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This blog tracks script reviews for upcoming films, aggregating links to the latest written. Compiled by Chris Faile, of FilmJerk.com.
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Saturday, May 31, 2003
Brett Myers, my sitemate over at FilmJerk.com, gets his hands on the holiday season's "The Human Stain" and gives it a B-.
Myers: "The story, while interesting, failed to really enthrall me; the characters are harsh and hard to like at times and several scenes just ooze sappy ‘roll-your-eyes’ sentiment. While the controversiality of the subject matter could help pique interest in the film, it certainly does not qualify it as a ‘feel-good movie of the year’ contestant. Nonetheless, I am looking forward to its translation to the screen and, given the depth of the cast involved, I will be shocked if "The Human Stain" doesn’t grab a handful of Oscar nominations come next spring."
Myers: "The story, while interesting, failed to really enthrall me; the characters are harsh and hard to like at times and several scenes just ooze sappy ‘roll-your-eyes’ sentiment. While the controversiality of the subject matter could help pique interest in the film, it certainly does not qualify it as a ‘feel-good movie of the year’ contestant. Nonetheless, I am looking forward to its translation to the screen and, given the depth of the cast involved, I will be shocked if "The Human Stain" doesn’t grab a handful of Oscar nominations come next spring."
"Underworld" has a fantastic concept, but I was horribly let down by the trailer. Dr. Strangelove, a frequent contributor to TNMC.org checks out the script for the film and further confirms my fears.
As he writers there, "I'm at a loss of words when it comes to finding something good to say about Underworld....As with most action films, the plot rides shotgun. It is the action sequences that drive the film and Underworld is no exception. I can't even really explain the plot. It's not that I did not understand it, it's just that it relies on twists and turns that solely make up the narrative...[it] has been described as another modern day Romeo and Juliet. I wish it had that much character."
Also at the site, Frederick J. Chiaventone checks out "The Aviator," written by John Logan. He admits the subject matter is something that he doesn't have an interest at the outset, but his final words are "John Logan, wherever you are, good work."
As he writers there, "I'm at a loss of words when it comes to finding something good to say about Underworld....As with most action films, the plot rides shotgun. It is the action sequences that drive the film and Underworld is no exception. I can't even really explain the plot. It's not that I did not understand it, it's just that it relies on twists and turns that solely make up the narrative...[it] has been described as another modern day Romeo and Juliet. I wish it had that much character."
Also at the site, Frederick J. Chiaventone checks out "The Aviator," written by John Logan. He admits the subject matter is something that he doesn't have an interest at the outset, but his final words are "John Logan, wherever you are, good work."
Over at IGN FilmForce, Stax re-publishes his review of "Dino"-- previously reviewed back at the now-defunct site Flixburg. Although he enjoyed some of the sequences, he says that "I walked away from it all not giving a damn, despite having fun."
As he writes there, "My biggest problem with the script was how underdeveloped the characters were. Martin is painted as a contradictory, elusive, flippant personality and not a real person; all the right questions are asked about him but they're not answered. Of course, that's part of Dean's mystique: no one knows for sure what made him tick so he was either this incredible enigma or a completely vacuous and cold-as-ice playboy. So maybe he really was just a persona. This is compelling to ponder but not for 166 pages...It's quite frustrating not to feel anything more about Dino, and not to know much more about him, at the end than you did at the beginning. It's a fundamentally unsatisfying drama if the main character remains stagnant throughout."
As he writes there, "My biggest problem with the script was how underdeveloped the characters were. Martin is painted as a contradictory, elusive, flippant personality and not a real person; all the right questions are asked about him but they're not answered. Of course, that's part of Dean's mystique: no one knows for sure what made him tick so he was either this incredible enigma or a completely vacuous and cold-as-ice playboy. So maybe he really was just a persona. This is compelling to ponder but not for 166 pages...It's quite frustrating not to feel anything more about Dino, and not to know much more about him, at the end than you did at the beginning. It's a fundamentally unsatisfying drama if the main character remains stagnant throughout."
Wednesday, May 28, 2003
In a script review that originally appeared on FilmJerk.com, Edward Douglas looks at an October 2002 draft of the upcoming "Hellboy" film over at Superhero Hype!
There, he writes: "The script introduces a more human aspect to the story, exploring the feelings and relationships between the characters. More than anything else, "Hellboy" is a love story...While comic book fans who are looking for all-out action from beginning to end might be disappointed by the movie's slow middle act, this movie could be an impressive coup for del Toro if he can make a movie that appeals to both his art-house and horror movie fans. "Hellboy" should make for an excellent movie if del Toro is able to maintain his vision, which doesn't seem too far removed from Mignola's own take on the character. That said, despite his obvious love and enthusiasm for the character, the script seems more like "Spawn" or "Blade" than "Spider-Man," which makes one doubt the possibilities for a Hellboy sequel or franchise."
