I’d like to fully disclose at the beginning of this post that I am not a Westerns ‘expert’, but do have a few films I truly love within the genre. Once Upon A Time in the West and The Wild Bunch top my list of favorites. I can’t remember the last time I considered seeing a Western in a theatre, but the Hostiles’ marketing strategy, labelling it “best western since Unforgiven”, did the trick. I studied Unforgiven as a screenwriting student in film school, and really grew to appreciate it as a solid film. On a side note, The Quick and the Dead was released after Unforgiven and is a pretty good Western as well. To have the audacity to compare Hostiles to Unforgiven, it must be a good film, right?
Well, it’s not a bad film. The dark, psychological tone of the film is set from the opening frame containing the following quote written by English writer, D.H. Lawrence: “The essential American is hard, isolate, stoic and a killer”. This quote is followed by the brutal killings of Mrs. Rosalind Quaid’s entire family by the Comanche. It was hard for me to watch a wife and mother witness and survive such a brutal attack on screen. Rosalind Pike’s performance thoroughly manifests a realistic range of emotions during this story.
We meet quite a few killers throughout this film, most notably, Christian Bale as Captain Jonathan Blocker, a genocidal killer, renown for his efficiency during times of war. He is a well-read, hostile racist, who rationalizes and trivializes his murders as doing his “job”. In a twist of fate, Captain Blocker’s last assignment before retirement is to escort a Cheyenne family through perilous territory into Montana where the family patriarch, Chief Yellow Hawk, who is dying of cancer, will be laid to rest. Blocker hates Chief Yellow Hawk. In contrast, Blocker is accompanied by Master Sergeant Thomas Metz (Rory Cochran), a man that has not been able to process the brutal things he has done under the guise of democracy, and is struggling to cope with these realities both emotionally and psychologically.
Blocker insists on shackling the escorts as if they are prisoners, even when Chief Yellow Hawk confronts him with the likelihood they will encounter the Comanche during their journey. This likelihood becomes a reality during a confrontation with the murderers of Mrs. Quaid’s family, resulting in the loss of several of Blocker’s men. Violence serves as an interesting device to unify captors and captives against a common enemy in this film, which within itself is a powerful statement.
Hostiles lags at times but makes a powerful statement directly connected to the quote in the opening of the film--Violence is woven into the very foundation of America. During a panel at NATPE, Byron Allen of Entertainment Studios cited the need to highlight the violent displacement of Native Americans from their land as one of his primary motivators in acquiring this film. This is something we definitely need to talk more about. For some, however, Hostiles’ social significance will be overshadowed by the brutality of the Comanche, Christian Bale’s few strong moments won’t be enough, and the well executed homage to John Ford unimpressive.
My Rating: B
I finally got around to seeing Mother! this past weekend. I’m not really a fan of the horror genre and wasn't sure what to expect. Most recently, I read a review written by Candice Frederick on Vice, exploring the film from the angle of Mother’s introverted nature and was so genuinely terrified, I considered not seeing it. As an introvert, just the thought of strangers invading someone’s home…well, let’s just say there were moments during the film that I found myself silently screaming “Get the f*ck out of her house!”
For the most part, however, I felt that Mother (Jennifer Lawrence) wasn’t so much of an introvert as she was trapped by her love for Him and the visceral connection she has with the house. Aronofsky’s execution of close-ups and extremely tight tracking shots adds a suffocating, isolating and neurotic energy to the film, that is paired perfectly with subtle and amazingly distinct layers of sound. It is clear that Mother has no life or existence outside the house.
Mother’s husband (Javier Bardem) is a writer who appears exhausted and uninspired by her. He needs her love and “loves the idea that she loves him”, but needs more to create. Craving inspiration, he welcomes strangers into their world, choosing them over Mother, believing that this sacrifice is one she should be willing to make. The bottom line is, If an artist cannot create, they cannot be happy.
And so, inspired by the chaos that unfolds due to the crazed interaction with these uninvited guests, he pens a masterpiece that garners international recognition, making Him a literary marvel, idolized by fans that show up at his home. Again, he choses the strangers over Mother who, once again violate their home and ergo violate Mother in the worst imaginable way. These sequences are over the top and incredibly orchestrated and reminded me of the frenzied dragging that occurs on social media when celebrities share their personal lives with strangers.
There is so much to unpack from Mother! that I feel like I need to see it at least once more to fully digest it, but I can say with certainty that it ranks highly amongst Aronofsky’s body of work. There were a few moments where things slowed down a bit too much for me, but the performances (Ed Harris, Michelle Pfeiffer) made up for that. Ignore the negative reviews and go check it out before it gets to DVD. This is definitely a film to be seen in the theatre.
