Genre: Action
Premise: A terrorist has planted a series of bombs inside several malls in Los Angeles. Although they capture the man before the bombs go off, a bout of amnesia prevents him from remembering where he put the bombs, or if he’s the terrorist at all.
About: Mondry and Bagarozzi met as teen-age video store clerks back in 1987. In 2000, they sold this script for 1 million dollars. “Every night we worked, we took home videos and we would find a director whose work we loved,” said Mondry. “We’d just basically go through the whole catalog and watch one film after another. It was sort of a self-taught film history course.” Bagarozzi sold one screenplay on his own before this called “The Tin Man,” a revisionist noir L.A. detective story, to the Walt Disney Co. for $250,000. Unfortunately, this is not the spec draft that sold, but rather a draft from a few years later.
Writers: Anthony Bagarozzi & Charles Mondry
Details: 128 pages – 12/21/04 draft (This is an early draft of the script. The situations, characters, and plot may change significantly by the time the film is released. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).

I remember first posting my views of this script on a screenwriting forum a few years ago. I’d only read 30 pages, but what I’d read, I didn’t like. I thought it felt like a wannabe Die Hard sequel written by someone who’d read way too many Shane Black scripts. In general, I’m not a fan of overly-stylized writing unless it helps tell the story, so when I got to passages where the writers would actually describe what happened to the camera during an explosion, I didn’t think, “Cool,” I thought, “Is that necessary?”

Imagine my shock, however, when everyone else who read the screenplay absolutely loved it. In fact, I can’t remember a single person having a bad thing to say about it. Everyone kept talking about the “confidence” of the writing, how assured the writers were in carving out their words. I’d never really thought of writing in those terms before – “confidence” – so it took me awhile to figure out how that might affect someone’s reading experience.

To me, writing had always been about the story. Style and confidence are great, but they don’t address character arcs or sustain second acts. Could it be that style and confidence alone could carry a screenplay? I’m inclined to say no, but Tick Tock has a few other things going for it, namely that it’s never slow. This script moves at the breakneck speed of a Ferrari, and it should, since it’s being told in real time. I’m curious as to what the Scriptshadow readers will think of it. Does this spec-friendly real time confident action romp satisfy? Or is it pure sizzle?

Los Angeles.

Red-headed FBI Agent and tough-girl beauty, Claire, is racing to the Federal Building. She’s been informed of a terrorist threat. A man has threated to blow up some bombs in malls scattered throughout Los Angeles today, which just happens to be the biggest shopping day of the year.

The good news is they already have the bomber in custody. The bad news?

He doesn’t remember anything.

He doesn’t even know his own name. In fact, the FBI isn’t 100% sure this is even the guy. They just have some evidence to indicate he is.

The man, who we’ll refer to as Crosby, is a nice affable guy who’s convinced that he’s been misidentified. He doesn’t think he’s capable of doing something this terrible. But the doctors say that amongst other things, Crosby’s also lost his personality, which means if he were a true baddie, he wouldn’t even know it. The “good” news is they believe his amnesia will disappear within a few hours and the real “Crosby” will emerge.

But they don’t have a few hours! The bad guy’s taped threat says these bombs are going to blow up soon!

So Claire grabs Crosby along with a small crack FBI team and heads to Fox Hills Mall, where the first of the bombs is said to be planted. Her hope is that with a little visual stimulation, Crosby will remember where he put the bombs so they can deactivate them in time.

But wait! Crosby points out that even if he was the bad guy and all of a sudden remembered it, the last thing he’d do is expose his bomb locations. He’d just keep pretending he’d forgotten. I’m still not sure why Claire doesn’t see this as a problem, but she says something to indicate she’s not worried about it.

Basically, we jump from mall to mall as the threats get bigger and the bombs get explosioneyer. Claire and Crosby begin developing a friendship, even though they know that when Crosby finally realizes who he is and becomes Evil Crosby, that that friendship will dissolve faster than a lit bomb wick. Eventually they end up at The Beverly Center, a huge indoor upscale mall in Beverly Hills, where it appears this cat and mouse game will end with a big explosion.

