem. Nothing happens.
FRINGE is boring its audience. The series has jumped the rails and is floundering along. A whole new writing staff is needed to take the show in a different direction.
Subject 9 didn't have anything to do with the plot at all. All it did was point out another child damaged by the Cortexiphan trials. This could however lead to something. You can gather up the patients which could then become the movie PUSH. In this episode though, the patient doesn't do a thing to further the plot and that's the problem. Nothing happens.
FRINGE is boring its audience. The series has jumped the rails and is floundering along. A whole new writing staff is needed to take the show in a different direction.
Tuesday, October 25, 2011
HELL ON WHEELS
Read the pilot for the new AMC series.
Story's set in the Old West and focuses on the building on the transcontinental railroad. We're introduced to the businessmen, the engineers, the Indians, and a mysterious figure that's hellbent on revenge.
I wouldn't have given this the greenlight. We've seen it before. It's terrain has been covered to death. It's a straight drama. They would've been better served to put a spin upon it by adding an unconventional element. Maybe a higher intelligence or a supernatural presence. Something that would shake up the genre.
Even doing a series like the old WILD, WILD WEST would be more interesting than this.
AMC usually doesn't miss. This series though will not match up to MAD MEN, BREAKING BAD or THE WALKING DEAD.
The way it's written,
Story's set in the Old West and focuses on the building on the transcontinental railroad. We're introduced to the businessmen, the engineers, the Indians, and a mysterious figure that's hellbent on revenge.
I wouldn't have given this the greenlight. We've seen it before. It's terrain has been covered to death. It's a straight drama. They would've been better served to put a spin upon it by adding an unconventional element. Maybe a higher intelligence or a supernatural presence. Something that would shake up the genre.
Even doing a series like the old WILD, WILD WEST would be more interesting than this.
AMC usually doesn't miss. This series though will not match up to MAD MEN, BREAKING BAD or THE WALKING DEAD.
The way it's written,
ONCE UPON A TIME
Caught the pilot for this new ABC series.
Read much better on the page. The fantasy elements stain credibility too much for this show to be a hit. Plus, where are you going to go with this story? Can you really draw this thing out for years? Wouldn't Emma at some point have to show some progress in restoring the cartoon characters?
The casting is excellent though. Lana Parilla gets high marks as the Evil Queen and Jennifer Morrison does a fine job as Emma. Robert Carlyle is great in everything he does.
The special effects were shoddy which further pulls you out of the reality the show is trying to establish. The black smoke taking over Storybrooke was particularly bad.
I look for an unhappy ending for this show's future.
Read much better on the page. The fantasy elements stain credibility too much for this show to be a hit. Plus, where are you going to go with this story? Can you really draw this thing out for years? Wouldn't Emma at some point have to show some progress in restoring the cartoon characters?
The casting is excellent though. Lana Parilla gets high marks as the Evil Queen and Jennifer Morrison does a fine job as Emma. Robert Carlyle is great in everything he does.
The special effects were shoddy which further pulls you out of the reality the show is trying to establish. The black smoke taking over Storybrooke was particularly bad.
I look for an unhappy ending for this show's future.
Monday, October 24, 2011
THE WALKING DEAD - Season 2.1
The show kicks ass.
It's got such humanistic moments in between the gore. The emotions and conflicts run deep here as well any well-written series should. I love the scene where Laurie Holden explains that her choice isn't so much suicide but rather simply ending this living nightmare she has to endure.
I also feel for Jon Bernthal's character as well. He thought Rick was dead. He's fallen in love with Rick's wife. Now that Rick's back, you can tell it's tearing up his soul to see the two of them together. He's lost everything. Now that's great conflict.
I've got one complaint with this episode though. In the beginning, you've got the old man standing ontop the camper as a lookout on the highway. How in hell did he not see the herd of zombies approaching? He should've spotted them a mile away.
The show is mesmerizing. I've got to continue watching to see who shot the kid.
It's got such humanistic moments in between the gore. The emotions and conflicts run deep here as well any well-written series should. I love the scene where Laurie Holden explains that her choice isn't so much suicide but rather simply ending this living nightmare she has to endure.
I also feel for Jon Bernthal's character as well. He thought Rick was dead. He's fallen in love with Rick's wife. Now that Rick's back, you can tell it's tearing up his soul to see the two of them together. He's lost everything. Now that's great conflict.
I've got one complaint with this episode though. In the beginning, you've got the old man standing ontop the camper as a lookout on the highway. How in hell did he not see the herd of zombies approaching? He should've spotted them a mile away.
The show is mesmerizing. I've got to continue watching to see who shot the kid.
ROYAL PAINS - Season 3
The show went into a coma during Season 3. The plots were slow and boring.
The subplot about their grandfather was a waste. That could've been grounds for a lot of conflict and drama but just as they wasted Henry Winkler last season, they waste Ed Asner this season.
The whole thing about Campbell Scott's illness was lukewarm at best. And then once they realize he's been poisoned, he wasn't to be seen from again.
The subplot about Divya going into debt was uninvolving. Sure, her taking on extra shifts in the hospital causing fatigue plays into the ending in which she's given Wilmer Valderrama the wrong medicine but do we really care about Wilmer's character. I don't see how his character is even part of the series.
The part about Evan's girlfriend keeping this big secret from him falls flat when we realize she's hiding the fact that her mother suffers from depression. Big deal. Why would she hide that fact?
With such mundane subplots, the series limped along. They need much better storylines in Season 4 or else the series in danger of going into cardiac arrest.
The subplot about their grandfather was a waste. That could've been grounds for a lot of conflict and drama but just as they wasted Henry Winkler last season, they waste Ed Asner this season.
The whole thing about Campbell Scott's illness was lukewarm at best. And then once they realize he's been poisoned, he wasn't to be seen from again.
The subplot about Divya going into debt was uninvolving. Sure, her taking on extra shifts in the hospital causing fatigue plays into the ending in which she's given Wilmer Valderrama the wrong medicine but do we really care about Wilmer's character. I don't see how his character is even part of the series.
The part about Evan's girlfriend keeping this big secret from him falls flat when we realize she's hiding the fact that her mother suffers from depression. Big deal. Why would she hide that fact?
With such mundane subplots, the series limped along. They need much better storylines in Season 4 or else the series in danger of going into cardiac arrest.
THE GOOD WIFE - Season 3.1
Caught Season Three's Premiere.
Found this episode uninspired. The dramatic conflict was low-keyed. The case wasn't really grabbing. The sexual tension was nil.
It was a good opportunity for a ratings grab and a chance to build upon their base after coming off the Emmys. Sadly, the opportunity was missed.
The series is highly entertaining. Unfortunately, this episode wasn't up to standard. You would think they'd want to start the season off with a bang instead of this whimper.
Found this episode uninspired. The dramatic conflict was low-keyed. The case wasn't really grabbing. The sexual tension was nil.
It was a good opportunity for a ratings grab and a chance to build upon their base after coming off the Emmys. Sadly, the opportunity was missed.
The series is highly entertaining. Unfortunately, this episode wasn't up to standard. You would think they'd want to start the season off with a bang instead of this whimper.
Sunday, October 23, 2011
DAMAGES - Season 3
Season three is a letdown. It's lacking a strong villain. The plot was just a bunch of hooey. The big revelations at the end were a yawner.
Nice jobs by Martin Short and Lily Tomlin. Short showed great range in his role as the family attorney and confidant.
Glenn Close wasn't front and center this season and the show suffered because of it. She didn't have much to do with the plot this time around. That cannot happen. She's the whirlwind, she's the storm.
The Frobisher subplot went nowhere.
The whole thing about Patty Hewes causing her own miscarriage isn't shocking.
The subplot about Rose Byrne maybe being adopted was distracting.
It's clear the creators ran out of material and forced things this season. The build the episodes up as containing huge drama when in reality, they were just a bunch of fluff.
Nice jobs by Martin Short and Lily Tomlin. Short showed great range in his role as the family attorney and confidant.
