While the box office helps screenwriters keep track of industry trends, which helps inform them when it comes time to write something, the majority of that data is useless. To screenwriters, I mean. There isn’t anything the average screenwriter can learn from Super Mario Brothers making a billion dollars. All movies in the top 10 live in Studio IP La-La Land, a destination reserved exclusively for the titans of the industry.

In order to learn something from the box office as a screenwriter, you want to track ORIGINAL projects. Projects that you could’ve written yourself, had you the foresight to do so. These are the projects that savvy screenwriters should be emulating and inspired by, as these are the scripts from screenwriters that actually get made.

Today I’m going to list the top 10 original projects, ranked by worldwide box office take, and tell you what you can learn from each of them.  I’m sure there will be some comments about the underwhelming box office take of some of these films.   But let’s keep things in perspective.  M3GAN, the number one original movie of the year, cost 1/20th the budget of Super Mario Brothers, the number one overall movie of the year.  When you take that into consideration, you realize these box office performances are a lot better than they first look.

M3GAN
Genre: Horror
Domestic: 95 million
Worldwide: 176 million

Lesson: I confess I did not see M3GAN’s success coming. I thought the living doll horror story had been done to death (see what I did there?). They couldn’t even get a better known doll franchise, Child’s Play, to drive ticket sales. Why would I think rando M3GAN would be able to? But if there’s anything M3GAN’S success reminds us, it’s that horror is the go-to genre if you’re a spec screenwriter who actually wants to make money. It honestly can’t be beat. And looking back at previously successful horror templates is a great starting point for coming up with an idea that gets buyers salivating.

AIR
Genre: Sports Drama
Domestic: 52 million
Worldwide: 90 million

Lesson: Yet another savvy business idea is to mine true sports stories for concepts. They usually do well. Weirdly, they all do well on the Black List (I guess because all those assistants are big sports fans), further improving the chances of them getting purchased. Air was a departure from the usual formula, though, since it was less about the on-field stuff and more about what happens behind the curtain. The hack the writers are using here is that they know a lot of actors love sports. And they know those same actors are either too old or not in good enough shape to play professional athletes. But anybody can play a schlub in a suit. If you make that schlub talk a lot, you’re going to find a big actor who wants to play him.  That big actor is the start of a flashy package that’s going to make sure your movie gets a big marketing push.

COCAINE BEAR
Genre: Comedy/Horror
Domestic: 64 million
Worldwide: 87 million

Lesson: Cocaine Bear is an example of a low-key growing trend in concept creation: viral concepts. These are concepts that either already went viral on social media (“Zola”) or the ideas are so wacky, the producers are banking on the fact that the movie itself will go viral, which achieves that all-important awareness, and also saves some money on the back end of the marketing budget. That was the plan here, although it’s difficult to tell if it was successful or not. Cocaine Bear landed in that monetary zone where you can’t call it a success or a failure. Which means even these newer flashier ways to construct concepts are susceptible to the same roll of the roulette wheel that movies have had to deal with since day 1 of the business: You never know what’s going to click with audiences.

THE POPE’S EXORCIST
Genre: Horror
Domestic: 20 million
Worldwide: 74 million

Lesson: This was based on a book but I included it because it’s still an idea any writer could’ve come up with. You don’t even need the book to write about it, since it’s based on a real person.  One of the most dependable horror specs you can write is an exorcist script. If I had any interest in exorcisms, I would be writing one of these every month. How dependable is the genre? Well, the script doesn’t really have a hook. I guess it’s kind of cool that the exorcist works directly for the Pope. But it’s not like the Pope is possessed. That would be a hook. Our exorcist still exorcises normal people, like every other exorcist. In other words, even without a hook, this movie made 74 million worldwide, and that’s all because of one word: EXORCIST.