Okay so first the good. Real-time. The real-time angle makes this movie a little different from the now two-decade long string of Die Hard copycats. It also keeps the script moving at a breakneck pace, which is always advantageous when writing a spec (faster more immediate stories tend to do better in the spec market).

Making the bad guy essentially a good guy was also a unique twist. Normally in these films the bad guy is obvious. Here, he’s actually helping our hero. When you combine this with the mystery of whether this really is the bad guy or not, I have to admit you have an interesting dynamic you’re not used to seeing in an action film.

However here’s the problem I had with Tick Tock. There’s a lot to buy into here, and the story almost feels like two movies trapped inside one. First you have a film about malls being blown up by some terrorist mastermind, and then you have a movie about a terrorist who doesn’t remember being a terrorist. They kind of go together but it all seemed a little too convenient that this was happening at the same time.

And that’s not the only thing you have to buy into. Tick Tock tests the limits of suspended disbelief. Let’s start with what I mentioned above. If this is the terrorist, once he remembers who he is, there’s a strong chance he’s not going to admit it. Also, our FBI team is running directly into malls that they know are going to blow up. Does that make sense to you? Cause I’m not sure it makes sense to me. Also, since they know all the bombs are placed in Los Angeles malls, why not just evacuate all the malls? There are attempts to explain this throughout the story, but for reasons I’m still not clear about, none of the malls are ever entirely evacuated. Also, it’s never clear how they know which mall to go to (they just sorta guess) or when the bombs are going to blow (they just sorta estimate).

All in all, there are a ton of rules you have to buy into to accept Tick Tock, a few too many for me, and that really prevented me from enjoying it. It helps that the script is not trying to be anything more than a fun action flick, but even that didn’t prevent a good handful of “Oh come ons!” during the read.

The funny thing is, Tick Tock incorporates a lot of things that I preach on this site. The writing is lean. The structure is sound. The script is the very definition of a ticking time bomb (it’s titled “Tick Tock!”). So I’m not going to go out of my way to say it has nothing to offer. It’s just that while I could buy into all these things on an individual basis, together they were too much. Not to mention that the reveal of the bad guy was lame.

I have a feeling some of you will find this fun, especially action buffs. But it wasn’t for me.

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

What I learned: There is something to be said for confidence in one’s writing. If you charge ahead, are in control of your words, if you show conviction in your choices, you can almost fool the reader into believing anything you write. If you’re timid and unsure of yourself when you write, the reader will sense it. If we don’t believe that *you* don’t believe in your story, then we’re not going to believe in it. Just remember, confidence doesn’t mean aggressiveness. The aggressive in-your-face writing works here because it’s a testosterone filled action flick. “Confidence” might be written much differently in, say, a horror script.

Genre: Crime/Drama/Thriller
Premise: (from IMDB) When a debt puts a young man’s life in danger, he turns to putting a hit out on his evil mother in order to collect the insurance.
About: William Friedkin, the famed director of The Exorcist, has been sitting on a Scriptshadow favorite, the dual-female captive script, Sunflower, for a long time. Well Friedkin sadly left that project and moved onto another. I didn’t know much about Killer Joe except for the killer cast it had put together. Matthew McConaughey, Emile Hirsch, Thomas Hayden-Church, and Gina Gershon. Now that I’ve read the script, I know why he jumped. While Killer Joe isn’t as good as Sunflower, it’s pretty close. This is some A-grade writing here. The script is actually an adaption of a play written by Tracy Letts (Letts also wrote the screenplay). I don’t know the chain of events that led to the deal, but Letts is the writer of Friedkin’s last film, so it looks like the power of friendships prevails in Hollywood once again. Letts moved into writing from acting, where he’s played dozens of bit parts in television shows, including Seinfeld and Prison Break.  He won the 2008 Pulitzer prize for his play August: Osage County.
Writer: Tracy Letts
Details: 123 pages – not sure when this draft was written (This is an early draft of the script. The situations, characters, and plot may change significantly by the time the film is released. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).