Glenn Close wasn't front and center this season and the show suffered because of it. She didn't have much to do with the plot this time around. That cannot happen. She's the whirlwind, she's the storm.
The Frobisher subplot went nowhere.
The whole thing about Patty Hewes causing her own miscarriage isn't shocking.
The subplot about Rose Byrne maybe being adopted was distracting.
It's clear the creators ran out of material and forced things this season. The build the episodes up as containing huge drama when in reality, they were just a bunch of fluff.
THE MANZANIS
Finished this teleplay by Dave Flebotte and Marco Pennette.
Story of an Italian family from Brooklyn moving to the suburbs.
The Manzani family shows a lot of heart and that's key. We like them right off the bat. The conflict between them and their extremely white surroundings is funny. After awhile though, that'll play itself out and then where will you go with the series?
The writers know how to deliver a laugh. Can they deliver enough plot though to sustain this? The script is funny enough to let them try however a series commitment is out of the question at the moment.
Story of an Italian family from Brooklyn moving to the suburbs.
The Manzani family shows a lot of heart and that's key. We like them right off the bat. The conflict between them and their extremely white surroundings is funny. After awhile though, that'll play itself out and then where will you go with the series?
The writers know how to deliver a laugh. Can they deliver enough plot though to sustain this? The script is funny enough to let them try however a series commitment is out of the question at the moment.
PAGING DR. FREED
Finished this teleplay by Michael Feldman.
Story's about two brothers that take over their father's gynecology business. It reminds me of CURB YOUR ENTHUSIAM with their mother taking on the Larry David role.
They catch their father screwing the office manager. The father promptly drops dead of a massive heart attack. The mother then decides to live with the brothers which we know will provide the major sitcom conflicts that will fuel the series.
The teleplay's enough to make me want to see more however it's not strong enough yet to make greenlight it.
Story's about two brothers that take over their father's gynecology business. It reminds me of CURB YOUR ENTHUSIAM with their mother taking on the Larry David role.
They catch their father screwing the office manager. The father promptly drops dead of a massive heart attack. The mother then decides to live with the brothers which we know will provide the major sitcom conflicts that will fuel the series.
The teleplay's enough to make me want to see more however it's not strong enough yet to make greenlight it.
GONE
Finished this script by Bryan Hill.
Story's about a black ops-trained guy who specializes in extraction missions. His wife gets abducted by aliens and he sets out to bring her back home.
This script is ridiculous. It never explains what the aliens are doing. They're completely secondary to the plot.
Turns out our government is secretly working with the aliens, allowing the abductions and even choosing who gets abducted. Why? Because the government fears that the aliens might abduct someone important so in order to prevent this from happening the government tells the aliens who to take.
This just might be the worst idea I've heard all year.
Story's about a black ops-trained guy who specializes in extraction missions. His wife gets abducted by aliens and he sets out to bring her back home.
This script is ridiculous. It never explains what the aliens are doing. They're completely secondary to the plot.
Turns out our government is secretly working with the aliens, allowing the abductions and even choosing who gets abducted. Why? Because the government fears that the aliens might abduct someone important so in order to prevent this from happening the government tells the aliens who to take.
This just might be the worst idea I've heard all year.
Friday, October 21, 2011
FAUST
Finished this script by Cory Byam.
This is a great example of a visual script. I may not like the story that much but I cannot deny the visuals are impressive. The action sequences and strong visuals are enough for me to put this into development.
Story's about Faust who's a bounty hunter for the souls of people that have made deals with the devil. A war is brewing between good and evil and Faust finds himself at the heart of it.
The plot needs a rewrite. It reminds me of CONSTANTINE but has a much bigger, comic-book feel to it. Faust needs to be better defined as a character. He needs to be fleshed out more. The whole thing about the demons roaming about needs to be clearer. Also, we see the guardians watching but they are not allowed to interfere. Why are they there then? What purpose do they serve?
Still, if you get this into the hands of a director like Francis Lawrence or Zack Snyder you could be sitting on a monster hit.
This is a great example of a visual script. I may not like the story that much but I cannot deny the visuals are impressive. The action sequences and strong visuals are enough for me to put this into development.
Story's about Faust who's a bounty hunter for the souls of people that have made deals with the devil. A war is brewing between good and evil and Faust finds himself at the heart of it.
The plot needs a rewrite. It reminds me of CONSTANTINE but has a much bigger, comic-book feel to it. Faust needs to be better defined as a character. He needs to be fleshed out more. The whole thing about the demons roaming about needs to be clearer. Also, we see the guardians watching but they are not allowed to interfere. Why are they there then? What purpose do they serve?
Still, if you get this into the hands of a director like Francis Lawrence or Zack Snyder you could be sitting on a monster hit.
ONCE UPON A TIME
Finished this teleplay from Edward Kitsis and Adam Horowitz.
It has a first act that grabs you. Prince Charming and Snow White are having a child. The Witch arrives placing a curse upon the land of Storybrooke. No one remembers who they are.
Their child though is sent off into our world as a last hope for survival. It's been foretold that she will come back in time and save Storybrooke.
The teleplay is good. It works well on the page. However, I wouldn't have put this in production. It's too kiddish to make a splash as a television series. Their best bet would've been to flesh it out as a feature.
We'll see how well the premiere does. I predict it won't find an audience. Too grown up for kids. Too juvenile for adults.
It has a first act that grabs you. Prince Charming and Snow White are having a child. The Witch arrives placing a curse upon the land of Storybrooke. No one remembers who they are.
Their child though is sent off into our world as a last hope for survival. It's been foretold that she will come back in time and save Storybrooke.
The teleplay is good. It works well on the page. However, I wouldn't have put this in production. It's too kiddish to make a splash as a television series. Their best bet would've been to flesh it out as a feature.
We'll see how well the premiere does. I predict it won't find an audience. Too grown up for kids. Too juvenile for adults.
Thursday, October 20, 2011
AMERICAN HORROR STORY - Season 1.2
Kinda boring.
The problem is, the show simply isn't horrific. The scares are nowhere to be found.
I love the idea about the family falling apart at the seams. It makes it easier for the horror to find its way inside and grow. However, this horror is strictly bad haunted house material. To make it truly horrifying, Ryan Murphy needs to make it more identifiable. This should be able to happen to every family. What's going on here though is so far removed from reality that it's hard for us to believe this could happen to any family.
The plot about the trio duplicating horrific murders is dumb.
We have to wait to see what Jessica Lange is really up to but the show is having a hard time sustaining our interests in order to make us want to see what Lange is really up to.
The problem is, the show simply isn't horrific. The scares are nowhere to be found.
I love the idea about the family falling apart at the seams. It makes it easier for the horror to find its way inside and grow. However, this horror is strictly bad haunted house material. To make it truly horrifying, Ryan Murphy needs to make it more identifiable. This should be able to happen to every family. What's going on here though is so far removed from reality that it's hard for us to believe this could happen to any family.
The plot about the trio duplicating horrific murders is dumb.
We have to wait to see what Jessica Lange is really up to but the show is having a hard time sustaining our interests in order to make us want to see what Lange is really up to.
THOR
Kenneth Branagh did a nice job with the material. Surprisingly, he showed a strong sense of humor that was prevalent throughout the film. I love Kat Dennings line, after they hit Thor, about how it's legally Portman's fault. I love the cutaway to Lady Sif and the Warriors Three immediately after Skellan Skarsgard states in despair that they need proof.
Chris Hemsworth is perfectly cast as Thor. He nailed it. He had a regal presence. Natalie Portman is amazing. She's able to generate screen chemistry with anyone.
The film falters though whenever it leaves Earth. Comic book movies do best when they're tied to our reality. GREEN LANTERN spent too much time on OA. THOR spends too much time on Asgard. The superhero aspect already strains credibility. To make it more palatable, you must tie it to everyday Earth, grounding it to our sensibilities, making that hero aspect real.
Branagh brought The Destroyer to life. However, his battle with Thor was underwhelming. That needed to be much more fierce and dynamic. Branagh needed to showcase Thor's abilities. The film needed a whammo here. Something that would've left us speechless.
