The Nora and Charles flashbacks are always the best part of the series because they provide the creepy factor which the show needs much more of.
So, if you die on the premises, your soul remains and you can walk the grounds. If that's going to be the extent of things, this show is going to be a letdown. It would be scarier if they wanted more people to die with them.
The show has its moments. However, a lot of the subplots don't work. Denis O'Hare pining after Jessica Lange is boring. The daughter being a cutter and falling in love with a ghost is boring. Dylan McDermott having affairs is boring.
It provides enough mystery to keep me watching. However, it better deliver of the series will be a waste.
Wednesday, November 30, 2011
CARRIERS
Film's about four friends traveling across the country after a virus has wiped out a majority of the population. They have to constantly be on guard since the virus is extremely contagious.
Along the way, one gets infected which raises horrific questions and consequences.
The film is bare bones. It's more of a character study. The problem is, the characters aren't that interesting and they're certainly not up to the task of carrying a plot. And it's not really much of a plot to carry. There's not enough going on to warrant a movie.
We don't learn much about the virus. We don't know the fate of the rest of the nation. We just stay with these four individuals. If you're going to make this movie, you'd better have four characters that blow us away. This film drops the ball.
Along the way, one gets infected which raises horrific questions and consequences.
The film is bare bones. It's more of a character study. The problem is, the characters aren't that interesting and they're certainly not up to the task of carrying a plot. And it's not really much of a plot to carry. There's not enough going on to warrant a movie.
We don't learn much about the virus. We don't know the fate of the rest of the nation. We just stay with these four individuals. If you're going to make this movie, you'd better have four characters that blow us away. This film drops the ball.
Tuesday, November 29, 2011
HOUSE - Season 8.4 - RISKY BUSINESS
Charlene Yi brings a different type of humor to the show which plays off nicely against House's brand of funny. The comical looks she gives him as she tries to figure out where he's coming from are priceless.
House's banter makes the show. He sees three moves ahead and manipulates all the angles. You can always count on being entertained by him. How he gets the board not to fire Yi is great. This is a character that we're never in front of. Thus, we're not simply watching him, we're listening to him, we're reacting to him, we're with him every step of the way.
Nice job here by Michael Nouri who was great in DAMAGES. He's believeable as a top-ranking businessman.
House finally gets his old section funded. We can finally drop that subplot and get on with the show.
House's banter makes the show. He sees three moves ahead and manipulates all the angles. You can always count on being entertained by him. How he gets the board not to fire Yi is great. This is a character that we're never in front of. Thus, we're not simply watching him, we're listening to him, we're reacting to him, we're with him every step of the way.
Nice job here by Michael Nouri who was great in DAMAGES. He's believeable as a top-ranking businessman.
House finally gets his old section funded. We can finally drop that subplot and get on with the show.
GRIMM - Season 1.4 - LONELYHEARTS
Terrible episode. The show isn't going anywhere. NBC should pull the plug.
Story's about a villain that releases a chemical that bewitches females. He gets this ability from the toads he eats. He lures the women away and rapes them.
That's the basic plot. Uninvolving. Uninspiring. Barely watchable.
C'mon, this premise could be used to make a creepy, compelling series. We could explore how society made up these fairy tales in order to distance themselves from the ugly truth. They needed the tales to explain away the horror that is present in our world.
It could be edgy. Instead, we're given this show that has about as much edge as a bowling ball.
Cancel. Please!
Story's about a villain that releases a chemical that bewitches females. He gets this ability from the toads he eats. He lures the women away and rapes them.
That's the basic plot. Uninvolving. Uninspiring. Barely watchable.
C'mon, this premise could be used to make a creepy, compelling series. We could explore how society made up these fairy tales in order to distance themselves from the ugly truth. They needed the tales to explain away the horror that is present in our world.
It could be edgy. Instead, we're given this show that has about as much edge as a bowling ball.
Cancel. Please!
OUR IDIOT BROTHER
Film's not funny enough to be a comedy. And it doesn't have enough drama to be interesting. Movie feels more like a rough draft than a fully realized film.
Paul Rudd is good. But his character plays the same note over and over. And it's not a good note.
You feel sorry for the actresses, wishing the material could rise to their talents. There isn't one character here compelling enough to make us want to watch or care for their plight and that's a shame because with a polish, they could have been good. What we're left with though is cliche parts - the naive wife with the cheating husband, the professional businesswoman with the unfulfilled love life, and Zooey Deschanel.
Rashida Jones is always good in everything she does.
Steve Coogan plays the bad guy well.
The film is bland and blah.
Paul Rudd is good. But his character plays the same note over and over. And it's not a good note.
You feel sorry for the actresses, wishing the material could rise to their talents. There isn't one character here compelling enough to make us want to watch or care for their plight and that's a shame because with a polish, they could have been good. What we're left with though is cliche parts - the naive wife with the cheating husband, the professional businesswoman with the unfulfilled love life, and Zooey Deschanel.
Rashida Jones is always good in everything she does.
Steve Coogan plays the bad guy well.
The film is bland and blah.
HART OF DIXIE - Season 1.4 - IN HAVOC AND IN HEAT
Nice episode. We learn that the Mayor and Lemon had an affair. We also see that Scott Porter is truly in love with Lemon and defends her against his mother.
But the show rests upon Rachel Bilson's capable shoulders. She's able to wring laughs from every line reading and finds her way into the audience's heart. The show is winning and she's the big reason why.
Wade is growing as a character. There's much more underneath his good ole boy exterior. He can't take his eyes off the good doctor. It'll be interesting to explore how he'll change if he can't get with Zoe. The darkness could be compelling. However, darkness isn't what the show's about. It's light and it's breezy. Still, it could make for an interesting season-ender.
But the show rests upon Rachel Bilson's capable shoulders. She's able to wring laughs from every line reading and finds her way into the audience's heart. The show is winning and she's the big reason why.
Wade is growing as a character. There's much more underneath his good ole boy exterior. He can't take his eyes off the good doctor. It'll be interesting to explore how he'll change if he can't get with Zoe. The darkness could be compelling. However, darkness isn't what the show's about. It's light and it's breezy. Still, it could make for an interesting season-ender.
THE WALKING DEAD - Season 2.6 - SECRETS
Boring.
The episodes are starting to slow down. Why are we still on the farm? How can this setting possibly move the plot forward? I get that it acts as a microcosm of society as a whole but the danger has been cooled considerably when it should be heating up.
Herschel's reasoning about the walkers is sound. How do we know that a cure won't be found? And feeding them chickens with broken legs is chilling. But for dramatic purposes, is this really the arc you want to hang your story upon?
Glenn's character is growing. He's starting to realize that he has gifts. But again, it does little to elevate the danger. This is not the time to settle and collect our breath. The show is at its finest when the danger grows out of control.
Let's hope this is not reflective of Darabont leaving the series. If it is, get him back quickly!
The episodes are starting to slow down. Why are we still on the farm? How can this setting possibly move the plot forward? I get that it acts as a microcosm of society as a whole but the danger has been cooled considerably when it should be heating up.
Herschel's reasoning about the walkers is sound. How do we know that a cure won't be found? And feeding them chickens with broken legs is chilling. But for dramatic purposes, is this really the arc you want to hang your story upon?
Glenn's character is growing. He's starting to realize that he has gifts. But again, it does little to elevate the danger. This is not the time to settle and collect our breath. The show is at its finest when the danger grows out of control.
Let's hope this is not reflective of Darabont leaving the series. If it is, get him back quickly!
Monday, November 28, 2011
TERRA NOVA - Season 1.5 - BYLAW
Series gets worse. I still don't know what they're supposed to be doing out there? What's the protagonists' goal?
Again, the episodes are boring because they don't have contain a strong villain. The sixers are too far off in the background. Their exploits should be front and center. We need some kind of drama to bring the show to life.
In this episode, we get a murder on Terra Nova. The most boring investigation ever ensues. When the killer is unmasked, it barely registers since we don't know the character at all. For that matter, we never met the victim either. How are we supposed to feel anything?
This is what passes for writing on this pathetic show. Based on its budget, this has to be the biggest bomb currently on tv.
Again, the episodes are boring because they don't have contain a strong villain. The sixers are too far off in the background. Their exploits should be front and center. We need some kind of drama to bring the show to life.
In this episode, we get a murder on Terra Nova. The most boring investigation ever ensues. When the killer is unmasked, it barely registers since we don't know the character at all. For that matter, we never met the victim either. How are we supposed to feel anything?
This is what passes for writing on this pathetic show. Based on its budget, this has to be the biggest bomb currently on tv.
WIN WIN
Tom McCarthy sure has an eye for character. And he lets his stories unfurl out of these characters which always makes his films thoroughly enjoyable.
Paul Giamatti is once again terrific. He slips into the soul of this character and illuminates him. He becomes a family friend in a matter of minutes. Hard to do yet Giamatti is able to accomplish this easily.
Alex Shaffer holds his own in his scenes with Giamatti. Reminds me of Sean Penn in FAST TIMES AT RIDGEMONT HIGH. He's a kid in total control on the wrestling man and out of control everywhere else.
Amy Ryan brings heart to her role. She's ready to kill one second and is able to show her heart melting in the same scene. Very engaging performance.
When studios go looking for artists to work with, McCarthy should be on the list.
Paul Giamatti is once again terrific. He slips into the soul of this character and illuminates him. He becomes a family friend in a matter of minutes. Hard to do yet Giamatti is able to accomplish this easily.
Alex Shaffer holds his own in his scenes with Giamatti. Reminds me of Sean Penn in FAST TIMES AT RIDGEMONT HIGH. He's a kid in total control on the wrestling man and out of control everywhere else.
Amy Ryan brings heart to her role. She's ready to kill one second and is able to show her heart melting in the same scene. Very engaging performance.
When studios go looking for artists to work with, McCarthy should be on the list.
ONCE UPON A TIME - Season 1.4 - THE PRICE OF GOLD
We get the story of Cinderella in this episode. The opening scene has Cinderella being visited by her fairy godmother only to have Rumpelstiltskin destroy her. The visual is hilarious.
That's about the only thing that worked in the episode. Turns out Cinderella has also made a deal with Rumpelstiltskin. He gives her the dress and the shoes she needs to go to the ball. In return, he wants her first-born child.
In Storybrooke, we meet Cinderella who's a very pregnant maid. Emma takes pity on her.
Who cares? The plot isn't moving forward. All we're getting is re-imagining of classic fairy tales. Emma isn't driving the plot. And the Evil Queen isn't moving the story forward because her goal has already been achieved. She's won. No one realizes who they are.
The series isn't becoming more interesting, it's becoming ever-increasingly boring.
That's about the only thing that worked in the episode. Turns out Cinderella has also made a deal with Rumpelstiltskin. He gives her the dress and the shoes she needs to go to the ball. In return, he wants her first-born child.
In Storybrooke, we meet Cinderella who's a very pregnant maid. Emma takes pity on her.
Who cares? The plot isn't moving forward. All we're getting is re-imagining of classic fairy tales. Emma isn't driving the plot. And the Evil Queen isn't moving the story forward because her goal has already been achieved. She's won. No one realizes who they are.
The series isn't becoming more interesting, it's becoming ever-increasingly boring.
BLITZ
The film is easily two steps above the regular Jason Statham vehicles. It's more realistic with something to say about the effects of police brutality and the lives of dispair and devastation that cops can lead.
Story's about a serial killer named Blitz who targets cop. We learn that he suffered a brutal attack from Statham earlier which served as his motivation for this actions.
However, it's here that the film drops the ball. Statham doesn't suffer for his brand of cop justice. There isn't any personal recriminations for his actions. So really, what is the film saying?
There's also a subplot about Statham being an alcoholic and suffering blackouts which goes absolutely nowhere. You would think the movie's going to be about Statham taking a torturous look at himself and changing in some way.
Aiden Gillen reminds me a bit of a young Gary Oldman.
The film should've been much better. They needed to rachet the thrill factor up. As the murder continues, we should see the pressure build upon the police force. Tensions should snap. Conflict should escalate. The movie's tone however never changes. Suspense needs to grow. The police should've turned on Statham, blaming him for what's happening. This would've magnified his internal demons.
Instead, the film meanders along. Terrible direction from Elliott Lester.
Story's about a serial killer named Blitz who targets cop. We learn that he suffered a brutal attack from Statham earlier which served as his motivation for this actions.
However, it's here that the film drops the ball. Statham doesn't suffer for his brand of cop justice. There isn't any personal recriminations for his actions. So really, what is the film saying?
There's also a subplot about Statham being an alcoholic and suffering blackouts which goes absolutely nowhere. You would think the movie's going to be about Statham taking a torturous look at himself and changing in some way.
Aiden Gillen reminds me a bit of a young Gary Oldman.
The film should've been much better. They needed to rachet the thrill factor up. As the murder continues, we should see the pressure build upon the police force. Tensions should snap. Conflict should escalate. The movie's tone however never changes. Suspense needs to grow. The police should've turned on Statham, blaming him for what's happening. This would've magnified his internal demons.
Instead, the film meanders along. Terrible direction from Elliott Lester.
THE C WORD
Caught the pilot for this Showtime series.