This movie’s going to be good. I can’t promise you that but sometimes you read a script and you just know. There are extenuating circumstances. The wild card is Matthew McConaughey in the Killer Joe role, but even though Matthew’s on the verge of becoming a caricature of himself (“Becoming?” Who am I kidding? He already is), I believe he’ll nail this role. There’s a low-key dangerous sensibility to the character that fits right into McConaughey’s darker range, a range we saw glimpses of all the way back in Dazed and Confused. But this is all unimportant. What’s important is that Killer Joe, one of the better scripts I’ve read in awhile, is a rockin’ story.

Chris, the kind of guy who gets in trouble just by leaving the house, is manically banging on the door to his parent’s trailer when we meet him. We’re in the middle of WhiteTrashville, so it’s no surprise the family’s got issues. Chris’ father, Ansel, recently divorced his crazy wife and married Sharla, who’s so trashy she walks around the house half-naked no matter who’s around. Chris also has a sister, 20 year old Dottie, who’s pretty enough to make you stare, but slower than a lobotomized turtle.

Chris has a problem. He owes some bad people a lot of money. 6,000 bucks to be exact. In trailer park money that’s like a million dollars. And he’s begging for his dad to loan him the dough. Ansel thinks that’s pretty funny. When the hell has he ever had 6000 dollars?

So Chris has an alternative plan. What if they get someone to kill Ansel’s ex-wife, his mom? Chris has it on authority that Dottie (his sister) is the sole benefactor of his mom’s 50,000 dollar life insurance policy. Chris has heard of a man, appropriately named Killer Joe, who will do the job for 20k. With the rest they can pay off his debt and split up the money. Ansel doesn’t have to think about it too long. He’s in.

Killer Joe is smooth, logical, a calming presence – the kind of guy you might discuss the rainforests with while warming up some hot chocolate. But you get the sense that he is a volcano waiting to erupt. Cross this man and you will endure torture that would make the Taliban blush.

After introductions have been made, Killer Joe gives them his terms. At the top of the list? Payment in advance. Hmm, that’s going to be tough, Chris says, explaining the plan behind the insurance. They have to kill the person to *get* the money. Then this discussion is over, Killer Joe says, and walks out.

Except…Killer Joe spots Dottie and changes his mind. He could be persuaded if they gave him some kind of…retainer. The indication is clear and Chris and Ansel make a deal with the devil, handing Dottie over to Killer Joe while the transaction goes down.

As you might imagine, every possible thing that could go wrong with this plan goes wrong. And it’s all brilliant.

What can I say? This was just a really good script. It starts with the dialogue, which, as you know, I don’t talk about a whole lot unless it truly impresses me. This impressed me. It’s thin (not too wordy), it’s crisp, it moves the story forward, it’s never obvious, it’s humorous, it never gets bogged down in exposition, it’s imaginative…I feel like in most of the scripts I read, I know what the characters are going to say before they do. I was never quite sure what was going to come out of these characters’ mouths, and that’s what made it so fun.

Where Letts really separates himself though is in the humor. He really captures the social dynamic of this world. The characters think, act, and talk exactly like you’d imagine they would. You get gems like this when Chris realizes they can’t pay Killer Joe, “We could do it ourselves,” he says. Ansel replies, “You gonna kill somebody? You can’t even tell time.”

Overall, a great script to study for dialogue.

In a lot of ways, Killer Joe reminds me of an under-the-radar movie that came out a couple of years ago, “Before The Devil Knows You’re Dead.” If you haven’t seen it, go get it now. It’s about people who plan what’s supposed to be a simple crime and then everything goes to hell. But I thought this was even better because in addition to all the crazy shit, Killer Joe has a great villain.