Thor's a hard character to translate. You have to get the tone just right. After all, he's a god. Branagh did as good a job as can be done.
Chris Hemsworth is perfectly cast as Thor. He nailed it. He had a regal presence. Natalie Portman is amazing. She's able to generate screen chemistry with anyone.
The film falters though whenever it leaves Earth. Comic book movies do best when they're tied to our reality. GREEN LANTERN spent too much time on OA. THOR spends too much time on Asgard. The superhero aspect already strains credibility. To make it more palatable, you must tie it to everyday Earth, grounding it to our sensibilities, making that hero aspect real.
Branagh brought The Destroyer to life. However, his battle with Thor was underwhelming. That needed to be much more fierce and dynamic. Branagh needed to showcase Thor's abilities. The film needed a whammo here. Something that would've left us speechless.
Thor's a hard character to translate. You have to get the tone just right. After all, he's a god. Branagh did as good a job as can be done.
Wednesday, October 19, 2011
LAST MAN STANDING
Caught the new Tim Allen sitcom on ABC. This show feels like it should be on the ABC Family channel instead. It's dated and embarrassingly out-of-place. Tim Allen's jokes feel anachronistic. Concept might've seemed hot in the conception stage but the show is stillborn.
Show seems like a rerun from the 80's. That's a bad sign. This will be another death for ABC.
Show seems like a rerun from the 80's. That's a bad sign. This will be another death for ABC.
MAN UP!
Caught the pilot of this new ABC show.
You can really see MODERN FAMILY's influence on ABC. This and HAPPY ENDINGS go for that same zany, bouncy feel with the tender moments just underneath the surface. The problem with MAN UP! is, the tender moments never materialize and the zanniness feels forced.
Craig's character is a joke. Is there anyone remotely like that in real life? When you're tailoring your characters to the punchline, the comedy will fall flat.
Will is miscast. He doesn't have enough appeal.
Everything I've ever seen Dan Fogler do seems forced. Yet, he's the most charismatic out of the three leads.
This series is doomed.
You can really see MODERN FAMILY's influence on ABC. This and HAPPY ENDINGS go for that same zany, bouncy feel with the tender moments just underneath the surface. The problem with MAN UP! is, the tender moments never materialize and the zanniness feels forced.
Craig's character is a joke. Is there anyone remotely like that in real life? When you're tailoring your characters to the punchline, the comedy will fall flat.
Will is miscast. He doesn't have enough appeal.
Everything I've ever seen Dan Fogler do seems forced. Yet, he's the most charismatic out of the three leads.
This series is doomed.
THE WALKING DEAD - Season 1
The biggest complaint I have is there's only six episodes. The series is amazing. Full of drama, full of emotional moments. Explores the meanings of humanity and society. What happens when you're threatened with the end of the world? Do you give in to it or do you keep fighting against hopeless odds?
I wonder what happened to Michael Rooker? I kept waiting for him to reappear after he cut his hand off. He and Norman Reedus fully committed to their characters and gave the series a jolt in their scenes.
I;m not sold on Andrew Lincoln. He doesn't seem to have enough screen presence.
The effects are great. The situations are moving. There's black humor in the scenes. The violence is intense. I'm in! More power to Frank Darabont. This is the work of a master storyteller.
I wonder what happened to Michael Rooker? I kept waiting for him to reappear after he cut his hand off. He and Norman Reedus fully committed to their characters and gave the series a jolt in their scenes.
I;m not sold on Andrew Lincoln. He doesn't seem to have enough screen presence.
The effects are great. The situations are moving. There's black humor in the scenes. The violence is intense. I'm in! More power to Frank Darabont. This is the work of a master storyteller.
SUBJECT ZERO
Hell yes!
David Lawrence Cohen kicked ass on the script. The pace is fast, the horror keeps growing, the situation grows progressively dire.
Story's about a scientist looking to find a regenerative agent for beauty products. Beyond his wildest imagination, the scientist finds his serum can bring back the dead. When his son is killed in a horrific car accident, the scientist takes matters into his own hands and injects his son with the serum, creating subject zero: the first zombie with terrifying results.
The best scene in the script is when the scientist is horrified to learn that his test subject (a rat) has eaten her newly born offspring.
Easily one of the best scripts written this year. Should net a fast sale. Cohen is definitely a writer to lock up while you can.
David Lawrence Cohen kicked ass on the script. The pace is fast, the horror keeps growing, the situation grows progressively dire.
Story's about a scientist looking to find a regenerative agent for beauty products. Beyond his wildest imagination, the scientist finds his serum can bring back the dead. When his son is killed in a horrific car accident, the scientist takes matters into his own hands and injects his son with the serum, creating subject zero: the first zombie with terrifying results.
The best scene in the script is when the scientist is horrified to learn that his test subject (a rat) has eaten her newly born offspring.
Easily one of the best scripts written this year. Should net a fast sale. Cohen is definitely a writer to lock up while you can.
Tuesday, October 18, 2011
GASLIGHT
Finished this script by Ian Fried.
Script is very similar to HYDE but instead of Mr. Hyde imprisoned beneath Scotland Yards, this story has Jack The Ripper behind bars.
GASLIGHT has many more elements than HYDE though. Renfield is a cellmate of Jack's. Florence Nightingale shows up to help track down the killer who turns out to be none other than Nosferatu. The Elephant Man makes an appearance as does Sitting Bull and P.T. Barnum.
Reminds me a bit of Alan Moore's THE LEAGUE OF EXTRAORDINARY GENTLEMEN.
The script needs a rewrite though. It doesn't move as fast as it could. The murders are placed too far apart to generate steam. Nightingale takes up a lot of pages but doesn't add much to the plot.
Nosferatu here isn't a true vampire. He drains his victims of blood with the help of a tool. I'd drop that. I'd make him a vampire or at least dump him in favor of Dracula.
Ian Fried is in love with his prose. If he's going to continue to write this way, he should turn his attention to novels. There's no place for it in a screenplay. It slows down the read.
I'd vote to consider the script but I'd bring in another writer fast for another draft.
Script is very similar to HYDE but instead of Mr. Hyde imprisoned beneath Scotland Yards, this story has Jack The Ripper behind bars.
GASLIGHT has many more elements than HYDE though. Renfield is a cellmate of Jack's. Florence Nightingale shows up to help track down the killer who turns out to be none other than Nosferatu. The Elephant Man makes an appearance as does Sitting Bull and P.T. Barnum.
Reminds me a bit of Alan Moore's THE LEAGUE OF EXTRAORDINARY GENTLEMEN.
The script needs a rewrite though. It doesn't move as fast as it could. The murders are placed too far apart to generate steam. Nightingale takes up a lot of pages but doesn't add much to the plot.
Nosferatu here isn't a true vampire. He drains his victims of blood with the help of a tool. I'd drop that. I'd make him a vampire or at least dump him in favor of Dracula.
Ian Fried is in love with his prose. If he's going to continue to write this way, he should turn his attention to novels. There's no place for it in a screenplay. It slows down the read.
I'd vote to consider the script but I'd bring in another writer fast for another draft.
Monday, October 17, 2011
FRINGE - Season 4.1
The show is spinning out of control. There doesn't seem to be a sure hand guiding this ship. The whole thing about the two universes working together falls flat. The writers are unable to wring any tension out of this situation.
Peter doesn't exist now. That's just plain dumb. Again, we know he's coming back eventually so we're not sitting on the edge of our seats. This plot point doesn't grab us. For a season premiere, this episode is awfully pedestrian. That's not a good sign.
Doubt this series goes beyond this season. It seems they've run out of wham-bang revelations. What they reveal now has strictly been ho-hum.
Peter doesn't exist now. That's just plain dumb. Again, we know he's coming back eventually so we're not sitting on the edge of our seats. This plot point doesn't grab us. For a season premiere, this episode is awfully pedestrian. That's not a good sign.
Doubt this series goes beyond this season. It seems they've run out of wham-bang revelations. What they reveal now has strictly been ho-hum.