65
Genre: Sci-fi
Domestic: 32 million
Worldwide: 60 million

Lesson: When people think of this film, they think, “Loser.” But it’s actually a winner. Every movie on this list is a winner because it’s an original idea that got made. Which is what most of you are trying to accomplish. 65 was actually a good idea. A couple of people crash land on earth during the dinosaur era just hours before the famous dinosaur-destroying asteroid arrives. Unfortunately, it made a couple of critical creative mistakes that tanked its RT score (main characters were, inexplicably, aliens and the tone was too dour). Since original movies are more dependent on good reviews than studio-backed mega-franchises, 65 didn’t survive its weak critical reception. To really take advantage of mid-budget sci-fi, you have to keep things here on earth and in the present. District 9, Arrival, and the upcoming The Creator. I still contend that 65 was a cool idea. But mass audiences tend not to like this story setup for some reason (they rejected “After Earth” as well).

PLANE
Genre: Action/Thriller
Domestic: 32 million
Worldwide: 52 million

Lesson: The great thing about these movies is that they always get made. These Thriller-Action B-movies might as well be printed on the same documents that authorize the financing transactions for production because that’s how dependable they are. With that said, you are going after the same group of actors here (Gerard Butler, Liam Neeson, Jason Statham, etc.) and it DOES help if you can give them anything unique. It’s very common for them to say, “I already played this part.” It’s why Statham got so excited to do The Beekeper. Sure, in the end, money talks. Neeson has done the same role for the last 20 movies. But what I’m saying is, you gain yourself a little bit of an edge if you not only come to the actor with an offer, but come to them with an offer and a role they haven’t gotten to play yet. Gerard Butler had not played a pilot yet. And that was all he needed.

MISSING
Genre: Thriller
Domestic: 32 million
Worldwide: 49 million

Lesson: Timur Bekmambetov is THE GUY for these computer-based movies. I know a writer who’s writing one for him right now. And since they’re so cheap to make, I see Bekmambetov’s production company continuing to spit them out until they squeeze every dollar out of the sub-genre. Just make sure that you keep the story moving, which Missing does an AMAZING job of. It isn’t just a thriller in name. It’s thrills every second. Remember that the main character is sitting down the whole movie (or most of it). Which is why you want the story to have extreme urgency and stakes. Cause if someone is sitting down the whole movie in front of a computer and their goal is weak and they have as long as they want to achieve that goal? That’s a script disaster waiting to happen.

80 FOR BRADY
Genre: Comedy
Domestic: 40 million
Worldwide: 40 million

Lesson: It may not be my thing. It’s probably not your thing either. But the 65+ female demographic has been known to come out for these movies. The formula right now is comedy + several older women. But that could change and be centered around 2 older women, or even 1, if she’s interesting enough. If you have a really good comedy idea for the older female demographic, it may be worth writing it just because this is one of the least competitive sub-genres out there. Very few writers are writing them. So if you had something good, you could sell a script.

RENFIELD
Genre: Comedy/Horror
Domestic: 17 million
Worldwide: 25 million

Lesson: What I’ve found with horror comedies is that there’s a segment of writers who love to write them and a segment of readers who love to read them. But when you get to the actual theater, not a lot of people like to come to them. The target demo for this genre combo is usually people bored at the end of the weekend who just want to throw on something mindless. Which is why this movie bombed.  Plus, I think it was too weird. The comedy angle was odd – that Dracula’s assistant had powers of his own. It didn’t really make sense. That’s script suicide right there – when your main character’s unclear.

THE COVENANT
Genre: War/Action
Domestic: 16 million
Worldwide: 18 million

Lesson: These movies tend to play well to conservative audiences. This one was about a guy carrying another guy across the battlefield for a long distance. But it’s a tough genre to hit the bullseye with. American Sniper showed what was possible at the box office. Lone Survivor did well. Hacksaw Ridge did solid. So you would think this would’ve done better. What was the difference? Out of these four films, only The Covenant was not based on a true story. The thing with these conservative-leaning war stories is that the Rust Belt idolizes these soldiers. They’ve been celebrating them long before anyone made a movie about them. You could say that they’re conservative IP. So I think that’s the trick if you’re going to write one of these. Making it completely fiction, especially with such a weak hook (carrying a guy across a battlefield), was the stake in this movie’s box office heart.