When you title your script after your villain, it’s a safe bet that he’s a strong character, and Killer Joe doesn’t disappoint. Usually, the scariest villains are the ones where you only see their good side. The reason for this is, you know that sooner or later that good side is going to break, and that there’s something horrifying  underneath. That was the genius behind Christoph Waltz’ character in Inglorious Basterds. We were just waiting for that character to pop. And even though he never quite did, our fear that he would drove our fascination with him. Killer Joe is very much that kind of character.

And again, this is how you get your script made. You create a character that a big actor can’t say no to. That’s why McConaughey signed on to this. That’s how they got the funding.  That’s why this movie is going into production.  I dare you to read this script and not be fascinated by this character. He says and does the kind of shit that actors kill to say and do.

Another thing that sets this apart is that you never know what’s coming next. Obstacles keep getting thrown at our hero. The plan keeps having to be reevaluated. If you give your character a straight path to his goal, it’ll always be boring. You give them a goal and then continue to alter the playing field? Now you have an interesting story, which is exactly what happens here.

I don’t have many complaints. I think the script could’ve been a little shorter. There’s some weird stuff in the middle where Chris is going to porno movies and starts imagining Dottie in the role of the porn stars. I’m thinking that stuff wasn’t in the play and someone told Letts to make the movie more “cinematic” so it was thrown in.

While the ending is wonderful and batshit fucking crazy, it does have a very “play-like” final moment. It’s hard to explain without spoiling it but when you read it, you’ll know what I mean.

But man, this is how you do it. This is how you write a script. The page count is long but the writing is so sparse you don’t realize it. He’s only telling us the bare essentials of what we need to know in order to keep the story moving and boy do I wish more writers would take that cue.  Killer Joe was a very pleasant surprise.

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

What I learned:  I’ve found that if your script is more dialogue based, you can make your page count longer, because dialogue reads faster (and by association is easier to get through). 

Genre: Horror
Premise: A young priest who does not believe in the Devil travels to Rome to study at an Exorcism School.
About: Oh yeah baby. It’s Halloween Week! Why the hell was I thinking of reviewing Wanderlust on Halloween Week? Instead I’ve decided to review a more appropriate script, The Rite. The Rite will star Anthony Hopkins, Alice Braga, and an unknown actor in the starring role (at least he’s unknown to me). It’s directed by Michael Hafstrom, who directed 2007’s fun Steven King adaptation, 1408. Michael Petroni adapted the screenplay from a book by Matt Baglio. In 1994, Petroni moved to Los Angeles to study screenwriting at the AFI Conservatory, graduating in 1996. While at AFI, he wrote and directed his first feature, Till Human Voices Wake Us, starring Guy Pearce and Helena Bonham Carter. He also wrote The Dangerous Lives of Altar Boys and the new upcoming Narnia flick, The Voyage Of The Dawn Treader.
Writer: Michael Petroni (based on the book by Matt Baglio)
Details: 123 pages – April 2008 draft (This is an early draft of the script. The situations, characters, and plot may change significantly by the time the film is released. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).

No offense to some of the recent writers whose scripts I’ve reviewed, but man can you tell when someone knows how to write. Writing isn’t about dictating real life events word for word. It’s about constructing those events in a dramatically entertaining way for an audience. It’s about knowing when to step on the gas and when to ease up. It’s about ratcheting up the conflict when the audience wants it, and keeping it subtle in the meantime. Yesterday my reading experience was pure frustration. I kept thinking, “Is this good and I’m just not getting it?” Today reminded me what real writing reads like.

These days, all you need to do is look around to see to see how many people are acting out their most sinful thoughts. We’re devolving as a species, and the devil is using it as a means to get inside of us. Over 500,000 possessions were reported last year. Priests are our last line of defense against this growing problem. For that reason, in 2007, Pope Benedict XVI instructed all bishops of the Catholic Church to appoint an exorcist in every diocese world wide. But before these exorcists can operate, someone has to teach them.

Thomas is an intelligent 24 year old embalmer for his father’s lifelong business, a funeral home. Close to retirement, he wants Thomas to take over when he leaves. But Thomas has other plans. He wants to get an education. He wants to live a normal life.

