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. 
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
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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ROGUE ONE, PASSENGERS ZERO: Rogue One: A Star Wars Story and Passengers


For questions: hcasner@aol.com
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-1In film, Sci-Fi has often been divided into two categories: adult science fiction, stories that capture the mind and are more philosophical and questioning in nature; and pop culture Sci-Fi, stories that are more escapist and less challenging where the grey cells are concerned.
Perhaps no better year can define this dichotomy than 1977 when the original Star Wars was released the same year as Close Encounters of the Third Kind.
Critics often claim, or have a prejudice, that adult sci-fi is inherently superior or preferably to pop culture sci-fi. And I do have to admit, if truth be forceably told, I tend to prefer the former to the latter. But there is never a guarantee that one is going to be better than the other. In fact, in the end, the one that is better is simply the one that is better, and the reason why it is better is because, when all is said and done, it’s the, well… better one. Continue reading

JUST LIE BACK AND ENJOY IT: Elle, Nocturnal Animals and The Salesman


For questions: hcasner@aol.com
First, a word from our sponsors: I wanted to say thank you to everyone who contributed to our Indiegogo campaign for 15 Conversations in 10 Minutes. We did very well due to you folks. For those who weren’t able to give, keep us in your thoughts. And if you are able to contribute in the future, contact me and I’ll tell you how. I will even honor the perks on the original campaign.
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. 
 
Ever wonder what a reader for a contest or agency thinks when he reads your screenplay?  FosCheck 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-3SPECIAL NOTE: the review of Elle is especially riddled with spoilers, but I don’t know really how else to talk about it.
There has been a lot written of late when it comes to the use of rape as a plot point in movies about women. More and more, for many viewers and critics, the use of such a storyline has turned into a cheap device and exploitive way to get an audience, especially men, to tune in.
It may have even become so polarizing that, to some extent, it has made it difficult to write about a film in which sexual assault is central to the action.
For example, I have seen three movies lately that have employed attacks on women as part of the narrative. Two were explicitly rapes, the other a bit more ambiguous. But in the two that were explicit, I couldn’t tell if the rape felt exploitive because that’s what it was, or that it felt exploitive because the political climate today is such that it doesn’t allow it to be anything but.
Elle, the second film this year starring the great Isabel Huppert (the first is the wonderful Things to Come) opens with the sound of a rape over the titles (or could it be simply rough sex?, it’s difficult to tell). Continue reading