First off, no official post today.  I know, I know.  What’s the deal, Carson?  Hey, a man has to have some fun every once in awhile.  I got myself an Ipad 2 for Christmas and can’t stop playing with it.  Which reminds me, what are the essential screenwriting apps for the Ipad?  I feel like I’m leaving productivity on the table with this thing.  I absolutely love it for books though.  Just downloaded Haruki Murakami’s IQ84 and loving it so far.  Yes, that’s right. I’m the only person in the world who takes time off from reading to, um, read.

Anyway, to the real point of this post.  Many months ago I reviewed a script called, “I Think My Facebook Friend Is Dead” for Amateur Friday.  The script went on to win the monthly prize over at Amazon, and just yesterday, received a big live-action test movie.  For those who don’t know, Amazon is giving a million dollars at the end of the year to whoever can come up with the best test movie for one of its winners.  So these guys (no affiliation with the writers) went out and filmed the entirety of “I Think My Facebook Friend Is Dead,” which is now up on the website.  I’ve only been able to watch 15 minutes so far, but for shooting an entire feature on no budget, I was pretty impressed.  I bring this up because 3 years ago, something like this would never have happened.  But in the strangest way, Clint and Donnie actually got their movie made.  Anyway, check it out if you have some free time.

And now, the moment you’ve all been waiting for. I’m sure you’ve been on pins and needles since January 1st waiting with bated breath, mumbling incoherently to yourself, “I can’t wait any longer. I need Carson’s 2011 Top 15 List now!” Well here it is! And looking over it, I can’t believe some of the movies on it either. If you would’ve told me going into 2011 that I’d like a certain high profile cash grab comedy sequel, I’d tell you you were bananas. I mean, this is not the Top 15 I expected. But that’s the great thing about movies. They surprise you when you least expect it. Now just a reminder. Not all of these films came out in 2011. Qualifications for the list are only that I saw the movie in 2011. So let’s stop wasting time and get down to business!

15) Source Code
Writer: Ben Ripley
Director: Duncan Jones
You guys all know how much I loved this script. To me, it’s still one of the best sci-fi screenplays of the last decade. Therefore, it was going to be hard for the film to live up to that love. And right away, I didn’t like some of the changes. My main gripe was changing Christina from an introverted artist into a perky happy semi-girlfriend. The reasoning for this change was that it would make more sense if the two knew each other beforehand because it would be easier for Colter to convince her to help him after every time reset. What they didn’t realize was that that’s the exact reason they shouldn’t have changed it. You WANT things to be difficult for your character. You want it to be hard. And Ben Ripley’s original script handled that perfectly. Despite that, director Duncan Jones managed to craft a pretty entertaining little thriller. Just enough to pull this film by its bootstraps into the Top 15.

14) Chalk
Writers: Chris Mass and Mike Akel
Director: Mike Akel
I think this film originally came out in 2006. Chalk is sort of like a high school version of The Office, but without the production value. What helps you overlook that though is the casting, which is top-notch. Chalk documents (or mockuments) a group of high school teachers that include the “maybe” lesbian gym teacher who takes her job way too seriously. The science teacher desperate to win “Teacher of the Year,” even though his students are smarter than he is. And the history teacher whose utter lack of social skills makes every class a mumbling bumbling journey of awkwardness. Like all micro-budget affairs, Chalk has its share of questionable moments (there’s a dream sequence that any halfway intelligent director would’ve burned off the negative), but the film hits a lot more than it misses. This was one of the funniest films of the year for me.

13) The Descendants
Writers: Alexander Payne and Nat Faxon & Jim Rash
Director: Alexander Payne
George Clooney and I have a love-hate relationship. I love to hate him. No, but seriously. I do. No, seriously though. I really do. Having said that, The Descendants is a film that never would’ve been made had Clooney not been involved, so cheers to that. You want to talk about non-commercial? Try a mother who’s in a coma for the entire movie, and who (spoiler) our characters take off life-support at the end. This requires our hero, Matt King (Clooney) to get his two daughters together, the beautiful but angry 16 year old Alexandra, and the hilarious but naïve 10 year old Scottie, and begin telling family members throughout the Hawaiian Islands that she isn’t going to make it. The power of the movie comes from Matt’s disconnect with his daughters. He was never the caretaker in the family, and now must learn on the job. The two subplots include Matt deciding whether to sell a huge chunk of commercial real estate that his descendants purchased as well as confronting the man he learns was sleeping with his wife, who coincidentally stands to make a lot of money if Matt sells. What I liked here was the unexpected humor, the difficult to predict plot, and the exploration of Matt’s broken relationship with his oldest daughter. The Descendants is slow and certainly isn’t for everyone, but if you like character driven films that take their time, this one might be worth checking out.