Get a Script Consultation With Carson for $50 OFF! – In addition to logline consultations (just $25!), I do full screenplay consultations, pilot script consultations, outline consultations, first act consultations. Anything you need help with, I can help! If you mention this article anytime this week, I will give you 50 dollars off a feature or pilot consultation. :). E-mail me at carsonreeves1@gmail.com

Genre: Horror/Action
Premise: A lonely bounty hunter trying to improve his life goes around LA killing secret monsters hiding inside human bodies. His job gets a lot more complicated when he’s forced to team up with his first partner.
About: This one sold for a bunch of money in a competitive bidding war that ultimately went to Netflix. David F. Sandberg is directing.
Writers: Gregory Weidman and Geoff Tock
Details: 92 pages

I’ll be honest.

All I care about right now is aliens. I’ve been following this story about the U.S. having possession of crashed alien ships for the last 24 hours. If it was up to me, I would spend the next ten Scriptshadow posts talking about it. I actually looked for an alien ship outside my place this morning.  So far, one hasn’t stopped by.

But I understand not everybody here is as enlightened as I am and that you don’t care that the aliens are coming (or have they always been here??). So I’m going to restrain myself from turning this into UFO Shadow. FOR NOW.

The cool thing is that we have a script worthy of its own headlines today. “Below” resulted in a serious bidding war and sale. It’s going to be directed by David F. Sandberg. I’ve met Sandberg two times now, once on the set of Lights Out and another time randomly in the aisle of a supermarket. He’s an excessively sweet guy. He just emanates positive energy and we don’t have enough of that in this town.

So I’m really rooting for this script.

“Our Man” is our hero. He lives alone in LA in a tiny apartment, listens to self-help podcasts all day long that preach things like, “You can’t depend on anyone. Only you can move up in the world by your own actions.”

Which is exactly what Our Man is trying to do. He’s a bounty hunter of sorts. He gets text messages every week for a new job. “5% above normal rate” they say, then gives him a location. Off he goes and kills these monsters, tentacled creatures hiding inside human bodies called “dregs.” Afterwards, he takes the dreg skull to a buyer who pays him cash.

Our Man’s dream is to open his own karaoke bar. And he only needs a few more jobs to start that dream. But when he gets a text for his next job, it’s accompanied by, “Now you have a partner.” Our Man tries to ignore it, but after doing the job, his new parter, a woman slightly older than him named “Boxer,” shows up.

Boxer attempts to befriend Our Man, who does everything within his power to stay alone. He doesn’t do the whole “connect with people” thing. But she keeps chipping away at him and soon they’re drinking beers and eating food truck tacos together. To his surprise, Our Man likes Boxer.

As they go over the uptick in jobs lately, Boxer theorizes that something big is about to happen. And when they catch a dreg kidnapping a person instead of killing him, like they usually do, she knows something is up. That’s when they get a shocking text. Their next job is 700%(!!!) above normal rate. Could it be the Queen Bee? Our Man doesn’t want to find out. But they don’t have a choice.  And off they go.

There are a couple of big things that come to mind when you read “Below.” The first is that this is the third version of this story that’s been on Netflix. People hunting down supernatural creatures in Los Angeles. You had Bright. You had Day Shift. And now you have Below.

That surprises me. But maybe there’s an executive at Netflix who just loves these types of movies. I get it. If I was an exec, every other movie I greenlit would have aliens. But it did catch my eye because you’re always looking for something fresh. So I was surprised that this was so similar to other stuff on the streamer.

The other big thing going on in this script is the Walter Hill writing style. That’s where you write sentences vertically instead of one after the other. It’s tough to endure if you read a lot of scripts because you’re used to getting that line in between every paragraph. And here, you don’t get that breather. So I’m not a fan of it. But I suppose if you don’t read a lot of scripts, it doesn’t disrupt your reading pattern much.

As for the story, I was on the fence for a while.

I should bring this up because I JUST TALKED ABOUT IT in the newsletter and here it is, being done in all its glory, not once but TWICE WITHIN FIVE MINUTES. I mean, I was shocked.

25 pages in, Our Man gets stopped by a cop. The cop is seconds away from discovering that our man just killed a “human.” And then a kid drives by and throws a bag of urine at the cop, so the cop jumps in his car to chase him. This is the worst thing you can do as a writer – SAVE YOUR HERO FOR HIM. A hero must save himself. That’s when we fall in love with heroes!

