The Telephone Game

It's not often I get to review a small budget, locally produced piece of independent film so I decided to give it a whirl when the opportunity presented itself through my wife's wonderful networking abilities. I was given a DVD copy of The Telephone Game to review and share my thoughts as a screenwriter and provide a critique. Here goes.


Directed and produced by Jason P. Schumacher this movie would fall under the realm of micro-budget and experimental independent film. Mr. Schumacher has taken an idea more akin to theatre and attempted to turn it into a feature-length film. I shouldn't say attempted, as he wholeheartedly succeeded in doing something many attempt and fail. I applaud his ability to create, organize, direct, and just make happen a feature length film essentially on his own as an independent. It is a monumental task that I don't think most of the public and viewing audience outside of the film industry truly appreciate. With that in mind, I will be tempering my review to be appropriate to this context. This is not a Hollywood produced motion picture backed by a major star and helmed by an A-list director. So, I'm not going to critique it with the same eye. Back to the movie.


The idea is sort of a loose version of the Telephone Game you played as a child in school. Someone is told something and they pass it on in a circle until the last person repeats what they heard and it's totally different than the original. It applies to the main character Marco as he struggles to write his play which is ever evolving and changing day by day, including being overtaken by the actors and theater ownership. Unfotunately, it applies to the story as well, as the films seems to start off as a behind the scenes story comedy and veers off into abstract drama and side stories that confuse the plot along the way. Therefore, the ending is much different than how the story began, thus feeling like the telephone game once again. Part of the blame for this lies in the experiment of this film. Most or all of the dialog is improvised by the actors. It works on an experimental level, but not so much for cohesive story structure. To me, this idea lends itself to a short film, rather than a feature as a feature needs a fully developed narrative with a strong beginning to hook the audience, middle that intrigues, and ending that brings about some resolution to the story or character arc. I think the trappings of this improvisation idea, ultimately did a disservice to the story that could have been more developed otherwise.


Story aside, however, the film is well done technically. The actors, especially the lead (Wes Tank), are competent if not good, and most are definitely talented at improvisation. The film has a definite style and feel visually that is executed very well. Those visual styles are also the highlight of this film in the hands of the director and his cinematographer. It made the film feel higher budget than what was the reality. If the story were further developed and the scenes were whittled down more during the editing process, you'd have a narrative to match the visual and technical highlights of a well-executed independent film.


http://www.thetelephonegame.com/

A Blow to Screenwriters

The last few months has seen not one but two major blows to the screenwriting community. First, Creative Screenwriting Magazine folded up shop. I've read some vague mentions of financial woes, which would not be surprising given the current state of the economy and the ever sliding fall of the magazine industry. 

Next came an even bigger shot to me, since it involved the magazine I subscribed to, when I received a copy of Writer's Digest with a card stock cover affixed to it. The flowery, not to the point, diatribe attempted to announce the acquisition of Script by F+W Media, publishers of the aforementioned WD and mentioned Script readers would receive issues of Writer's Digest until their subscriptions ran out. I tossed it aside, assuming since there was no mention of Script Magazine ceasing to be published, that I would be receiving both as some sort of way to promote their magazine to a new readership. WRONG! After, receiving a second issue of WD in short order I grew suspicious and reread the first issue letter I'd flippantly stacked with my other materials. And there it was, in small print towards the bottom, not highlighted or mentioned in the body of the letter at all, an opt out option with a refund.

Upon spotting that nugget, I scoured the internet (not really, it only took a google search and about 30 seconds of perusing) and found a post on Storm Blog put out by Jim Cirile. I'd entered the Writer's on the Storm screenplay competition in the past and Mr. Cirile had contributed articles to Script a few times so I'd always kept his site on my radar (although there's fantastic content, it could use a web design makeover/update). He confirmed my fears that, alas, there is now no more print magazine for aspiring scribes. And like him, I don't care what anyone says, having a magazine in your hands will always be one step above online content. Just think if your internet goes down, or worse still the power goes out. I digress. This news had me ready to make the switch to Creative Screenwriting Magazine, and that's when I found out the grim news I shared earlier. And the end of Script is sadder still, since apparently it was making a profit, just not a large enough one for owner Final Draft who decided to sell to F+W Media. With that sale, ends the print magazine, but the online site will remain, though for how long it will remain updated and viable I'm skeptical. So, script friends, today we mourn the loss of two heroes to the struggling screenwriter and the wealth of information they shared with the world on a monthly/bi-monthly basis. At least I kept my 5-6 years worth of copies.