12) The Hangover II
Writers: Craig Mazin & Scot Armstrong & Todd Phillips (Characters by Jon Lucas & Scott Moore)
Director: Todd Phillips
No. This is not a misprint. I am actually including The Hangover II on my list. Before you think I’ve started drinking early for New Year’s Eve, let me try and explain. When I kept hearing that this film was exactly the same film, beat for beat, as the first Hangover, I rolled my eyes at how lazy Hollywood was. I mean why not try to do *something* different? But after seeing the film, I understand exactly why they did it, and consider them sorta geniuses for the choice. The script is the most unpredictable of all the variables in filmmaking. Yeah, you could nail it in three months. But there’s a chance you might not nail it for a year. You just don’t know. And the problem with Hollywood is, they’re not waiting until you figure it out. They set a date and wherever that date arrives, that’s the script they go with. This is the reason why we have so many bad sequels. The writers try to write an entirely new story and simply don’t have the time to explore it (see the Matrix sequels as examples A & B). So the Hangover team said, “Hey, we already have a formula that works here. We try to write a whole new movie, it’ll be all over the place. Let’s just stick with what works.” So while there was nothing particularly new in The Hangover II, the structure of the film was solid, creating a story that not only made sense, but was pretty tight – rare for a sequel. In addition, outside all of that screenwriting jibber-jabber, I just thought this film was funnier than the first one. I mean when Ed Helms learned that he had had sex with a tranny, I honestly lost it. And that may say more about me than it does about the film, but I loved that they took chances like that. This was easily the biggest shocker of the year for me because I expected to hate this film. Bring on Hangover III baby!

11) Super 8
Writer: J.J. Abrams
Director: J.J. Abrams
I wouldn’t go so far as to say I loved Super 8. But I certainly did like it. If there’s any director I’d trust to take me back to the Steven Spielberg era, it’s JJ Abrams, who kicks ass in every direction. What really impressed me in Super 8 was the casting and the perfect chemistry between the kids. I was reminded of what it felt like to be back with my own little bike gang as a kid going off on some daily adventure. I was a little disappointed that the monster was so independent from the main plot, but Elle Fanning more than made up for it. This girl is going to be a force in the future. That scene where she gives her first zombie performance while Joe puts make-up on her would’ve had me falling in love if I were 14 again. And a special mention goes out to Riley Griffiths, who gave a great performance as the director of the group. Super 8 had its faults, but it was a monster/sci-fi movie with some heart, which is rare to come by these days.

10) Troll Hunter
Writer: Andre Overdal and Havard S. Johansen
Director: Andre Overdal
I remember when I first saw this trailer I screamed, “I have to see this now!” I unfortunately had to wait seven months before I finally got my hands on it but it was well worth the wait. Over here in America, we’re getting bored with all the horror, alien, and ghost found footage films. Seeing a found footage film, then, that revolved around… TROLLS??? Giant trolls at that?? In a movie where the visual effects were pretty darn good? That’s fresh. What I think got me more than anything though, was the detail that went into the mythology. For example, if there’s a guy who hunts trolls, then aren’t there a bunch of dead trolls lying around? These guys developed not one, but two methods of disposing of troll bodies that were actually believable inside the universe they created. It does get a little repetitive near the end but you’ll be surprised at who you’re rooting for in that final battle. These are the films that inspire me – where people just go out and do something different and it ends up catching a wave. A unique and fun movie.

9) Warrior
Writers: Gavin O’Connor & Anthony Tambakis & Cliff Dorfman
Director: Gavin O’Connor
I’m kinda surprised this movie didn’t do better. I think one of the variables that screws up box office prediction is Middle America. As you rise up in the screenwriting ranks, you become focused on creating smart character driven fare that will impress Hollywood folks. In the meantime, the movies that play well in Middle America are Paul Blart and the latest Adam Sandler abortion. I thought Warrior was going to be the perfect hybrid. It had a couple of respected up-and-coming actors. It was a feel-good underdog story. And it featured ultimate fighting, which plays well in Middle America. So I don’t know if they didn’t sell it well. I don’t know if the stars weren’t big enough. I don’t know if not being able to use UFC’s name had anything to do with it. But the movie didn’t do well. And yet it’s one of the better sports movies I’ve seen in a while. Tom Hardy plays one of the biggest bad asses you’ll ever meet. Joel Edgerton plays the underdog role to perfection. And the final match up in the film is more than emotionally satisfying. I wish this film would’ve done better because it deserved it.