But a normal life requires schooling, and his father has made it clear that you don’t need an education to run a funeral home. If Thomas is going to go to school, he’ll need to find the money himself. That’s when he comes up with a plan. If you pledge your life to God, the church will pay for your education. In a move that would surely guarantee his spot in Hell if Thomas believed in such a place, Thomas plans to get his four years of education, then, before taking his vows, say “thanks but no thanks.”

As the climax for his plan approaches, one of the priests sees Thomas perform an amazing act of God without a shred of fear. He believes Thomas is destined for bigger things and suggests he consider becoming an exorcist. Thomas is reluctant, but the priest convinces him to go to Exorcism School in Rome for two months. If he doesn’t like it, he’s lost nothing.

Once at this school, Thomas is thrust into lectures about exorcism protocol, exorcism subjects, and the spookiest of the teachings, documentation of past exorcisms. But even the most spectacular of cases – and some are truly horrifying – are yawn-inducing as far as Thomas is concerned. He knows there’s a rational explanation behind everything and all this nonsense about God and the Devil are clouding these priests’ ability to judge.

The head priest senses Thomas’ skepticism and decides to send him off to one of their more “unorthodox” priests who does his work off-campus.

Indeed Father Carmine lives by his own code. There’s a protocol to go through before performing exorcisms. You have to see if a patient is mentally unstable. You have to rule out multiple personalities or trauma or psychological issues. Carmine couldn’t care less about that shit. If he thinks someone’s possessed, it’s time to slam a cross onto their forehead and batter them with the word of God.

It just so happens Thomas walks in during one of Father Carmine’s exorcisms, a young 17 year old pregnant woman named Rosaria. The event is horrifying, this young girl doing and saying the most unimaginable things. But even after what he’s seen, Thomas still believes that her problems can be explained away through abuse and trauma.

The rest of the story centers on Thomas and Carmine’s relationship as Carmine takes him through the daily treatment of his clientele. Even when these subjects bring up personal issues about Thomas’ life, he is convinced they’ve either done research or heard information about him from other parties. He knows that it is impossible for a person to be possessed by the devil. Of course, at some point, this conviction will be tested, as he will have to perform the exorcism to end all exorcisms, a task so impossible he will need to believe if he has any chance in succeeding.

I really really liked this screenplay. First of all, this is exactly what I was talking about when I reviewed our last exorcism script. In that review, I talked about how every exorcism movie is about some priest coming into a town to perform an exorcism on some woman. EVERY ONE! Borrr-ing. So taking the exorcism idea and coming at it from the angle of a school was, in many ways, genius. It’s a great reminder that finding a new angle to a tired subject matter just requires a little thought.

Also, as dumbed down as this sounds, this script proves how effective the “crazy mentor character” is. I was talking about this in my review of The King’s Speech the other day (with the part that Geoffrey Rush plays). There’s something about a mentor who does things “his own way” that’s simply fun to watch. It works here with Father Carmine, it worked in The King’s Speech, it’s one of the reasons Karate Kid is so popular. About the only time it hasn’t worked is in Remo Williams: The Adventure Begins.

The construction of Thomas’ character here is also well done. We have a built in fatal flaw – he doesn’t believe. He has a complicated unresolved relationship with his father that we keep going back to. He’s resistant to the job, which infuses most of the scenes with conflict. We understand where the character’s been. We understand where the character wants to go. So many times I don’t know who a character is in a screenplay so it’s refreshing when the writer takes the time to map him out like he does Thomas here.

I think the one challenge for the script was the tricky notion of putting a priest in Exorcism School who didn’t believe in God. This was an essential component to the script working, yet not a logical situation. Petroni (or Baglio) decided to use this desire for education as the reasoning behind why someone who didn’t believe in God would join the priesthood, and it’s admittedly the one conceit you have to make in order to buy into the premise, but I think he gets away with it. And I have to admit, it was a lot more interesting than the tired choice we’re used to seeing , which is to have someone close to the priest die right as he’s starting his journey.