The Tree of Life

Hmmm...where to begin with this overtly artistic visual feast. I guess it is what it is. Terrence Malick's film opus to life itself, from beginning to end, is a sight to behold. Unfortunately, that's mostly all there is to behold is the sights. The cinematography is stunning, with each shot meticulously planned and each angle chosen to maximize appeal to the viewer's eyes. It's a film geeks dream, you can almost hear the ohs and ahs as you take it all in. And on that level it succeeds masterfully, but it's elsewhere that it falls short.

The sort of days, weeks, months, in the lives approach to the central characters and their story, if you can call it that, leaves a bit to be desired for the audience. As you watch the beautiful scenes, you feel as though you're waiting for the story to begin. And waiting, and waiting, particularly as we venture back through the development of the world from big bang to dinosaurs to present day. When we do finally get to some semblance of story, it's very vague and sorely lacking in narrative. A father (Brad Pitt) struggles with anger, disciplining his children, and dominating his wife. And the kids struggle with resentment of their father as a result. And other than a present day off shoot, there's little to bring any resolution, closure, or even an ending to it all. 

Unfortunately, an abstract tale about the circle of life is not enough to make an engaging film. Even with all the amazing imagery and masterful direction. It is directed well technically, just not artistically in terms of the art of story telling. The film will be a shoe in to win an Oscar for cinematography, and rightly so with the work put in by Malick and Emmanuel Lubzkei. So, a picture may be worth a thousand words, but a moving picture still needs to arrange those words into an interesting story.

2 out of 5

Find The Tree of Life on Netflix

Film Details at IMDB

The Artist

I'm sure most have heard of this film by now as we approach the run up to the Academy Awards and the ever present phrase du jour "Oscar Buzz." The Michel Hazanavicius-directed silent film takes the viewer back to the by gone era before "talkies" took over and changed the entertainment landscape. George Valentin (Jean DuJardin) is the dapper star of Hollywood silent films, at the top of his dramatic facial expression game. The only thing that could bring him down is his unhappy wife Doris, but even her low spirits don't seem to affect him. He knows things aren't great, but he loves what he does and it's a pretty great life. And that's enough, isn't it?

Enter the cute ham Peppy Miller (Berenice Bejo), who literally bumps into George outside a premiere of one of his films, an idealic meet-cute. When Peppy weasels her way onto the studio lot and wins a dancing spot in Mr. Valentin's current movie, sparks fly, but alas he's married and cannot act on them. George continues on making his film until a major development shifts the entire fabric of the industry. Films are now able to include voice recordings and the era of talking motion pictures has begun. Production is halted on all silent films at the studios and everyone scrambles to produce fresh new material taking advantage of this new development. This leaves George out in the cold, dropped by his studio just as Peppy is signed on, poised to become a big star. The movie progresses to an emotionally rewarding conclusion as we discover what will become of George, Peppy, and if there will ever be a George and Peppy.

Michel directs what's essentially a period rom-com and successfully updates it just enough to modern tastes. Now, I know some will still have a hard time sitting through a silent film, but those that open their minds will be rewarded with something fresh and charmingly entertaining. Both leads are excellent physical actors and lend exquisite old school feel to the movie aesthetic. Not to mention the brilliant addition of the canine companion for George Valentin. Just when things might get a little too down or a little slow for lack of dialogue, the pup steps in and delivers some much needed levity. I promise you this film is worth the effort to open your mind and fall under its spell.

5 out of 5

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Film Details at IMDB

Tucker and Dale vs. Evil

If you're a Sam Raimi fan you'll enjoy this one. Or at least if you're an early Sam Raimi Evil Dead and Army of Darkness fan. Or if you were entertained by Shaun of the Dead. These movies should give you a pretty good idea of what to expect from this backwoods hillbilly inspired horror-comedy. Tucker (Alan Tudyk) and Dale (Tyler Labine) are just a couple of good 'ol boys heading for their new vacation home when a group of college kids encounters them on the road. Ditching the lesson mom always told to "not judge a book by its cover", the frat boys and sorority girls are creeped out by Tucker and Dale's hillbilly appearance.