8) Friends With Benefits
Writers: Keith Merryman & David A. Newman and Will Gluck (story by Harley Peyton and Keith Merryman & David A. Newman)
Director: Will Gluck
Yesterday, I highlighted one of the worst films of the year, No Strings Attached. So why am I now celebrating its doppelgänger? Because Will Gluck is one of the few young comedy directors with a unique voice. There’s something different about his films that stir up the butterflies at the bottom of your stomach. I didn’t love Easy A, but I recognized its originality. And this film has that same kind of unique charm. But what really sets it apart is the killer chemistry between Justin Timberlake and Mila Kunis. I mean these two are perfect together. Every scene between them sparked. It was the exact opposite of No Brains Attached. As I was watching “Benefits,” I actually wondered, in a science experiment way, what these two movies would’ve played like had they switched actors. Would “Strings” be the good one and “Friends” the bad one? I’m not sure. But I do know that any movie with Kutcher is probably going to be terrible so thank God this experiment never happened.

7) Rise Of The Planet Of The Apes
Writers: Rick Jaffa & Amanda Silver (spun off the novel “La Planete Des Singes”)
Director: Rupert Wyatt
I don’t know who Rupert Wyatt is and what he directed before this, but he and the writers of “Rise” deserve a filmmaking medal. They took a franchise known for putting style over substance and rebuilt it to highlight substance over style. Not only that, but they turned a major franchise into a character-driven silent film! I don’t think I’ve ever seen a mainstream release take that big of a chance before. Because that’s what this is – a silent film. And to couple that with two acts that don’t feature a single major set-piece, instead focusing on a conflicted ape who’s trying to come to terms with his emerging intelligence? – I mean, I still can’t believe they did this. And even more impressive – THEY PULLED IT OFF! I loved “Rise.”

6) Midnight In Paris
Writer: Woody Allen
Director: Woody Allen
Let’s be honest. Woody Allen isn’t trying to make good movies anymore. He’s just trying to keep busy. That was confirmed for me a few years back when he cast Jason Biggs and Christina Ritchie in a movie. Lucky for him, actors still believe it’s an honor to work with Woody for some reason, and that means sooner or later he’s going to hit. Well, that moment’s finally come. Midnight In Paris is a wonderful little film, particularly if you have any interest in the famed city, which I’ve held a fascination with for much of my life. But what really grabbed me here was the time-jumping! You know I’m a sucker for time-travel, and who would’ve thought Allen would be writing a time-travel film at this stage of his career? Watching Owen Wilson stumble through 1925 Paris, bumping into Zelda and F. Scott Fitzgerald among others, all while trying to figure out what was going on, was hilarious. I also have a renewed appreciation for Allen’s dialogue. This is a man who has written dialogue-driven films for 30 years, and seeing how he crafts his scenes to maximize the character exchanges was enlightening. The only thing that would’ve made this movie better was a Nutella crepe from the sacre couer court!

5) The Disappearance Of Alice Creed
Writer: J Blakeson
Director: J Blakeson
One of the challenges of low-character-count contained thrillers is the limited amount of choices. I read so many of these things that peter out in the second act, and that’s due exclusively to writers running out of ideas. Every once in a while, though, someone figures out how to make it to the finish line. The Disappearance Of Alice Creed follows two men who kidnap the daughter of a wealthy man and demand a ransom. 97% of the film takes place in two rooms and not once does it get boring. There are all these little twists and turns that come right at the moment these films usually start grasping for life support. In combination with a disarmingly confident directing style (watch the opening scene where they construct the room to see what I mean), you get the feeling you’re watching something special. We talk about subtext and dramatic irony a lot on the site. If you want to learn how to utilize these tools effectively, clear 90 minutes out of your schedule and watch this film. It’s pretty awesome.

T-4) Bridesmaids
Writers: Kristin Wiig & Annie Mumolo
Director: Paul Feig
Bridesmaids easily wins the underdog film of the year award. Some people didn’t think it would make a hundred bucks, much less a hundred million. But the character work in this female Hangover elevated it beyond your standard bodily function comedy, which it did, ironically, have plenty of. I just thought Kristin Wiig was perfect as this misguided naïve woman on the wrong side of thirty who was about to lose her best friend to marriage. Despite all of the juvenile desperate stunts she pulls to win her friend back, you still root for her. You still want her to succeed. And that’s the mark of a great character. Even the cliché inappropriate friend role was nailed by Melissa McCarthy, who had me rolling on the ground when she stole all the puppies. In a year with a lot of lame comedies, it was nice to watch one that actually made you give a shit.

