Cartoon Zombies! — Finally!
Posted on | February 5, 2010 | Comments Off
Check out this cool little ditty: a trailer for an CG-animation zombie movie.
It’s called A.D. and is directed by Ben Hibon, written by Haylar Garcia, and produced by Bernie Goldmann (300), Tarik Heitmann (The Sensei), and Renee Tab. Looks pretty cool. I like the idea of taking the zombie genre into the digital realm — worlds of possibilities, I say, not just for animators, but for writers, too.
Tags: A.D. > animated zombies > animation > Ben Hibon > CGI > Haylar Garcia > horror > Tarik Heitmann > zombies
John August in Tales From the Script
Posted on | February 5, 2010 | No Comments
No, this isn’t an entry about a screenwriter starring in his own horror comedy.
John August, writer of the most recent Charlie and the Chocolate Factory adaptation, posted an interesting blog today about being interviewed for a new book called Tales from the Script: 50 Hollywood Screenwriters Share Their Stories
It seems like a cool book, and John is one of my favorite writers (though I’ve erased from my mind the fact that he penned both Charlie’s Angels movies). So, it’s something I’m probably going to pick up. But, I’m more interested in seeing how John reacted to being in the book and what he thought of the finished product.
Ponder this: What’s it like for a writer to read something written about him or her? For me, I’m always way too critical a writer to really appreciate the writing. But that’s just me.
Tags: interviews > John August > Screenwriting > screenwriting book > Tales From the Script
Avatar Continues Box-Office Beatdown
Posted on | January 10, 2010 | No Comments
Avatar continues to whup massive box-office ass (as reported by Entertainment Weekly). And rightfully so (see my review). Here’s a snippet of EW’s assessment:
A trio of new releases failed to topple James Cameron’s Avatar, which claimed the top spot at the box office for the fourth weekend in a row. The 3-D epic earned $13.3 million on Friday, bringing its domestic total to a staggering $393.8 million, according to early estimates
Finally, a smash hit that I can actually support and that doesn’t feature poorly-written vampires who glisten like diamonds in sunlight.
Tags: Avatar > Box office > Entertainment Weekly > James Cameron > New Moon > Twilight
Best Produced Screenplays of 2009
Posted on | December 30, 2009 | No Comments
Another year, another arbitrary “Best Of” list. But this isn’t just any arbitrary “Best Of” list. This is my arbitrary Top 8 list. Why Top 8, why not Top 5 or Top 10? Why not. Plus, I did a Top 4 last year. So, enjoy!
It’s kinda hard to judge a screenplay by watching the resultant film without reading the actual screenplay. But I’ll do my best here to strip away the director’s gorgeous choices, the actors’ brilliant human touches, and the rest of the crew’s awesome work, so I can focus on the movie’s spine: the script. (Keep in mind I have not yet seen the usual late-in-the-year Oscar bait, such as Precious, Up in the Air, or Nine, or highly praised smaller movies, like The Hurt Locker.)
Below is my list of 2009’s Best Produced Screenplays:
1. Up
Written by Bob Peterson & Pete Docter
The first three on my list are all running neck and neck and neck for the top spot, but ultimately, I had to give it to Up, this funny, emotional, unpredictable, and technically brilliant animated film from (where else?) Pixar Studios. It has everything a near-perfect screenplay should have: real (and really flawed) characters, realistic (yet witty) dialogue, strong (and strongly motivated) villains, and a believable character arc (there’s two actually, one for each of the main characters). Who knew a cartoon about a senior citizen and a chubby kid in a balloon-powered floating house would be so riveting?
2. District 9
Written by Neill Blomkamp & Terri Tatchell
“Wow.” That was my first impression after seeing this movie. Smart on so many levels and wholly different from anything Hollywood could ever hope to produce, District 9 is a ticking time-bomb of a story: it starts off like a real-life documentary about alien refugees, sprints off like an action movie on fire, and ends with one cataclysmic sci-fi bang that leaves you blown away.
3. Avatar
Written by James Cameron
James Cameron’s screenplay for this year’s most anticipated film and history’s most expensive movie ever is by no means subtle. But it does exactly what a good script should do: act as the solid blueprint for an amazingly sound yet beautiful cinematic monolith to be built upon. From paying off small first-act setups to putting a 22nd-Century twist on cliched elements, the Avatar story is breathtaking, intense, and otherworldly — it reminds us of the very reasons we go to the cinema in the first place.