What transpires over the course of the film builds on this misguided judgement and takes the idea that things are not always what they appear to comedic heights. When bashful Dale tries to approach one of the coeds at a gas station, his pathetic attempt to meet girls ends up looking like a maniac holding a scythe and laughing hysterically. The audience gets to derive most of the comedy from knowing more than the characters do. We know Tucker and Dale are harmless country boys. And we know the college kids think they're sadistic killers, the embodiment of a local legend from 20 years ago. But, neither group of characters knows what the other is up to. We also know it's leading to a confrontation bringing these two groups crashing together. When cutie Allison (Katrina Bowden) falls from a rock ledge when the group decides to go skinny dipping, nearby fisherman Tucker and Dale are the only ones who can help. Her friends have no idea she's fallen, and when they see her being hauled into the boat by two hillbillies they run. But they can't just leave Allison can they? And from there, we have our mistaken identity backwoods showdown.

The movie is a fun little story that plays the comedy horror angle very well. It's a bit gory, but not overly so. A college kid running in fear impales himself on a tree branch - always watch where you're going. You get the idea. Alan Tudyk and Tyler Labine are great in their roles and have an excellent rapport that shows in their buddy-buddy exchanges. It's not high art, but it's funny and decent escapist entertainment for an hour and a half.

3 out of 5

Find Tucker & Dale vs. Evil on Netflix

Film Details at IMDB

The Descendants

The wife and I made it to see this one in the theater a bit back. It's a great dark sort of comedy-drama, although the film is more on the drama side. Matt King (George Clooney) is reeling after a tragic speed boating accident leaves his wife in a coma. King is a lawyer who spends too much time with his work and not enough time with his family. The behavior of his daughters being the prime example of the effects of his absence. 

Alex is a teenager with outlandish behavior and language that would make a sailor blush. She's off at a reform school of sorts when Dad decides he and younger daughter Scottie will make a trip to bring her home. Scottie has issues of her own, lashing out at a neighbor girl at school who's developed earlier than most girls. Matt needs to bring the girls together so he can break the news to them that their mom's prognosis has gone from bad to worse. The doctor's do not believe she will ever recover, and their mom had a legally binding advanced directive in place. Meaning that she will be taken off life support. He needs to prepare them, his broken family, to let their mother go. Matt isn't good at this sort of thing, and he blurts it out to Alex first. He was prepared for a rebellious outburst, but he was not prepared for the bombshell she'd drop on him. It seems that his comatose wife had a secret she was hiding from him. Now, Matt has to sort out his tailspinning life, become a father to his girls, and find a way to say goodbye to a woman he thought he knew.

The film is another "change of life" tale from writer-director Alexander Payne, best known for 2004's Sideways. With the help of Nat Faxon and Jim Rash, Payne has crafted an emotionally raw and compelling drama mixed with his usual darkish comedy. It's heavy at times, but never oppressing. Clooney is fantastic as the father struggling to put things back together after such a life-altering tragedy. If you enjoyed Sideways, Little Miss Sunshine, or Up in the Air, you'll enjoy this character-driven yarn.

4.5 out of 5

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Film Details at IMDB

Margin Call

It's been a while but I'm back. I've still been watching films, but have been spending time on writing a novel. More on that in a later post. Anyways, the film is a timely tale of corporate greed at the beginning of the 2008 United State financial collapse. Young up-and-comers Peter Sullivan (Zachary Quinto) and Seth Bregman (Penn Badgley) survive a department layoff while the senior Eric Dale (Stanley Tucci) is unceremoniously let go. But before Mr. Dale goes quietly into that good night, he slips Peter a flash drive with an ominous warning - "Be Careful."

Peter stays after work into the night pouring over the financial speculation numbers and calculations contained on the drive. And after making some alterations of his own, he discovers a startling situation. If the company continues packaging and selling investments under it's current guidelines and calculations they'll be bankrupt in short order. Worse than that, there's no way out. At least no ethical way out. The rest of the tale walks that rocky edge of business ethics and personal morals as the top brass figures out their only escape is to knowingly sell bad investments that will lead to a market collapse. Do they save themselves? Or take one for the market?

The film is competently directed and written by first-timer J.C. Chandor, but it suffers from a few critical flaws. The catalyst to start the film being one of them. Eric Dale is fired, told his cell phone will be immediately shut off, and escorted to his office to collect his personal belongings and leave. But, the security guard escorting him lets him pass off a flash drive right in front of him? Another major knock revolves around the dialogue of the characters. The F-word flies with such abandon the viewer almost has to chuckle at the ludicrousness of it. I can believe a character or two or three dropping the F-bomb at times, but not every character and in damn near every conversation. When multiple characters keep saying "Fuck me" at every turn it becomes comical, loses all validity as a sign of emotion, and contributes nothing but distraction. And that's perhaps what viewers of the film will be left saying, "Fuck me this could have been better."

2.5 out of 5

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Film Details at IMDB