BREAKING BAD - Season 4
Arguably the best written show on television at the moment. There's so much to like about this series. The acting is top-notch. The supporting characters are well-rounded. Take Steven Bauer's character for example. Simply amazing. You could build an entire series around him and yet, he's only in a couple of episodes. Same could be said about Jonathan Banks' character. The writing is that good.
So Walter now stoops to hurting an innocent child to achieve his goals. This doesn't bode well for his character when the series ends. Up until this point, I can forgive everything that Walter has done. But of course, he's going to have to eventually pay for his sins and it's right here that Vince Gilligan tips his hand. It's Gilligan's way of setting Walter up for his final denoument.
I didn't like the subplot about Skyler helping Walter launder the money. Yes, it lead to an interesting twist with Skyler's old boss but now that she's in on the crimes, it doesn't feel as tricky. Part of the thickening plot was how Walter was going to keep everything a secret from his family.
Gus Fring is now history. That's too bad. His character was such a badass. Giancarlo Esposito really brought it in his scenes. Just an amazing performance.
Aaron Paul is outstanding as always. We'll see if his character and Walter turn on each other during the final season.
It's going to be a sad day when this series comes to a close.
So Walter now stoops to hurting an innocent child to achieve his goals. This doesn't bode well for his character when the series ends. Up until this point, I can forgive everything that Walter has done. But of course, he's going to have to eventually pay for his sins and it's right here that Vince Gilligan tips his hand. It's Gilligan's way of setting Walter up for his final denoument.
I didn't like the subplot about Skyler helping Walter launder the money. Yes, it lead to an interesting twist with Skyler's old boss but now that she's in on the crimes, it doesn't feel as tricky. Part of the thickening plot was how Walter was going to keep everything a secret from his family.
Gus Fring is now history. That's too bad. His character was such a badass. Giancarlo Esposito really brought it in his scenes. Just an amazing performance.
Aaron Paul is outstanding as always. We'll see if his character and Walter turn on each other during the final season.
It's going to be a sad day when this series comes to a close.
Sunday, October 16, 2011
THE THING (2011)
Did this add anything to John Carpenter's film? Why make it? There's nothing here that allows the film to stand on its own legs. That whole epilogue feels tacked on just so they can bridge the two movies.
The biggest mistake was attempting to place Mary Elizabeth Winstead in Kurt Russell's leading role. Russell was an everyman. He was us. He was our way into the movie. He's a chopper pilot caught in this horrific situation that he knows nothing about. He's the guy we identify with and root for. I doubt anyone is identifying with Winstead here. It's a poorly written character in a script filled with cardboard cutout figures.
Eric Heisserer ruined the remake of NIGHTMARE ON ELM STREET and repeats his hack job here on THE THING. He added the inorganic material idea which could've been a nice touch but the scene with the fillings in the teeth goes nowhere and the bit about Joel Edgerton's earring is ineffective because it's telegraphed so far in advance.
Carpenter's version had great pacing and the tension built and built. This version is stale and empty-headed with absolutely nothing to say.
The biggest mistake was attempting to place Mary Elizabeth Winstead in Kurt Russell's leading role. Russell was an everyman. He was us. He was our way into the movie. He's a chopper pilot caught in this horrific situation that he knows nothing about. He's the guy we identify with and root for. I doubt anyone is identifying with Winstead here. It's a poorly written character in a script filled with cardboard cutout figures.
Eric Heisserer ruined the remake of NIGHTMARE ON ELM STREET and repeats his hack job here on THE THING. He added the inorganic material idea which could've been a nice touch but the scene with the fillings in the teeth goes nowhere and the bit about Joel Edgerton's earring is ineffective because it's telegraphed so far in advance.
Carpenter's version had great pacing and the tension built and built. This version is stale and empty-headed with absolutely nothing to say.
DRIVE
Caught Nicolas Winding Refn's latest. The film is so much better than BRONSON. However, Refn is a quirky filmmaker which sometimes gets in the way of the story. This movie seems to be Refn's loveletter to 80's cinema. From the lettering used in the opening credits to the film's soundtrack. These quirks call attention to themselves and take you out of the reality of the film.
Having said that, like him or hate him, you cannot deny Refn is a true filmmaker. He has a vision and he's in complete control over how he wants to tell his tales.
Albert Brooks' performance is a revelation. Who knew he could play this role so convincingly? Every nuance, every line reading - he dripped menace.
Refn knows how to create a moviestar. He easily turns Ryan Gosling into a tough guy. He kept pushing the camera into Gosling's face signaling a star has arrived.
I liked the film. Yes, it was slow for the first hour but you cannot turn away from it. Now we'll see if Refn is capable of creating a box office hit with his next offerings.
Having said that, like him or hate him, you cannot deny Refn is a true filmmaker. He has a vision and he's in complete control over how he wants to tell his tales.
Albert Brooks' performance is a revelation. Who knew he could play this role so convincingly? Every nuance, every line reading - he dripped menace.
Refn knows how to create a moviestar. He easily turns Ryan Gosling into a tough guy. He kept pushing the camera into Gosling's face signaling a star has arrived.
I liked the film. Yes, it was slow for the first hour but you cannot turn away from it. Now we'll see if Refn is capable of creating a box office hit with his next offerings.
Saturday, October 15, 2011
THE IDES OF MARCH
Movie could've been much better if you had a better director. George Clooney isn't a visual director so his actors may be great but they're not supported by a master storyteller.
The sequence where everything falls apart for Ryan Gosling's character should be an emotional deathblow. His world world is coming apart. Gosling brings it in his scenes but Clooney is unable to convey this visually. As a director, Clooney has to bring the house down here. The pacing has got to pick up as all the elements conspire against Gosling. The drama has to build quickly. Blow after blow must reign down. The music should get louder. The flow must become frenzied.
Instead, all Clooney does is point his camera at his actors, relying on them to carry the show. A great director would've enhanced their performances.
The script is there. Great story of a man losing his ideals and innocence. Paul Giamatti and Phillip Seymour Hoffman are outstanding. Film could've been a small gem instead of a small movie.
The sequence where everything falls apart for Ryan Gosling's character should be an emotional deathblow. His world world is coming apart. Gosling brings it in his scenes but Clooney is unable to convey this visually. As a director, Clooney has to bring the house down here. The pacing has got to pick up as all the elements conspire against Gosling. The drama has to build quickly. Blow after blow must reign down. The music should get louder. The flow must become frenzied.
Instead, all Clooney does is point his camera at his actors, relying on them to carry the show. A great director would've enhanced their performances.
The script is there. Great story of a man losing his ideals and innocence. Paul Giamatti and Phillip Seymour Hoffman are outstanding. Film could've been a small gem instead of a small movie.
FRINGE - Season 3
Finished Season 3. Not as good as the previous two seasons. Once we know what's causing all the strange happenings, all the mystery goes out of the series. Also, too much time is spent on the other side. It's just not entertaining.
Season 3 focuses on Peter's relationship with Olivia. This is a must for the show to survive yet the two don't generate enough heat for one another. The chemistry isn't there.
This is why Walter's character shines so brightly. He's got chemistry with everyone.
The first six episodes were disappointing. Season 2 ended with a great cliffhanger. Season 3's resolution to it was uninspiring.
Season 3's ending is ho-hum. Peter no longer exists. It doesn't leave us on the edge of our seats because we know Joshua Jackson is going to be back for Season 4. So instead of a jolt, we're left with annoyance.
I don't see how much further this series can go. Once you solve the problem of the other universe, you've ended the weird occurrences that make the series interesting.
Season 3 focuses on Peter's relationship with Olivia. This is a must for the show to survive yet the two don't generate enough heat for one another. The chemistry isn't there.
This is why Walter's character shines so brightly. He's got chemistry with everyone.
The first six episodes were disappointing. Season 2 ended with a great cliffhanger. Season 3's resolution to it was uninspiring.