Go watch when the T-1000 shows up to take on the Terminator in T2. You get a 20 minute series of attacks. Not once does James Cameron save the Terminator. The Terminator has to earn every single victory over the T-1000.

So then, less than 2 seconds later, Our Man is walking back to his car and gets surprise-jumped by a dreg. They battle. The dreg has the upper hand. It’s easily about to kill Our Man. And then, what do you know, BLUE LIGHTNING appears from the side. It kills the Dreg. It’s Our Man’s new partner, who came in to save the day!

That is twice – TWICE – that the writer saved the hero.

You’re probably asking, well, wait a minute Carson. If this is so bad, why is the script selling for so much money?

I’ll tell you why. Because it’s better than both Bright and Day Shift.

Something happens to this script when Boxer arrives. Because, before Boxer, this was a cold sad depressing world. She then comes in with this enthusiasm that not only gives Our Man hope – it gives US hope! I loved that she was older, which is a different kind of dynamic than we’re used to with these pairings. I loved that all she wanted to do was be friends with Boxer. And she wouldn’t let him off the friend hook.

And of course, once she wins that battle, we’re a HUGE FAN of them. We now want them to succeed together. What this does is that when they get into trouble, we feel a lot more fear due to our strengthened emotional attachment to the team. This is what screenwriting is all about – it’s mining real emotion from fictional characters. It’s the hardest thing to do in the world and it’s always a minor miracle when it happens. These writers make it happen with that relationship.

Plus you have this mystery with these monsters. What are they? Who’s in charge of them? What do they want? Why are they being asked to kill them? With the vampires in Day Shift, it was all straight forward. With Bright, you had some dumb super-fairy that we didn’t care about. The things in this script genuinely have you curious what the bigger mystery is and that keeps you turning the pages.

I even got used to the annoying writing style after a while. Very curious to see what David Sandberg does with this. I hope the directing style feels different from Bright and Day Shift.

[ ] What the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius

What I learned: Early on in the screenplay is when you make the impression on the audience of your main character’s defining trait – the thing that’s holding him back in the world. If you don’t make that impression loud and clear, the reader isn’t going to ever know your hero. The mistake a lot of writers make is to be too subtle about this defining trait in the fear of being too “on the nose.” I can’t tell you how many times I’ve given this note and the writer has said, “Yeah but I didn’t want to be on the nose.” When it comes to who your main character is, you want to be clear. And Weidman and Tock take five separate moments in the opening 15 pages to highlight that our hero is ALONE. He’s LONELY. He’s BY HIMSELF. It ingrains in the reader’s head that this it the thing that our hero needs to overcome in this story.

What I learned 2: Give your hero a life goal that’s a little surprising and a little against type. It adds more depth to the character. One of the best creative choices in the script was that this downbeat loner loved karaoke. So much so that his dream was to open a karaoke bar! Something about that choice made Our Man feel real. You could’ve easily done the cliche thing of having his goal be to retire to a small house on a beach in Mexico. But by adding this more unexpected choice, he stands out from all the cliched characters before him.

Genre: Comedy/Action
Premise: A secret CIA spy must save the day when her best friend’s destination wedding is infiltrated by terrorists planning to break into the rich fiancé’s vault and steal all his money.
About: This project will star Rebel Wilson. It will be directed by Simon West. The script comes from Shaina Steinberg. Steinberg has been at this for a while. She has a couple of produced credits from 2011, writing two episodes of the TV show, “Chase.”
Writer: Shaina Steinberg (story by Shaina & Cece Pleasants)
Details: 110 pages

I love these callback concepts to the giant spec sale days. This is the kind of script that would’ve sold for a million dollars back in 1998. It actually reminds me of the famous spec sale, “Monster-In-Law,” which, literally, sold on the title alone.

That’s pure spec script DNA right there, when you can sell a script off its title. It’s also something you can’t do anymore. I mean, yeah, this movie is getting made. But I don’t think it came together as a spec sale.

