Well karma comes back to bite you in the ass, huh? The State of Play script review I posted today was taken down by Blogger because of a Universal legal threat. It’s not clear to me if it’s because I posted the review, used a picture of the poster, or posted the script. What pisses me off is that they erased the review not only from the blog, but from my personal blogger database, which means it doesn’t exist anymore. Not too happy about that. For those who are screaming, “why didn’t you back it up?”, my answer will ring true to anyone who’s tried to copy and paste a Word document into Blogger (my old method). The html goes nuts and requires 18,000 adjustments before you post. Therefore I just kept everything online.

So all you angry readers pissed off about my Inception review, you got your revenge! lol

Genre: Sorta Romantic Comedy
Synopsis: A loveless man who believes he’s dying meets a woman that turns his life upside-down.
About: Huge spec sale back in the early 90s. 1 million dollars. Yet the movie still hasn’t been made.
Writer: Kathy McWorter

Some people would tell you that the day The Cheese Stands Alone sold is the day the spec sale died. Why would anyone pay a million dollars, the rationale went, for a script with the word “cheese” in it? I can buy cheese at the store for $2.79. It was the height of the spec sale boom, and the suits were like, we’re now shelling out a million bucks for regular old movies with people talking? There’s no real hook in The Cheese Stands Alone. And in a heartbeat, the rats in Hollywood were second-guessing themselves. Get it? Rat? Cheese?

Do you blame The Cheese Stands Alone? Or was this actually a solid script that deserved the attention it received? If so, why has it never been made into a movie? Or an even better question: Why did that dreadful Jeff Garlin movie “I Want Someone To Eat Cheese With”, which was worth about $19.99, get made before this million dollar beheamoth? The answers are in the review…

I felt it was appropriate to put myself in the right state-of-mind, so I went out and bought several types of cheese. American Cheese, Swiss Cheese, Velvetta cheese. I wanted to become one with the cheese. In all honesty, I was preparing myself for a complete disaster. I just couldn’t wrap my head around the idea that a script with the word “cheese” in the title was any good. Brie cheese.

Never-been-in-love Vinnie (think a young mopey John Travolta) thinks he’s going to die because an x-ray taken on a routine doctor’s visit shows a large black splotch where his heart is supposed to be. He’s convinced it’s “a saw” and that he has weeks to live. The doctors try to convince him it’s a smudge, but he retorts with, “Doctors are paid to make you think everything’s fine.” So now Vinnie thinks he’s dying. He heads home where his rather eccentric New York family, mom, grandma, grandma’s boyfriend, and a 15 year old kid who’s had sex with every woman in New York, become convinced that Vinnie’s old fiance, Delia, has put a death curse on him for breaking off their engagement 3 years ago. Munster Cheese.

But their ruminations are quickly interrupted by his grandma’s surprise blind date she’s set him up with. The buxom, gorgeous, mysterious Naomi enters, and quickly grabs Vinnie for a night out. Vinnie, thinking he’s dying, spends every second of the date whining about his imminent death. Noami seems to be the complete opposite, throwing caution to the wind and living every second to its fullest. It makes for an awkward yet hilarious night out. Cheese whiz.

In the meantime, the mother storms over to the local grocery store, where Delia (the ex-fiance) works. Delia is even hotter than Naomi, and she knows it. She’s still bitter about 3 years ago so when Vinnie’s mom comes in demanding she release the curse on her son, Delia gives her a mouthful. Now even though Delia hates Vinnie’s guts, she also can’t stand the thought that he doesn’t like her. Which means she’d do anything to have him back. So she goes along with the “curse” accusation, and claims that she will not release it unless Vinnie marries her. Cheddar cheese.

That’s the basic set-up for the film. And you know what? It’s fucking hilarious. This is the perfect example of a script I was supposed to hate but couldn’t. A perfect example that if you craft a good story, it doesn’t matter what genre it’s in, it’s going to entertain. The Cheese Stands Alone stands alone because it’s about the characters. And McWorter is so good at creating intriguing memorable characters with wonderful dialogue, that it’s one of those rare occasions where you never have to go back and double-check who someone is. As soon as they speak you immediately know them.

If there’s one movie I couldn’t stand, it was My Big Fat Greek Wedding – for numerous reasons that I don’t feel like getting into. But if you were going to compare “Cheese” to any film, that would probably be the one. Yet this movie succeeds in every area that that movie failed. Every page is bursting with charm. It’s got more heart than all the films of 2008 put together. It’s completely authentic. Which leaves me scratching my head as to why it hasn’t been made. You could make this thing for 30 million bucks and it would gross 100 mil without breaking a sweat. If I became a studio head tomorrow, this is the first movie I’d add to my slate. I’m not kidding!

sorta related article of the day: The Golden Years.