Season 3's ending is ho-hum. Peter no longer exists. It doesn't leave us on the edge of our seats because we know Joshua Jackson is going to be back for Season 4. So instead of a jolt, we're left with annoyance.
I don't see how much further this series can go. Once you solve the problem of the other universe, you've ended the weird occurrences that make the series interesting.
Thursday, October 13, 2011
BORED TO DEATH - Season 3.1
Caught the season three premiere of this HBO series. I never quite got the appeal of the first two seasons. I've found Ted Danson's character to be the highlight. Zach Galifinakis' character is too off-the-wall to be humorous. Jason Schwartzman doesn't have enough presence to be a lead.
In this episode, Schwartzman is framed for murder. Danson's appalled at his daughter dating a version of himself. And Galifinakis spends some time with his son who was born from his stolen sperm.
The comedy isn't strong enough. How many moments during season one or two did you laugh aloud? For that matter, how many times did you laugh in your head?
The standards for cable comedy are different. Quirky seems to be enough. Shouldn't funny be the goal?
In this episode, Schwartzman is framed for murder. Danson's appalled at his daughter dating a version of himself. And Galifinakis spends some time with his son who was born from his stolen sperm.
The comedy isn't strong enough. How many moments during season one or two did you laugh aloud? For that matter, how many times did you laugh in your head?
The standards for cable comedy are different. Quirky seems to be enough. Shouldn't funny be the goal?
Wednesday, October 12, 2011
SUITS - Season 1
Finished Season 1.
The series grew on me. Gabriel Macht owns it. He's in complete control in every scene. Meghan Markle and Sarah Rafferty also take on bigger roles as the series progresses, providing excellent support everytime they're on.
Does anybody play an asshole better than Rick Hoffman? He completely nails it.
The weakest part is the actual cases but you don't notice because of the relationship between Macht and Patrick Adams. Having Macht teach Adams every trick in the book is entertaining.
The series could use more conflict though. It needs major upheaval to truly engross the viewer. However, it's a nice start and there's plenty to build upon. Looking forward to Season 2.
The series grew on me. Gabriel Macht owns it. He's in complete control in every scene. Meghan Markle and Sarah Rafferty also take on bigger roles as the series progresses, providing excellent support everytime they're on.
Does anybody play an asshole better than Rick Hoffman? He completely nails it.
The weakest part is the actual cases but you don't notice because of the relationship between Macht and Patrick Adams. Having Macht teach Adams every trick in the book is entertaining.
The series could use more conflict though. It needs major upheaval to truly engross the viewer. However, it's a nice start and there's plenty to build upon. Looking forward to Season 2.
Tuesday, October 11, 2011
ENLIGHTENED
Caught the pilot for this new HBO series starring Laura Dern.
Can Laura Dern carry a series? I'm not too sure judging from the pilot. Is the series entertaining? Again, not too sure from the pilot.
Has Dern truly become enlightened? She slips back into her old self whenever the need arises or her temper bursts.
Is Mike White the guy you want creating your series? He's an indie writer whose box office sensibilities are extremely outside the lines (SCHOOL OF ROCK excluded). Don't see this show catching on at all.
Can Laura Dern carry a series? I'm not too sure judging from the pilot. Is the series entertaining? Again, not too sure from the pilot.
Has Dern truly become enlightened? She slips back into her old self whenever the need arises or her temper bursts.
Is Mike White the guy you want creating your series? He's an indie writer whose box office sensibilities are extremely outside the lines (SCHOOL OF ROCK excluded). Don't see this show catching on at all.
Monday, October 10, 2011
THE CALLER
Here's a rare example of an indie film that should've been made by a studio. It's THE LAKE HOUSE as a horror story. Mary finds an old rotary phone in the apartment she's just moved into. Soon, an elder lady starts calling her...from 1979. The lady is psychotic and her actions in 1979 start to have disastrous effects on Mary's life.
The script is there. Matthew Parkhill's direction though kills whatever chance it had of being a hit. Parkhill is incompetent. His scenes are boring. He doesn't know how to build suspense, he doesn't know how to tell a story visually, he's incapable of sustaining any sense of dread.
The cinematography by Alexander Melman is criminal. Everything's too dark. It looks as if he was in a drunken stupor while shooting. He and Parkhill ruin the story.
Stephen Moyer does a good job. He easily slips into the skin of his character and shows sides that are totally different from Bill on TRUE BLOOD.
Rachelle Lefevre is miscast as the lead. She cannot carry a film. The part calls for more range than she can deliver. She doesn't have any screen presence and her performance hurts the movie.
If you had cast Natalie Portman and had a good, visual director, the film could have done some damage at the box office. It's a shame this wasn't a foreign film which could now be remade by a studio.
Sergio Casci's script deserved a much better fate. He's a writer to keep an eye on.
The script is there. Matthew Parkhill's direction though kills whatever chance it had of being a hit. Parkhill is incompetent. His scenes are boring. He doesn't know how to build suspense, he doesn't know how to tell a story visually, he's incapable of sustaining any sense of dread.
The cinematography by Alexander Melman is criminal. Everything's too dark. It looks as if he was in a drunken stupor while shooting. He and Parkhill ruin the story.
Stephen Moyer does a good job. He easily slips into the skin of his character and shows sides that are totally different from Bill on TRUE BLOOD.
Rachelle Lefevre is miscast as the lead. She cannot carry a film. The part calls for more range than she can deliver. She doesn't have any screen presence and her performance hurts the movie.
If you had cast Natalie Portman and had a good, visual director, the film could have done some damage at the box office. It's a shame this wasn't a foreign film which could now be remade by a studio.
Sergio Casci's script deserved a much better fate. He's a writer to keep an eye on.
THE ALLNIGHTER
Terrible film starring Susanna Hoffs. Poorly acted, poorly directed, poorly written. Not worth the effort it took to put on film. Not even worth the effort it took me to place the disc into the DVD player.
The plot is ill-conceived. Almost as if it were written by high-schoolers. Story's about Hoff's character desperately searching for true love. College is coming to an end, graduation is tomorrow and she still hasn't found what she's looking for.
How did this ever get a distribution deal? The film's so bad it may have contributed to the break-up of the Bangles.
The plot is ill-conceived. Almost as if it were written by high-schoolers. Story's about Hoff's character desperately searching for true love. College is coming to an end, graduation is tomorrow and she still hasn't found what she's looking for.
How did this ever get a distribution deal? The film's so bad it may have contributed to the break-up of the Bangles.
Sunday, October 9, 2011
SILVER LININGS PLAYBOOK
Finished this script by David O. Russell.
I liked the script but there's no way I'd greenlight it. Story's about Pat Peoples, newly released from a mental hospital for beating up his wife's lover after catching the two of them in the shower together.
He's not quite healed but he's resolute in trying to show his wife how much he's changed so that they can resume their marriage.
Into his life comes Tiffany. Tiffany's husband has been killed and now she sleeps with everyone. The script concentrates on these two broken people as they strike up a friendship.
The script is quirky, the characters are odd, the big movie moments are nonexistent. This is an indie film at best. If THE FIGHTER hadn't come out, I doubt this script would ever go into production.
Yet, I enjoyed reading it. We're all broken in some way. And love can heal anything. The message is sound, the characters have their moments. It's just not big enough to fill the screen. It would have a hard time filling the television screen. This is the type of material that works much better as a novel than a film.
I liked the script but there's no way I'd greenlight it. Story's about Pat Peoples, newly released from a mental hospital for beating up his wife's lover after catching the two of them in the shower together.
He's not quite healed but he's resolute in trying to show his wife how much he's changed so that they can resume their marriage.
Into his life comes Tiffany. Tiffany's husband has been killed and now she sleeps with everyone. The script concentrates on these two broken people as they strike up a friendship.
The script is quirky, the characters are odd, the big movie moments are nonexistent. This is an indie film at best. If THE FIGHTER hadn't come out, I doubt this script would ever go into production.
Yet, I enjoyed reading it. We're all broken in some way. And love can heal anything. The message is sound, the characters have their moments. It's just not big enough to fill the screen. It would have a hard time filling the television screen. This is the type of material that works much better as a novel than a film.