Very impressive. The writing crackles. The performances are sound. Laura Linney bulldozes through each scene, capturing her character with ease and effortlessly captivates us.
Darlene Hunt knocks this out of the park. What a dazzling display. She's got pure talent and she puts it on display in every scene. The emotions are finely layered. We've got a woman that's spinning out of control but it's done in a comedic way without cheating the real emotions of such a situation.
Great acting. Great direction. I'm in!
Very impressive. The writing crackles. The performances are sound. Laura Linney bulldozes through each scene, capturing her character with ease and effortlessly captivates us.
Darlene Hunt knocks this out of the park. What a dazzling display. She's got pure talent and she puts it on display in every scene. The emotions are finely layered. We've got a woman that's spinning out of control but it's done in a comedic way without cheating the real emotions of such a situation.
Great acting. Great direction. I'm in!
FLYPAPER
If your premise is so far-fetched that it breaks credibility, your film is in serious trouble. That's what's wrong with FLYPAPER. We're in a bank when two different bumbling groups attempt to rob it. That's not the incredulous part. The lead (Patrick Dempsey in a terrible performance with an even more terrible dye job), while taken hostage, actually plays amateur detective and tries to uncover what's really going on.
Who's going to do that? I understand that this is a comedy but this motivation is so far removed from reality that it destroys the suspension of disbelief that is required to pull this plot off.
During the robbery, we actually get a scene where the robbers stop everything so they can get online and compare their criminal rankings on a site. Ridiculous.
The story then takes a left, turning into a murder-mystery. This actually makes more sense for Dempsey's character because it gives him something to solve. However, at this point, the audience has long since left.
John Ventimiglia gives a good performance as does Matt Ryan.
Ashely Judd walks through her role.
Rob Minkoff should go back to animation.
Terrible film.
Who's going to do that? I understand that this is a comedy but this motivation is so far removed from reality that it destroys the suspension of disbelief that is required to pull this plot off.
During the robbery, we actually get a scene where the robbers stop everything so they can get online and compare their criminal rankings on a site. Ridiculous.
The story then takes a left, turning into a murder-mystery. This actually makes more sense for Dempsey's character because it gives him something to solve. However, at this point, the audience has long since left.
John Ventimiglia gives a good performance as does Matt Ryan.
Ashely Judd walks through her role.
Rob Minkoff should go back to animation.
Terrible film.
Sunday, November 27, 2011
CRAZY, STUPID, LOVE
This is my second viewing of the film and the movie just gets better.
The script is amazing. Any other screenplay would've made the dorky son outrageously dorky. Almost to the point of being a turn-off. Yet, Dan Fogelman here creates a dorky character that we can totally understand and empathize with. It's subtle, powerful writing. He doesn't hit you over the head with his dorkiness. He creates a real person.
Same can be said for the babysitter. Any other movie would've had her be a vixen. Fogelman instead gives us a character that wants to be a vixen but doesn't know how to go about it. Thus, we fall in love with her and her confusion.
Such care is given in creating these characters...and they're just supporting roles. The majority of the films out there now don't give this much consideration to their leads.
Watch the scene where Carell is outside the family home and receives a call from his wife. He can clearly see her through the window as she lies, stating the reason for calling is because the pilot light went out on the water heater. The scene is about how the two of them are still in love with each other but just don't know how to say it. It's powerful. It's visually powerful with so much more meaning in their lines than the words they are speaking. Simply amazing.
Without a doubt, the screenplay should be nominated for an Academy Award.
The script is amazing. Any other screenplay would've made the dorky son outrageously dorky. Almost to the point of being a turn-off. Yet, Dan Fogelman here creates a dorky character that we can totally understand and empathize with. It's subtle, powerful writing. He doesn't hit you over the head with his dorkiness. He creates a real person.
Same can be said for the babysitter. Any other movie would've had her be a vixen. Fogelman instead gives us a character that wants to be a vixen but doesn't know how to go about it. Thus, we fall in love with her and her confusion.
Such care is given in creating these characters...and they're just supporting roles. The majority of the films out there now don't give this much consideration to their leads.
Watch the scene where Carell is outside the family home and receives a call from his wife. He can clearly see her through the window as she lies, stating the reason for calling is because the pilot light went out on the water heater. The scene is about how the two of them are still in love with each other but just don't know how to say it. It's powerful. It's visually powerful with so much more meaning in their lines than the words they are speaking. Simply amazing.
Without a doubt, the screenplay should be nominated for an Academy Award.
MODERN FAMILY - Season 2
The best sitcom currently on television. The series consistently hit you with funny scenes that have a poignant undertone. The character of Phil is a great example of this. He's so goofy yet every single line of dialogue he utters has its basis in love.
Each character is clearly defined and stand out on their own. There's no other sitcom on the air that can state that. Its a tribute to the writing staff. They are clearly the best in town.
The show has set a high mark. The cast is excellent. This is network television's answer to cable's encroachment on their territory. Sure, cable may best them in dramas but they haven't found an answer yet to the sitcom format.
Steve Levitan and his crew deserve their emmys.
Each character is clearly defined and stand out on their own. There's no other sitcom on the air that can state that. Its a tribute to the writing staff. They are clearly the best in town.
The show has set a high mark. The cast is excellent. This is network television's answer to cable's encroachment on their territory. Sure, cable may best them in dramas but they haven't found an answer yet to the sitcom format.
Steve Levitan and his crew deserve their emmys.
JUDY MOODY AND THE NOT BUMMER SUMMER
Terrible family film. Why would Heather Graham take this role? What are we supposed to get out of this film?
Story's about Judy and her quest to have a thrilling summer. Plans immediately go awry however when two of her friends leave on summer vacation. Then her parents are called away to California and Judy is left in the care of her crazy aunt Opal.
The whole subplot about Bigfoot is a complete waste.
Aunt Opal's reason for being still isn't clear. Does she actually teach Judy something?
The various schemes to gain thrill points aren't engaging.
This is a family film that doesn't entertain any family members. Need a better script with a stronger hand at the reins.
Story's about Judy and her quest to have a thrilling summer. Plans immediately go awry however when two of her friends leave on summer vacation. Then her parents are called away to California and Judy is left in the care of her crazy aunt Opal.
The whole subplot about Bigfoot is a complete waste.
Aunt Opal's reason for being still isn't clear. Does she actually teach Judy something?
The various schemes to gain thrill points aren't engaging.
This is a family film that doesn't entertain any family members. Need a better script with a stronger hand at the reins.
Saturday, November 26, 2011
HELL ON WHEELS - Season 1.1
Anson Mount does a great job in the lead role. He's born to play westerns. However, that's all there is to recommend in this pilot episode.
The building of the train is boring.
Common's character is boring.
They didn't show the Indian that adopts the white man's ways and warns his people to stay away. All they show is his baptism.
The villain doesn't engage the protagonist in this episode which makes for weak drama.
The series so far is uninvolving and uninspiring.
The building of the train is boring.
Common's character is boring.
They didn't show the Indian that adopts the white man's ways and warns his people to stay away. All they show is his baptism.
The villain doesn't engage the protagonist in this episode which makes for weak drama.
The series so far is uninvolving and uninspiring.
BUNRAKU (2011)
Guy Moshe delivers very impressive visuals. The film is elegant. The origami gives the film an original, stylized look which makes the movie worth watching.
It's too bad Moshe didn't take enough care with the story as he did the effects. The film could've broken through like SIN CITY if it had characters worth following. Unfortunately, they're as thin as the paper mache set designs.
Story's about a drifter coming into town looking to kill the evil gangster. There's also a samurai in town looking to reclaim a gold medallion.
That's about as deep as the plot gets. Moshe has to realize action without character is boring. Great characters make the action thrilling.
Moshe may be a good director but from now on, he's got to leave the screenwriting to others.
It's too bad Moshe didn't take enough care with the story as he did the effects. The film could've broken through like SIN CITY if it had characters worth following. Unfortunately, they're as thin as the paper mache set designs.
Story's about a drifter coming into town looking to kill the evil gangster. There's also a samurai in town looking to reclaim a gold medallion.
That's about as deep as the plot gets. Moshe has to realize action without character is boring. Great characters make the action thrilling.
Moshe may be a good director but from now on, he's got to leave the screenwriting to others.
Friday, November 25, 2011
THE WALKING DEAD - Season 2.5 - CHUPACABRA
The series is really starting to slow down. We're still looking for Sophia. All that leads to is Darryl falling down a hill impaling himself with his own arrow. In his state of delirium, Merrill returns as a vision.
The whole purpose of this episode is the shock ending which is a beauty. Seems the family farm they're staying in has a whole bunch of walking dead locked away in the barn. The reason is unknown as the episode ends once this is revealed.
That ending makes the episode worth watching. However, nothing else seems to be happening. This has gone on for a couple of episodes now. Hopefully, this doesn't have anything to do with Darabont leaving. They need to maintain the level of excellence they displayed in Season 1.
The whole purpose of this episode is the shock ending which is a beauty. Seems the family farm they're staying in has a whole bunch of walking dead locked away in the barn. The reason is unknown as the episode ends once this is revealed.
That ending makes the episode worth watching. However, nothing else seems to be happening. This has gone on for a couple of episodes now. Hopefully, this doesn't have anything to do with Darabont leaving. They need to maintain the level of excellence they displayed in Season 1.
CONAN THE BARBARIAN (2011)
There's so many problems with this story one wonders how it ever went into development.
Why would the raiders of the mask allow Conan to live as a little boy? They burned the entire village down. Wouldn't they murder the boy as well?
And then once they have the mask, why does it take twenty years for them to locate a pureblood in order to activate the mask's powers? After all, the daughter can make an army of killers out of sand. I'm sure she's got enough powers to locate a woman.
Conan is a brute. A man of might. You've got to give him a bigger than life villain. However, we've got old man Stephen Lang. He's no match for Conan. In the final act, when they go head-to-head, he's hopelessly outmatched. You would think since he's wearing the mask, it would give him great powers to beat Conan.
The mask is the problem. They set it up to be an object that can conquer the world. And yet all we get out of it is bringing a murdered woman back to life. Big damn deal! It should've turned Zym into the Devil. He should've been as monstrous as Hell. In the end, Conan should have bitten off more than he can chew to set up a climatic finale.
Rose McGowan's character is confusing. She's got powers (we don't know why) yet she only uses them at times. She should've grown more powerful as the story develops. Instead, after the sand army, she stops displaying any kind of powers and becomes insignifcant to the plot.
Jason Momoa has presence. The script lets him down.
We could've had an edgy PIRATES OF THE CARIBBEAN here. It should've been an action-packed thrill-ride. Instead, we're given a story that has a hard time appealing to anyone.
If you're going to go with the supernatural angle, go all out. Sorcery should've played a much bigger role. It would be the only way to defeat the barbarian.
Why would the raiders of the mask allow Conan to live as a little boy? They burned the entire village down. Wouldn't they murder the boy as well?
And then once they have the mask, why does it take twenty years for them to locate a pureblood in order to activate the mask's powers? After all, the daughter can make an army of killers out of sand. I'm sure she's got enough powers to locate a woman.
Conan is a brute. A man of might. You've got to give him a bigger than life villain. However, we've got old man Stephen Lang. He's no match for Conan. In the final act, when they go head-to-head, he's hopelessly outmatched. You would think since he's wearing the mask, it would give him great powers to beat Conan.
The mask is the problem. They set it up to be an object that can conquer the world. And yet all we get out of it is bringing a murdered woman back to life. Big damn deal! It should've turned Zym into the Devil. He should've been as monstrous as Hell. In the end, Conan should have bitten off more than he can chew to set up a climatic finale.
Rose McGowan's character is confusing. She's got powers (we don't know why) yet she only uses them at times. She should've grown more powerful as the story develops. Instead, after the sand army, she stops displaying any kind of powers and becomes insignifcant to the plot.
Jason Momoa has presence. The script lets him down.
We could've had an edgy PIRATES OF THE CARIBBEAN here. It should've been an action-packed thrill-ride. Instead, we're given a story that has a hard time appealing to anyone.
If you're going to go with the supernatural angle, go all out. Sorcery should've played a much bigger role. It would be the only way to defeat the barbarian.
AMERICAN HORROR STORY - Season 1.6 - PIGGY, PIGGY
Series to starting to tread water.
We get another flashback involving Tate as he breaks into a locked room and shoots his classmates that came back to haunt him in the last episode.
We get one new bit of information. A medium tells Jessica Lange that her daughter is glad she didn't make it back to the lawn. That's chilling. The ground has something to do with bringing the dead back to life. Explains Kate Mara. She was buried in the ground and she's come back.
This episode has Eric Stonestreet guest-starring as a man afraid of horror stories. He can't look into the mirror because of the piggy-man - an old tale. He comes to Dylan to work through this problem. He's able to gather his courage and look in the mirror only to have a burglar who's been hiding in the tub shoot him dead. This whole subplot wasn't scary and adds nothing to the main plot.
Seems Falchuk and Murphy didn't have enough material to fill a whole season. Kinda reminds me of LOST. The house has become the island and the series is rapidly losing its way.