Sam and Betsy have been best friends since they were children. And both of them have difficult home lives so they promise each other never to get married.

Cut to 20 years later and Betsy is in Barcelona with Sam and several other girls for Betsy’s bachelorette party. Betsy is marrying a really rich guy so the wedding is going to be extravagant.

However, it turns out Sam, who’s now secretly a CIA agent, has a mission here in Spain and her team is able to take down a big terrorist. This means that Sam misses some bachelorette party activities and Betsy is so upset about it that she hands the title of Maid of Honor over to the snobby Vanessa, who accepts it with it a Cruella-like smile.

Although Sam is booted from the wedding, which is taking place on a private island in Malta two weeks later, she shows up anyway. No one seems to be enthusiastic about her presence. They assume she’ll disappear like she always does right when Betsy needs her.

But then, on the first night, some gnarly looking terrorists (or thieves?) swim onto shore and bust into the mansion everybody’s staying at, the family home of Betsy’s rich fiancé. They know about the secret vault in the house that contains millions of dollars and they begin their plan of breaking into it while holding all the wedding guests hostage.

Meanwhile, Sam happens to be off in some back room when this is happening, allowing her to morph into her kick-butt spy persona. From there, it’s off to the races, disposing of these terrorists one by one, until she can get to the big fat baddie, Kurt, and take him out, thus saving the day, as well as her friendship with Betsy.

I don’t know how funny this script is. But it makes up for any of its non-funniness by being such a fun film.

The setup is strong, mainly because of the central relationship, which is more complex than it looks like at first glance.

Normally, you have basic reasons why two friends aren’t friends anymore. Somebody got upset about something a while back and they never talked about it and, therefore, the two friends drifted apart. Or someone’s jealous of someone else, which was the case in Bridesmaids.

Here, Betsy is upset with Sam because Sam is never around when she needs her. We see this right from the start, when she misses an important gathering with all the bridesmaids.

But the reason Sam isn’t around is because she’s a CIA agent and literally trying to save the world. So it’s technically not Sam’s fault that she isn’t around. And because Sam can’t tell Betsy the real reason why she’s absent, their friendship fractures.

I like these complex reasons for broken relationships. There’s more to it, which gets the reader thinking. We’re frustrated cause we wish Betsy could understand that Sam isn’t doing this on purpose. And we’re mad because there’s no way for her to tell her.

Then, when the big terrorists takeover happens, you get the intersection of these two worlds that then exploit this unique relationship issue. Sam gets to utilize the skills of the very job that’s keeping her from Betsy to save her life.

And it’s all done in a package that feels like a fresh reinvention of Die Hard.

I’m actually surprised nobody’s come up with this idea before. Scott? This feels like it’s right up your alley. Of course, maybe people have thought of it, but the script never moved through the system like this one did.

The script’s only weak point is that it’s not funny enough. The only character who gets laughs is Vanessa. She’s so deliciously cruel that we love to watch her operate.

But these other characters aren’t funny. The pregnant character. The slutty character. I’m not saying that these archetypes can’t be funny. But what a lot of writers will do is they’ll include these character types that are funny *in theory,* but then they don’t do the work to actually make them funny.

A character like Alan in The Hangover isn’t just funny because he’s wacky. You can’t just throw a character like him into the mix and the laughs come. You have to think these characters through and understand WHY they’re funny. Where they came from. And how that shapes their comedy.

I tell writers this all the time. You want to know a chracter as specifically as possible. That’s why you do all that annoying stuff like write down a 5 page backstory about your character. Cause the more you know about that person and the life they lived, the more formed they will come off on the page. And if it’s a comedy, I promise you it’ll be easier to find the laughs from them.

And then there just weren’t any clever funny set pieces. There was some entertaining action. But where is the show-stopper laugh-out-loud set piece in Bride Hard? Die Hard is famous for all its cool set piece moments. If you’re going to use that template, your job is to write a bunch of funny action set pieces. That part of the script just wasn’t there, though. Not enough, at least.

Finally, I would’ve liked to feel more fear here. I never, for a second, felt like the guests were in real danger. The bad guys aren’t that bad. The one guest who gets shot – the husband-to-be – it happens as an accident. The bad guys just want their money and for these annoying wedding guests to shut up while they get it.

