APARTMENT COMPLEXITY: High-Rise

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https://www.youtube.com/watch?v=1S0HyFTwqAI

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

rev 1The first third of High-Rise, the new movie based on the J.G. Ballard novel (he also gave us the autobiographical Empire of the Sun and the unautobiographical, we hope, Crash—no, not that Crash, Ballard gave us the one where people get turned on by auto accidents), has a nice quirky, what-the-hell sort of quality to its writing (Amy Jump, of Kill List and Sightseers) and directing (Ben Wheatley of ditto); they both seem to be having a great deal of fun, if nothing else.

Laing, a 30-something who likes to fall asleep on his balcony in the nude, moves into one of five of a set of state of the art apartment complexes that reach to the skies like the fingers of a hand. As he interacts with his neighbors, the conversation is realistic, yet off just a little. The actions of the characters are also realistic, yet off just a little. It almost feels like a kitchen sink version of a Monty Python sketch.

I more than suspect the whole thing is supposed to be allegorical with the high-rise an encapsulation of all the classes in England. Well, not quite, perhaps. The middle class live on the lower floors and the upper class live much higher, but the lower class seems restricted to a single building superintendent. While such dystopian allegories as Metropolis and Snowpiercer have no apparent middle class, High-Rise seems strangely void of a lower one. Read the rest of this entry »


MAN AT WAR or THE CERTAINTY PRINCIPLE: Movie review of American Sniper by Howard Casner

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

 

Warning: SPOILERS

american sniperEvery war has its heroes who are used to symbolize the conflict and try and bring it meaning in some way.

The Great War had Sgt. Alvin C. York who led a raid on a German machine gun nest, killing 28 soldiers and taking captive more than 100 others.

His story was turned into a movie starring Gary Cooper that was used to support American’s entry in World War II (it was playing in the theaters as Pearl Harbor was being bombed).

The Second World War had Audie Murphy, who became a hero after holding off a company of German soldiers and then leading a counterattack, all the while wounded and out of ammunition.

Murphy became a movie star after the conflict was over, starring in such films as The Red Badge of Courage and The Quiet American, as well as a series of B westerns. He also played himself in the film To Hell and Back.

In the Viet Nam war we had Ron Kovic, memorialized in the book and movie Born on the Fourth of July, and played by Tom Cruise in the film. Read the rest of this entry »