We get another flashback involving Tate as he breaks into a locked room and shoots his classmates that came back to haunt him in the last episode.
We get one new bit of information. A medium tells Jessica Lange that her daughter is glad she didn't make it back to the lawn. That's chilling. The ground has something to do with bringing the dead back to life. Explains Kate Mara. She was buried in the ground and she's come back.
This episode has Eric Stonestreet guest-starring as a man afraid of horror stories. He can't look into the mirror because of the piggy-man - an old tale. He comes to Dylan to work through this problem. He's able to gather his courage and look in the mirror only to have a burglar who's been hiding in the tub shoot him dead. This whole subplot wasn't scary and adds nothing to the main plot.
Seems Falchuk and Murphy didn't have enough material to fill a whole season. Kinda reminds me of LOST. The house has become the island and the series is rapidly losing its way.
HOUSE - Season 8.3 - CHARITY CASE
Episode was well-written. The series gives us a compelling case as well as provides human insight. House isn't solely about saving his patient, he's about saving his staff. I love how they always use the case on hand to explore themes that are ongoing with the staff. Extremely hard to do yet the writers here pull it off effortlessly.
In this episode, we get Wentworth Miller (who looks heavier than his PRISON BREAK days) playing an altruristic man who's giving away millions while he's living off of 25K a year. He gets into the hospital and volunteers to give up a kidney to a perfect stranger.
House seeks to find a medical condition for Miller (the rest of the hospital feels Miller is just a giving soul) even though if he's proven right and cures Miller, Miller will no longer give House a million bucks to restore his staff.
This is a plot that's finely layered. Top-notch writing.
In this episode, we get Wentworth Miller (who looks heavier than his PRISON BREAK days) playing an altruristic man who's giving away millions while he's living off of 25K a year. He gets into the hospital and volunteers to give up a kidney to a perfect stranger.
House seeks to find a medical condition for Miller (the rest of the hospital feels Miller is just a giving soul) even though if he's proven right and cures Miller, Miller will no longer give House a million bucks to restore his staff.
This is a plot that's finely layered. Top-notch writing.
REVENGE - Season 1.2 - TRUST
Series is poorly written. The working class is noble and kind hearted and filled with only good intentions. The rich are devious and liars and shifty willing to take down their own mother in order to get ahead.
Seems like Amanda will destroy a character in each episode. This would be entertaining if the destruction wasn't achieved so sophmorically. The take down of Harmon is idiotic. And it happens so fast. There's no way a guy like this would risk everything on a single stock based only on assumption. You're telling us, he wouldn't do any fact-checking whatsoever?
With plotting like this, the series belongs solely in the daytime soap opera arena. However, magic bucks are spent on locales, clothes, homes and cars to distract from the threadbare story.
Think how much more interesting the show would be if the plotting were intricate. If each block tumbling revealed just a piece of a much bigger plan. Seems that's too much to ask for from this series.
Seems like Amanda will destroy a character in each episode. This would be entertaining if the destruction wasn't achieved so sophmorically. The take down of Harmon is idiotic. And it happens so fast. There's no way a guy like this would risk everything on a single stock based only on assumption. You're telling us, he wouldn't do any fact-checking whatsoever?
With plotting like this, the series belongs solely in the daytime soap opera arena. However, magic bucks are spent on locales, clothes, homes and cars to distract from the threadbare story.
Think how much more interesting the show would be if the plotting were intricate. If each block tumbling revealed just a piece of a much bigger plan. Seems that's too much to ask for from this series.
SHERLOCK HOLMES (2009)
This is my second viewing of the film. I could barely remember it...which doesn't speak well of the film itself.
Guy Ritchie is clearly the wrong director for the material. You could take out all the fighting and not lose a thing in terms of plot. Also, the entire sequence with the tall, face-scarred enforcer which ends with a monstrous anchor destroying most of a dock is gratuitous. Much like most of the movie, this scene adds little and instead becomes a distraction.
Robert Downey Jr is good. He's simply watchable. He breathes life into his scenes and makes you believe in his deductive powers. It's a shame they couldn't come up with a script to match his talents.
The plot is a bore. Lord Blackwood uses parlor tricks to convince a nation that he's been ressurected from the dead. Why? He wants to take over England and regain control of America. He thinks fear will keep everyone in check.
Do we even care? He film seems to forget about Blackwood for long stretches. For a mystery to work, the villain's plan must be front and center. This way, we can play along with Holmes, trying to match wits with this great detective. Without a strong villain driving the plot, the film wanders becoming boring for its first hour.
Hopefully, they'll get the sequel right but with Ritchie still at the helm, I highly doubt it.
Guy Ritchie is clearly the wrong director for the material. You could take out all the fighting and not lose a thing in terms of plot. Also, the entire sequence with the tall, face-scarred enforcer which ends with a monstrous anchor destroying most of a dock is gratuitous. Much like most of the movie, this scene adds little and instead becomes a distraction.
Robert Downey Jr is good. He's simply watchable. He breathes life into his scenes and makes you believe in his deductive powers. It's a shame they couldn't come up with a script to match his talents.
The plot is a bore. Lord Blackwood uses parlor tricks to convince a nation that he's been ressurected from the dead. Why? He wants to take over England and regain control of America. He thinks fear will keep everyone in check.
Do we even care? He film seems to forget about Blackwood for long stretches. For a mystery to work, the villain's plan must be front and center. This way, we can play along with Holmes, trying to match wits with this great detective. Without a strong villain driving the plot, the film wanders becoming boring for its first hour.
Hopefully, they'll get the sequel right but with Ritchie still at the helm, I highly doubt it.
GLEE - Season 2
Not as good as Season 1 but it still has its moments.
Ryan Murphy pushes his own agenda too much this season, perhaps in a way to finally have the high school experience he wanted to have, culminating in Kurt going to prom with a guy. There's nothing wrong with this at all. Except, during the season, it diminished the entertainment factor somewhat. However, having the school vote Kurt as Prom Queen was drama at its finest.
The season has its showstopping moments. Santana singing LANDSLIDES to Brittney was outstanding. The relationship between Kurt and his father always provides the series best scenes. Darren Criss continues to shine. Michele Lea and Dianna Argon should become major stars.
However, there's a lot of filler this year. Too much reliance on broadway showtunes. The Rocky Horror episode was a waste. The songs took on too much emphasis at the expense of character development.
First season was a smash. This season rested on its laurels.
Ryan Murphy pushes his own agenda too much this season, perhaps in a way to finally have the high school experience he wanted to have, culminating in Kurt going to prom with a guy. There's nothing wrong with this at all. Except, during the season, it diminished the entertainment factor somewhat. However, having the school vote Kurt as Prom Queen was drama at its finest.
The season has its showstopping moments. Santana singing LANDSLIDES to Brittney was outstanding. The relationship between Kurt and his father always provides the series best scenes. Darren Criss continues to shine. Michele Lea and Dianna Argon should become major stars.
However, there's a lot of filler this year. Too much reliance on broadway showtunes. The Rocky Horror episode was a waste. The songs took on too much emphasis at the expense of character development.
First season was a smash. This season rested on its laurels.
SCRIPT: BETTER LIVING THROUGH CHEMISTRY
Finished this script by David Posamentier and Geoff Moore.
Story's about a milquetoast guy named Douglas Varney who's dominated by his wife in the house and by his father-in-law in business. Doug has bought his father-in-law's pharmacy yet still lets his father-in-law call the shots.
Late one night, Doug has to make the pharmacy deliveries and comes across Elizabeth. A lonely trophy wife living in a mansion. They quickly start an affair.
Elizabeth gets Doug to concoct all kinds of pills and soon they're living life through chemistry. The change in Doug becomes apparent. He takes control of his wife and stands up to his father-in-law.
This is when Doug and Elizabeth come up with a plan to kill Elizabeth's husband. They then will be able to run off together and live off her husband's wealth.
Doug has a dream that it's already happened and can see how his life will quickly fall apart, ending in a jail sentence. He sets out to stop it from happening before it's too late.
In the end, Elizabeth leaves. It'll be okay though. Doug has become a man. He leaves his wife and begins his real life.
The duo are professional writers. The script is a fast read - breezy. The pages flow. You get the characters instantly, understanding their motivations and actions.
However, this is an indie film...at best. And it's not going to win Academy Awards. It's a small film about a mid-life crisis. It's about a guy that looks at his life and wonders what the hell went wrong. The chemistry angle is different...but not very visual.
Pass on the script. But a resounding "yes" on the writers.
Story's about a milquetoast guy named Douglas Varney who's dominated by his wife in the house and by his father-in-law in business. Doug has bought his father-in-law's pharmacy yet still lets his father-in-law call the shots.
Late one night, Doug has to make the pharmacy deliveries and comes across Elizabeth. A lonely trophy wife living in a mansion. They quickly start an affair.
Elizabeth gets Doug to concoct all kinds of pills and soon they're living life through chemistry. The change in Doug becomes apparent. He takes control of his wife and stands up to his father-in-law.
This is when Doug and Elizabeth come up with a plan to kill Elizabeth's husband. They then will be able to run off together and live off her husband's wealth.
Doug has a dream that it's already happened and can see how his life will quickly fall apart, ending in a jail sentence. He sets out to stop it from happening before it's too late.
In the end, Elizabeth leaves. It'll be okay though. Doug has become a man. He leaves his wife and begins his real life.
The duo are professional writers. The script is a fast read - breezy. The pages flow. You get the characters instantly, understanding their motivations and actions.
However, this is an indie film...at best. And it's not going to win Academy Awards. It's a small film about a mid-life crisis. It's about a guy that looks at his life and wonders what the hell went wrong. The chemistry angle is different...but not very visual.
Pass on the script. But a resounding "yes" on the writers.
Thursday, November 24, 2011
HART OF DIXIE - Season 1.3 - GUMBO AND GLORY
The show hits its stride with this episode.
Big city culture clashing with small-town know-how. Zoe doesn't know anything about snakebites. Yet, Brick needs Zoe's expertise in performing an emergency surgical operation. The beginnings of an uneasy alliance are starting to form.
Epsiode's nicely written. Wade's character elevates to a new level when he secretly cooks Zoe's gumbo earning her second place in the contest.
The show isn't ER but then again, that's not what they're shooting for. HART OF DIXIE is a feel-good series. It's not about medical procedures, it's about people. It's about relationships.
Rachel Bilson carries the show. She's got presence.
Big city culture clashing with small-town know-how. Zoe doesn't know anything about snakebites. Yet, Brick needs Zoe's expertise in performing an emergency surgical operation. The beginnings of an uneasy alliance are starting to form.
Epsiode's nicely written. Wade's character elevates to a new level when he secretly cooks Zoe's gumbo earning her second place in the contest.
The show isn't ER but then again, that's not what they're shooting for. HART OF DIXIE is a feel-good series. It's not about medical procedures, it's about people. It's about relationships.
Rachel Bilson carries the show. She's got presence.
GLEE - Season 3.3 - ASIAN F
The prduction of West Side Story isn't strong enough to serve as the backbone for the season. It's a big reason why the series has faltered. It's not compelling.
I liked the two subplots presented here which make this episode the best so far this season. An "A-minus" being an Asian "F" is funny. We get to explore Mike's character and see how much persuasion his parents hold and how much persuasion their culture holds over them.
Having Mercedes fed up with standing in Rachel's shadow was also effective. It's truthful. That would easily happen in real-life. The writers then take it a step further by showing us that Mercedes is the better candidate yet she's only picked to be the co-Maria. Unable to settle for this, she withdraws from the production. That's strong. You can see the pain yet understand that she needs to do this in order to grow.
The problem here is, these strong subplots aren't supporting a big major theme. Without a strong unifying theme, the subplots feel adrift instead of tethered down. The season's lacking a major plot that we care about.
I liked the two subplots presented here which make this episode the best so far this season. An "A-minus" being an Asian "F" is funny. We get to explore Mike's character and see how much persuasion his parents hold and how much persuasion their culture holds over them.
Having Mercedes fed up with standing in Rachel's shadow was also effective. It's truthful. That would easily happen in real-life. The writers then take it a step further by showing us that Mercedes is the better candidate yet she's only picked to be the co-Maria. Unable to settle for this, she withdraws from the production. That's strong. You can see the pain yet understand that she needs to do this in order to grow.
The problem here is, these strong subplots aren't supporting a big major theme. Without a strong unifying theme, the subplots feel adrift instead of tethered down. The season's lacking a major plot that we care about.
Wednesday, November 23, 2011
LARRY CROWNE
This film simply isn't cinematic. There's not enough going on visually to fill the big screen. There's not enough going on to fill the small screen either.
However, the film does have its charms. The characters are likeable. You're willing to follow Tom Hanks anywhere.
The problems though are too big for the film to overcome. Here's a guy that's on the verge of losing everything. Yet we never see it happening. You would think there'd be some drama inherent in his situation. Yet, all Hanks does is go to a community college and things are hunky-dory. No stress, no heartache, no muss, no fuss.
Also, the scene where Julia Roberts turns into a giddy, laughing, full of love woman rings false. I don't care how much she had to drink. Her character is set up to be a cold, completely-in-control woman. This dramatic change is too great to believe. In fact, it would've played better if she was afraid of these feelings she has for Crowne. If those fears combined with her budding love for him conflicted to the point of her breaking down.