Nice work, Ed.
There, he writes: "The script introduces a more human aspect to the story, exploring the feelings and relationships between the characters. More than anything else, "Hellboy" is a love story...While comic book fans who are looking for all-out action from beginning to end might be disappointed by the movie's slow middle act, this movie could be an impressive coup for del Toro if he can make a movie that appeals to both his art-house and horror movie fans. "Hellboy" should make for an excellent movie if del Toro is able to maintain his vision, which doesn't seem too far removed from Mignola's own take on the character. That said, despite his obvious love and enthusiasm for the character, the script seems more like "Spawn" or "Blade" than "Spider-Man," which makes one doubt the possibilities for a Hellboy sequel or franchise."
Nice work, Ed.
Saturday, May 24, 2003
With an amazing cast, I've been looking forward to viewing "Man on Fire," penned by Brian Helgeland ("L.A Confidential"). Stax over at IGN FilmForce gets a look at the screenplay and likes it for what it is.
As he writes there: "As a straightforward, hell's bells, blood-and-bullets revenge tale, this draft of Man on Fire proved satisfying. Bear in mind, though, that it doesn't become a neo-Bronson flick until roughly halfway through the story. The first half is more character-driven, thankfully, although it got bogged down at a few points and took a wee bit too long in getting to the "spark" that ignites the man on fire...Man on Fire could have easily have been a Stallone or Schwarzenegger vehicle back in the day. But Helgeland's hard-bitten script is bolstered by his poignant handling of the relationship between Creasy and Pinta, which gave this story more heart than other entries in the revenge film/action genre."
As he writes there: "As a straightforward, hell's bells, blood-and-bullets revenge tale, this draft of Man on Fire proved satisfying. Bear in mind, though, that it doesn't become a neo-Bronson flick until roughly halfway through the story. The first half is more character-driven, thankfully, although it got bogged down at a few points and took a wee bit too long in getting to the "spark" that ignites the man on fire...Man on Fire could have easily have been a Stallone or Schwarzenegger vehicle back in the day. But Helgeland's hard-bitten script is bolstered by his poignant handling of the relationship between Creasy and Pinta, which gave this story more heart than other entries in the revenge film/action genre."
Frederick J. Chiaventone of TNMC.org reviews Walter Brown Newman's screenplay "Harrow Alley," which is about a 17th-century highwayman about to be hanged for his career as the notorious outlaw "Captain Montressor," but who manages to escape this fate as the plague hits.
Interesting read, although he admits that this will likely never see the light of the projector reel: "I fear that the viewer will too quickly be overwhelmed and even left cold by the experience. One of the tricks of screenwriting is knowing what to leave out and much could have been left out of this one. Frankly, while I found this an interesting read, the prospective viewer would be well-advised to get a copy of "Restoration" on video or go to the library and pull out a copy of Daniel Defoe’s "A Journal of the Plague Year.""
Also on the site, Miss Jones reviews "The Stepford Wives"-- of which the reviewer says, "the 2004 "Stepford Wives" gave me an appreciation for the simplicity of William Goldman's original script. There is power in simplicity. The joy in Goldman's "Stepford Wives" is in its uncertainty. The audience isn't 100% sure how the evil deeds are being done; we aren't sure what the evil doers are doing in their club house; we aren't sure what happens after the movie ends because issues aren't resolved; and we aren't sure whether the same evil forces or ideas, at least, are present and working in the world around us. Rudnick's version answers all of those questions. And honestly, I like how Rudnick answered them. I'm pleased with the comedic as opposed to ominous approach he took in answering those questions, but I also like the power of mystery. That is, the power of forcing the audience to think for themselves."
Interesting read, although he admits that this will likely never see the light of the projector reel: "I fear that the viewer will too quickly be overwhelmed and even left cold by the experience. One of the tricks of screenwriting is knowing what to leave out and much could have been left out of this one. Frankly, while I found this an interesting read, the prospective viewer would be well-advised to get a copy of "Restoration" on video or go to the library and pull out a copy of Daniel Defoe’s "A Journal of the Plague Year.""