SCRE4M
Terrible film. Early on, the film makes fun of the SAW franchise for not containing any character development yet turns around and comes up with the blandest, lifeless characters imaginable. The original SCREAM turned the horror genre on its head. It was slick, self-aware, played with conventions, kept you off-guard and was always inventive.
This edition is the exact opposite. The film has nothing to say and worse, has nothing to add to the genre. It tries to make points about the new rules of horror yet doesn't do anything inventive with them.
Instead of hearing about the murders, this time (because of the internet) you're going to see them. That idea might have been cool but the way it's handled, it quickly becomes a bore. The same can be said about almost every aspect of the film.
Script seemed more like a rough draft. The ideas were there but weren't fleshed out at all.
This edition is the exact opposite. The film has nothing to say and worse, has nothing to add to the genre. It tries to make points about the new rules of horror yet doesn't do anything inventive with them.
Instead of hearing about the murders, this time (because of the internet) you're going to see them. That idea might have been cool but the way it's handled, it quickly becomes a bore. The same can be said about almost every aspect of the film.
Script seemed more like a rough draft. The ideas were there but weren't fleshed out at all.
THE EVENT - Season 1
There's so many problems with this failed NBC series it's a wonder it ever made it to pilot stage.
First off, the casting is wrong. Jason Ritter isn't able to pull off the lead role. Sarah Roemer is terrible. Blair Underwood doesn't make a convincing president. It goes on and on.
Second, you need a strong villain. Sophia isn't it. She isn't even a villain until we're halfway through. Without a strong villain driving the plot, the story drastically sags and interest starts to drop about four episodes in.
Third, revealing the alien angle early kills the mystery and without mystery, serials like this fall flat fast. The bulk of the series is simply boring. Without the strong leads, we stop caring what happens. Without a strong villain, the plot loses urgency.
The worst thing about the series though is the ending. You need a huge cliffhanger. Instead, we're given a speech about the arrival of the aliens which has already been set in motion two episodes back. You cannot spread a weak ending like this throughout three episodes and then not show it.
The entire subplot about Hal Holbrook's character is weak. The conflict inherent in the rebellion by Sophia's son goes nowhere since Sophia takes up his cause once he's dead. Vicky falling in love with Ritter comes out of left field and doesn't make any kind of sense. The vice-president trying to poison the president isn't dramatic.
It's hard to find any likeable elements in this series.
First off, the casting is wrong. Jason Ritter isn't able to pull off the lead role. Sarah Roemer is terrible. Blair Underwood doesn't make a convincing president. It goes on and on.
Second, you need a strong villain. Sophia isn't it. She isn't even a villain until we're halfway through. Without a strong villain driving the plot, the story drastically sags and interest starts to drop about four episodes in.
Third, revealing the alien angle early kills the mystery and without mystery, serials like this fall flat fast. The bulk of the series is simply boring. Without the strong leads, we stop caring what happens. Without a strong villain, the plot loses urgency.
The worst thing about the series though is the ending. You need a huge cliffhanger. Instead, we're given a speech about the arrival of the aliens which has already been set in motion two episodes back. You cannot spread a weak ending like this throughout three episodes and then not show it.
The entire subplot about Hal Holbrook's character is weak. The conflict inherent in the rebellion by Sophia's son goes nowhere since Sophia takes up his cause once he's dead. Vicky falling in love with Ritter comes out of left field and doesn't make any kind of sense. The vice-president trying to poison the president isn't dramatic.
It's hard to find any likeable elements in this series.
HOUSE OF CARDS
Finished the teleplay by Beau Willimon.
Willimon has clearly captured the political drama category. Following up FARRAGUT NORTH, he now adapts this series for NETFLIX.
Story follows Francis "Frank" Underwood as he's passed over for Secretary of State by the President-Elect. This sets into a motion a pure political power play as Underwood deftly uses all of his tricks and skills to gain what he feels is rightfully his.
Willimon is a terrific writer able to turn the story into a page-turner. Clearly defined characters that turn politics into a bloodsport. He brings to life the behind-the-scenes motives as well as illustrates all the hidden agendas and con-games at play.
HBO should've big higher for the series which should become the apothesis of smart tv.
Willimon has clearly captured the political drama category. Following up FARRAGUT NORTH, he now adapts this series for NETFLIX.
Story follows Francis "Frank" Underwood as he's passed over for Secretary of State by the President-Elect. This sets into a motion a pure political power play as Underwood deftly uses all of his tricks and skills to gain what he feels is rightfully his.
Willimon is a terrific writer able to turn the story into a page-turner. Clearly defined characters that turn politics into a bloodsport. He brings to life the behind-the-scenes motives as well as illustrates all the hidden agendas and con-games at play.
HBO should've big higher for the series which should become the apothesis of smart tv.
Saturday, October 8, 2011
HESHER
Good performance by Joseph Gordon-Levitt. Natalie Portman continues to show she's the best actress of her generation. Never a false note played. The two of them make the film interesting.
HESHER is an indie that works. It's because you're never quite sure where it's going. Is Hesher going to be a savior or an anarchist? Does he have a deep understanding of things or is he just plain dumb?
Spencer Susser is one to keep watch over. Let's see what he comes up with for an encore.
HESHER is an indie that works. It's because you're never quite sure where it's going. Is Hesher going to be a savior or an anarchist? Does he have a deep understanding of things or is he just plain dumb?
Spencer Susser is one to keep watch over. Let's see what he comes up with for an encore.
Friday, October 7, 2011
AMERICAN HORROR STORY
Caught the pilot of the new FX series from Ryan Murphy and Brad Falchuk. It's amazing how these two are able to switch gears from GLEE and produce this horror series.
Horror doesn't work as well on the small screen however the series does have its moments. Catching a glimpse of Denis O'Hare as the horribly disfigured peeping tom. Seeing snippets of a human predator as the bully is trapped down in the basement. Having Jessica Lange's personality suddenly turn as she turns on Connie Britton, warning her not to touch her daughter again.
The pilot's got enough to make us continue watching. Denis O'Hare and Jessica Lange shine in their scenes. The realization that the maid is already dead is intriguing.
I'm in.
Horror doesn't work as well on the small screen however the series does have its moments. Catching a glimpse of Denis O'Hare as the horribly disfigured peeping tom. Seeing snippets of a human predator as the bully is trapped down in the basement. Having Jessica Lange's personality suddenly turn as she turns on Connie Britton, warning her not to touch her daughter again.
The pilot's got enough to make us continue watching. Denis O'Hare and Jessica Lange shine in their scenes. The realization that the maid is already dead is intriguing.
I'm in.
EUROPA
Finished this script by Philip Gelatt.
I wish this "found-footage" genre would die already.
In EUROPA, we get footage of a crew as it travels to a moon in Jupiter's orbit. They have reason to be believe that this moon may hold life.
So the first hour or so, the story crawls along as they rocket along the cosmos. Incredibly boring. One crewmember dies and another starts to go crazy. Standard stuff. They eventually land on Europa and find water. They investigate further and sure enough there's some kind of creature that kills them all...but not before they're able to download all the footage back to earth.
Totally ridiculous. Philip Gelatt can't write character to save his soul. There's nothing about their personalities (other than one going crazy) that makes them stand out or memorable.
Definite pass on the script. Pass on the writer.
I wish this "found-footage" genre would die already.
In EUROPA, we get footage of a crew as it travels to a moon in Jupiter's orbit. They have reason to be believe that this moon may hold life.
So the first hour or so, the story crawls along as they rocket along the cosmos. Incredibly boring. One crewmember dies and another starts to go crazy. Standard stuff. They eventually land on Europa and find water. They investigate further and sure enough there's some kind of creature that kills them all...but not before they're able to download all the footage back to earth.
Totally ridiculous. Philip Gelatt can't write character to save his soul. There's nothing about their personalities (other than one going crazy) that makes them stand out or memorable.
Definite pass on the script. Pass on the writer.