Nia Vardalos has a way of making you like the characters she writes about. However, there has to be a lot more going on to be a movie.
However, the film does have its charms. The characters are likeable. You're willing to follow Tom Hanks anywhere.
The problems though are too big for the film to overcome. Here's a guy that's on the verge of losing everything. Yet we never see it happening. You would think there'd be some drama inherent in his situation. Yet, all Hanks does is go to a community college and things are hunky-dory. No stress, no heartache, no muss, no fuss.
Also, the scene where Julia Roberts turns into a giddy, laughing, full of love woman rings false. I don't care how much she had to drink. Her character is set up to be a cold, completely-in-control woman. This dramatic change is too great to believe. In fact, it would've played better if she was afraid of these feelings she has for Crowne. If those fears combined with her budding love for him conflicted to the point of her breaking down.
Nia Vardalos has a way of making you like the characters she writes about. However, there has to be a lot more going on to be a movie.
AMBER
Finished the script by Michael Harlow.
Story's about an ex-cop turned ex-convict whose 8-yr-old son gets abducted.
Plot is ridiculous. Harlow has no idea how to write sympathetic characters. And how's this for a villain's motivation: the abductors turn out to be the neighbors. Why? Because their in-vitro treatments are expensive and they're in danger of losing their home.
This plot is too far-fetched and a turn-off. No sale is forthcoming here.
Here's another excruciating scene. The 8-yr old son is recovered only to have the ex-cop's 17-year old daughter taken next. The ex-cop goes in pursuit, chasing down the fleeing villain. The pulls up alongside the villain's car. The daughter's in the passenger seat. And the ex-cop proceeds to use sign language to tell his daughter to.......buckle up!!!
The script is pathetic. Next time I see Michael Harlow's name on a title page, I will simply burn the pages and save myself the headache.
Story's about an ex-cop turned ex-convict whose 8-yr-old son gets abducted.
Plot is ridiculous. Harlow has no idea how to write sympathetic characters. And how's this for a villain's motivation: the abductors turn out to be the neighbors. Why? Because their in-vitro treatments are expensive and they're in danger of losing their home.
This plot is too far-fetched and a turn-off. No sale is forthcoming here.
Here's another excruciating scene. The 8-yr old son is recovered only to have the ex-cop's 17-year old daughter taken next. The ex-cop goes in pursuit, chasing down the fleeing villain. The pulls up alongside the villain's car. The daughter's in the passenger seat. And the ex-cop proceeds to use sign language to tell his daughter to.......buckle up!!!
The script is pathetic. Next time I see Michael Harlow's name on a title page, I will simply burn the pages and save myself the headache.
Tuesday, November 22, 2011
TERRA NOVA - Season 1.4 - THE RUNAWAY
This is the episode where the show sadly finds its audience running away.
Terrible. Again, you have this magnificent arena and it becomes totally insignifant in the show.
We get a young girl running away from the sixer camp. She's taken into Terra Nova. We then find out she's a plant and that she's been sent in to steal a box. We then learn she's really not bad because she's only stealing in order to save her brother.
Who cares!?
You need a better leader for the sixers. You need someone imposing. Someone with presence. Someone with command. They've casted poorly here.
We learn that the future wasn't happy with Taylor. We don't know why yet. We'd better find out soon because we're losing interest fast.
Terrible. Again, you have this magnificent arena and it becomes totally insignifant in the show.
We get a young girl running away from the sixer camp. She's taken into Terra Nova. We then find out she's a plant and that she's been sent in to steal a box. We then learn she's really not bad because she's only stealing in order to save her brother.
Who cares!?
You need a better leader for the sixers. You need someone imposing. Someone with presence. Someone with command. They've casted poorly here.
We learn that the future wasn't happy with Taylor. We don't know why yet. We'd better find out soon because we're losing interest fast.
THE BIG BANG THEORY - Season 4
The girls take a bigger role in this season which helps the series grow. There's more relationships to explore. Penny doesn't get back together with Leonard but we see that it's troubling her. I'm sure that will play in season 5.
The show is a good example of what happens when you create characters that an audience falls for. We're willing to follow them anywhere. They've become family. We don't just laugh at them, we laugh along with them. That's the true mark for any successful sitcom.
The only disappointment is that the series didn't end on a cliffhanger. Maybe Howard and Bernadette could've broken up on the eve of their wedding. Or Penny could've declared her love for Leonard. We get a little something when Leonard learns that Priya is going back to India in a month but as soon as that plotpoint is revealed, it's dropped.
It's a minor quibble. Bring on Season 5.
The show is a good example of what happens when you create characters that an audience falls for. We're willing to follow them anywhere. They've become family. We don't just laugh at them, we laugh along with them. That's the true mark for any successful sitcom.
The only disappointment is that the series didn't end on a cliffhanger. Maybe Howard and Bernadette could've broken up on the eve of their wedding. Or Penny could've declared her love for Leonard. We get a little something when Leonard learns that Priya is going back to India in a month but as soon as that plotpoint is revealed, it's dropped.
It's a minor quibble. Bring on Season 5.
Monday, November 21, 2011
GRIMM - Season 1.3 - BEEWARE
Should've known how bad the episode would be when I saw the title.
Show starts off with a flash mob on a bus singing YMCA. We see a woman get jostled by the singing crowd. The bus stops and everyone gets off. Except the woman. The bus driver turns and sees her dead body laying in the aisle.
And when we see her face, it looks like she's been stung by a million bees.
That was the only good thing about this episode.
Again, you cannot take this type of material and set it in a realistic world. You've got the two detectives that could've come straight out of NYPD BLUE. And you mix in this fairy tale element. The two do not go together. Now, when we see the humans morph into the creatures, inside of being horrified, it's comical.
Terrible series. Pull the plug.
Show starts off with a flash mob on a bus singing YMCA. We see a woman get jostled by the singing crowd. The bus stops and everyone gets off. Except the woman. The bus driver turns and sees her dead body laying in the aisle.
And when we see her face, it looks like she's been stung by a million bees.
That was the only good thing about this episode.
Again, you cannot take this type of material and set it in a realistic world. You've got the two detectives that could've come straight out of NYPD BLUE. And you mix in this fairy tale element. The two do not go together. Now, when we see the humans morph into the creatures, inside of being horrified, it's comical.
Terrible series. Pull the plug.
FRINGE - Season 4.7 - WALLFLOWER
Terrible episode. Nothing happens.
We get a guy that's invisible and has to kill others to steal their pigmentation. All he wants to do is be seen.
Somehow, this is supposed to tie into Olivia's character flaw. Turns out, this guy was another Massive Dynamic's guinea pig. Olivia starts to think she might be emotionally stunted due to the tests that she endured when she was a child.
The problem is, we don't get any resolution to Olivia's problem.
Episode feels like filler. It's clear the alternate universe plotline isn't working. Now, the show is floundering about. You can feel they've lost their sure footing.
Walter is barely in this episode. Peter's no longer contributing. These are two of your leads. How can the episodes find success when the leads aren't leading?
Another Bad Robot series without direction.
We get a guy that's invisible and has to kill others to steal their pigmentation. All he wants to do is be seen.
Somehow, this is supposed to tie into Olivia's character flaw. Turns out, this guy was another Massive Dynamic's guinea pig. Olivia starts to think she might be emotionally stunted due to the tests that she endured when she was a child.
The problem is, we don't get any resolution to Olivia's problem.
Episode feels like filler. It's clear the alternate universe plotline isn't working. Now, the show is floundering about. You can feel they've lost their sure footing.
Walter is barely in this episode. Peter's no longer contributing. These are two of your leads. How can the episodes find success when the leads aren't leading?
Another Bad Robot series without direction.
Sunday, November 20, 2011
GLEE - Season 3.2 - I AM UNICORN
Show always celebrated being who you are. Accepting who you are.
This episode is counterproductive to that theme. Kurt is gay. Yet he longs to play the romantic lead in a heterosexual relationship. Quinn decides to act out a charade and pretend to be who she was in order to regain her daughter.
What has happened to this show? Somewhere along the way, this series lost its footing in Season 2 and has never regained it. The episodes stumble along. The moral lessons are nowhere to be found.
Sue has become an afterthought. She no longer fits in the show. Everytime she appears now, the scenes seem forced.
Series is now played out.
This episode is counterproductive to that theme. Kurt is gay. Yet he longs to play the romantic lead in a heterosexual relationship. Quinn decides to act out a charade and pretend to be who she was in order to regain her daughter.
What has happened to this show? Somewhere along the way, this series lost its footing in Season 2 and has never regained it. The episodes stumble along. The moral lessons are nowhere to be found.
Sue has become an afterthought. She no longer fits in the show. Everytime she appears now, the scenes seem forced.
Series is now played out.
HOUSE - Season 8.2 - TRANSPLANT
Series is still well-written. House is released from prison and goes back to the hospital to work on a transplant case. Seems no one can figure out why a set of lungs aren't working. They only have twelve hours left to solve the mystery.
House is introduced to Charlyne Yi - his new "team." Yi does a good job playing off the abrasive doctor.
What can you say about Hugh Laurie - he owns the role. He burns bright in every scene, bringing the plot to life.
Sure, we miss but Cuddy but there's no doubt this creative team will find an interesting replacement.
House is introduced to Charlyne Yi - his new "team." Yi does a good job playing off the abrasive doctor.
What can you say about Hugh Laurie - he owns the role. He burns bright in every scene, bringing the plot to life.
Sure, we miss but Cuddy but there's no doubt this creative team will find an interesting replacement.
THE INTERN
Finished this script by Stuart Gibbs and Mike Rosemont.
Comedy's about two friends that decide to rob a bank and hire an unsuspecting college intern to help them pull the job off. Along the way, loanshark henchmen, FBI and a private security firm intensify the complications.
Script has its moments but ultimately it's not wild enough for THE HANGOVER crowd nor does it contain enough comedic sequences to satisfy the 30 MINUTES OR LESS audience.
It's a by-the-numbers story. We can see all the plot points pages before they hit. The saving quality is what it has to say about college work vs. the real world. It's not cheating it's just out-manuevering.
Pass on the script. By the writers are worth taking another look at.
Comedy's about two friends that decide to rob a bank and hire an unsuspecting college intern to help them pull the job off. Along the way, loanshark henchmen, FBI and a private security firm intensify the complications.
Script has its moments but ultimately it's not wild enough for THE HANGOVER crowd nor does it contain enough comedic sequences to satisfy the 30 MINUTES OR LESS audience.
It's a by-the-numbers story. We can see all the plot points pages before they hit. The saving quality is what it has to say about college work vs. the real world. It's not cheating it's just out-manuevering.
Pass on the script. By the writers are worth taking another look at.
Saturday, November 19, 2011
ONCE UPON A TIME - Season 1.3 - SNOW FALLS
We get the backstory on how Snow White met Prince Charming. She steals from the Queen and hides out in the woods. He's on the way to an arranged marriage.
This dovetails into our present story where the Prince is in a coma. Henry gets Snow to read to him. He's revived and staggers off into the woods.
They get him back to the hospital where the Queen awaits with...the Prince's wife.
The episode ends with Emma moving in with Snow.
How are we supposed to relate to this series? If it's about the search for true love, that theme isn't being hit hard enough. If it's about the strength of family, they're not doing a good job of making us feel that.
The fairy tales should be used to convey a deeper message. Instead, the fairy tales simply...exist and we're supposed to buy in.
The show is a misfire. It needs to be retooled in a hurry.
This dovetails into our present story where the Prince is in a coma. Henry gets Snow to read to him. He's revived and staggers off into the woods.
They get him back to the hospital where the Queen awaits with...the Prince's wife.
The episode ends with Emma moving in with Snow.
How are we supposed to relate to this series? If it's about the search for true love, that theme isn't being hit hard enough. If it's about the strength of family, they're not doing a good job of making us feel that.
The fairy tales should be used to convey a deeper message. Instead, the fairy tales simply...exist and we're supposed to buy in.
The show is a misfire. It needs to be retooled in a hurry.
Friday, November 18, 2011
AMERICAN HORROR STORY - Season 1.5 - HALLOWEEN, PART II
What a let-down. The first part was well done. The second half was a drag. All the dead are coming back. What for? Do we even care at this point?
Zachary Quinto and his lover are just taking up space. Album-filler.
Kate Mara turns out to be just another random ghost. I thought there was going to be substance to her character but she's turned out to be fluff.
Now we got a bunch of high-schoolers turning up, seeking revenge on Jessica Lange's son. Hard to feel anything for them since they were never detailed.
Not enough mystery. Not enough plot twists to keep us off-balance. This episode simply plays the same note over and over. Dead bodies coming back.
Doesn't sustain interest.
Zachary Quinto and his lover are just taking up space. Album-filler.
Kate Mara turns out to be just another random ghost. I thought there was going to be substance to her character but she's turned out to be fluff.
Now we got a bunch of high-schoolers turning up, seeking revenge on Jessica Lange's son. Hard to feel anything for them since they were never detailed.