Another dramatic mainstay the screenwriting gurus will tell you is that your main character should have a goal and that that goal should drive the plot. So in The Exorcism, the goal is to exorcise the demon from the girl. In Borrelli’s script, it’s the same thing. This approach keeps the point of the story crystal clear to the audience. But The Rite doesn’t do this. There is no single goal for our protagonist, which gives the story an uncertain quality. We’re not quite sure where it’s going. Which is good if it works, but usually if this goes on for too long, an audience will check out. So how does The Rite make it work?

Well Petroni shifts the focus of the movie from a physical goal to an internal question. Will Thomas believe or not? The answer to that question becomes the driving force of the story. It’s a risky move that I see fail way more than I see succeed because it just doesn’t give the story the same driving force a goal does. But because the characters are so compelling here, because the situations are so interesting, and because we want to find out what happens with Thomas, Petroni makes it work.

If I had a beef with the script, it’s that the ending gets a little crazy. One of the effects of focusing on several exorcisms instead of one is that you have to resolve them all, and with Thomas running around at the end to see all these threads to their conclusion, the finale feels a little scattershot.

But overall, I enjoyed this way too much to let that bother me. A highly recommended read.

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

What I learned: A big reason why this script works is that it’s steeped in conflict. Thomas and his father don’t agree on his direction in life. Thomas doesn’t believe in God. Thomas doesn’t believe in Exorcism School. Thomas doesn’t agree with Carmine’s methods or practice. Everywhere you look in this script, two diametrically opposed ideas are colliding, and it’s the resulting conflict that brings so much entertainment to the ride. Remember, as a story teller, conflict is always your best friend!

Genre: Indie Drama
Premise: A man must deal with day to day life while fighting his crippling sex addiction.
About: This is the next project for rising star Michael Fassbender, who was said to have had the inside track to star in the new Total Recall remake, although now that role looks to have gone to Colin Farrell. The Inglorious Basterds vet has a role in the upcoming X-Men movie, and is said to have a part in the new Hobbit films, though I’m not sure what that part would be. The director and co-writer, Steve McQueen, is also a rising star who’s constantly looking to push the film medium. Many of his early films were made to be projected onto three walls instead of one. His style is very minimalist. His last film, “Hunger,” about Irish hunger striker Bobby Sands, was well-received. His co-writer, Abi Morgan, is a successful TV writer who has recently segued into features.
Writers: Steve McQueen and Abi Morgan
Details: 119 pages, June 28th, 2010 draft (This is an early draft of the script. The situations, characters, and plot may change significantly by the time the film is released. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).

Indie movie scripts are kind of like Indian food. They’re either the best meal you’ve ever had or a horrible adventure that puts you in the bathroom all night. Okay, well, maybe that’s not the best analogy. But reading indie scripts always feels like a gamble to me. Before I open them I’m constantly saying to myself, “Please don’t be a pointless wandering character study where nothing happens. Please don’t be a pointless wandering character study where nothing happens.”

The big issue is that most of them tend to lack any drama, and it’s often hard to tell if it’s because the writer doesn’t know how to write or because they don’t believe in the conventions of artificially constructed conflict. There’s a lot of “real life is boring” as a rationalization for why 30 pages can go by with nothing happening. There’s definitely an audience for this, and the mumblecore movement proves it, but my feeling is that if you’re going to sit an audience down for a couple of hours, make something happen onscreen. We want to see some drama.

So, does Shame fall into that aforementioned category? Or does it rise above and become an interesting indie story?

Brandon is in his late-20s. By the way people treat him, we assume he’s good looking, but we never actually know because for some reason McQueen and Morgan keep that information a secret, limiting his description to his age. This was my first uncomfortable moment with the script.  It seems like in a movie about sex addiction, what the protagonist looks like, whether he’s ugly or handsome, would be an incredibly important detail to the story.  But I digress.

