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The story of The Finest Hours, based on a true one the screen tells us, takes place in 1951, which is probably apropos since whatever else the movie is, it’s certainly good old fashion entertainment.
It’s a movie in which men have to do what men have to do and their strong independent minded women also serve by sitting and waiting. It’s a movie that if it were done in odorama or smellovision, testosterone would be the fragrance of choice. It’s a movie so Howard Hawksian, you can’t help but wonder what that great director might have achieved with state of the art CGI.
But perhaps most important than all of that is that The Finest Hours is rollicking, edge of your seat fun. Yes, it’s formulaic and predictable (you can see the tropes coming a mile, or knot, off), but here it’s so well done, with such sincerity and heart, that the familiarity just makes it more enjoyable. And if that’s not enough, it has enough chills, thrills and nail biting suspense for ten movies. Continue reading
First, a word from our sponsors. Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r
Amy Dunne, the heroine of the new Gillian Flynn/David Fincher thriller Gone Girl, is the latest in a long line of movie heroines.
Well, that’s not true. I don’t think the line is that long. It sort of vaguely dates from around the 1970’s.
It began somewhere around the mid of that decade with Nurse Ratched in One Flew Over the Cuckoo’s Nest and continued on with Diana Christensen in Network; Alex Forrest in Fatal Attraction; Annie Wilkes in Misery; Carolyn Burnham in American Beauty; Debbie in Knocked Up (and similar comedies); and many, many, many, many others. Many.
Yes, Amy Dunne comes from a long line of cinematic bitches. However, we may have now reached a new peak in Hollywoodland. Ms. Dunne has the dubious distinction of possibly being the Queen Bitch of all filmdom.