Also on the site, Miss Jones reviews "The Stepford Wives"-- of which the reviewer says, "the 2004 "Stepford Wives" gave me an appreciation for the simplicity of William Goldman's original script. There is power in simplicity. The joy in Goldman's "Stepford Wives" is in its uncertainty. The audience isn't 100% sure how the evil deeds are being done; we aren't sure what the evil doers are doing in their club house; we aren't sure what happens after the movie ends because issues aren't resolved; and we aren't sure whether the same evil forces or ideas, at least, are present and working in the world around us. Rudnick's version answers all of those questions. And honestly, I like how Rudnick answered them. I'm pleased with the comedic as opposed to ominous approach he took in answering those questions, but I also like the power of mystery. That is, the power of forcing the audience to think for themselves."
Wednesday, May 21, 2003
The beautiful and intelligent Cleolinda over at The Daily Digest gives a gander at the script for "50 First Kisses"-- and likes it.
As she says there, "It’s really a charming script, and a great character for Sandler to play: in the vein of his usual roles, but more romantic and less angry...50 First Kisses is a comparatively uncomplicated feel-good romantic comedy. At the same time, it’s much more complex than the usual Sandler fare, and that’s why I hope Sandler and his cohorts don’t Sandlerify the script too much more (the title page notes that revisions have already been made); rather than bend the story to the tried-and-true Sandler formula, Sandler needs to have faith in this script, because it’s a winner on its own."
As she says there, "It’s really a charming script, and a great character for Sandler to play: in the vein of his usual roles, but more romantic and less angry...50 First Kisses is a comparatively uncomplicated feel-good romantic comedy. At the same time, it’s much more complex than the usual Sandler fare, and that’s why I hope Sandler and his cohorts don’t Sandlerify the script too much more (the title page notes that revisions have already been made); rather than bend the story to the tried-and-true Sandler formula, Sandler needs to have faith in this script, because it’s a winner on its own."
The Screenwriters Utopia takes a look at the first draft of "Ladder 49," a script I have hiding somewhere in my apartment as well. Skimming over the review, it makes me wonder why a film hasn't been adapted from Dennis Smith's "Report from Engine co. 82."
He seems to like it well enough, but says "the only real issue I have with the script is the characterization of Jack. At one point he’s not sure he wants to be a fireman, and yet we all know it’s what he was born to do. Of course he’s the only one who can’t see that...Jack, while trapped in the fire, will discover why it was that he first became a firefighter. But he doesn’t, towards the end he tells his chief Mike Kennedy that he doesn’t know why he is a firefighter. Which is too cynical of a way to end the story -- cynicism can be perfectly fine for a movie, only I think it’s a mistake here because it will leave people feeling cheated."
He seems to like it well enough, but says "the only real issue I have with the script is the characterization of Jack. At one point he’s not sure he wants to be a fireman, and yet we all know it’s what he was born to do. Of course he’s the only one who can’t see that...Jack, while trapped in the fire, will discover why it was that he first became a firefighter. But he doesn’t, towards the end he tells his chief Mike Kennedy that he doesn’t know why he is a firefighter. Which is too cynical of a way to end the story -- cynicism can be perfectly fine for a movie, only I think it’s a mistake here because it will leave people feeling cheated."
A fansite called A Boy and His Bird, which tracks "The Crow" franchise, has gotten its hands on the script for "The Crow: Wicked Prayer." Of course, they give it high marks, saying "Dark humor, an element absent in the previous two sequels, but used effectively in the first film, is back...With more focus on the characters, as well as multi-layered social themes, the script for Wicked Prayer stands as an example that we can sometimes, just sometimes, return to the glory of the past."
Always hard to judge script reviews on fansites focusing on an actor of film franchise, for obvious reason. But this one does have a cast including Edward Furlong, David Boreanaz, Tara Reid and Dennis Hopper. Time will tell if their glowing review is dead on or just needed promotion for a flagging premise.
Always hard to judge script reviews on fansites focusing on an actor of film franchise, for obvious reason. But this one does have a cast including Edward Furlong, David Boreanaz, Tara Reid and Dennis Hopper. Time will tell if their glowing review is dead on or just needed promotion for a flagging premise.
Sunday, May 18, 2003
And here's my take on "2 Fast 2 Furious," only a little whiles away from release, over at FilmJerk.com.
Even with the advertising not fully impacting yet, I still believe this: "Based on this script, I believe that “2 Fast 2 Furious” has the potential to match the original’s gross—it’s engrossing, moves quickly throughout and features what fans of the first want to see."
Even with the advertising not fully impacting yet, I still believe this: "Based on this script, I believe that “2 Fast 2 Furious” has the potential to match the original’s gross—it’s engrossing, moves quickly throughout and features what fans of the first want to see."