T-4) X-Men: First Class
Writers: Ashley Miller & Zack Stentz and Jane Goldman & Matthew Vaughn (story by Sheldon Turner and Bryan Singer)
Director: Matthew Vaughn
It’s confession time here on Scriptshadow. I’m not a big fan of the X-Men movies. So I was hardly looking forward to X-Men: First class. Sure, director Vaughn was trumpeting to anyone who would listen that he was doing something “different” with his super-hero film, but those claims are almost always lip service. So I ignored the film until a bored Tuesday evening, when I reluctantly clicked “Rent” on my Itunes. The next thing I knew, my whole world had changed. Okay, that may be overstating it, but what a kick ass movie (no pun intended)! The character development in this film puts all other super hero movies to shame. Michael Fassbender and James McAvoy are mesmerizing as friends Charles Xavier and Magneto. Magneto’s inner battle between good and evil was pitch perfect. The training sequences, because they were anchored in that friendship (and not just about special effects), were the best I’ve ever seen in a super-hero film. It almost didn’t seem like a super hero movie. It was more about people. I can’t NOT celebrate that on a screenwriting site. Thank you Vaughn and Goldman for this totally unexpected treat!

3) Hanna
Writers: Seth Lochhead and David Farr
Director: Joe Wright
So everybody asks me, are there any examples of bad scripts that became good movies? Take a look at my old script review of Hanna. I thought that script kinda blew. At the heart of the problem was a plot that didn’t make sense. A father trains his daughter to become a perfect warrior then sends her out into the world to meet him later on? Ummmmm, why not just go there together???? On top of this, the script was boring. Hanna was stuck in these weird caves for like 30 pages doing nothing. The only reason I watched this is because I like Joe Wright as a director. And about 15 minutes in, I was ready to turn it off. But then something happened. There was this unexpected kookiness to the story that was never hinted at in the script. A fairytale quality began to emerge. The world was exaggerated in the most unexpected and intriguing ways. But the key change was eliminating all those damn lags in the story. Instead of locking our heroine down in those caves for an eternity, writers Lochhead and Farr kept Hanna on the move throughout, which gave the movie a momentum the script lacked. Wright and his writers actually made a bunch of interesting choices, the most surprising of which may have been the 14-year-old lesbian friendship/relationship that they managed to somehow not make sleazy. Then of course Saoirse Ronan is fucking amazing. She’s right up there with Elle Fanning in that league of dynamite young actresses. This movie was just so much wilder than I expected it to be. What a surprise.

2) The Girl With The Dragon Tattoo
Writer: Steve Zallian
Director: David Fincher
I read the book, which I thought was amazing. I saw the Swedish film, which I thought was underwhelming. So I didn’t know what to expect from this. And that bizarre opening title sequence didn’t help. What the hell drug was Fincher on when he made that? I suppose it wasn’t as bad as the Mission Impossible title sequence, which inexplicably gave the entire movie away before it even started. Worst choice ever? Anyway, back to Dragon Tattoo. This film was fucking AWESOME! Rooney Mara kicked posterior as the girl. If the make-up and costume directors of this film don’t win Oscars for what they did to her, it will be a crime. Every frame of this movie was perfect. Fincher’s unflinching directing was as good as it’s ever been. It seems like his entire career was merely a set of practice drills preparing for this franchise. The big feat for Fincher here, though, was capturing the relationship between Lisbeth and Blomkvist. It’s no secret that Fincher sucks with male-female relationships in his films, but he nailed this one. I felt Lisbeth’s pain in the end when (spoiler) she saw Blomkvist walk off with Erika. Young Fincher couldn’t have handled that. And thank you Steve Zallian for changing that way-too-drawn-out ending!

1) Drive
Writer: Hossein Amini (book by James Sallis)
Director: Nicholas Winding Refn
Any surprises here? I not only loved the original script, but I loved the pared down 30 pages less version they used for the movie. I can’t think of any situation where they cut out that much of an already great screenplay and didn’t lose anything. But while the writing here is awesome, the real star is the director, Nicholas Winding Refn. He’s able to capture a mood up on screen that so few directors can. All you need to watch is the opening getaway sequence to know what I’m talking about. Instead of the typical back-and-forth jokey exchanges you see from antsy directors who fear even the slightest hint of silence onscreen, Refn plays it quiet, allowing the heart thumping soundtrack along with your own heart thumping to do the work for him. Ryan Gosling was amazing as Driver. The cinematography was outstanding. The soundtrack was an instant classic. The directing was first rate. This movie left the biggest impression on me all year so it’s no shock it’s number 1. I still bust out the soundtrack when I’m driving around in the city, pretending I’m Driver, preparing for a getaway. That may make me dorky but that’s what a great film will do to you!