I understand that it’s tricky with comedy. If you go too over the top with danger, it’s not funny anymore. But if it doesn’t feel like there’s any danger at all, we’re not really invested in the story. Remember that laughing is a release of tension. Where does that tension come from? It comes from the fear that these terrorists are going to kill these people. If that’s not there, there’s no tension to release. Which means no laughs.

Despite that, this is worth a read. It’s one of those situations where the concept is too good to screw up. Which is a great reminder of how important concept is. It does a massive amount of the work for you.

[ ] What the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius

What I learned: To make any relationship interesting, introduce a problematic element that’s hurting that relationship and that one of the characters CANNOT TELL THE OTHER CHARACTER about under any circumstances. In this case, it’s that Sam is a spy. But it could be anything. This secret creates a compelling dynamic because the audience is always frustrated by the fact that, if this piece of information was known, the friends, or the couple, would immediately resolve their issues. Because that’s not an option, the reader becomes even more invested cause they want to see how this unresolvable situation is going to be resolved.

Genre: True Story
Premise: The true story of the rise and fall of the Blackberry, a handheld internet device that become a phenomenon, only to get wiped out by the biggest company in the world.
About: Blackberry is the surprise movie of the year so far. It’s the little film that could. Glen Howerton, who’s famously played Dennis for the last 15 seasons on It’s Always Sunny in Philadelphia, has transformed himself for the opportunity to play Jim Balsillie, a part that is getting him tons of acclaim. Matthew Miller, who wrote the script for director Matt Johnson, didn’t have a single produced credit to his name until now.
Writers: Matt Johnson and Matthew Miller (based on the book by Jacquie McNish and Sean Silcoff)
Details: 2 hours long

I know, I know.

Spider-Man: Across the Spider-verse just made all this money. Which means it’s the movie I *should* be reviewing today. I give Spider-verse all the props in the world. The first movie made 35 million opening weekend. This one made 120 million. That’s got to be the biggest percentage increase in box office sequel history.

But there’s another verse out there. A verse full of villains and heroes. A verse that tells one of the most classic tales in our history. If you squint, this verse isn’t that much different from Marvel or DC. I’m talking…….. about the Blackberry verse.

I kept hearing great things about this movie. It got great reviews. Great acting performances. Everyone’s tweeting about it.

But let me tell you why I’m really reviewing it. I’m reviewing it because every movie that gets made in Hollywood goes through a process. At the beginning, the script/project gets sent around town to all the A-listers. The biggest actors. The biggest directors. The hope is that you get one of those perfect A-list packages and now you’re really off to the races. You’ve got tons of buzz and hype behind you. And money! Lots and lots of money.

Unfortunately, most scripts don’t ever get the A-listers. And when they don’t get them, they go for the B-listers. The B-listers are still big time. Uncharted, with Holland, Wahlberg, and Rubin Fleischer directing? That was a B-Team. Movie did okay.

If you don’t get the B-Team, you can still end up with a solid movie via the C-Team. The stuff Gerard Butler is in, like Plane? That’s C-Team. And wherever you land, the corresponding amount of money you get, which crews you get, how many days you get to shoot – all of that ties back to who you can secure when you first go out with your project.

Sadly, the quality of your movie is linked to where you finish on that ladder. Your movie’s fate is determined before you shoot a minute of film.

So when a movie like Blackberry comes along and throws this equation back in the industry’s face – I’ll always celebrate that. Blackberry was working with the F-team. I guarantee the producers of this project were not setting up face time meetings at Shutters on the Beach in Santa Monica with Jay Burachel begging him to be in their movie. Ditto Glenn Howerton. I would go so far as to say they were probably their 30th-40th choices.

And yet, despite that, they still made an awesome movie. How awesome? You know how I was busting Air’s chops a few weeks ago because of how lifeless the directing was? We were in small offices on phone calls the entire movie? Blackberry operates in the exact same business world deal-making space, had 1/20th the budget that Air, and managed to look a hundred times bigger than that movie. It really is amazing what a difference directing makes.