Three script reviews from TNMC’s Jean-Franciose Allaire these past couple of weeks, all great reading— although he comes up empty insomuch as liking them:
This summer’s “S.W.A.T” is probably the best-written and analyzed of the three. Love his closing ‘graph: “In It is entirely possible that the efforts of Farrell, Jackson and Johnson will generate an entertaining film. The script is so loose that really anything is possible. The quality of the final product all comes down to those three gentlemen. The writers did nothing to help them out.”
The second is “Riding the Bullet,” which FilmJerk’s Edward Havens already panned in his own review. Of that, he writes “It took me four days to read this script because it bored the ever-loving crap out of me. I could only read for 30 minutes at a time before getting fidgety to the point where I had to get away from the damned thing…It sounds like the premise for some mediocre, 'After School' special."
In the early fall’s “The Big Bounce,” (which I reviewed in mid-2002, this looks to be the same version I read), he sees potential for it as a fun film-- but was disappointed with what he read. To wit, “Although it was a breezy and generally fun read, “The Big Bounce” ultimately does nothing to further the crime-caper genre. It's the same, derivative crap we've seen a thousand and one times, and I was hoping for more. We've seen every character before…Ultimately, The Big Bounce is a fun film that we've all seen time and time again. I was left unfulfilled and generally disappointed that the opportunity to remake a property with real potential was squandered."
Click the names of each of the above films to see the full script reviews.
Click the names of each of the above films to see the full script reviews.
A scooper named James Lowe gives Ain't It Cool News an early look at the script for "The Life and Death of Peter Sellers." Had not known about this pic before reading the script review-- and this is now one I'm looking forward to seeing. Check it out, it's a good script analysis-- not something I usually suspect would come from AICN.
Sunday, May 04, 2003
So this is what happens when I go AWOL at FilmJerk.com, handling only breaking news that crosses my inbox: Edward hires another hand for the site, one who will also be tackling script reviews. Good thing this is not my real gig, or my resume would be out there.
The fab Brett Myers (no relation to the Phillies pitcher) takes a gander at the October 24, 2002 draft of "Hellboy," where he writes that although he enjoyed the script and looks forward to seeing the film on the screen, "I had a hard time buying into the idea that this would be a draw to audiences. Hellboy has a cultish following within the comic book world, but to the general public, he is a nobody, far, far from the popularity of Spiderman or the X-Men. Can a less than upstanding superhero with a minute fan base and a devilish appearance bring a crowd to the theater? It’s not a stretch of the imagination. Perhaps fans enjoy the occasional anti-hero to counter the all the do-gooders out there."
Also at the eFJay, Edward reviews the next Guy Ritchie flick, "Revolver." That review is a painful one to read as a reviewer, but he tears it apart. Ouch, ouch, ouch-- poor Ritchie. At least he has someone to curl up with at night.
The fab Brett Myers (no relation to the Phillies pitcher) takes a gander at the October 24, 2002 draft of "Hellboy," where he writes that although he enjoyed the script and looks forward to seeing the film on the screen, "I had a hard time buying into the idea that this would be a draw to audiences. Hellboy has a cultish following within the comic book world, but to the general public, he is a nobody, far, far from the popularity of Spiderman or the X-Men. Can a less than upstanding superhero with a minute fan base and a devilish appearance bring a crowd to the theater? It’s not a stretch of the imagination. Perhaps fans enjoy the occasional anti-hero to counter the all the do-gooders out there."
Also at the eFJay, Edward reviews the next Guy Ritchie flick, "Revolver." That review is a painful one to read as a reviewer, but he tears it apart. Ouch, ouch, ouch-- poor Ritchie. At least he has someone to curl up with at night.
Despite being more busy than I am at work, Jean-François Allaire of TNMC still managed to out two reviews in the past three weeks-- I have no idea how he does it. While I was waylaid, he has managed to produce reviews of "The Girl Next Door" (a screenplay I reviewed about 6 months ago, he was more positive than I) and an early version of "Legally Blonde 2: Red White and Blonde."
Also, his sitemate Frederick J. Chiaventone contributed a review of "American Gothic." Not to be missed.
Also, his sitemate Frederick J. Chiaventone contributed a review of "American Gothic." Not to be missed.
One of the scripts I'm going to review soon is "Troy," which has been collecting dust on my bedside table with about 15 other scripts. I get new ones each week, and this falls further down the priority list. Nick Nunziata over at CHUD delivers, though, with a great script review of the epic.