I generally like to bust out the optimism here on Scriptshadow. There are too many people bringing others down in this business. “You can’t do this.” “You can’t do that.” Everything, according to these folks, is terrible. The truth is, the people who make it in this business are the people who ignore the naysayers – who don’t get caught up in the negativity. That being said, I’m a moviegoer just like everyone else. And while I respect the fact that thousands of man-hours were put into these pieces of entertainment, I’m just as mad as anyone when the product I paid for is junk. So I’ve reserved one day of the year to air out my frustrations. I should note that I haven’t seen “In Time” or “My Sister’s Retarded” (or whatever that Adam Sandler movie is called), both of which I hear are beyond terrible. And of course any year with a Transformers movie means that movie is automatically number 1 – so I won’t even bother putting it on the list. As for the rest of these films, each of them took my breath away. As in, I almost died of boredom watching them. Beware of what follows. It gets ugly.

10) Win-Win – Maybe Win-Win shouldn’t be on this list. It’s a competently made film with some okay moments. But I’m including it because it was the most average film I saw all year. And “average” can sometimes be worse than “bad.” I’ve had a problem with McCarthy’s films for awhile now, never quite understanding all the love they got, but going along with it because they were independent and Rotten Tomatoes always seemed to give them high scores. I figured it was my fault I didn’t like them. But after this movie, I’m not falling for it anymore. The narrative in Win-Win is all over the place. The central relationship between the boy and the coach is uninspired. I’m not even sure what the motivation of our protagonist is. To win a wrestling championship? I don’t get the sense that’d change his life in any way. So where are the stakes? The kid is boring. The grandfather scam is okay but ultimately unsatisfying. The mom stuff is cliché. There’s just nothing to grab onto here. It feels like one giant exploratory first draft.

9) Everything Must Go – I can’t tell you how much it pains me to put this on my list. For those readers new to the site, Everything Must Go was my favorite script a couple of years ago. I thought it was such a clever story – the idea of this guy being kicked out of his house, forced to live on his lawn with all his “stuff,” then realizing that stuff was a symbol of his past and that in order to move on, he would have to get rid of it all, which he does in a yard sale. Unfortunately, I can’t remember a movie where the performances were as dead as this one. The kid was boring. Will Ferrell was boring. Even the captivating Rebecca Hall seemed confused. Like “Am I supposed to like you or just be a helpful pregnant neighbor?” It was as if the entire cast was sleepwalking through the movie. And when your entire movie takes place in one location, the performances need to be amazing. I learned a lot from this film. Unless you’re writing a thriller or a horror film, be wary of placing your movie in a single location.

8) Cowboys And Aliens – Here’s a question for you. Who wins in a fight? Cowboys? Or Aliens? No wait, let me be more specific. Who wins in a fight? People 140 years less advanced than us? Or aliens 1 million years more advanced than us? Hmmm, let me think about that for a second. I don’t know. It’s a tough call. I mean the cowboys do have horses. Oh yeah, wait. THE ALIENS DO! But apparently the producers of this movie thought this was some sort of even battle, not realizing that any rational person would realize that if the Cowboys won, it would only be because the writers cheated. But that wasn’t this script’s only problem. The writers decided to write a movie where nothing happens for 60 minutes. I mean seriously. What happens in the first hour of this movie? The highlight for me in this film was realizing that one of the actors was Captain Hadley from The Shawshank Redemption.

7) No Strings Attached – Look, Ashton Kutcher seems like a nice guy. No, really, he does. And I’m not even mad at him for cheating on Demi Moore. But come on. This guy cannot act to save his Twitter Account. When you then combine his talents with Natalie Portman, who is to rom-coms what Snooki is to book clubs, you get the abomination that is No Strings Attached. Not only do these two look uncomfortable in their own skin, but they have zero chemistry together. No. They have negative chemistry together. Is it possible to have negative chemistry? I’m going to look that up because if not, we may have just made a major scientific discovery. Which would mean at least something good came of this film. It didn’t help that Liz Merriwether’s original script was sanitized down to a faux-edgy piece of fluff. Natalie, I love you. But stay away from anything resembling comedy. Ashton, I love you, but stay away from anything resembling movies.

6) The Dilemma – I just…I just don’t know what to say about this terrible film. Actually, I do. How is it that you can overlook a story flaw so big, it eclipsed the sun the day the final draft was turned in? A movie about whether a guy should tell his best friend that his wife is cheating on him? That’s not a movie. That’s a subplot. That’s a scene. But if you think you’re going to keep an audience’s interest for an entire film with that sort of secondary conflict, you need to be sent to screenwriter jail. No chance of parole. This is a movie! The conflict has to be bigger!! Our main character’s girlfriend is the one who has to be cheating. But even if you don’t take that into account, it still doesn’t make sense. Should you tell your best friend that his girlfriend is cheating on him or not? Hmmmmmm…um YEAH! You should. Movie over. And on top of all this we have to endure Vince Vaughn and Kevin James bumping into things for 90 minutes. Here’s a dilemma for you. Do you tell an established producer that the movie he’s about to make is going to be terrible?