If you don’t know the Blackberry story, this tiny company, Research in Motion, created by a couple of computer nerds, Mike Lazaridis and Doug Fregin, came up with the first handheld texting/e-mail device. With the help of hothead outsider, Jim Balsillie, to run the business, they quickly became the makers of the coolest gadget in the business world, the Blackberry.

The movie focuses on the complex relationship between Mike, who’s great with engineering but terrible with people, and Jim, who’s terrible with engineering and also terrible with people. But Jim gets things done. He’s the guy who doesn’t care if you like him. He’s a force that is determined to take whatever business he’s running to the top.

Blackberry had a meteoric rise because of two things. One, everyone was addicted to the fun little click-y keyboard that you got to send texts back and forth with. And two, they didn’t have any competition. They were the first company able to capitalize on handheld wireless data and no one else was even close.

Of course, we all know what happened next. Apple showed up. And Blackberry made a big bet on the fact that nobody would want to give up their “crackberry” keyboard for some screen that you lifelessly typed on. The final act of “Blackberry” shows the company desperately trying to adjust to this new competitor even though they all know, deep down, that their product is dunzos.

You guys know I’m no fan of true stories and biopics.

With that said, the rise and fall of a person or a company is a very strong engine to write a story with. Because think about it. We all love to see the rise of something. It’s exciting to see someone get to the top, especially if we know beforehand that they do get to the top. Cause we have that fore-knowledge that the characters don’t. And we’re excited for them to reach the mountain top we’re waiting on.

And then, we all love a train crash as well. We all love the sinking of the Titanic. We can’t wait to see it. It’s part of our nature as human beings. So we like *that* part of the story as well – the fall.

In general, every story should be either rising or falling. That’s what keeps the story in motion. Where you run into trouble is if you’re staying neutral. You can stay neutral in a story for a little while. But not for long. The viewer wants to either start rising again or falling again. They need to be in motion.

So, plot-wise, this script was good to go.

The only thing left to make a great movie was characters. Glen Howerton’s, Jim, was fun to watch. He was, himself, an engine. He demanded that the story move. So we always enjoyed being in scenes with him because we knew he was going to be pushing other people to do things. Which results in conflict, which results in drama, which results in entertainment.

Plus, Howerton just had so much fun with the role. He knew this was his one shot at becoming a serious actor. And he took advantage of it. I don’t know if this movie has the financial backing to put together an Oscar campaign for Glen. But I wouldn’t be surprised if he got nominated.

The only downside of Jim is that Mike and Doug couldn’t possibly live up to him. Mike was so internal. He was so frustrated and could never quite get the right words out. In a way, that made me frustrated whenever he came onscreen. I wasn’t enjoying his character so much as enduring it.

And while Matt Johnson, who played Doug, exhibited the single greatest clueless expression I’ve ever seen in a film, that’s all he brought to the table. To be honest, it felt like an actor who wasn’t quite ready for this big of a role.

With that being said, Blackberry is such a win for movies. Like I said, it’s a feel good story of a movie that nobody was supposed to hear about. For it to be getting these great reviews and all this buzz, it’s just cool to see.

[ ] What the hell did I just watch?
[ ] wasn’t for me
[xx] worth the stream
[ ] impressive
[ ] genius

What I learned: If you’re going to write a true story or biopic, something with a clear rise and fall will do a lot of the work for you as a storyteller. You’ll always be in motion. Your only challenge will be making sure all the characters are compelling to watch. If you have that combo, your script will be unstoppable.

We’ve got Tarantino talking about his latest script. We’ve got that spooky new film coming out of Cannes. We answer the question, should you turn your script into a podcast movie? We’ve got more AI talk. Gareth Edwards, the man who directed Rogue One, is back with a film. How does it look? We gear up for the controversial new show on HBO, The Idol. Is the establishment determined to take the show down because it doesn’t play by their rules? Finally, I try to make nice by reviewing another one of Stephen King’s short stories that will be turned into a movie.

If you haven’t received this newsletter or haven’t received any, e-mail me at carsonreeves1@gmail.com and I’ll add you to the list!