Posted: March 22, 2019 Filed under: Art's Visual Media Reviews, Film Review, Television review | Tags: Art's Visual Media Reviews, Fantasy, Game of Thrones, Review, Writing to be Read
My wife and I watched this series, all five available seasons (at the time), in one big gory splurge. Maybe that was our mistake. It is addictive viewing, it has memorable characters and every episode ends with a cliff-hanger.
I’ll be candid and admit that we have been in an emotional slump. My wife and I have had a difficult year. That being said, perhaps it wasn’t a good idea to expose ourselves to such villainy and gore. I can imagine that viewing this series one episode at a time might be less harrowing. But who does that? Are you kidding? In this age of Streaming?
Nah! Binge viewing is the thing we do. Doesn’t everybody grab a series and watch every episode, one after another? Don’t deny it. TV isn’t a guilty pleasure any more. TV is survival, an alternate reality in which to hide from our terrifying world.
Game of Thrones is High Fantasy. It has the medieval world-set, the armor, weapons, horses, castles, all that stuff that goes into High Fantasy. It has dragons, magical creatures and a looming menace that evokes our own present-day world with its apocalyptic terrors. As we watched we found that our depression began taking on a more vicious edge. Our dreams were disturbed. My wife muttered curses in the night and I went on a sleepwalking excursion, standing at the window completely unaware that my junk was exposed beneath the wrinkled edge of my t-shirt. I think I was waiting for some demon to creep into our home to steal our souls.
As a writer I must always ask a question of the story I’m writing: Is this story worth being told? If I apply that yardstick to Game of Thrones, I’m not sure it passes muster. Without the genius of Peter Dinklage playing “the imp” I wouldn’t have gotten sucked into the plot. Acting is an interesting process to watch. Great actors take good roles and define them for all history. Dinklage will hereafter always be known for his Tyrion Lannister role. Before Tyrion he was a famous dwarf and an actor. Now he is far more famous and completely identified with his character. No one cares that he has short legs. He has earned RESPECT. He carried Game of Thrones on his talent. The series is unimaginable without the work of Peter Dinklage.
There were so many beheadings, throat slittings, impalings, knives to the gut, arrows through the throat, squished eyeballs, spear thrusts through-and-through that it became like a creeping poison, leaking from the TV screen and crawling along the margins of the room, heading straight for our vulnerable psyches. We have no one to blame but ourselves. No one forced us to watch this wretched excess of medieval mayhem. We watched. We were sick with flu, flattened with fibro, fucked up with gastric distress, hamstrung with hernia….and we watched ten thousand extras get squashed by rocks and broiled with flaming oil. Oh, what a violent series! Add a healthy dollop of perfect naked titties and asses, muscular adolescent boys all frolicking with one another and whaddayaknow? It’s really all sex and violence, tits and ass. I can imagine the producer shouting on the set: “Did we book enough tits today?” He points to a Production Assistant. “We’re running out of tits! You, boy! Go find some tits, get out there on Sunset and round up a few dozen nice tits. Get some handsome boys while you’re at it. We need some asses, too….make sure they’re eighteen and have them sign their releases.”
Game Of Thrones. It was a relief when Season Five ended. We’d had enough. It was like eating a whole bag of miniature Reeses Pieces. It made us sick.
It was delicious when we started. Then it got a little cloying but we couldn’t stop. Then we wanted to puke and still we couldn’t stop. It was crazy! Get us to some Hallmark Entertainment, or….some Disney. No, wait. When you look deeply enough into Disney you find shit that’s even more creepy than Game Of Thrones.
Now, the temptation to watch Season Six looms ever more seductively.
A Midwesterner by birth, Arthur Rosch migrated to the West Coast just in time to be a hippie but discovered that he was more connected to the Beatnik generation. He harkened back to an Old School world of jazz, poetry, painting and photography. In the Eighties he received Playboy Magazine’s Best Short Story Award for a comic view of a planet where there are six genders. The timing was not good. His life was falling apart as he struggled with addiction and depression. He experienced the reality of the streets for more than a decade. Putting himself back together was the defining experience of his life. It wasn’t easy. It did, however, nurture his literary soul. He has a passion for astronomy, photography, history, psychology and the weird puzzle of human experience. He is currently a certified Seniors Peer Counselor in Sonoma County, California. Come visit his blogs and photo sites. www.artrosch.com and http://bit.ly/2uyxZbv.