Not enough mystery. Not enough plot twists to keep us off-balance. This episode simply plays the same note over and over. Dead bodies coming back.
Doesn't sustain interest.
FRINGE - Season 4.6 - AND THOSE WE LEFT BEHIND
The best episode of the season so far.
Stephen Root has built a time machine based on his wife's theories. However, the formula is incomplete and she now suffers from Alzheimers. He has to continually go back in time to get her to finish the formula.
The only problem is, every time he goes back, he causes time disruptions. This was the best part of the episode. A woman is in her kitchen with her five-year old daughter. The kitchen's appearance changes. She's now in a kitchen that was in a horrendous fire. Scared, she goes to her daughter only to find her now an infant. That is FRINGE at its finest.
Episode ends with Peter realizing he's in another universe. And he has no idea how to get back to his own.
Neat idea. However, the effects shot of a train suddenly appearing was weak. So was the shot of the sea appearing in the tunnel. This shows you the budget limitations of episodic television.
Stephen Root has built a time machine based on his wife's theories. However, the formula is incomplete and she now suffers from Alzheimers. He has to continually go back in time to get her to finish the formula.
The only problem is, every time he goes back, he causes time disruptions. This was the best part of the episode. A woman is in her kitchen with her five-year old daughter. The kitchen's appearance changes. She's now in a kitchen that was in a horrendous fire. Scared, she goes to her daughter only to find her now an infant. That is FRINGE at its finest.
Episode ends with Peter realizing he's in another universe. And he has no idea how to get back to his own.
Neat idea. However, the effects shot of a train suddenly appearing was weak. So was the shot of the sea appearing in the tunnel. This shows you the budget limitations of episodic television.
THE MUNSTERS
Finished the teleplay by Bryan Fuller.
Do we really need to remake this series? Pilot concerns Eddie Munster coming to grips with being a werewolf and realizing exactly what his family is.
Eddie decides he's going to be a vegetarian. Is this funny? There's nothing in this episode that screams out "reboot".
Herman is worried about his failing heart which has been stapled together.
The family moves into Mockingbird Lane and Grandpa wants to start eating people again.
PUSHING DAISIES was offbeat and strange. Fuller did a nice job with that. Here, his take is a misfire. While TRUE BLOOD pushes the envelope, THE MUNSTERS seems content to stay inside it.
Pass.
Do we really need to remake this series? Pilot concerns Eddie Munster coming to grips with being a werewolf and realizing exactly what his family is.
Eddie decides he's going to be a vegetarian. Is this funny? There's nothing in this episode that screams out "reboot".
Herman is worried about his failing heart which has been stapled together.
The family moves into Mockingbird Lane and Grandpa wants to start eating people again.
PUSHING DAISIES was offbeat and strange. Fuller did a nice job with that. Here, his take is a misfire. While TRUE BLOOD pushes the envelope, THE MUNSTERS seems content to stay inside it.
Pass.
Thursday, November 17, 2011
THE LAST OF SHEILA
Checked out the Herbert Ross film. Maybe it could be remade with a younger, bitchier cast today.
Sheila was James Coburn's wife. She was killed in a hit-and-run accident the year before. Coburn, emerging from mourning, invites six people to go on a trip with him aboard his yacht. There, he unveils a game they will all be forced to play. He hands out six cards. Each holds a secret. They soon realize, the secrets are their own.
Coburn is playing a sadistic game, seeking to unmask his wife's killer. The game however turns deadly when Coburn is found murdered.
Could make for an interesting indie. Set it in a private high school. The upper crust. And watch how a small group of friends turn on one another once the lights go out.
Sheila was James Coburn's wife. She was killed in a hit-and-run accident the year before. Coburn, emerging from mourning, invites six people to go on a trip with him aboard his yacht. There, he unveils a game they will all be forced to play. He hands out six cards. Each holds a secret. They soon realize, the secrets are their own.
Coburn is playing a sadistic game, seeking to unmask his wife's killer. The game however turns deadly when Coburn is found murdered.
Could make for an interesting indie. Set it in a private high school. The upper crust. And watch how a small group of friends turn on one another once the lights go out.
NO GOOD DEED
Finished this script by Jessica Chandler-Fay.
Story's about a couple that save what looks to be a wayward drug addict while driving one day. They spot her coming out of an alley emaciated and incoherent. They take her to the hospital where it is later revealed that she's a missing UCLA student that was last seen volunteering at a food bank.
Life then takes a turn for our couple as family of freaks begin to terrorize them.
The story is similar to THE STRANGERS. We never learn why this family is terrorizing others, we never learn who they are, and they get away with their crime at the end.
That's the reason why I cannot recommend this script. It takes the exact same concept without adding anything to the genre.
We learn the kidnapped girl was given a choice. She's given time to find a replacement. That's why she came out of the alley. She was looking for the next victims in order to set herself free.
The writer can write. Her pages flow nicely. She now has to come up with something original in order to make a splash.
Story's about a couple that save what looks to be a wayward drug addict while driving one day. They spot her coming out of an alley emaciated and incoherent. They take her to the hospital where it is later revealed that she's a missing UCLA student that was last seen volunteering at a food bank.
Life then takes a turn for our couple as family of freaks begin to terrorize them.
The story is similar to THE STRANGERS. We never learn why this family is terrorizing others, we never learn who they are, and they get away with their crime at the end.
That's the reason why I cannot recommend this script. It takes the exact same concept without adding anything to the genre.
We learn the kidnapped girl was given a choice. She's given time to find a replacement. That's why she came out of the alley. She was looking for the next victims in order to set herself free.
The writer can write. Her pages flow nicely. She now has to come up with something original in order to make a splash.
Wednesday, November 16, 2011
DAVINCI'S DEMONS
Finished this teleplay by David S. Goyer.
Takes us into the life and mind of Leonardo DaVinci. An artist who cannot rise to the noble class because he is a bastard child.
He falls for Lucrezia Donati, the mistress of Lorenzo Medici - the ruler of Florence. She beds him but is soon to be revealed to be more than a beautiful woman.
Turns out a secret sect exists that the Vatican opposes. The sect is after The Book of Leaves, a compendium that contains vast knowledge. The sect wants DaVinci to find the book.
The Vatican learns of DaVinci's involvement from Donati. This is how the pilot episode ends.
The sect reminds me of Goyer's treatment of Ra's Al Ghul in BATMAN BEGINS.
Goyer brings DaVinci to life. We understand how his mind operates and we see sketches of many of his inventions.
Is it an entertaining series though? I'd pass on it. Doesn't seem big enough nor does it involve engrossing sequences to sustain our interest. ANGELS & DEMONS had the murders to spark its plot. This pilot needs elements like that.
Takes us into the life and mind of Leonardo DaVinci. An artist who cannot rise to the noble class because he is a bastard child.
He falls for Lucrezia Donati, the mistress of Lorenzo Medici - the ruler of Florence. She beds him but is soon to be revealed to be more than a beautiful woman.
Turns out a secret sect exists that the Vatican opposes. The sect is after The Book of Leaves, a compendium that contains vast knowledge. The sect wants DaVinci to find the book.
The Vatican learns of DaVinci's involvement from Donati. This is how the pilot episode ends.
The sect reminds me of Goyer's treatment of Ra's Al Ghul in BATMAN BEGINS.
Goyer brings DaVinci to life. We understand how his mind operates and we see sketches of many of his inventions.
Is it an entertaining series though? I'd pass on it. Doesn't seem big enough nor does it involve engrossing sequences to sustain our interest. ANGELS & DEMONS had the murders to spark its plot. This pilot needs elements like that.
THE WALKING DEAD - Season 2.4 - CHEROKEE ROSE
Episode was a come-down from the last one which was to expected.
The big revelation is Lori finding out she's pregnant. How the hell is she going to explain this to Rick?
The whole thing about the zombie in the well is pointless. We don't learn anything new about the zombies.
Seeds of discord are sewn as the two surviving groups are distrustful of one another. Our group won't share their medications. Their group doesn't seem keen on hospitality. That's the beauty of the series. Here we are quite possible facing human extinction and yet we still manage to fight one another. The bigger meaning being: Maybe humanity has already left us.
Show might be the best thing currently on tv.
The big revelation is Lori finding out she's pregnant. How the hell is she going to explain this to Rick?
The whole thing about the zombie in the well is pointless. We don't learn anything new about the zombies.
Seeds of discord are sewn as the two surviving groups are distrustful of one another. Our group won't share their medications. Their group doesn't seem keen on hospitality. That's the beauty of the series. Here we are quite possible facing human extinction and yet we still manage to fight one another. The bigger meaning being: Maybe humanity has already left us.
Show might be the best thing currently on tv.
Tuesday, November 15, 2011
AMERICAN HORROR STORY - Season 1.4 - HALLOWEEN, PART 1
Three standout scenes make this episode the best of the season so far.
The flashback sequence which culminates in the doctor trying to sewn his dead baby back together was a kick. That revulsion rachets the horror up nicely.
Having the down syndrome daughter wear the "pretty girl" mask out on Halloween was a nice touch. The mask is actually horrifying.
And finally, the ending shot of Kate Mara on the doorstep is the best thing in the series so far. Once dead, she's come back to haunt.
With an ending like that, you are compelled to see what happens next. Great job.
The flashback sequence which culminates in the doctor trying to sewn his dead baby back together was a kick. That revulsion rachets the horror up nicely.
Having the down syndrome daughter wear the "pretty girl" mask out on Halloween was a nice touch. The mask is actually horrifying.
And finally, the ending shot of Kate Mara on the doorstep is the best thing in the series so far. Once dead, she's come back to haunt.
With an ending like that, you are compelled to see what happens next. Great job.
POINT A
Finished this script by Chris Rubeo.
Story's about Josh Bennett, a 35-year-old writer for "Today's Guy" magazine. He's good at his job and engaged to be married. Everything's looking up until Josh is sent on an assignment to explore video blogs. He comes across one that catches his eye called "Cloe's World" and contacts Cloe for an interview.
Turns out, Cloe's all of sixteen-years-old.
And Josh Bennett falls for her. And not in a brotherly-type of way. They have a sexually-charged affair.
Wow. Can the subject matter be more creepy? Josh rationalizes the affair when he learns the legal age of consent in Ohio is sixteen.
Things take a turn for the worse when Cloe tells Josh's fiance she's been sleeping with Josh. Enraged, Josh's fiance calls Cloe's mother and tells her what's been going on.
And still Josh and Cloe continue their relationship. Chris Rubeo wants us to believe this is true love.
The story is disgusting. Yet, give Rubeo credit, he can write and he can write well. The pages flow. The characters jump off the page. The emotions are real.
I just can't get past the subject matter.
Yes, I recommend Rubeo as a writer. I doubt this script will ever get made though but I'm looking forward to whatever he writes next.
Story's about Josh Bennett, a 35-year-old writer for "Today's Guy" magazine. He's good at his job and engaged to be married. Everything's looking up until Josh is sent on an assignment to explore video blogs. He comes across one that catches his eye called "Cloe's World" and contacts Cloe for an interview.
Turns out, Cloe's all of sixteen-years-old.
And Josh Bennett falls for her. And not in a brotherly-type of way. They have a sexually-charged affair.
Wow. Can the subject matter be more creepy? Josh rationalizes the affair when he learns the legal age of consent in Ohio is sixteen.
Things take a turn for the worse when Cloe tells Josh's fiance she's been sleeping with Josh. Enraged, Josh's fiance calls Cloe's mother and tells her what's been going on.
And still Josh and Cloe continue their relationship. Chris Rubeo wants us to believe this is true love.
The story is disgusting. Yet, give Rubeo credit, he can write and he can write well. The pages flow. The characters jump off the page. The emotions are real.
I just can't get past the subject matter.
Yes, I recommend Rubeo as a writer. I doubt this script will ever get made though but I'm looking forward to whatever he writes next.
Monday, November 14, 2011
TERRA NOVA - Season 1.3 - WHAT REMAINS
The dinosaurs still look like they should be chasing Will Ferrell in THE LAND OF THE LOST.
Episode deals with a pathogen that makes you suffer short-term memory loss which grows progressively worse.
This kicks into high gear when Commander Taylor is infected. He no longer knows he's on Terra Nova and since he's a complete killing machine, he can do some serious damage to the colony if they're unable to get him under control. This angle could have been exploited fully, lasting over multiple episodes. Just think, the guy they depend on most suddenly becomes their worst enemy.
Of course, this being TERRA NOVA though, Taylor is easily subdued and a cure is found five minutes later. Crisis averted. This is another example of the shoddy writing found throughout the series.
What's the point of this episode? It focuses on this one element. The memory loss. There isn't a bigger message inherent in this.
Show's terrible.
Episode deals with a pathogen that makes you suffer short-term memory loss which grows progressively worse.
This kicks into high gear when Commander Taylor is infected. He no longer knows he's on Terra Nova and since he's a complete killing machine, he can do some serious damage to the colony if they're unable to get him under control. This angle could have been exploited fully, lasting over multiple episodes. Just think, the guy they depend on most suddenly becomes their worst enemy.
