WHITE MEN’S BURDENS: Suburbicon, Victoria and Abdul and Brad’s Status


First, a word from our sponsors: I am now offering a new consultation service: so much emphasis has been given lately to the importance of the opening of your screenplay, I now offer coverage for the first twenty pages at the cost of $20.00.  For those who don’t want to have full coverage on their screenplay at this time, but want to know how well their script is working with the opening pages, this is perfect for you.  I’ll help you not lose the reader on page one. 
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Warning: SPOILERS
Suburbicon, the new postmodern, neo-noir written by Joel and Ethan Cohen, Grant Heslov, and the film’s director George Clooney (perhaps two writers too many), is probably best described as if the Cohen brothers had adapted a James Cain novel with a bit of A Raison in the Sun tossed in for good measure.
The basic premise is that seemingly mild mannered middle class family man Gardner (Matt Damon) has paid some thugs to break into his house pretending to rob it, but in reality they have been hired to kill Gardner’s wheelchair bound wife (Julianne Moore) for the insurance money and so he can marry his sister-in-law (Julianne Moore redux), who has a set of perfectly good legs thank you very much.

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I’M READY FOR MY CLOSEUP, MR. DEMILLE: Hail, Caesar!


First, a word from our sponsors: I am now offering a new service: so much emphasis has been given lately to the importance of the opening of your screenplay, I now offer coverage for the first twenty pages at the cost of $20.00.  For those who don’t want to have full coverage on their screenplay at this time, but want to know how well their script is working with the opening pages, this is perfect for you.  I’ll help you not lose the reader on page one. 
 
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
 
and check out my Script Consultation Services: http://ow.ly/HPxKE
Warning: SPOILERS

 

rev 3Hail, Caesar!, the latest comic satire from Joel and Ethan Coen, is one of those films that has so much that is right with it, plus a bit more that is brilliant, that it makes it all the more disappointing that it doesn’t quite come together.
The basic premise has as its center piece one Eddie Mannix (Josh Brolin), head of production at the fictional Hollywood studio Capital Pictures (the same studio that the Brothers used in Barton Fink). Over the course of one or two days, he has a difficult decision to make: should he remain at Capitol where he’s constantly having to put out fires both large and small and is constantly confronted by the insane antics of his stars, or will he take a position as head of Lockheed, a safe position with a guaranteed future (this is the 1950’s after all, and TV is more than making its presence known), fewer hours and less stress on the nerves?
Well, so far so good. Continue reading

PAST, PRESENT AND FUTURE INTENSE: Good Kill and Tomorrowland


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
 
and check out my Script Consultation Services: http://ow.ly/HPxKE
 
Warning: SPOILERS
good killI have recently seen a movie that, for my money, is more intense, suspenseful and edge of your seat than Mad Max: Fury Road, Furious 7, The Avengers: Age of Ultron and Tomorrowland put together.
But it’s also a much smaller film than any of those; smaller in budget, in size, in CGI.
It’s more than all of those adverbs, I suspect, because it is about a real person put into a real situation, a situation of profound psychological and moral conflict. In the above movies, all the characters had to worry about was the end of their existence.
In the movie I am referring to, Good Kill, our central character has something far greater at stake: the end of his soul.
The basic story line revolves around one Major Thomas Egan, just about the best drone pilot there is. And his job, day in, day out, is to locate the bad guys in the Middle East and blow them up from thousands of miles away. His bliss is basically the same as Chris Kyle in American Sniper, but he gets to do it from the comfort of a chair in an air conditioned unit on a base in Nevada, not far from the R&R resort of Las Vegas. Continue reading

JAUNTY AND WITTY AND GAY: THE MONUMENTS MEN and DATE AND SWITCH


596e67fb-12a3-4e02-9512-88a162ead196_monumentsmen_featurette_gsAs I watched The Monuments Men, the new George Clooney film about trying to save stolen art during World War II, the word that kept coming to my mind was “jaunty”. Yes.  It’s a very…jaunty movie, with a, well, jaunty plot, and jaunty characters played by jaunty actors and all backed by a very jaunty score, a wonderful bit of musicality by the wonderful Alexandre Desplat that kept reminding me of the Colonel Bogey march from The Bridge on the River Kwai—it’s that jaunty. Continue reading