4. Star Trek
Written by Roberto Orci & Alex Kurtzman
Director J.J. Abrams is a pop-culture God. Just look at his recent credits. And his re-imagining of the original Star Trek series was a pretty damn good balance between appeasing the Trekkers and Trekkies (depending on your level of geekdom) and telling a suspenseful, witty, and action-packed sci-fi opera for the newbies. But it’s really the screenwriting duo of Orci & Kurtzman who should share in the glory. Though their screenplay has a few flaws ([spoiler until the end of the parenthesis] why the Hell does Kirk go from ensign to captain of the Enterprise in less than a day???), its solid structure is what allowed Abrams to pull off the sacrilegious move of remaking a classic.
5. Inglourious Basterds
Written by Quentin Tarantino
This historical fantasy made a big splash because it was Quentin Tarantino’s return to form, his entree back into pop-culture consciousness after the dismal performance of his half of Grindhouse, Death Proof. Unique anti-heroes (a band of covert U.S. Army Jews infiltrating Nazi-occupied France), long-winded monologues, and the most delicious villain we’ve seen in a long time. Sure some of his scenes needed to be trimmed (the pub scene was way too long!) and the alternate-history ending didn’t sit well with me, but overall, Inglourious Basterds was one of the most unique screenplays of the year and one of the most enjoyable movies.
6. Taken
Written by Luc Besson and Robert Mark Kamen
A stellar example of how a script with a simple premise -– Liam Neeson plays an ex-CIA agent who must find his daughter’s kidnappers in France -— can result in a tight, suspenseful thriller so long as the execution is done right.
7. The Hangover
Written by Jon Lucas and Scott Moore
There was no single funnier movie in 2009 than The Hangover. Lucas and Moore take the tired “bachelor party in Vegas” subgenre, put a subtle Memento-like slant on it, and deliver one of the most jaw-droppingly, surprisingly hilarious films of the year.
8. The Blind Side
Written by John Lee Hancock
I usually don’t fall for the based-on-a-true-story, tear-jerking, feel-good dramas, but this Sandra Bullock-starring football movie took me by surprise. Why? Because the screenplay had well-rounded characters and a simple but effective plotline — all causing you to empathize with the main character. An effective family-friendly drama if ever there were one this year.
Honorable Mentions:
Tags: Avatar > Best Of > District 9 > Inglourious Basterds > J.J. Abrams > James Cameron > Liam Neeson > Luc Besson > Quentin Taratino > screenplays > Screenwriting > Star Trek > Taken > The Blind Side > The Hangover > Top 10 list > Up
Sherlock Holmes + Hollywood = Victorian Action hero
Posted on | December 27, 2009 | No Comments
“I deduce that this movie is elementary entertainment, my dear boy.”
Bad joke aside, Sherlock Holmes could have been an excellent action thriller…but it’s hampered by a slow second act and unoriginal third act, resulting in only an above average popcorn flick, despite Robert Downey Jr. starring in the title role and Jude Law as his sidekick Dr. John Watson.
A lot of gripes have been made that director Guy Ritchie’s take on Sir Arthur Conan Doyle’s literary detective is a bastardization, or Hollywoodization, an attempt to make Holmes into some sort of action superhero. And it’s partly true: the script by Michael Robert Johnson, Anthony Peckham and Simon Kinberg immediately establishes that this ain’t your great grandfather’s Sherlock Holmes. His intellect is matched only by his physical prowess.
But this might be a more faithful take on the character (I’ve never read any of the stories or novels myself, but apparently Holmes has always been a swordsman, boxer and martial artist) and is certainly more interesting than previous iterations of Holmes.
Sadly, Ritchie’s handling of the action scenes are something to be desired: While the gunplay and explosions are shown in clear (sometimes even slow-motion) angles, the hand-to-hand combat is shot in the very annoying, very trendy fashion of vomit-inducing handheld camera work and seizure-sparking rapid-fire editing. Shame, considering that Downey can actually fight (he practices Wing Chun). The villains are fairly stock and Holmes’ archnemesis, Moriarty, makes nothing more than a cameo.
Fortunately, Downey and Law are excellent as Holmes and Watson, so they save the movie from becoming a Hollywood-rapes-literary classic scenario. Their rapport is palpable and witty. Plus, their takes on their respective characters are smart and realistic.
A franchise this most certainly will be.
Tags: Dr. John Watson > Guy Ritchie > Jude Law > Robert Downey Jr. > Sherlock Holmes