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Posted: March 15, 2019 Filed under: Comic Hero, Fantasy, Film Review, Jeff's Movie Reviews, Movie Review, Movies, Super Hero | Tags: Captain Marvel, Jeff's Movie Reviews, Movie Review, Movies, Super Heroes, Writing to be Read
The Marvelous Mrs. Marvel
by Jeff Bowles
(For more on Captain Marvel, be sure to check out my full video review)
As far as Marvel movies go, Captain Marvel feels refreshing, if a bit familiar. It carries with it little of the eccentric energy found in other recent Marvel flicks like Thor: Ragnarok and Guardians of the Galaxy Vol. 2, but it also requires less of audiences who have yet to drink the Marvel Kool-Aid. Much like 2018’s box office behemoth Black Panther, the hero in question is not a white male, and as the star of a major Hollywood production released in the #MeToo era, that makes all the difference.
Which isn’t to suggest Marvel Studios’ latest doesn’t give plenty of nods to what has come before, and perhaps in a more lucrative vein, to what’s still headed our way. We finally learn how Nick Fury lost his eye, for instance, but filmmakers Anna Boden and Ryan Fleck are also thrilled to butter us up for that big late-April showdown called Avengers: Endgame (check your calendars, kids. Don’t forget to pre-order all the toys, and oh yeah, maybe a movie ticket or five).
If superhero tropes and comic-isms are as indecipherable to you as Kree battle language, odds are good the scope and scale of the Marvel Cinematic Universe rings hollow. Some of us have been on board since we were kids, leafing through our favorite monthly Marvel comics like little back-issue hording zealots. But if your speed is less Captain America and more … well, any other movie ever made, really—it’s safe to take heart. Captain Marvel is a pretty good jumping on point.
Carol Danvers (Brie Larson) is an Air Force fighter pilot with super-powered amnesia. A strange event in her past wiped her memories clean and granted her incredible abilities, the sum total of which she’s dutifully employed freedom-fighting for a race of intergalactic warriors known as the Kree (best personified by her squad leader, Yon-Rogg—played by master geek-movie thespian, Jude Law). When the Kree’s deadliest enemies, a race of green shapeshifters known as the Skrulls, capture Carol and bring her back to Earth, the nascent Captain Marvel must team up with S.H.I.E.L.D. agent Nick Fury (an impressively de-aged Samuel L. Jackson) to discover the secret behind the pivotal accident. Plus, you know, she’ll get to rock out to an unquestionably righteous and eclectic 90s soundtrack.
The fact that this movie takes place in 1995 only adds to its charm. There are era-specific nods and in-jokes aplenty, including a fun Stan Lee cameo that’ll tug at your sense of nostalgia. The film’s setting also means that most of the super-heroic hi-jinks found in the other 20 MCU movies have yet to occur. It’s a prequel more than anything else. Rounding out the cast are an unexpectedly funny Ben Mendelsohn as Skrull commander Keller, Lashana Lynch as Carol’s best friend, Maria Rambeau, and a de-aged Clark Gregg, happy to take a break from playing Agent Coulson on ABC’s Agents of S.H.I.E.L.D. to play … a younger-looking version of the exact same character.
Additional highlights include a cute but vicious orange cat named Goose, though I won’t spoil the big reveal here, and the marvelously named Air Force marvel, Mar-Vell (a somewhat spaced out and liminal Annette Bening). For the most part, Captain Marvel gets by on its charm. It’s best described as an above average superhero origin story, but unfortunately, there remains a certain amount of roughness in its narrative. Big chunks of exposition get belted out from behind scads of green creature makeup, and the grand finale carries enough logic gaps you may find yourself wondering, “She was just fighting that guy. So now who are these people?”
A lot of early buzz surrounding this movie included controversial comments made by Larson herself, but really, if a storytelling medium largely created by boys for boys can’t come to grips with a few girls getting in on the action whenever they damn well please, there’s less hope for this world than any of us could have ever imagined. Captain Marvel as a character has been blasting across the universe since the late sixties, but it was only in recent years that a woman donned the suit. And Larson does a fantastic job portraying Danvers on film. She is cocky, self-assured, funny, compassionate, caring, and once her full powers get unleashed, wonderfully formidable. A certain kinship evolves between her and Samuel Jackson’s Agent Fury, and moments spent in the Louisiana home of her best friend Maria prove that an intergalactic badass can be all about family, too.