I'll let him sell the review with a portion of his review there: "If they handle the meat of the story well and juggle the high profile cast and their characters well, this could be a film that sets a new precedent. Where "Gladiator" was terrific but focal on one or two characters, this should really embody the old fashioned "epic" feel in terms of characters (at least 6 major roles), scope (a handful of huge battles), and size (this needs to run 3 hours). This is a better story than the Russell Crowe favorite. It's better in most every way (though I'd take Ridley Scott over most any other director). For all intents and purposes, "Troy" should emerge at the top of a very prestigious heap if Benioff's script is indeed the template for the film."
Fine, it's moving up the pile as we speak... :)
I'll let him sell the review with a portion of his review there: "If they handle the meat of the story well and juggle the high profile cast and their characters well, this could be a film that sets a new precedent. Where "Gladiator" was terrific but focal on one or two characters, this should really embody the old fashioned "epic" feel in terms of characters (at least 6 major roles), scope (a handful of huge battles), and size (this needs to run 3 hours). This is a better story than the Russell Crowe favorite. It's better in most every way (though I'd take Ridley Scott over most any other director). For all intents and purposes, "Troy" should emerge at the top of a very prestigious heap if Benioff's script is indeed the template for the film."
Fine, it's moving up the pile as we speak... :)
Stax over at IGN FilmForce takes a look at "King Kong," which was announced to officially be director Peter Jackson's next project following the "Lord of the Rings" trilogy is completed. Jackson will be working on the script with his writing partners Fran Walsh and Philippa Boyens this October, basing it on the story by Merian C. Cooper and Edgar Wallace. Jackson and Walsh penned a first draft together back in 1996, which is what Stax reviews in this column.
As he writes there, "Obviously, this new "Kong" should prove to be quite a spectacle. There's a sequence set in Kong's lair where, in order to protect Ann, he fights off a swarm of giant bat-like critters. Kong's battle with a trio of dinosaurs was another high-point. I also liked the way Kong himself was re-imagined. He's described as being more ferocious-looking and primordial; he's not just an oversized gorilla. He's covered with battle scars and the silver in his fur indicates advanced age. And Kong finally moves and behaves like a real gorilla, which means we should be spared the sight of Rick Baker walking around in a shoddy ape suit."
We'll be watching this one closely...
As he writes there, "Obviously, this new "Kong" should prove to be quite a spectacle. There's a sequence set in Kong's lair where, in order to protect Ann, he fights off a swarm of giant bat-like critters. Kong's battle with a trio of dinosaurs was another high-point. I also liked the way Kong himself was re-imagined. He's described as being more ferocious-looking and primordial; he's not just an oversized gorilla. He's covered with battle scars and the silver in his fur indicates advanced age. And Kong finally moves and behaves like a real gorilla, which means we should be spared the sight of Rick Baker walking around in a shoddy ape suit."
We'll be watching this one closely...
April is always a busy month for me, so I apologize to visitors who have missed all the script review links.
All the way back on April 4th, Randy Jennings of TheArnoldFans.com did a script review of the long-in-development "King Conan," which I doubt will ever be made.
Keeping in mind that it's a fansite for the actor, Jennings writes there that "For many years, the staff here at TheArnoldFans, along with a great number of on-line script reviewers, has insisted that the "Crusade" script, owned by Arnold Schwarzenegger, would be (if made) one of the greatest films of cinematic history and the highlight of Arnold's career...Cue Basil Poledouris' "Anvil of Crom"! It blasts your ear drum as I am pleased and relieved to share with you all now, that the revised second draft of "King Conan: Crown of Iron" is Arnold's swan song reborn! At last, after John Milius rewrote nearly 80% of the original script, we are left with nothing shy of a potential Academy Award sweeping epic!"
We'll see.
All the way back on April 4th, Randy Jennings of TheArnoldFans.com did a script review of the long-in-development "King Conan," which I doubt will ever be made.
Keeping in mind that it's a fansite for the actor, Jennings writes there that "For many years, the staff here at TheArnoldFans, along with a great number of on-line script reviewers, has insisted that the "Crusade" script, owned by Arnold Schwarzenegger, would be (if made) one of the greatest films of cinematic history and the highlight of Arnold's career...Cue Basil Poledouris' "Anvil of Crom"! It blasts your ear drum as I am pleased and relieved to share with you all now, that the revised second draft of "King Conan: Crown of Iron" is Arnold's swan song reborn! At last, after John Milius rewrote nearly 80% of the original script, we are left with nothing shy of a potential Academy Award sweeping epic!"
We'll see.