5) Happythankyoumoreplease– Oh Josh Radnor. I still remember the day I read your script. I still remember thinking how beautiful the writing was, how amazing the characters were, how original the story was. Yeah, it was a bit self-congratulatory in places. But overall, I was amazed by your talent as a screenwriter. And then you had to go and direct the film even though you’d apparently never picked up a camera before. Long shot, close up, close up. Long shot, close up, close up. All that was missing was a wind-up bolex and 3 reels of 8mm black and white film. I can’t remember a single moment where a character was actually moving. Everybody always seemed to be sitting down in small rooms. And then of course there was the…..duh duh DUHHHHH…. COUPLE OF DEATH! I will never forget that couple, the way they argued over and over again about the same thing. About how depressed they looked. About how depressing they were. Those scenes were so torturous that I don’t think I’ll ever fully recover from them. R.I.P. The Couple Of Death. R.I.P. Happythankyoumoreplease.

4) Somewhere – Look, I’m all for experimental film…WHEN YOU’RE A FILM STUDENT. But when you’re asking people to pay ten bucks for your movie, a cohesive storyline is required. Or a goal. Or a purpose. Or a point. “Somewhere” is a film that feels cobbled together from random dailies and rehearsal takes. Isn’t one of the first things you learn as a writer to cut out all the boring parts? When you start putting theme and symbolism and experimentation ahead of entertainment, you’re playing with fire in a fireworks factory. People will only travel down that path for so long before they start asking where you’re going. Coppola better be careful. She’s quietly directing herself out of the business. The title to this film is appropriate: “Somewhere.” Unfortunately, neither the director nor the audience knew where.

3) Sanctum – James Cameron should be ashamed of himself for producing and supporting this crap. What disappoints me so much is that Cameron understands the value of story. He made his living as a screenwriter before he became a filmmaker, and while it’s not his biggest strength, he’s pretty darn good at it. So why, then, does NOTHING HAPPEN IN THE FIRST 50 MINUTES OF THIS MOVIE??? I remember a 7 minute helicopter landing scene. I remember 20 minutes of people radioing each other back and forth in a cave about NOTHING. There was no main character as far as I could tell. No point to any of the action. It’s never good when nearly a full hour into the film you’re still asking the question, “What is this movie *about*?” I mean I could’ve improved this script by 1000% had you just given me 30 minutes. If your movie revolves around a mysterious and fascinating cave, then DON’T ALREADY START in the cave. We have to go in there together. Discover it together. Build some actual suspense. Where’s the fun in everybody already being inside? And you know what? I actually would’ve been okay with this IF the reason for it was so we could jump right into the story. Except we get there, then listen to people radio each other back and forth for 50 MINUTES! So the whole point to starting late isn’t even taken advantage of. I wish somebody would’ve pushed me into this cave also.

2) Beginners – No no no. Make it end. The memories of this film still burn inside of my brain. Pretentious. So pretentious. Have not seen a movie this pretentious since film school. Subtitles whenever the dog talks. Make it stop. Entire movie told out of order for no other reason than the writer wanting to be weird and different. 83 year old father coming out and going to clubs that play house music so he can pick up 30 year old men. Non-stop voice over telling us insignificant things or stuff we already know. 83 year old newly gay father is also dying of cancer. Of course he is! We must make this indie and different and as pretentious as possible! No story here. Just a writer trying to be “deep” and different for different’s sake. Sometimes random images would flash across the screen. Because of the pretentiousness. They hadn’t hit the quota yet so they had to keep going. This movie was a cinematic fatwa. The only reason it isn’t number one on my list is because of Melanie Laurent who was as cute as a jelly bean. Thank you Melanie for saving me from a boredom coma.

1) Skyline – Sometimes Redbox sends me codes for free movies. I used one to get Skyline. I still want a refund. Apparently a couple of visual effects wizards figured they’d skimp on screenplay costs and, what the hell, WRITE THIS MOVIE THEMSELVES. As a result, we get 47 scenes in a hotel room that I’m pretty sure were the same scene from 47 different angles. Oh, and 5 scenes where they peek outside and see aliens. I couldn’t begin to tell you what the plot was here. Some guy is staying at a hotel. Maybe he’s an actor. His friends come by. I think one of them just won a Ferrari in a game show or something. Game Show Ferrari Guy gets mad at our hero because, um, well because it’s a movie and people get mad at each other in movies. People’s faces turn blue sometimes because, um, room service sucks? I have no idea. Note to aspiring filmmakers out there. Not anyone can write a script. Find some money and pay someone who knows what they’re doing. At the very least your movie will be coherent.