Audiences are likely to get more out of the experience if they possess a running mental lexicon of all things Marvel, but unlike last year’s Avengers: Infinity War and the forthcoming Avengers: Endgame, Captain Marvel is likely to be a fun time no matter what prior knowledge you have going in. If you’re burned out on films featuring god-like people beating the holy Skrull out of each other, you may be better entertained elsewhere. But as Thor Odinson once famously declared to the world-eating demon Surtur, “That’s what heroes do.”
It’s a very geeky multiverse we live in, people.
Jeff’s Movie Reviews gives Captain Marvel an 8 out of 10.
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Posted: February 22, 2019 Filed under: Blog Content, Book Review, Chatting with the Pros, Fiction, Film Review, Interview, Nonfiction, Paranormal, WordCrafter Press, Writing, Writing Contest | Tags: Book Reviews, Chatting with the Pros, Film Review, Jeff Bowles, WordCrafter, WordCrafter Press, Writing to be Read
The entries are rolling in for the paranormal fiction contest and each one must be read. Stories good enough to recieve invitations to the anthology will also need to be edited. In order to accomodate a time budget for all this contest judging and anthology compilation activities in addition to my other life responsibilities, you can expect to see a few changes in the Friday Reviews.
One good change is we’ll be seeing more of Jeff Bowles. Last week he stepped in with a movie review of Glass that was brutally honest, but captivating. That review was so well recieved that he’s agreed to share a movie review with us on the third Monday of every month. His review of Glass was knowledgeable of the genre and written well enough to be mistakeing for one of the top critiques. If book reviews are hugs for authors, then Writing to be Read wants to hug the film industry, too. If you want to keep up on many of the latest movies, be sure to catch Jeff’s Movie Review (working title) each month.
I also plan to make two reviews each month instead of four, for books in the genre to go along with the monthly theme set by the genre the “Chatting with the Pros” guest author for the month. In February my guest author was nonfiction author Mark Shaw, so the February theme was nonfiction. My supporting author interview was with nature writer Susan J. Tweit and my supporting post was about my own nonfiction endeavor with the first post in my new bi-monthly series, “The Making of a Memoir“. My reviews were both of nonfiction books of different sub-genres: Mark Shaw’s How to Become a Published Author and a compilation of poetry artwork and writings about mental illness, the Letters of May anthology.
March’s theme will be science fiction and fantasy, and the “Chatting with the Pros” guest author will be national and international best selling author Kevin J. Anderson. He’s written more best sellers than there is room to list here and I’m thrilled to have him on Writing to be Read. My supporting post will be about my science fantasy series, Playground for the Gods. I’m still searching for a author for my supporting interview, but my reviews will be for Kevin J. Anderson’s Selected Stories and Jordan Elizabeth’s Rogue Crystal. If you want to be sure not to miss any of these great science fiction and fantasy segments, be sure to sign up to email or follow on WordPress to get notification of new content.
Before I wrap this up, let me just remind you all that there is still time to submit your short story to the WordCrafter paranormal fiction contest. The deadline is April 1, so don’t drag your feet on this one. The entry fee is $5 and the winner will recive a $25 Amazon gift card and a guaranteed place in the WordCrafter Press paranormal short fiction. Email your submissions to kayebooth (at) yahoo (dot) com and I’ll send you confirmation instructions for submitting your entry fee.
Your submission can be any genre, but your story does have to include a paranormal element, so get those stories in. Other entries may be included in the anthology by special invitation, and all anthology authors will recieve a small royalty share if the book makes any money. You can get the full submission guidelines here: https://kayelynnebooth.wordpress.com/2019/01/28/short-fiction-contest-paranormal-stories-sought/
I do hope you’ll all join me in the exciting changes ahead. I’m always interested in reader feedback, so leave a comment and let me know what you’d like to see on Writing to be Read.
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Posted: February 15, 2019 Filed under: Comic Hero, Film Review, Movie Review, Movies, Uncategorized
About as unbreakable as a piece of ill-tempered… well, you know.