Photos courtesy of Paramount Pictures
Episode Two of Claws airs on TNT in a few hours and I can hardly wait. Admittedly, I watched the premiere last Sunday with low expectations, but the ensemble cast was so enticing--Neicy Nash, Carrie Preston and Harold Perrineau to name a few--I couldn’t resist. I'd also learned that the show was originally developed for HBO, a network that consistently produces iconic television, so I was anxious to see the programming they had passed up.
TNT’s marketing campaign for Claws convinces the viewer that this show is about a group of misfit women that work in a nail salon and go up against gangsters. Technically, this is an accurate summation of the plot, but the characters build the groundwork for a show that is much more complex. Densa (Neicy Nash) is a prime example of this. She presents in those outfits, that hair and those nails; a device clearly designed to perpetuate a stereotype (a stereotype that the men in the series clearly embrace), but, as you watch you learn that Densa is a human being of many layers. She dreams. She hopes. She loves.
I interpreted the salon as sort of a safe haven for the nail technicians with Densa’s character at the helm as sister and protector. Unfortunately, the salon is also laundering money for an illegal opiate operation led by Uncle Daddy, a hilarious over the top character played by Dean Morris. Densa had an agreement with Roller (Jack Kesy) to launder the money in exchange for a $20,000 cut. When this agreement isn’t honored and someone gets killed, the ends fail to justify the means.
It was painful to watch Densa neglect her own needs to take care of everyone else, only to be rewarded with blatant, unforgiving misogynoir. Densa’s by no means a pushover, but I believe her experiences will ring true for many women, particularly women of color, who have remained in unpleasant and even abusive situations in an effort to achieve a goal. In spite of this, I am eager to delve into the backstory of these characters and hopeful that they will kick ass and be victorious in the end.
PS - This show is rated TV-MA so if you’re sensitive about nudity and other MA type stuff, watch something else.
Unless you’ve been living on another planet, you should know by now that Wonder Woman hit the theatres last Thursday, June 1st. I can't begin to tell you how excited I was about Wonder Woman coming to the big screen. It took long enough, especially when you consider that her first appearance in the comics was in 1941, a little before my time. I have absolutely no recollection of Wonder Woman from the comics (we didn't read DC comics in my house) but I was a real fan of the television show that starred Lynda Carter. Lynda Carter and Theresa Graves from Get Christie Love were my idols at the time. Unfortunately, Graves’ show didn't last that long, but we can revisit that in another post. Anyway, the point is, I felt as though I would be watching the movie with a fresh pair of eyes.
Diana tells her story via flashback, not one of my favorite ways to frame a story, but it works for this film. She tells us about her life as an Amazon princess, revered and protected from the outside world. As a child Diana had an innate desire to learn the art of combat, but her mother, Queen Hippolyta, played by Connie Nielsen, was against Diana’s participation in these activities. Antiope, played by Robin Wright, goes against Hippolyta’s wishes and begins to train Diana any way. One day they are found out, and the Queen agrees to let the training continue provided Diana never finds out who she is. Who is she? Well, I think that would be too much of a spoiler to reveal here.
In any event, It's a good thing Diana received that training as it comes in handy when outsiders arrive in pursuit of Steve Trevor, a spy whose plane crashed into the sea right outside of the island. Diana saves his ass from drowning and it winds up costing a few of the Amazon sisters their lives. Steve tells the women about the war raging in the outside world, which Diana is sure has been started by Ares, so she decides to leave home to find and kill him.
What did I think about Wonder Woman?
Well, while watching I found myself wishing that the story had been set in present day as I have grown weary of storylines of Nazis and spies. The movie also reminded me of Christopher Reeves’ Superman, but I couldn't put my finger on why until I read this article, which reveals that the director, Patti Jenkins, was heavily influenced by Superman. The dialogue is extremely clichéd. I suppose cliche’ works for a superhero flick, but I was hoping for a little more substance, reflective of the complexity of Diana’s character. The film is also quite predictable as I figured out who Ares was pretty early, so the Big Reveal near the end fell a little flat for me. I'd also hoped for a more menacing Aries as I really believe a good antagonist makes a great film.
In spite of its flaws, the cinematography and graphics are excellent and the acting is pretty good. Fight sequences and battle scenes are executed flawlessly. Robin Wright is excellent. I liked Gal Gadot as Wonder Woman. I think she is believable as a woman entering a world she is unfamiliar with, presenting the perfect combination of strength, naïveté and fearlessness. Thematically, it touches on many of today’s hot topics: sexism, social stratification, and warmongering to name a few.
On that note, I recommend that you go see it. Wonder Woman is what we need right now.
I cut the cable cord about six months ago, sick and tired of wasting hard earned money on content that didn't interest me and I never watch. This does mean that I occasionally miss watching a show on it's airdate, a sacrifice I've been able to overcome by being reintroduced to over the air networks or antenna television (that's right, say it with me an-ten-na TV).
One of my favorite things to do is to watch Movies TV Network's film noir features late Saturday night. These broadcasts start about 2 AM, and contain a plethora of films, some great, some not so great, that honestly represent the cynicism of the genre.
