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
Though bearing almost no resemblance in any other way (to say the least), two movies have opened of late that demonstrate, to paraphrase Stephen Sondheim, that art sure isn’t easy.
Straight Outta Compton is a tale told of the rise of three best friends who stop becoming friends and then find their way back to being friends before the credits come up (or as we say in the biz, guys meet guys, guys lose guys, guys get guys). It’s the tale of Eazy-E, Ice Cube and Dr. Dre who took the universe by storm with this newfangled sound called Rap and changed the world of music forever.
The film basically has four types of scenes in it: the first are scenes that show the horrors of growing up in the projects and how blacks are treated by the authorities (even when the authorities are black and in one case, find themselves to be music critics); second are the scenes that show the relationship of the three central characters, especially on tour, including the downtime of hanging out and getting high and laid; third are scenes of confrontation between the artists and their managers; and the fourth are the scenes where they actually perform.
I would say that all but the second set of scenes work well, sometimes astoundingly well, and are strong and rich in dramatic conflict. But the story tends to stall whenever the characters are doing little but hanging around just being themselves (the Beatles from A Hard Day’s Night they ain’t). Most of these scenes have little vibrancy or originality to them, while others resemble and have as much depth and insight as an MTV music video from the same period.
And as riveting as so much of the film is, somewhere in the second half it starts to lose forward momentum and I did sort of wish that they would wrap things up already at times. 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
If it is true, as people say, that films influence how we act, then I’m not sure why people are still in the kidnapping biz. I mean, if there is one thing movies have taught us, from Fargo to High and Low to Taken to Misery, that kidnapping thingy just never works out well for those who take to it.
And now we have Life of Crime, written and directed by Daniel Schechter (based on a novel by the immensely popular as well as well respected author Elmore Leonard titled The Switch), the latest variation on the O’Henry short story, The Ransom of Red Chief, in which someone is kidnapped whom the one being extorted the ransom would be just as happy if they were never returned. Continue reading →