Thursday, October 6, 2011
THE SECRET CIRCLE
New series on the CW. Kevin Williamson's companion piece to THE VAMPIRE DIARIES. The casting could've been better. The girls need to be hotter. I don't see anyone becoming a breakout star from this show.
The writing has to get better. There's not enough teenage angst, not enough teenage problems to sustain interest.
Williamson has tapped that teenage market and is a proven winner. His reputation alone gives this show a chance. The plot needs to thicken in a hurry though.
The writing has to get better. There's not enough teenage angst, not enough teenage problems to sustain interest.
Williamson has tapped that teenage market and is a proven winner. His reputation alone gives this show a chance. The plot needs to thicken in a hurry though.
Wednesday, October 5, 2011
HART OF DIXIE
It's kinda hard to buy Rachel Bilson as a doctor in this new CW series. However, Rachel can make it work. She stole her scenes in THE O.C. Let's see how well she does carrying a series.
The writing has to step up a notch though. The drama has to become more dramatic. The situations have to deepen. Right now, they're standard at best. Take the love triangle. It's clear Scott Porter doesn't love his fiancee. This weakens the triangle and thus weakens the plot. The writing has got to become more creative in handling this situation.
The relationship between Nancy Travis and Bilson should have been much more contentious in the beginning. They should have hated each other. Then, when Bilson delivers the baby, we should've seen this change of heart come over Travis. She's misjudged Bilson and is going to make amends. This way, we'd see this bond developing.
They've got to create more tension for the the show to survive.
The writing has to step up a notch though. The drama has to become more dramatic. The situations have to deepen. Right now, they're standard at best. Take the love triangle. It's clear Scott Porter doesn't love his fiancee. This weakens the triangle and thus weakens the plot. The writing has got to become more creative in handling this situation.
The relationship between Nancy Travis and Bilson should have been much more contentious in the beginning. They should have hated each other. Then, when Bilson delivers the baby, we should've seen this change of heart come over Travis. She's misjudged Bilson and is going to make amends. This way, we'd see this bond developing.
They've got to create more tension for the the show to survive.
PAN AM
When I first heard about this show I thought, what are they going to do, stick us in an airplane for an hour every week? That would become so visually boring in a hurry.
However, the creators of PAN AM have deftly solved this problem by opening the show up with flashbacks that deepen the characters and make us like them right off the bat.
Unlike THE PLAYBOY CLUB, PAN AM has hired a stunning cast. Everyone is easy on the eyes. They've also given us mystery, romance, comedy and drama. We've got a spy, a purser that has disappeared, a girl running away from a wedding, and a french stewardess who's ways are much different than her American counterparts.
The show has a big feel to it. Let's hope it can deliver.
However, the creators of PAN AM have deftly solved this problem by opening the show up with flashbacks that deepen the characters and make us like them right off the bat.
Unlike THE PLAYBOY CLUB, PAN AM has hired a stunning cast. Everyone is easy on the eyes. They've also given us mystery, romance, comedy and drama. We've got a spy, a purser that has disappeared, a girl running away from a wedding, and a french stewardess who's ways are much different than her American counterparts.
The show has a big feel to it. Let's hope it can deliver.
Tuesday, October 4, 2011
CASSANDRA'S DREAM
This is the most un-Woody Allen-like film there is. Much more so than MATCH POINT. There isn't a single Allen fingerprint in the movie.
The film isn't entertaining because the story is so mundane. Maybe the film would've worked in the 1940's but today, you need a plot that's going to twist and keep you off-balance. Did Woody really think that having Ewan McGregor getting killed in the end besides Colin Farrell would blow us away?
The script is too simplistic. It doesn't have any weight to it. So Colin Farrell's guilt eats away at him. So what? That's not enough for a film.
The whole subplot with Hayley Atwell's character goes nowhere. I kept waiting for her to have an affair with another guy or at least steal McGregor's money. Woody hints at her being a bit devious but nothing comes of it.
I also thought there was going to be more to Uncle Howard. I was sure he was going to turn out to be flat broke and unable to help the lads once they commit the murder. Again, another character wasted. Someone that doesn't add to the major conflict.
Woody's time has passed him by.
The film isn't entertaining because the story is so mundane. Maybe the film would've worked in the 1940's but today, you need a plot that's going to twist and keep you off-balance. Did Woody really think that having Ewan McGregor getting killed in the end besides Colin Farrell would blow us away?
The script is too simplistic. It doesn't have any weight to it. So Colin Farrell's guilt eats away at him. So what? That's not enough for a film.
The whole subplot with Hayley Atwell's character goes nowhere. I kept waiting for her to have an affair with another guy or at least steal McGregor's money. Woody hints at her being a bit devious but nothing comes of it.
I also thought there was going to be more to Uncle Howard. I was sure he was going to turn out to be flat broke and unable to help the lads once they commit the murder. Again, another character wasted. Someone that doesn't add to the major conflict.
Woody's time has passed him by.
Monday, October 3, 2011
TERRA NOVA
Caught the pilot. Dismayed at how unspectacular it was. The series is going to bomb if this is the quality of computer-generated dinosaurs we can expect. Cheesy at best.
Two interested plot points came up that stops the episode from being labelled a complete waste of time. One, how Commander Taylor's son draws the maps and calculations upon the rocks. And two, how the sixers are trying to disrupt Terra Nova. Is Commander Taylor evil? What's the real reason for Terra Nova's existence?
It does just enough to make me continue watching. However, I expected to be blown away by the pilot. The whole family trying to reconnect is embarrassingly bad.
Still not quite sure how going back 85 million years into the past will help them save the Eath.
Two interested plot points came up that stops the episode from being labelled a complete waste of time. One, how Commander Taylor's son draws the maps and calculations upon the rocks. And two, how the sixers are trying to disrupt Terra Nova. Is Commander Taylor evil? What's the real reason for Terra Nova's existence?
It does just enough to make me continue watching. However, I expected to be blown away by the pilot. The whole family trying to reconnect is embarrassingly bad.
Still not quite sure how going back 85 million years into the past will help them save the Eath.
DA BRICK
Finished this teleplay by John Ridley for the new HBO show based on the life of Mike Tyson.
I liked it. It's gritty. You can see the rage in the lead character. Coming from a highly-dysfunctional home, growing up on the streets, hustling to make money. It's edgy, it's real.
However, is it entertaining enough to make you want to tune in each week? If it's going to concentrate on the rise of this troubled youth to heavyweight champion of the world then yes, it's entertaining. If it's just going to stay in this period of time where the young Mike Tyson is a street thug with a powerful punch then no, it cannot sustain an audience.
It'll have the same problem that HBO's HOW TO MAKE IT IN AMERICA has. Poverty isn't entertainment. Lowlife, street-level living is gritty for a film but the subject matter is a turn-off for a weekly series. No one wants to spend a lot of time there. ENTOURAGE works because we all want to live the high-life. No one wants to see the gutter.
I liked it. It's gritty. You can see the rage in the lead character. Coming from a highly-dysfunctional home, growing up on the streets, hustling to make money. It's edgy, it's real.
However, is it entertaining enough to make you want to tune in each week? If it's going to concentrate on the rise of this troubled youth to heavyweight champion of the world then yes, it's entertaining. If it's just going to stay in this period of time where the young Mike Tyson is a street thug with a powerful punch then no, it cannot sustain an audience.
It'll have the same problem that HBO's HOW TO MAKE IT IN AMERICA has. Poverty isn't entertainment. Lowlife, street-level living is gritty for a film but the subject matter is a turn-off for a weekly series. No one wants to spend a lot of time there. ENTOURAGE works because we all want to live the high-life. No one wants to see the gutter.
Sunday, October 2, 2011
UNFORGETTABLE
Before, an interesting hook like this would've been ripe for a feature. Woman can remember anything. Nowadays, it's a television series. The hook elevates it a cut above CBS' normal procedurals. Strong performances by Dylan Walsh and Poppy Montgomery make this episode a winner. We'll see how far this hook can take the series though. Can you go five years without having the lead remember? Or, if she remembers one clue at a time, how long can you string it out?
