IT’S NOT THE SIZE, IT’S WHAT YOU DO WITH IT: Child 44 and Unfriended


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Warning: SPOILERS
child 44 twoChild 44, the new mystery thriller that is about the hunt for a serial killer in post-World War II Soviet Union, has received terrible reviews. I mean, horrendous in some cases. It’s at 25% at rottentomatoes. And very few, so far, have had much too good to say about it.
Well, I’m here to suggest that maybe the movie is being a bit maligned.
That is not to say I think it’s great. I definitely do not believe it quite succeeds on its own terms or rises above what it is.
And it’s also possible that I went in expecting the worst, only to be pleasantly surprised. That’s certainly happened to all of us at one time or another.
But still, I think there is much to like here, especially if you are a fan of neo-noir or crime dramas. Continue reading

APEOCALYPSE NOW, OR OF APES BOTH NAKED AND HAIRY: Venus in Fur, Life Itself and Dawn of the Planet of the Apes


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
Warning: SPOILERS
venusThe new movie, Venus in Fur, co-written by bad boy old timer Roman Polanski (who also directed) with relative new comer David Ives, from a play by Ives that was influenced by a book by Leopold von Sacher-Masoch (yeah, that Sacher-Masoch—oh, no, don’t even try it, you know very well whom I’m talking about, you can’t fool me), begins during a somewhat impressionistic rain storm on a deserted street in France (so I guess the slight touch of impressionism shouldn’t be a surprise) backed by a music score of sublime slyness.
In fact, the score is so sublime, so sly, so clever, so flippant, so wicked, so…well, just so everything that I found myself being driven crazy because I couldn’t place the composer. And then at the end, during the credits, there it is—the name Alexandre Desplat, and all I could think was, of course, who else could it possibly have been. Continue reading