[ ] trash
[ ] barely readable
[ ] worth the read
[x] impressive
[ ] genius

What I learned: A good mystery can take a very simple story and completely transfix the audience. In the story, after Vinnie leaves with Naomi (the girl Vinnie’s grandma set him up with through a friend of a friend of a friend), the grandma makes a call only to find out that the real date was sick and couldn’t make it. Which begs the question: Who the hell is Naomi? This is a choice the writer makes. She didn’t have to do this. The movie still would’ve been interesting if Naomi *had* been the girl the grandma set him up with. But since she isn’t, in addition to wondering how the date will go, we are now ravenously wondering who the hell Naomi is. And how the hell did she know to show up in place of this other girl? Sure, this isn’t a thriller. It isn’t a conspiracy film. It’s a film about a man who hasn’t found love. Yet adding this distinct and interesting mystery adds a whole new layer. Simple but extremely effective.

Hello everyone. I wanted to take a quick moment to thank everyone for visiting the site. We’re growing bigger and bigger every day (why am I saying “we”? I’m the only one here). Today we/I had a bit of a setback though. A private community of script traders gave me the heave-ho amongst fears that my reviews were drawing attention to them. Although I am upset, there are no hard feelings. I understand they were just covering their asses. This does not change much. I still have sources where I can get new material. But I may need a few people to step up to the plate and help out. I’d like to review at least 2 hot specs a week. So if you’re plugged in and have access to these scripts, send them my way. Your identity will remain anonymous. You have my word! Thanks everyone.

Genre: Drama
Synopsis: Goodfellas meets 21.
About: Don’t know much about this one other than it’s damn good writing.
Writer: Steven Feder

Behold……the passive hero. In screenwriting, to even mention the words “passive” and “hero” in the same sentence can get you blacklisted (and not in the good way). Development execs have been known to kill screenwriters who turn in screenplays with passive heroes. And yet here we are with Charlie, the hero of Breaking Irish, who’s about as passive as they come. Somehow, it all works. What??? Blasphemy you say!!! That’s impossible. All scripts with passive heroes suck. Yes. Usually that’s true. But not here.

First of all, I should probably explain what a passive hero is. No, actually, let me explain what an active hero is. A well-known screenwriter once said, “a great hero is one where when he turns left, the movie turns left.” In other words, he’s driving the action. He’s determining the outcome of the film. How is this achieved? It can be boiled down rather simply: Give your main character a clear goal and have him try to achieve it. By that very definition he has to be active (since he’s *trying* to achieve it).

A passive or “reactive” hero reacts to everything around him. You usually find these in big conspiracy movies. Like Eagle Eye for instance, where someone’s chasing our hero. Obviously, since he’s being chased, he has to “react”. How did I “react” when I saw that movie? I reacted by throwing my drink at the screen. See? That makes me a “reactive” hero.

How does this all relate to Breaking Irish? Well Charlie’s grown up with a gift, a gift to “see” the odds. He’s a number-cruncher with a photographic memory who can always find that one stat to sway the odds in his favor. Charlie wins at poker, he wins at horse races, he wins at blackjack, he wins on basketball games. 70% of any bet Charlie enters into, he wins. But Charlie is reluctant to use his talent for anything other than making it through the day. He’s not interested in the cars and the bling. He just wants to get by, marry his sweetheart (AVERY) and have a normal life. Ahh, but if he had a normal life, we wouldn’t have a movie now would we? Soooo… JACKIE, the local Italian mobster, discovers Charlie’s talent, and ropes him into predicting games for him. Charlie decides to take the job to pay his and Avery’s way through college. But when the money is no longer needed, getting out isn’t as easy as Charlie thought it would be (is it ever?). Jackie has the Super Bowl of meal tickets and an endless appetite. He’s not letting Charlie go anywhere.