Having the lead remember the smallest details of events can quickly grow old. The writers have their work cut out for them to keep this concept fresh. Poppy's able to quickly get the audience on her side though. She conveys vulnerablility effortlessly. I'm willing to follow her...at least for a couple more weeks.
Having the lead remember the smallest details of events can quickly grow old. The writers have their work cut out for them to keep this concept fresh. Poppy's able to quickly get the audience on her side though. She conveys vulnerablility effortlessly. I'm willing to follow her...at least for a couple more weeks.
THE LEDGE
Movie that promotes atheism written and directed by Matthew Chapman. Talk about having a difficult time trying to find an audience. I read an article that stated 33% of Americans would have a hard time supporting a gay candidate while a whopping 61% of Americans would have a hard time supporting a candidate that does not believe in God.
I like Charlie Hunnam in SONS OF ANARCHY and have felt that he's too big for the small screen. He's got this smoldering presence about him. However, after watching this movie, I've changed my mind. There's nothing special about his performance. He doesn't burn with intensity the way I thought he would. Now, it could be the role or the director but still, I thought he would make a bigger splash in a lead role.
Terrance Howard and Patrick Wilson are always spot on in their performances but here, they just seem to be going through the steps. This must be the fault of Matthew Chapman's direction. There doesn't seem to be any passion in their acting. Heck, look at Liv Tyler - she's so subdued here, she barely registers.
Story might've worked on the page but probably would've been better suited on stage than on screen. Or, a better director might have been able to bring the pages to life on screen. Like Matthew Chapman as a writer however.
I like Charlie Hunnam in SONS OF ANARCHY and have felt that he's too big for the small screen. He's got this smoldering presence about him. However, after watching this movie, I've changed my mind. There's nothing special about his performance. He doesn't burn with intensity the way I thought he would. Now, it could be the role or the director but still, I thought he would make a bigger splash in a lead role.
Terrance Howard and Patrick Wilson are always spot on in their performances but here, they just seem to be going through the steps. This must be the fault of Matthew Chapman's direction. There doesn't seem to be any passion in their acting. Heck, look at Liv Tyler - she's so subdued here, she barely registers.
Story might've worked on the page but probably would've been better suited on stage than on screen. Or, a better director might have been able to bring the pages to life on screen. Like Matthew Chapman as a writer however.
Saturday, October 1, 2011
A GIFTED MAN
Caught this CBS pilot from Susannah Grant. Jonathan Demme directed the episode. With two giants like this behind the wheel, I expected a show a cut above the normal CSB fare and the duo do not disappoint.
Maybe Patrick Wilson wasn't big enough for the silver screen but he fits perfectly here. He instantly makes you believe everything that's happening.
Well-acted. The problem is, the medical cases presented are blah. Especially when compared to HOUSE or GREY'S ANATOMY or PRIVATE PRACTICE. However, that's not this show's intent. This show is about a character. A heartless doctor that's going to undergo a transformation courtesy of his dead wife's ghost.
That premise can grow old in a hurry though. I don't care how well-acted it is. We'll have to see how this plot thickens. I think it's going to have a hard time holding an audience.
Maybe Patrick Wilson wasn't big enough for the silver screen but he fits perfectly here. He instantly makes you believe everything that's happening.
Well-acted. The problem is, the medical cases presented are blah. Especially when compared to HOUSE or GREY'S ANATOMY or PRIVATE PRACTICE. However, that's not this show's intent. This show is about a character. A heartless doctor that's going to undergo a transformation courtesy of his dead wife's ghost.
That premise can grow old in a hurry though. I don't care how well-acted it is. We'll have to see how this plot thickens. I think it's going to have a hard time holding an audience.
CHARLIE'S ANGELS
This reboot should get booted fast. The problem is the casting. Annie Illonzeh is terrible. She's definitely not angel material. I thought Minka Kelly was good in PARENTHOOD but she's out of her league here. She can't handle action scenes and doesn't deliver her lines with any conviction. Ramon Rodriguez as Bosley is the worst choice of all.
You cannot slap a familiar title on screen and expect us to tune in week after week. You've got to update the show by making it more tech-savvy, more international, more edgier. Instead, they give us a plot that could've been taken directly from the 70's version of this show.
The action is terrible. The dialogue is sloppy instead of snappy. And the angels aren't hot enough.
Unwatchable.
You cannot slap a familiar title on screen and expect us to tune in week after week. You've got to update the show by making it more tech-savvy, more international, more edgier. Instead, they give us a plot that could've been taken directly from the 70's version of this show.
The action is terrible. The dialogue is sloppy instead of snappy. And the angels aren't hot enough.
Unwatchable.
HOW TO BE A GENTLEMAN
Caught the pilot of this new CBS comedic series.
The problem is with the lead, David Hornsby. He's not strong enough to carry the show he's created. He should've stayed on the sidelines and maybe pop up as a supportinig character the way he does on IT'S ALWAYS SUNNY IN PHILADELPHIA. It's a shame too because Kevin Dillon, Rhys Darby, Mary Lynn Rajskub all do a good job bringing the laughs.
I expected more out of the IT'S ALWAYS SUNNY IN PHILADELPHIA group. I thought they would've tackled network tv and turned it upsidedown. Instead, they've produced a standard, run-of-the-mill show without any innovations.
Show won't be around long.
The problem is with the lead, David Hornsby. He's not strong enough to carry the show he's created. He should've stayed on the sidelines and maybe pop up as a supportinig character the way he does on IT'S ALWAYS SUNNY IN PHILADELPHIA. It's a shame too because Kevin Dillon, Rhys Darby, Mary Lynn Rajskub all do a good job bringing the laughs.
I expected more out of the IT'S ALWAYS SUNNY IN PHILADELPHIA group. I thought they would've tackled network tv and turned it upsidedown. Instead, they've produced a standard, run-of-the-mill show without any innovations.
Show won't be around long.
TRUE BLOOD - Season 4
One of the few shows that has gotten better each season. However, I didn't like the first few seasons so that's not really saying much.
Season 4 starts off with a bang as we dwell in fairie-land and come to realize the fairies are not what they seem. That was visually compelling. As the season unfolds, I love the fact that they introduced witches, brujos, ancient dolls, skinwalkers and were-panthers. Examining the myths different cultures and meshing them all together is brilliant.
The problem is, the plotlines start off with a bang but the resolutions are always a letdown. Jason simply doesn't turn into a were-panther. The reincarnated-murderer's spirit in the baby turns out to be a trapped soul needing closure. Sam's deranged brother who raises all kinds of Hell and causes so much trouble for Sam simply gets the shit kicked out of him and dies. Sookie's fairy-godmother (whose intentions we are never quite sure of) simply gets killed by a vampire. It goes on and on.
By ending the plots with whimpering resolutions, the episodes fail to build upon one another and never pick up steam. The showdown between the witches circle and the vampires is a great example of this. The set-up is great with fireworks promised and then all we get is a firecracker instead of a blowout.
Season 5 needs better writers.
Season 4 starts off with a bang as we dwell in fairie-land and come to realize the fairies are not what they seem. That was visually compelling. As the season unfolds, I love the fact that they introduced witches, brujos, ancient dolls, skinwalkers and were-panthers. Examining the myths different cultures and meshing them all together is brilliant.
The problem is, the plotlines start off with a bang but the resolutions are always a letdown. Jason simply doesn't turn into a were-panther. The reincarnated-murderer's spirit in the baby turns out to be a trapped soul needing closure. Sam's deranged brother who raises all kinds of Hell and causes so much trouble for Sam simply gets the shit kicked out of him and dies. Sookie's fairy-godmother (whose intentions we are never quite sure of) simply gets killed by a vampire. It goes on and on.
By ending the plots with whimpering resolutions, the episodes fail to build upon one another and never pick up steam. The showdown between the witches circle and the vampires is a great example of this. The set-up is great with fireworks promised and then all we get is a firecracker instead of a blowout.
Season 5 needs better writers.
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