Oh man. I really needed that. Those were some pretty awful movies. But stay tuned for tomorrow when Happy Carson returns. My 15 favorite movies of the year, which I promise will contain some surprises. See you then. :)

Screenwriting is hard. Every year I’m reminded of that. Most scripts can be divided into two categories. There’s the script that’s trying to tell the same old story as exceptionally as it can (something like Taken or Pretty Woman). And there’s the script that tries to do something different (District 9 or Pulp Fiction). The pitfall with the first option is that you have to nail every single rule in order to get the script right. And the pitfall with the second is that when you have to make up your own rules, which typically results in the script being all wrong. So it’s sort of like a “pick your poison” deal. That said, ten scripts rose above these complications to become my favorites of the year. As has been the case in the past, this lineup reflects my feelings at this specific moment. In other words, the list may not coincide with my Top 25. I wouldn’t say anything truly blew me away in 2011, but a few scripts came close. Let’s take a look.

10) Reunion by Adam Zopf
Premise: At their ten-year reunion, a formerly bullied outcast decides to enact revenge on the cool kids who made his life miserable.
I’d read 60 straight Amateur Friday scripts before Reunion, and while a few of them were decent, there was nothing I would’ve told a producer he had to check out. Reunion was the first script to buck that trend. And what I loved about it most was the character exploration. 99 out of 100 amateur horror writers would’ve chosen to ignore what made their characters tick. Adam was the one who realized that no matter what genre you’re writing, the thing that the audience cares about the most, whether they know it or not, is what’s going on inside of the people. That’s what makes you care about them. And that’s what makes you care about what happens to them. I don’t think this script has been picked up yet so if you’re a producer looking for some great material, check out Reunion now.

9) The Imitation Game by Graham Moore (based on “Alan Turing: The Enigma” By Andrew Hodges)
Premise: The story of how Alan Turing cracked the impossible “Enigma” code, which helped the Allies win World War 2.
It’s rare that I get e-mails from people saying, “You have to read this now.” I get plenty of e-mails saying I should “check this out when you get a chance.” But people so excited they want me to stop what I’m doing *this minute* to read a script? That doesn’t happen often. The Imitation Game is a spec script that proves if you write a compelling main character dealing with an extraordinary situation, your script will sell. That’s because every producer in town knows that if they find a script with a challenging main character, every A-Lister in town will want to play him. I also loved how this biopic was a story, with a goal, stakes, and urgency. Not just a highlight reel of Turing’s life. I didn’t expect to like this one. But boy did I ever.

8) Your Bridesmaid Is A Bitch by Brian Duffield
Premise: After agreeing to groomsman duties at his sister’s wedding, Noah Palmer realizes he may have made the mistake of his life after finding out that the woman who broke his heart is also part of the bridal party.
This is going to be a running theme throughout the Top 10. The reason this script is elevated beyond your run-of-the-mill rom-com is because the characters are so great. Not only do you feel the main character’s pain, insecurity, flaws, fears, and history here, but I loved what Brian did with Anna, the girl Noah is hopelessly still in love with. I think most writers would’ve made her a complete bitch. But Brian makes her cool, makes us understand why Noah fell in love with her. That steered us away from black and white – which is where 99% of romantic comedies exist – and into grey, where the world is way more interesting. It would be easy for us if Anna was a bitch. But because she isn’t, we don’t know what we want. I wish I read more rom-coms that made interesting choices like this.

7) Inherit the Earth by JT Petty (based on the graphic novel by Chris Ryall & Ashley Wood)
Premise: The last human on earth, a young girl, is protected by an army of robots against an even bigger army of zombies.
With the sub-par box office showing of Cowboys and Aliens, it’s looking less and less like this film will ever get made. But the reason I liked it so much was because it actually asked the question, “What would a ten year old girl really be feeling during this experience?” That may seem unimportant. But when you have zombies and robots battling for world supremacy, you need something honest anchoring the story. A little girl who just wants to be loved, who wants a mother and a father – that’s something real people can identify with and understand. For those of you paying attention, that’s four scripts so far, and four examples of me ogling over the character exploration. Have I convinced you to do more character development in your next script yet?

6) The Mighty Flynn by Lorene Scafaria
Premise: After a cruel heartless efficiency expert gets fired, he meets a strange 16 year old girl who unexpectedly helps him turn his life around.
This script is Jerry Maguire for a new generation. People keep saying it will never get made because of Up In The Air, but it’s so damn different from that movie. I mean, does Up In The Air remind YOU of Jerry Maguire? No, because Jerry Maguire is a lot more fun, and that’s the feeling I got from this script. It’s fun. Scafaria, besides being cute and having a cool last name, is really good at mixing drama with comedy. And I love the unexpected pairing she came up with here, not only because it’s different, but because she didn’t take the obvious route and create some sleazy romantic relationship between the older guy and the younger girl. It’s just a unique friendship. The only fix that needs to be made here is the ending and this script could be perfect.