Of course, this being TERRA NOVA though, Taylor is easily subdued and a cure is found five minutes later. Crisis averted. This is another example of the shoddy writing found throughout the series.
What's the point of this episode? It focuses on this one element. The memory loss. There isn't a bigger message inherent in this.
Show's terrible.
GOON
Finished the script by Jay Baruchel and Evan Goldberg.
The script has heart. The duo have created a likeable character in Doug. A simple man whose only skill in life is knocking people out. Doug makes his way to the hockey minor leagues and starts to gain a cult-like status as a goon.
The script has its moments however, it's not fully realized. Doug isn't a good hockey player. He can barely stay upright on his skates. All he's good for is fighting. Shouldn't the script arrive at a moment where Doug realizes fighting's only going to get him so far? That he can't live life being a goon? Shouldn't there be a moment where he turns away from fighting?
They've written a lead without a character arc. When that happens, your lead comes across flat and boring after awhile since there isn't any growth.
The script has heart. Now, they have to surround it with a body. The way its written now, the film will not crossover and be a huge hit.
The script has heart. The duo have created a likeable character in Doug. A simple man whose only skill in life is knocking people out. Doug makes his way to the hockey minor leagues and starts to gain a cult-like status as a goon.
The script has its moments however, it's not fully realized. Doug isn't a good hockey player. He can barely stay upright on his skates. All he's good for is fighting. Shouldn't the script arrive at a moment where Doug realizes fighting's only going to get him so far? That he can't live life being a goon? Shouldn't there be a moment where he turns away from fighting?
They've written a lead without a character arc. When that happens, your lead comes across flat and boring after awhile since there isn't any growth.
The script has heart. Now, they have to surround it with a body. The way its written now, the film will not crossover and be a huge hit.
HARSH REALM - Season 1.1
Currently checking out the failed Chris Carter series. I'm surprised three episodes aired in its original run. It shouldn't have gotten past the pilot stage.
For starters, the military setting is a complete turn-off.
Second, Scott Bairstow is not a lead. It's a chore just watching him in his scenes.
Third, the ambitious plot is too much for the production budget. If you're going to create a Matrix-like storyline, you need eye-popping visuals.
Story's about a soldier placed in a virtual-reality game called Harsh Realm. His mission: capture Santiago who's taken over the game and made this war simulation his own.
Judging from this pilot, this is not material conducive to a weekly tv series.
For starters, the military setting is a complete turn-off.
Second, Scott Bairstow is not a lead. It's a chore just watching him in his scenes.
Third, the ambitious plot is too much for the production budget. If you're going to create a Matrix-like storyline, you need eye-popping visuals.
Story's about a soldier placed in a virtual-reality game called Harsh Realm. His mission: capture Santiago who's taken over the game and made this war simulation his own.
Judging from this pilot, this is not material conducive to a weekly tv series.
Sunday, November 13, 2011
THE GOOD WIFE - Season 2
Easily the best written law show on television right now. Season 2 trumps Season 1. The conflicts deepen, the characters settle into their roles, the plots are engaging.
Michael J. Fox is great. I love how they bring these characters back. Whether it's Denis O'Hare as a judge or Dallas Roberts as Alicia's gay brother or Titus Welliver as outgoing D.A. Glenn Childs, the caliber of acting is first rate.
I didn't like how easily Michael Ealy left the firm though. That was a conflict that held a promise of a much bigger bang than what we got. The fight should've been much bigger. The showdown ended with a whimper.
Kalinda is such a deeply drawn character. Archie Panjabi steals every scene she's in. The way she broke down in the elevator after Alicia eviscerates her was great. It's shocking because we've never seen that character out of control before. Even when she demolishes Scott Porter's car, she's in complete control.
Chris Noth does an excellent job. It's easy to believe this is a man of power.
It's too bad the third season has started off so poorly.
Michael J. Fox is great. I love how they bring these characters back. Whether it's Denis O'Hare as a judge or Dallas Roberts as Alicia's gay brother or Titus Welliver as outgoing D.A. Glenn Childs, the caliber of acting is first rate.
I didn't like how easily Michael Ealy left the firm though. That was a conflict that held a promise of a much bigger bang than what we got. The fight should've been much bigger. The showdown ended with a whimper.
Kalinda is such a deeply drawn character. Archie Panjabi steals every scene she's in. The way she broke down in the elevator after Alicia eviscerates her was great. It's shocking because we've never seen that character out of control before. Even when she demolishes Scott Porter's car, she's in complete control.
Chris Noth does an excellent job. It's easy to believe this is a man of power.
It's too bad the third season has started off so poorly.
Saturday, November 12, 2011
FAMILY GUY - Season 10.1 - LOTTERY FEVER
In the Season 10 premiere, Peter hits the lottery and goes on a spending splurge as we watch the money warp him. Of course, he blows through the $150 million within a month and has to go back to his miserable life.
The show's humor is hit-or-miss with the majority being misses. Every now and again, it'll come up with a zinger like this episode's knock against Alan Ball for being so dreary.
Did anyone laugh at STAR TREK II: THE WRATH OF KHAN being edited for goats? Unfortunately, most of the humor falls in this category.
The show's humor is hit-or-miss with the majority being misses. Every now and again, it'll come up with a zinger like this episode's knock against Alan Ball for being so dreary.
Did anyone laugh at STAR TREK II: THE WRATH OF KHAN being edited for goats? Unfortunately, most of the humor falls in this category.
BONES - Season 7.1 - THE MEMORIES IN THE SHALLOW GRAVE
The thing about BONES is the cases presented each week are never that interesting. Half the time, the cases are hard to follow. Suspects simply pop up halfway through and since they're just being introduced, we never gain an emotional connection. They're presented in such a paper-thin way that we couldn't care less if they turned out to be the killer.
The strength of the series rests on the relationship between Bones and Booth. We like them. We want to see what happens to them. This season, they are having a child. It's a good move for the show. It keeps us interested watching their relationship go to a new level.
Premiere episode involves the decayed body of a woman found during a paintball game. Turns out she had suffered from amnesia during which time she took on a whole new identity and became a thief.
Again, since we never get to know this person, our interests wanes quickly. Her husband becomes the immediate suspect but since, in this show, it's hardly ever the likely suspect, we immediately mentally discard him as the culprit. Next suspect turns out to be the thief she shacked up with during her fugue state. Since this guy only has one scene we know it can't be him either.
At this point, do we care who did it? An effective crime-thriller lets you know who the suspects are. I understand we only have forty-plus minutes to tell this tale and that we've got to fill twenty-plus episodes in a short amount of time but this series gets away with murder, so to speak.
How much longer can this show run? What's next, Bones and Booth's kid helps them solve the murders? The series is definitely on short-time status now.
The strength of the series rests on the relationship between Bones and Booth. We like them. We want to see what happens to them. This season, they are having a child. It's a good move for the show. It keeps us interested watching their relationship go to a new level.
Premiere episode involves the decayed body of a woman found during a paintball game. Turns out she had suffered from amnesia during which time she took on a whole new identity and became a thief.
Again, since we never get to know this person, our interests wanes quickly. Her husband becomes the immediate suspect but since, in this show, it's hardly ever the likely suspect, we immediately mentally discard him as the culprit. Next suspect turns out to be the thief she shacked up with during her fugue state. Since this guy only has one scene we know it can't be him either.
At this point, do we care who did it? An effective crime-thriller lets you know who the suspects are. I understand we only have forty-plus minutes to tell this tale and that we've got to fill twenty-plus episodes in a short amount of time but this series gets away with murder, so to speak.
How much longer can this show run? What's next, Bones and Booth's kid helps them solve the murders? The series is definitely on short-time status now.
ALLEN GREGORY - Season 1.2 - NIGHT IN GOTTLIEB
Allen Gregory is funny. Just listening to his dialogue makes the show worth-watching. It would be better and funnier though if Allen were to have this crush on Gina, his hot teacher instead. It makes more sense. The conflict would be heightened.
Having the object of his obsession being an elderly, overweight Principal isn't as funny. Allen is too smart for his own good. Isn't it more plausible then that he would see the advantages of him being with a hot teacher rather than the old lady?
Allen's sister isn't as funny. You could probably drop her from the show entirely and not miss a thing.
Having the object of his obsession being an elderly, overweight Principal isn't as funny. Allen is too smart for his own good. Isn't it more plausible then that he would see the advantages of him being with a hot teacher rather than the old lady?
Allen's sister isn't as funny. You could probably drop her from the show entirely and not miss a thing.
Friday, November 11, 2011
HOUSE - Season 8.1 - TWENTY VICODIN
Season premiere. It's a gutsy move to change the setting of the show from a hospital to jail. You're taking a successful series out of its arena. The audience knew what to expect, now everything is alien. It's a move that doesn't quite work. The jail setting is too jarring. Yes, House still works his magic but now the setting is oppressive which doesn't fit this show. It's almost like an episode of OZ.
This series is on its last legs. I applaud the producers for changing things but this change is too drastic. The familiarity is broken. The patients aren't as interesting when they're convicts. The race against time to save a life isn't so dramatic when you're saving murderers, rapists and robbers.
This series is on its last legs. I applaud the producers for changing things but this change is too drastic. The familiarity is broken. The patients aren't as interesting when they're convicts. The race against time to save a life isn't so dramatic when you're saving murderers, rapists and robbers.
HART OF DIXIE - Season 1.2 - PARADES AND PARIAHS
Can't see this series lasting. Can't really see Rachel Bilson as a doctor and this episode does nothing to dispel that. I almost start laughing when she utters her medical jargon.
That doesn't matter though. The show's not about medicine. It's about a big-town girl trying to fit into a small town. The conflict where Hart purposefully crashes the float in order to protect her patient's secret even though it will make Hart even more unpopular than she already is was well-written. Unfortunately, the execution was poorly done. The drama isn't there. Instead, the scene just floats along, feeling like slow motion.
I realize that's the tone and pace of the series but unless you hit these dramatic moments harder, the audience won't stick around. It these types of moments that reveal character. They're how you get your audience behind your characters.
Just can't see this series getting picked up for another season at this rate.
That doesn't matter though. The show's not about medicine. It's about a big-town girl trying to fit into a small town. The conflict where Hart purposefully crashes the float in order to protect her patient's secret even though it will make Hart even more unpopular than she already is was well-written. Unfortunately, the execution was poorly done. The drama isn't there. Instead, the scene just floats along, feeling like slow motion.
I realize that's the tone and pace of the series but unless you hit these dramatic moments harder, the audience won't stick around. It these types of moments that reveal character. They're how you get your audience behind your characters.
Just can't see this series getting picked up for another season at this rate.
THE CHANGE UP
Caught this David Dobkin film. Dobkin wasn't able to recreate the magic he exhibited in WEDDING CRASHERS.
The gross-out jokes were distracting here. And the emotional moments weren't heavy enough. Having Mitch hear what his father really thinks of him was a good start. It's not big enough though to be the knockout punch. Same goes for having Dave hear how lonely his wife has become.
I like Jason Bateman. He's on the money in everything he does. However, I think this role was out of his reach. He just doesn't fit the wild, sexually charged frat-boy image. Casting him hurt the film's chances.
The body-switching concept is played out. It's a big reason why the film wasn't able to find an audience.
Not a good summer for Ryan Reynolds. I thought the guy was "can't-miss." He should be a superstar. After GREEN LANTERN and this, his chances are dwindling. He needs a hit.
The gross-out jokes were distracting here. And the emotional moments weren't heavy enough. Having Mitch hear what his father really thinks of him was a good start. It's not big enough though to be the knockout punch. Same goes for having Dave hear how lonely his wife has become.
I like Jason Bateman. He's on the money in everything he does. However, I think this role was out of his reach. He just doesn't fit the wild, sexually charged frat-boy image. Casting him hurt the film's chances.
The body-switching concept is played out. It's a big reason why the film wasn't able to find an audience.
Not a good summer for Ryan Reynolds. I thought the guy was "can't-miss." He should be a superstar. After GREEN LANTERN and this, his chances are dwindling. He needs a hit.
MONTE CARLO
Caught this film directed by Thomas Bezucha. How did he get this job? What qualifications does he have? He should never be allowed to direct another film ever again. He's terrible.
At the very least, he should give us a spectacular travelogue. Instead, the girls could be going to Canada for all we know. Most of the film is interiors.
The script is pathetically bad. You can see all the dilemmas coming a mile away. And the dilemmas aren't that great. Isn't it a coincidence that all three girls find true love? What are the odds? The plot is so far removed from reality that you can't help but roll your eyes as the film unfurls.
Give credit to Selena Gomez. She stood out in RAMONA & BEEZUS and she rises above this movie. She's just got to snag a role that will allow her to breakout. She's got potential superstar qualities.
Leighton Meester doesn't have "it". She should stay on the small screen. She doesn't have enough likeability to capture the big screen. She is simply not a movie star.
This film is simply not a movie.
At the very least, he should give us a spectacular travelogue. Instead, the girls could be going to Canada for all we know. Most of the film is interiors.
The script is pathetically bad. You can see all the dilemmas coming a mile away. And the dilemmas aren't that great. Isn't it a coincidence that all three girls find true love? What are the odds? The plot is so far removed from reality that you can't help but roll your eyes as the film unfurls.