This morning I had the pleasure of re-watching In A Lonely Place, directed, incidentally by one of my favorite directors, Nicholas Ray (Rebel Without A Cause, On Dangerous Ground). It stars Humphrey Bogart as Dixon Steele, a disillusioned screenwriter that drinks too much, which is something I can definitely relate to. Dix hasn't worked in awhile and is being pressured to adapt a book he doesn't want to read into a screenplay. Dix "doesn't work on things he doesn't like" and is so uninspired by the thought of this project, that he invites the coat check girl, who has actually read the book, back to his house to provide him with a synopsis.
Unfortunately for Dix, the coat check girl turns up dead, making him a suspect in her murder. While at the police station being interrogated, he meets his muse, Laurel, portrayed by Gloria Graham, who he falls in love with. Their relationship is overshadowed by Dix's violent outbursts, questionable past and the unsolved murder of the coat check girl. It stands to reason that Laurel would be afraid of him and it messes everything up.
You will really feel for Dix as it is clear that true love has filled a void that is changing his life, but this film really serves, in part, as a cautionary tale about taking accountability for ones actions. I won't give away what happens for those of you that haven't seen it, but I highly recommend you check it out. It also serves as a reminder that violence is never the answer.
Writer. Producer. Creator of Ultimatum, a pop-up, live streamed, trivia game show.
We live in a world driven by “on demand” digital content. Streaming video coupled with advances in mobile technology has led to increased accessibility to the world of digital storytelling. Everyone has become a creator. Are you a creator? Is that idea you have the next big web series or short film?
Before you jump in and start writing your masterpiece, you should ask yourself a few pointed questions. These questions may seem very basic, but you will be surprised how many people write without considering these things, ending up with a subpar project, if they ever finish it at all.
Question #1: What is my film about?
Identify the true story you want to tell. Identifying the narrative will ensure that you are consistent to those parameters as you write. Freewriting is one of the best ways to flush out a story. Sit in a quiet space and write down whatever comes to mind about your idea. What is the theme of your story? Who are your main characters? Where will the story take place? From your freewriting, chose the ideas that you think work best to begin putting your story together.
From here, you can chose to write a treatment that details all of your major plot points, or take a more organic approach and work from an outline. Whatever method you use, organizing your how your story progresses before you start writing helps to create a pleasant writing experience.
Question #2: Can I invest the time to write?
In the words of Robert McKee, story is about thoroughness, not shortcuts. Writing a script takes time and commitment. Being realistic about the time frame needed to complete your first draft can help you remain motivated and avoid unnecessary stress. Stress can impede the creative process. Also, a preset time frame helps with setting writing goals and scheduling dedicated time to writing every day. Whether you plan to write a scene a day, or to write 10 minutes a day, the process is always easier if you are writing a story you truly believe in (see question #1). If you tend to procrastinate, the idea of a looming deadline may also keep you on track.
Question #3: Do I know the rules of writing a screenplay?
Screenplays follow a strict formatting structure. The way the margins, font and dialogue are positioned are somewhat of an exact science. Generally, this structure is used to estimate the length of a finished project, and to make reading and breaking down a script easier as a project moves into production. Also, it is important to note that a screenplay is not at all like writing a book or a magazine article. Novelists and journalists have certain flexibilities that screenwriters do not. Read a few screenplays before writing as a way to become acclimated with the craft. Read the script of a film you are familiar with. This will demonstrate how the words on the page translate to the screen. Screenplays of all types of films are available online on the Internet Movie Script Database www.imsdb.com.
Story: Substance, Structure, Style and the Principles of Screenwriting, Robert McKee
The Blacklist https://blcklst.com/help/script_standards.pdf
After spending weeks agonizing over what the first blog post for JWO Media should be, here I am, staring at a blank page. Here I sit, typing random words, with no idea where I’ll end up. The only definitive plan I have is forcing myself to publish whatever I end up with. It’s been a long time since I’ve used free writing as a device and I’m just realizing that I missed it. This really feels good. Most of the writing I do these days is centered on a particular task, like sending an email or finishing a proposal. Writing that is “mechanical” in nature is so much easier as the parameters are already set by whatever authority there is that tells us what emails and proposals should look like. Sharing one’s thoughts, feelings and opinions, that is the true challenge.
Now I'm beginning to wonder if this blog post, the random post with no planned goal or topic has any place on a business website. Will conducting this experiment in free writing get me in some sort of trouble with the blogging police? Is there such a thing as blogging police? F*ck the police, JWO Media can be shaped into anything we want her to be. We can use this space both to educate and to learn, to celebrate successes and reflect on our mistakes, to advocate, to critique... there are so many layers to our needs and interests. Why should we restrict ourselves?
And now that I’ve freed myself and you’ve taken the time to read this, will you subscribe so you can take this ride with us? Who knows, maybe we can get to know each other and actually have some fun.
Let's keep in touch,