As a result, Charlie’s only “active”goal is giving the bets to Jackie and staying out of trouble. He’s as passive as can be. Yet we still like him. Why? There are people out there who will tell you that your hero can be passive AS LONG AS at some point he becomes active. Even if it’s within the last 20 minutes of the film (and Charlie does eventually become active). But I don’t buy into this theory for this reason: You’re saying that for 90 minutes (3/4 of the movie) we can hate our lazy ass hero, then the second he comes up with a plan, we forgive him and think he’s the coolest cat on the block? Surely, if we’re still invested in the screenplay at the 90 minute mark, we had to have already liked our main character, right? My opinion is that nobody knows why passive characters work (Forrest Gump being the most famous of them all) and so they try to justify them by throwing a bunch of screenwriting mumbo-jumbo at you. I personally believe that if a character is interesting, people will want to watch him no matter what. And Charli is interesting. Breaking Irish is a very well-constructed screenplay, and a great addition to your digital library, if only to study how to create a successful passive hero.

[ ] trash
[ ] barely readable
[ ] worth the read
[x] impressive
[ ] genius

What I learned from Breaking Irish: The passive hero *can* work, but it’s still very hard to pull off. I would recommend staying away from them if you can. But if you must, offer us someone that we like. An easy way to make people like your character is to have him be great at something. People like people who are good at things. I don’t know why. They just do. It’s probably for the same reasosn that we don’t like people who aren’t good at anything. Charlie is so awesome at betting, we can’t help but root for him.

Genre: Sci-fi
Synopsis: In a post World War 2 New York City, a troubled reporter learns he is meant for a higher purpose.
About: Not much is known about this one. I know Trevorrow has had four movies produced so he’s got a track record.
Writer: Colin Trevorrow

Colin Trevorrow is a good writer. But I think this story is bigger than him. In fact, I think it’s bigger than 99% of the writers out there. It’s Matrix meets Wanted meets Alice In Wonderland. It almost comes together. But World War X suffers from Feature Length-itus — a disease that gives your movie only 2 hours to live. And there simply isn’t enough time to deliver the depth that a premise like this promises.

Tom, a foster child, has spent his entire life feeling a rage inside him. Where it comes from, he doesn’t know. After this troubled childhood and a stint in the war, Tom finds himself barely clinging to a reporter job at the local newspaper. While inspecting a series of strange murders, he encounters a man who seems to have superhuman abilities. Leaping and jumping 10-20 feet in the air. Tom follows him the best he can, surprising himself with his aiblity to keep up. But in the end, the mystery man is too fast, and gets away.

Later he’s approached by a group of men who let him in on a secret. Tom is actually superhuman. A combination of both Wanted and Matrix, he posesses a hidden strength and speed that if he can learn to tap into, he’d be unstoppable. He joins this group, which calls itself “The Brotherhood”. Their first mission involves stopping a bank robbery. Curiously, The Brotherhood seems to know exactly when this robbery is going to happen. They succeed, but instead of returning the money, The Brotherhood keeps it for themselves.

Tom is then approached by ANOTHER group who claims that the group he’s been associating himself with is actually…now hang with me here…a group of “time terrorists”. Even worse, their leader – a guy who obviously dug his name out of the sci-fi handbook – “Zael”, has actually gone back thousands of years in time to impregnate his seed into hundreds of women – creating multiple generations of his bloodline. Tom is one of these children. He is one of “The Brotherhood.”

This new team is an anti-time terrorist organization, sent back in time specifically to try and stop Zael and his “brothers”. Or “sons” or whatever the hell they are. Tom then fnds himself stuck in the middle. Who does he believe? The Brotherhood? Or the TT Organization? Despite stumbling my way through that, Trevorrow actually sets all this up fairly well. We buy into the whole premise, even if it does border on the extreme.

I think Colin may have watched Star Wars a bit too many times though. There are so many echoes of it here it borders on plagirism. Tom and Zael have a sword fight at the end while a larger war rages on outside, all the while spouting out heated one-liners which mainly revolve around “evil” and “doing the right thing.” I kept waiting for Zael to finally scream “I am your fatherrrrrr.” But then I realized that would be redundant. He is his father. We already know that.

It’s only because of this action-suffocated derivitave ending that I can’t whole-heartedly recommend World War X. It has its moments, especially early on. But the last thing every audience member leaves a movie with is its ending, and World War X’s simply isn’t memorable enough.

[ ] trash
[ ] barely readable
[World War x] worth the read (barely)
[ ] impressive
[ ] genius

What I learned from World War X: Within 10 pages, I know some distinct things about our main character. He’s extremely violent and has a bad heart. Already, he’s separated from most of the main characters I read. Even though neither of these things is wholly original, together, they paint a picture of a man that’s distinct and that I feel like I know. Make sure your main character stands out.