Give credit to Selena Gomez. She stood out in RAMONA & BEEZUS and she rises above this movie. She's just got to snag a role that will allow her to breakout. She's got potential superstar qualities.
Leighton Meester doesn't have "it". She should stay on the small screen. She doesn't have enough likeability to capture the big screen. She is simply not a movie star.
This film is simply not a movie.
THE WALKING DEAD - Volume 1 - DAYS GONE BYE
The television series has blown me away so I picked up the first volume of the graphic novel. After reading the comic, I'm even more impressed with Frank Darabont.
The basic elements are here in Robert Kirkman and Tony's Moore comic. Rick has come out of coma only to find the place overrun with walking dead. Glenn saves him in the city and brings him to the camp. Rick's reunited with his family. Shane is jealous because he's in love with Rick's wife.
However, in the comic, Shane hasn't slept with Lori. That's a huge difference. I have to side with the comic's version on this issue. Rick's been in a coma for a month. In the show, Lori happily goes for a romp with Shane. Only a month has passed. And the end of the world is near. It doesn't seem plausible that Lori would get with Shane so quickly.
That's about the only thing though that works better in the comic. Darabont is able to bring so much more emotional heft to the material. The comic is a sketch. The series is a full-blown painting. Rich with many layers and levels.
This volume ends with Carl shooting Shane dead. Darabont changes this. Instead, he puts in a scene where Rick and Shane are hunting and Shane lines the unsuspecting Rick up in his sites. It's a powerful moment. You watch breathlessly to see if Shane will pull the trigger. He doesn't. And then Darabont raises the ante brilliantly by having Jim observe all this. And Shane turns and sees Jim and realizes Jim knows what he was going to do. The emotional conflict in this scene is just a small example of the complexities Darabont has added to the material.
Like Stephen King, Kirkman should get down on his knees and thank Darabont for elevating his material.
The basic elements are here in Robert Kirkman and Tony's Moore comic. Rick has come out of coma only to find the place overrun with walking dead. Glenn saves him in the city and brings him to the camp. Rick's reunited with his family. Shane is jealous because he's in love with Rick's wife.
However, in the comic, Shane hasn't slept with Lori. That's a huge difference. I have to side with the comic's version on this issue. Rick's been in a coma for a month. In the show, Lori happily goes for a romp with Shane. Only a month has passed. And the end of the world is near. It doesn't seem plausible that Lori would get with Shane so quickly.
That's about the only thing though that works better in the comic. Darabont is able to bring so much more emotional heft to the material. The comic is a sketch. The series is a full-blown painting. Rich with many layers and levels.
This volume ends with Carl shooting Shane dead. Darabont changes this. Instead, he puts in a scene where Rick and Shane are hunting and Shane lines the unsuspecting Rick up in his sites. It's a powerful moment. You watch breathlessly to see if Shane will pull the trigger. He doesn't. And then Darabont raises the ante brilliantly by having Jim observe all this. And Shane turns and sees Jim and realizes Jim knows what he was going to do. The emotional conflict in this scene is just a small example of the complexities Darabont has added to the material.
Like Stephen King, Kirkman should get down on his knees and thank Darabont for elevating his material.
Thursday, November 10, 2011
GLEE - Season 3.1 - THE PURPLE PIANO PROJECT
What has happened to GLEE? The show was such an out-of-the-box smash during its first season. It had overwhelming heart and characters that you immediately fell for.
Now, the show contains characters you can barely stand. And where's the heart? The emotions used to spill out of the musical numbers. Now, the musical numbers are filler. No substance.
In this season opener, we get this boring subplot involving Will and his uneasiness at telling a student she hasn't made the Glee club. Who cares? Is this dramatic? It's pointless.
There's also a subplot involving Santana undermining the Glee club's efforts to attract new members. Boring! Santana's motivation is forced and doesn't ring true once again making the plot pointless.
Quinn is off with her skanks clique now. Again, a character development that leaves us out in the cold. She's a turn off now. Unfortunately, so is this show.
Now, the show contains characters you can barely stand. And where's the heart? The emotions used to spill out of the musical numbers. Now, the musical numbers are filler. No substance.
In this season opener, we get this boring subplot involving Will and his uneasiness at telling a student she hasn't made the Glee club. Who cares? Is this dramatic? It's pointless.
There's also a subplot involving Santana undermining the Glee club's efforts to attract new members. Boring! Santana's motivation is forced and doesn't ring true once again making the plot pointless.
Quinn is off with her skanks clique now. Again, a character development that leaves us out in the cold. She's a turn off now. Unfortunately, so is this show.
TRESPASS
Caught the new Joel Schumacher film on DVD.
Here's a good example of why studios no longer make dramas. Film's about a family caught in a horrific home invasion. No special effects, no supernatural elements, no comic-book heroes. Compared to standard studio fare, this film is flat and boring.
We don't care about the characters and too much time is wasted on humanizing the villains. Karl Gadjusek's scripts often display these tendencies.
There's just nothing here that captures our interest. Nicholas Cage seems to be getting worse with each film he does.
Joel Schumacher should stop directing. He's never going to live down his BATMAN & ROBIN fiasco.
Here's a good example of why studios no longer make dramas. Film's about a family caught in a horrific home invasion. No special effects, no supernatural elements, no comic-book heroes. Compared to standard studio fare, this film is flat and boring.
We don't care about the characters and too much time is wasted on humanizing the villains. Karl Gadjusek's scripts often display these tendencies.
There's just nothing here that captures our interest. Nicholas Cage seems to be getting worse with each film he does.
Joel Schumacher should stop directing. He's never going to live down his BATMAN & ROBIN fiasco.
Wednesday, November 9, 2011
PRIEST
The problem with the film is there isn't any character development to be found. Without building characters, action will always fall flat. The material is there, too which makes it even more of a loss. You have the Priest who was forced to give up his family when the clergy came calling. Fine. He does it. But after ridding the vampire menace, the church turns its back upon him, forcing him into exile. This character should have a lot of emotional weight. He's a badass with nowhere to turn to. He's fought a war only to discover the cost is his soul. That's a character we can get behind.
Instead, we get Paul Bettany (who may be a good actor but he is most certainly not a lead in an action film) and no development. We never feel his pain. We never see his sorrow. We never even get a scene where he tries to explain to his long-lost daughter what happened and why he did what he did.
This movie is terrible. The action is substandard-tv-level. The vampires looked weak. Karl Urban's death scene looked ridiculous.
Scott Stewart proves in this and LEGION that he doesn't belong in the director's chair. He doesn't have any visual flair and he cannot tell a story.
Instead, we get Paul Bettany (who may be a good actor but he is most certainly not a lead in an action film) and no development. We never feel his pain. We never see his sorrow. We never even get a scene where he tries to explain to his long-lost daughter what happened and why he did what he did.
This movie is terrible. The action is substandard-tv-level. The vampires looked weak. Karl Urban's death scene looked ridiculous.
Scott Stewart proves in this and LEGION that he doesn't belong in the director's chair. He doesn't have any visual flair and he cannot tell a story.
Tuesday, November 8, 2011
TAMMY
Finished this script by Melissa McCarthy and Ben Falcone.
Script has the funniest lines I've read all year. Tammy is a riot. Story's about Tammy as she gets fired from her job and Hardee's and comes home to find her husband with another woman. Enraged, she goes on a road-trip. Since she doesn't have any money, she takes her grandmother along.
When I heard the pitch, I wasn't thrilled to read the script. However, the pages flow and the dialogue makes you laugh aloud.
The problem isn't with the writing or the story. The problem is with the audience. Namely, how are you going to find one if you make this movie? Who's going to see it? BRIDESMAIDS drew a male audience. I doubt that's going to happen here. BRIDESMAIDS drew a teenage crowd. Again, I don't think you'll duplicate that with this film.
I would have to pass on the script even though it's funny as hell. Even if you could make this on a low-budget, you'd be hard-pressed to turn a profit.
Script has the funniest lines I've read all year. Tammy is a riot. Story's about Tammy as she gets fired from her job and Hardee's and comes home to find her husband with another woman. Enraged, she goes on a road-trip. Since she doesn't have any money, she takes her grandmother along.
When I heard the pitch, I wasn't thrilled to read the script. However, the pages flow and the dialogue makes you laugh aloud.
The problem isn't with the writing or the story. The problem is with the audience. Namely, how are you going to find one if you make this movie? Who's going to see it? BRIDESMAIDS drew a male audience. I doubt that's going to happen here. BRIDESMAIDS drew a teenage crowd. Again, I don't think you'll duplicate that with this film.
I would have to pass on the script even though it's funny as hell. Even if you could make this on a low-budget, you'd be hard-pressed to turn a profit.
THE WALKING DEAD - Season 2.3 - SAVE THE LAST ONE
The ending here was mind-blowing. I did not see this coming at all. It truly makes this episode stand out.
Until the ending, I was ready to write this episode off. Nothing much was happening. The son is dying. They need to get equipment. Off they go to the school to gather the supplies. That's pretty much it.
But the ending is a game-changer. I haven't seen anything this shocking since LOST revealed that John Locke was confined to a wheelchair.
To have Jon Bernthal resort to sacrificing Pruitt Taylor Vince was a major twist. Really though, what else could he do? It wasn't about the kid's survival at that point, it was about his own. If he didn't sacrifice Vince, he would've died as well.
The show is excellent at portraying humanity at its brink of failure. What choices would we make in these situations? It gets you thinking. Bernthal lost his humanity in this episode. Now we'll see what kind of ramifications are in store.
Until the ending, I was ready to write this episode off. Nothing much was happening. The son is dying. They need to get equipment. Off they go to the school to gather the supplies. That's pretty much it.
But the ending is a game-changer. I haven't seen anything this shocking since LOST revealed that John Locke was confined to a wheelchair.
To have Jon Bernthal resort to sacrificing Pruitt Taylor Vince was a major twist. Really though, what else could he do? It wasn't about the kid's survival at that point, it was about his own. If he didn't sacrifice Vince, he would've died as well.
The show is excellent at portraying humanity at its brink of failure. What choices would we make in these situations? It gets you thinking. Bernthal lost his humanity in this episode. Now we'll see what kind of ramifications are in store.
GRIMM - Season 1.2 - BEARS WILL BE BEARS
In this episode, we get an opening that mirrors Hansel and Gretel but instead of children we get a wild thrill-seeking couple that breaks into homes to steal.
Again, as with the Red Riding Hood killer in the pilot, this storyline doesn't captivate. The series needs plots that will blow our minds. Take the fairy tales and twist them, make them truly evil. Instead, the plots are secondary, strictly connect-the-dots.
I don't understand the need to go for humor with the werewolf character. You always need humor to lighten the tension but this is slapstick-type humor that doesn't jibe with the overall tone of the series. They need to rethink this angle in a hurry because it doesn't work.
David Giuntoli is not growing on me. This part has been badly miscast. He doesn't have enough "presence" to draw us into the tales.
I'm looking for a quick hook on this show.
Again, as with the Red Riding Hood killer in the pilot, this storyline doesn't captivate. The series needs plots that will blow our minds. Take the fairy tales and twist them, make them truly evil. Instead, the plots are secondary, strictly connect-the-dots.
I don't understand the need to go for humor with the werewolf character. You always need humor to lighten the tension but this is slapstick-type humor that doesn't jibe with the overall tone of the series. They need to rethink this angle in a hurry because it doesn't work.
David Giuntoli is not growing on me. This part has been badly miscast. He doesn't have enough "presence" to draw us into the tales.
I'm looking for a quick hook on this show.
ONCE UPON A TIME - Season 1.2 - THE THINGS YOU LOVE MOST
I don't see how this show is doing well or why ABC ordered a full season. The make-up is horrible and the effects look cheesy. I feel especially sorry for Robert Carlyle - he's such a great actor. His Rumplestilskin make-up looks kindergartenish.
I don't see the need to go backwards and tell how the Evil Queen came up with the curse. Who cares? Let's get on with the story. This tells me, there really isn't much of a story to tell. We're only on episode two and already it feels like padding.
Giancarlo Esposito is wasted as the mirror.
The time spent in Storybrooke is boring.
There's absolutely no chemistry between the Jennifer Morrison and her son.
Terrible concept and poor execution.
I don't see the need to go backwards and tell how the Evil Queen came up with the curse. Who cares? Let's get on with the story. This tells me, there really isn't much of a story to tell. We're only on episode two and already it feels like padding.
Giancarlo Esposito is wasted as the mirror.
The time spent in Storybrooke is boring.
There's absolutely no chemistry between the Jennifer Morrison and her son.
Terrible concept and poor execution.
Monday, November 7, 2011
FRINGE - Season 4.5 - NOVATION
Peter is alive and well only nobody knows who he is. He tries to convince Olivia and Walter but they don't trust him.
This could be grounds for good conflict. However, they don't push it. It might've been better to have Peter on the run. The Fringe Division could hunt him down which then makes his situation much more dire.
That's the problem with this season. The drama isn't there.
Also, because the other universe is present, the show has lost the unnatural, unexplained phenomenons that would pop up in the episodes.