5) Nautica (Riptide) by Richard McBrien
Premise: An investigator tries to solve a murder case on a ship which involves a handyman, a stock broker and the stock broker’s girlfriend, which won’t be easy since each suspect has a different version of the story.
This script has had a long journey and a lot of close calls and for whatever reason, still hasn’t been made. This is Dead Calm but with a more complicated backstory. There have obviously been a fair share of Rashamon-inspired films, but this is one of the few that lives up to the technique. I remember going into this with no idea what it was then coming out exhilarated after all the twists and turns. The characters here are interesting. The story is interesting. I can’t see anyone not wanting to be involved with this project. So let’s boot this out of development hell already.

4) How It Ends by Brooks McLaren
Premise: A man must race across the US to save his pregnant wife as the apocalypse rains down around him.
Here I am, trumpeting the importance of character development for six straight entries, yet my number 4 script barely peeks beneath the surface of its characters. I think that’s what turned people off and made them wonder why I ranked it so high on my Top 25. Commenter JakeMLB responded to this critique best. Brooks decided to take a realistic approach to his story. He wanted to put you right there in the action, attempting to mirror how it would really be. When you take that approach, an artificially constructed character flaw can feel forced and artificial. For example, it’s okay for Han Solo to finally overcome his flaw of being selfish at the end of Star Wars. But had we done the same with Will, it starts feeling like a Hollywood movie as opposed to a real situation. It’s a fine line and I almost always lean towards creating a flaw, but in this rare case, it worked. Not to mention, this is about as intense a script as you’ll read all year.

3) When The Streetlights Go On by Chris Hutton & Eddie O’Keefe
Premise: (from Black List) In the early 1980s, a town suffers through the aftermath of a brutal murder of a high school girl and a teacher.
Let the controversy continue! “Streetlights” inspired some of the more intense debate over a script’s quality as we’ve had all year. Some people were moved by it. And some people wanted to move it into their toilet. Count me among the former. I’m a big believer in this script and more than a week after reading it, I’m still moved by its haunting tone and chilling ending. At the beginning of this article I talked about the two types of scripts you can write, the predictable one and the chance-taking one. “Streetlights” takes chances almost every step of the way. An ongoing voice-over. Lack of a clear protagonist. A period piece. A love story that doesn’t emerge until the final act. And yet, somehow, it all comes together. If anyone can tell me how these guys are only 21 years old, I’d love to know.

2) Seeking A Friend At The End Of The World (no link)
Premise: As a life ending asteroid shoots towards Earth, a lonely man befriends a strange woman and the two embark on a road trip to say their goodbyes to their loved ones.
Writer: Lorene Scafaria
This is another one that just stayed with me. I love Scafaria’s knack for going quirky, yet still making her choices relevant to the story. For example, one might complain that Keira Knightly’s character’s sleep issues (the girl can sleep through the world falling apart) are a bit on the “Ooh, look how different I can make this character” side. Yet her sleep issues turn out to be a big set up for a later payoff during the climax. On top of this, I’m just a sucker for stories where two misunderstood people find each other. I never reviewed this script on the site but Scafaria, in her directing debut, finished shooting it earlier this year, so we should get a trailer soon.

1) After Hailey by Scott Frank (based on the novel by Johnathan Tropper)
Premise: After a newlywed war photographer’s wife dies, he must decide whether to help out her troubled son from a previous marriage or move on and start a new life.
What can you say about After Hailey? It’s one of those scripts where every character is perfectly written. It walks that inexact line between comedy and drama exceptionally. It’s got a great central unresolved relationship at its core, and one we’re not used to seeing – a man stuck with parenting a stepson he barely knows after his wife dies. I know I talk a lot about “heart” on this site and maybe I don’t explain it all that well. But if you want to know what heart reads like, check out this script. It just makes you feel good inside and it tackles a lot of identifiable situations we all deal with in our everyday lives, but in an amusing and heartwarming way.

Now that 2011 is over, I want to set a personal challenge to all of Scriptshadow Nation: Let’s dominate this list next year. We got one on the list. Let’s try for 3 or 4 in 2012. The things I preach on Scriptshadow aren’t revolutionary. But I believe that the people who follow this site understand the essentials of storytelling way better than the people who don’t. So let’s do this. Get out there and start writing. Create something great. I’ll be here to celebrate it when you’re finished.

Hey everyone.  Short week this week.  No post today or Friday.  Tuesday will be my list of Top 10 screenplays I read this year.  Wednesday will be the 10 worst movies I saw this year.  And Thursday will be my Top 15 movies I saw this year.  Going to see Girl With The Dragon Tattoo later today.  I wonder if it will make the list!  Enjoy the day off and get some writing done. :)