We follow Brandon through his mundane daily life, going to work, mulling through the streets, chilling at his apartment. McQueen’s minimalist tendencies are on full display here, as we rarely hear anyone even speak. And when someone does speak, it tends to be irrelevant to the story. It’s just people talking like they’d talk in real life, in chopped off phrases and random observations. On the one hand it’s frustrating but on the other, it creates a distance between you and the story that strangely helps you understand Brandon’s distant character better.

Eventually David’s sister, Sissy, arrives at his apartment, needing to stay for awhile. The two have a friendly if strange relationship, arguing often about petty things and resorting back to childlike tendencies such as calling each other names and tickle fights.

But the real issue here is that Sissy is intruding on Brandon’s secret. You see, Brandon is a sex addict. He goes to the bathroom at work any chance he gets in order to masturbate. He fills up his days with internet porn. The graphic outline of a female body on a shampoo bottle can get him off.

Alone, he can feed this addiction. But with his sister there, it starts putting undo pressure on this shameful side of him, which begins manifesting itself in his day to day life.

Eventually he meets Marianne, a new assistant at work. In a way, he sees her as his salvation. If he can find a way to have a normal relationship with a woman, maybe he can finally overcome these urges. However, like a lot of the script, it’s hard to get a feel for their relationship. Words are barely uttered between the two, giving us no insight into their characters. Again, I think it’s supposed to feel more like real life, but instead, the characters just feel thin.  I’m not looking for, “My dad died when I was six so I moved in with my grandparents and then got cancer at 13…” but how people talk and what people say and even a simple opinion here or there is what brings characters alive.  Without that, we don’t know these people.

Anyway, Brandon starts living this double life where he’s dating Marianne yet satisfying his insatiable sexual appetite with anyone else he can find. His sister is digging further and further into his condo, forcing Brandon to stay out later and later. Will Brandon overcome his sexual addition in time to save his relationship with Marianne or become a victim of it? “Shame” keeps you guessing til the end. 

If you’ve been paying attention, you probably already know my reaction to this. “Shame” is unapologetically minimalist. It’s indie to indie extreme. And like I mentioned at the beginning, I just don’t respond to that.

There were so many opportunities for conflict and drama here that were avoided, I couldn’t help but feel frustrated. For example, there’s a subplot at work where Brandon’s been accumulating a lot of porn on his computer. He then comes to work one day to find out his computer has gone in for repair. They have to go through the hard drive and clean out some viruses.

This would appear to be the setup for a great dramatic sequence. How does he get the computer back before they find the porn? The stakes are pretty high as well. He might end up losing his job. But a few scenes later, the problem resolves itself. Brandon doesn’t have to do anything. Again, this may be how it happens in real life, but can’t we all agree that watching our protagonist try to solve a problem is way more interesting than it simply getting fixed on its own?

I think the most frustrating subplot of the script, however, is the sister Sissy. (Sorta spoiler) A ton of emphasis is put on this weird relationship between the two that’s full of tension and flirting and unfinished business. Coupled with Brandon’s uncontrollable sexual urges, it seems like 70 pages is all leading up to something happening between the two. And yet, it never does, making you wonder if the sister should’ve ever been introduced into the story in the first place.

I will concede that the last 30 pages pick up considerably. We watch Brandon’s addiction spiral out of control and to the writers’ credit, I don’t think it would’ve had quite the same punch if the script hadn’t been such the slow burn that it was.

But in the end, I think I have a different philosophy on telling stories than McQueen and Morgan. They wanted to convey real life. I wanted the drama that only a good fictional story can provide. I’m guessing some of you will really hate this and some of you will really like it. If you enjoy Soderbergh’s experimental films like Bubble and Keane (which he produced) or any Mumblecore films, you should give this a shot. But if you like a little more drama for your buck, like me, my advice is to pass.

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

What I learned: The porn-at-work storyline really bothered me because you never want your protaginist’s problems to just solve themselves. It’s boring and feels like a cheat. The audience WANTS to see your character try to solve his/her problems. That’s what they come to watch. The character may not succeed. But you at least have to show them trying.