This show has jumped the shark. Once they delved into the other side last season, the program hit the skids. The mystery is gone. Without that, the show can't help but just limp along lamely.
This could be grounds for good conflict. However, they don't push it. It might've been better to have Peter on the run. The Fringe Division could hunt him down which then makes his situation much more dire.
That's the problem with this season. The drama isn't there.
Also, because the other universe is present, the show has lost the unnatural, unexplained phenomenons that would pop up in the episodes.
This show has jumped the shark. Once they delved into the other side last season, the program hit the skids. The mystery is gone. Without that, the show can't help but just limp along lamely.
CLOWNFISH
Finished this script by Matthew Robinson.
A government experiment is accidentally unleashed and a vaporish substance turns women into men and men into women. Our lead is turned into a woman and must figure out what's going on before he is captured by the government and made to disappear.
Here's the rule of thumb: If your pitch isn't catchy, chances are your story isn't either. Robinson proves this with CLOWNFISH. What's the point of his script? At least in TOOTSIE, the lead learned how to be a better man when he was forced to act like a woman. That story had substance. CLOWNFISH doesn't have anything.
We get Jess, a senator's daughter, who's transformed into a guy. Turns out, she likes her newfound strength and she likes eating junk food. So what? This is what she learns by being a guy? Every point Robinson makes is superficial.
The only scene that comes close to meaning anything is when Jess (now a guy) acts as Jake's wingman and shows him what girls want to hear. In this scene, the characters gain an understanding of the opposite sex. The script is in dire need of more material like that.
A big pass on the writer as well as the script.
A government experiment is accidentally unleashed and a vaporish substance turns women into men and men into women. Our lead is turned into a woman and must figure out what's going on before he is captured by the government and made to disappear.
Here's the rule of thumb: If your pitch isn't catchy, chances are your story isn't either. Robinson proves this with CLOWNFISH. What's the point of his script? At least in TOOTSIE, the lead learned how to be a better man when he was forced to act like a woman. That story had substance. CLOWNFISH doesn't have anything.
We get Jess, a senator's daughter, who's transformed into a guy. Turns out, she likes her newfound strength and she likes eating junk food. So what? This is what she learns by being a guy? Every point Robinson makes is superficial.
The only scene that comes close to meaning anything is when Jess (now a guy) acts as Jake's wingman and shows him what girls want to hear. In this scene, the characters gain an understanding of the opposite sex. The script is in dire need of more material like that.
A big pass on the writer as well as the script.
Sunday, November 6, 2011
SEX ON THE FIRST DATE
Finished this script by Sall Grover and Emma Jensen.
Script's about a bet between Isabelle and Luke. Luke states if a girl sleeps with a guy on the first date, the guy won't call her back. Isabelle believes that if a guy would call the girl back, he would get to know her and a relationship would develop.
This script is terrible. I'm still trying to figure out Isabelle's stance. How would she win this bet? Luke starts calling up girls that slept with him on the first date. So if he finds true love out of one of these girls, she wins the bet?
Grover and Jensen have this annoying habit of trying to get too cute in their descriptions. They fill their descriptive sentences with jokes. It slows the read down. Worse, some of the jokes are funnier than any of the lines in the script. They don't have enough good material to waste. Get the jokes up on the screen.
Of course Isabelle and Luke are in love with each other. I can't figure out why. The writers don't bother with that. Instead, they focus on this bet which isn't a hot enough topic to build a feature around.
Clunky dialogue dominates the pages. The entire script is "talking heads." There's nothing here to grab the reader.
Pass on the writers and script.
Script's about a bet between Isabelle and Luke. Luke states if a girl sleeps with a guy on the first date, the guy won't call her back. Isabelle believes that if a guy would call the girl back, he would get to know her and a relationship would develop.
This script is terrible. I'm still trying to figure out Isabelle's stance. How would she win this bet? Luke starts calling up girls that slept with him on the first date. So if he finds true love out of one of these girls, she wins the bet?
Grover and Jensen have this annoying habit of trying to get too cute in their descriptions. They fill their descriptive sentences with jokes. It slows the read down. Worse, some of the jokes are funnier than any of the lines in the script. They don't have enough good material to waste. Get the jokes up on the screen.
Of course Isabelle and Luke are in love with each other. I can't figure out why. The writers don't bother with that. Instead, they focus on this bet which isn't a hot enough topic to build a feature around.
Clunky dialogue dominates the pages. The entire script is "talking heads." There's nothing here to grab the reader.
Pass on the writers and script.
Friday, November 4, 2011
ALLEN GREGORY
Caught the pilot for the new animated series from Fox.
Jonah Hill really shines through the animation. Allen Gregory's personality makes the show worth-watching. The kid is hilarious. I could've done without him falling for the 60-year-old principal but the rest of the show made me laugh. The way he talks to his teacher might be the funniest thing I've seen on tv this season.
His need for acceptance from people that he superficially dismisses as being beneath him is funny. He's a character that we shouldn't like but we do.
I'm ready for more.
Jonah Hill really shines through the animation. Allen Gregory's personality makes the show worth-watching. The kid is hilarious. I could've done without him falling for the 60-year-old principal but the rest of the show made me laugh. The way he talks to his teacher might be the funniest thing I've seen on tv this season.
His need for acceptance from people that he superficially dismisses as being beneath him is funny. He's a character that we shouldn't like but we do.
I'm ready for more.
Thursday, November 3, 2011
MAGGIE
Finished this script by John Scott 3.
Scott takes the zombie-genre and turns it on its head. He expertly equates turning into a zombie to dying of cancer and captivates us with his tale of teenage Maggie who's infected.
This is drama at its finest as Maggie's family tries to cope as the infection takes hold, slowly robbing her of her humanity.
Scott can flat out write. He easily gets us on Maggie's side. The scene where Maggie goes to hang out with her friends is powerfully poignant.
The way her father simply cannot give up on her, foolishly thinking that there's a way out of this is heartbreaking.
This is a great script. However, the question is, would it make a great film?
This is an indie production. It's not big enough to be a studio movie. The visuals aren't there. This is a quiet, intimate look a horrifying situation. The terror is internal.
I'd make the movie on a microbudget and pray marketing can deliver an audience. However, I'd be extremely cautious because scripts like this tend to work better on the page than on the screen.
Scott takes the zombie-genre and turns it on its head. He expertly equates turning into a zombie to dying of cancer and captivates us with his tale of teenage Maggie who's infected.
This is drama at its finest as Maggie's family tries to cope as the infection takes hold, slowly robbing her of her humanity.
Scott can flat out write. He easily gets us on Maggie's side. The scene where Maggie goes to hang out with her friends is powerfully poignant.
The way her father simply cannot give up on her, foolishly thinking that there's a way out of this is heartbreaking.
This is a great script. However, the question is, would it make a great film?
This is an indie production. It's not big enough to be a studio movie. The visuals aren't there. This is a quiet, intimate look a horrifying situation. The terror is internal.
I'd make the movie on a microbudget and pray marketing can deliver an audience. However, I'd be extremely cautious because scripts like this tend to work better on the page than on the screen.
Wednesday, November 2, 2011
BETHLEHEM
Finished this script by Larry Brenner.
Although I normally toss scripts with big blocks of descriptions (and this one has pages and pages of descriptions), there's something about the way Brenner writes that hooks you. He's a pro at creating sympathetic characters.
Story's about Erik, a vampire, surviving in a world overrun by zombies. Erik comes across a small group of humans and offers to help them in exchange for being able to feed upon them. He'll draw just enough blood to satiate his hunger.
Now, that pitch by itself isn't that strong. However, once you start reading the script, you cannot stop. Brenner is able to humanize Erik, creating a strong lead. And Brenner expertly shows how desperate the human plight has come and how precarious survival has become. We're rooting for everybody in this story.
Along comes a villainous vampire that forces our group to leave the relative safety of their warehouse. Erik must protect them as they try to escape.
The problem I have with the script is, it might not be "big" enough for the screen. It would work better on television where you can explore the subtle "human" moments ala THE WALKING DEAD.
Larry Brenner is terrific though. Looking forward to whatever he writes next.
Although I normally toss scripts with big blocks of descriptions (and this one has pages and pages of descriptions), there's something about the way Brenner writes that hooks you. He's a pro at creating sympathetic characters.
Story's about Erik, a vampire, surviving in a world overrun by zombies. Erik comes across a small group of humans and offers to help them in exchange for being able to feed upon them. He'll draw just enough blood to satiate his hunger.
Now, that pitch by itself isn't that strong. However, once you start reading the script, you cannot stop. Brenner is able to humanize Erik, creating a strong lead. And Brenner expertly shows how desperate the human plight has come and how precarious survival has become. We're rooting for everybody in this story.
Along comes a villainous vampire that forces our group to leave the relative safety of their warehouse. Erik must protect them as they try to escape.
The problem I have with the script is, it might not be "big" enough for the screen. It would work better on television where you can explore the subtle "human" moments ala THE WALKING DEAD.
Larry Brenner is terrific though. Looking forward to whatever he writes next.
THE WALKING DEAD - Season 2.2 - BLOODLETTING
This episode was slow compared to others in this series. Not a whole lot happens.
The backstory about Rick getting shot on the job isn't a big revelation. Sure the wife feels even more guilty because they had gotten into a fight but I'm sure that guilt pales in comparison to the adultery, right?
The rest of the episode shows Rick getting his dying son help at a farm. This introduces a small group of survivors but we don't get into their story here.
That provides tension but we're used to being on the edge of death from terrifying zombie attacks so this episode feels rather "quiet."
I'm sure the horror is going to rachet up next episode.
The backstory about Rick getting shot on the job isn't a big revelation. Sure the wife feels even more guilty because they had gotten into a fight but I'm sure that guilt pales in comparison to the adultery, right?
The rest of the episode shows Rick getting his dying son help at a farm. This introduces a small group of survivors but we don't get into their story here.
That provides tension but we're used to being on the edge of death from terrifying zombie attacks so this episode feels rather "quiet."
I'm sure the horror is going to rachet up next episode.
ATTACK THE BLOCK
The young teenage punks got on my nerves to the point where I was actually rooting for the aliens to wipe them all out.
For a low-budget film, the film looks...exactly like a low-budget film! You don't get points for making a bad low-budget movie. The trick is be innovative and tell a terrific story.
This story is bare-bones at best. The plot point about the pheromones was ridiculous. The aliens, looking like guys in gorilla suits, were never explained nor developed.
When you don't care about the hero's plight, the film will always be boring. That's what's happened here.
For a low-budget film, the film looks...exactly like a low-budget film! You don't get points for making a bad low-budget movie. The trick is be innovative and tell a terrific story.
This story is bare-bones at best. The plot point about the pheromones was ridiculous. The aliens, looking like guys in gorilla suits, were never explained nor developed.
When you don't care about the hero's plight, the film will always be boring. That's what's happened here.
Tuesday, November 1, 2011
AMERICAN HORROR STORY - Season 1.3 - MURDER HOUSE
The show's getting better. Connie Britton spotting while on the tour of murder sites was good. Horror doesn't have to be gory. Just having her go on the tour itself was brilliant. Then to have her almost miscarry gets under our skin.
Having Dylan McDermott build a gazebo over the buried body was good. But having Jessica Lange tell the maid that now she will never leave was awesome. Her body will never be found now.
And then the backstory showing the former owner of the house down in the basement sewing wings onto a dead pig was good. But then having his wife trap young pregnant girls inside kicks the horror up a notch.
The show still isn't creepy enough but it's starting to get there.
Having Dylan McDermott build a gazebo over the buried body was good. But having Jessica Lange tell the maid that now she will never leave was awesome. Her body will never be found now.
And then the backstory showing the former owner of the house down in the basement sewing wings onto a dead pig was good. But then having his wife trap young pregnant girls inside kicks the horror up a notch.
The show still isn't creepy enough but it's starting to get there.
TEST DRIVE
Finished this script by Adam Aresty.
Aresty. Cannot. Write. It's as simple as that. The characters are a joke. The plot is a joke. The action is a joke. And this is not a comedy.
Story's about a crooked cop who's going to rob three criminal brothers who each have a key to individual safes which can only be open during a set amount of time. The cop is going to hit all three safes but in order to do, he kidnaps a former race-car driver who can speed through the streets fast enough to all three safes before time expires.
Folks, a plot doesn't get more ridiculous than this.
Script is a total waste. The race-car driver's family is kidnapped to ensure that he goes through with the plan. Standard stuff written in a substandard way.
Pass on the script and a big pass on the writer.
Aresty. Cannot. Write. It's as simple as that. The characters are a joke. The plot is a joke. The action is a joke. And this is not a comedy.
Story's about a crooked cop who's going to rob three criminal brothers who each have a key to individual safes which can only be open during a set amount of time. The cop is going to hit all three safes but in order to do, he kidnaps a former race-car driver who can speed through the streets fast enough to all three safes before time expires.
Folks, a plot doesn't get more ridiculous than this.
Script is a total waste. The race-car driver's family is kidnapped to ensure that he goes through with the plan. Standard stuff written in a substandard way.
Pass on the script and a big pass on the writer.
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