O WHAT A TANGLED WEB WE WEAVE: Baby Driver and Spider-Man: Homecoming


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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
 
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Warning: SPOILERS
I can certainly see why people are so in love with Baby Driver, the new heist film from writer/director Edgar Wright. It’s about as stylish as you can get, and with a stylishness that has a bouncy feel good quality to it that gets you to sit up in your seat, tap your foot and just generally groove out.
It begins with a bank robbery and a car chase orchestrated to a song chosen by the title character (a getaway driver with pouty lips and baby face). It’s followed soon after by a one take with said character bopping down the street to another song, barely dodging people on the street, and backed by some nice gymnastics (this is important because there comes a time when suddenly he’s bumping into people right and left, signaling a sea change within the character).
Everything is calculated and carefully choreographed to be cool and hip. And it is pretty cool. In fact, the movie is not only pretty cool, it’s fully aware as to how cool it is and revels in this coolness to such an extent that it knows that the audience knows that it knows just how cool it is. Continue reading
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TONE DEAF: Marguerite and Hello, My Name is Doris


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 1When Tommy Wiseau released his film The Room, it was so awful that it inadvertently became a cult hit, especially on the late night circuit.  But people often wondered whether the filmmaker knew just how execrable his movie really was.
I thought of that as I watched Marguerite, the new French film from writers Xavier Giannoli (who also directed) and Marcia Romano.  It’s a story about a patroness of the arts who gave recitals in her home to raise money for various charities.  When all the other performers had rendered their absolutely ravishing arias and duets, Marguerite would then conclude the evening by singing herself.  And out of her well meaning mouth came notes so awful, it made fingernails on a blackboard sound like one of Bach’s Brandenburg Concerto.
But did she know?  Continue reading