Glass (2019) – Not Much Super, Not Much Hero
by Jeff Bowles
During the closing moments of Glass, I couldn’t help but think director M. Night Shyamalan had squandered the opportunity to build something both timely and unique. In the age of the Marvel Cinematic Universe, in which dozens of bigger-than-life characters exist concurrently and pop into each other’s movies like those annoying neighbors from down the street (you know the ones), it’s not unusual to expect some pretty big stuff from the superhero genre. And after all, Shyamalan began laying the groundwork for this trilogy of his long before The Avengers or The Guardians of the Galaxy had ever graced the silver screen, so it’s safe to say he had the market cornered on expanded comic book universes.
Shyamalan teased an unexpected and suitably epic showdown in the end credits scene of 2016’s Split, and while that movie was the best flick he’d made in years, the director who finally seemed to be getting his groove back has… well, lost his groove again. Glass is a lopsided mess, a film in search of a reason to exist. The only thing that saves it from complete mediocrity is the strength of its performances, chief among these being James McAvoy’s continually stunning, though in no ways realistic, portrayal of a man with so many personalities his personalities have personalities have personalities.
Really, McAvoy is an exceptional actor, one of the best of his generation, so casting him in a role like this takes a certain level of calculated genius. In his latest turn as mental patient Kevin Wendell Crumb—also known as Patricia, also known as Hedwig, also known as Barry, also known as The Beast, etc.—the Scottish-born actor gets to strut his stuff in some pretty bombastic ways. Scenery-chewing has never seemed so dignified, though. Shyamalan is clearly as in love with Kevin as audiences have become. He garners most of the film’s run time, which begs the question, why not just make a Split 2?
Glass of course acts as the capstone to a three-part story that began in the year 2000 with Unbreakable, the follow-up to Shyamalan’s debut masterwork, The Sixth Sense. Bruce Willis made for a pretty inert “superhero” all the way back in Y2K, and not much has changed. David Dunn still spends most of his time brooding and behaving like a working-class Bruce Wayne—a Bruce Springsteen Wayne, if you will—minus the car, the cave, and the Born to Run.
After a brutal encounter with Crumb, who’s been extraordinarily busy kidnapping and murdering young women since we saw him… kidnapping and murdering young women in a different movie, Dunn finds himself taken psychiatric prisoner and locked up in a dank, hopeless mental health facility somewhere in Philadelphia (no Philly Eagles jokes, please). Imagine his surprise to learn his arch nemesis has suffered the same fate, the eponymous Mr. Glass, played by Samuel L. Jackson.
Willis mostly seems bored with his role here, but he’s seemed bored in the majority of the movies he’s made in the last fifteen years. Jackson, however, clearly enjoys the opportunity to dust off an old fan-favorite and add another franchise notch to his belt. Mr. Glass spends too much time on the sidelines in this, his own movie, but once things really start cooking, he’s just as nerdy and evil as ever. Glass makes for an excellent counterpoint to Crumb, and in a surprisingly subtle performance, Jackon proves he’s still good for more than an eyepatch and the odd credit card commercial.
Back when Shyamalan released Unbreakable, good comic book movies were a rarity. Rarer still, mainstream acceptance and veneration for what is America’s oldest visual storytelling medium. Everyone likes comics these days, it seems, but in Glass, an overreliance on played-out comic-isms comes off as cheap, laborious, and self-conscious. Even the dastardly lady who’s thrown these colorful weirdos together, Dr. Ellie Staple (Sarah Paulson), can’t tell if she should balk at the notion of real-life superheroes or wipe them all off the face of the earth.
The movie sports a larger supporting cast culled from the other entries in the series, including Mr. Glass’ mother and Dunn’s still slightly unhinged son, but none of them are served particularly well, and in fact, the heroic Casey from Split (played by Anya Taylor-Joy) suffers a puzzling reversal of character that all but nullifies her prior life and death victories.
In truth, Glass struggles to find a beat, content for the most part in giving us context and backstory for everything we’ve already seen. Plot development is kept to a minimum, the classic Shyamalan botched twist ending is still classically botched, and the big final showdown concludes in such a disappointing and franchise-killing fashion, I had to ask myself why the entire exercise was even necessary. In my opinion, it wasn’t. M. Night Shyamalan is not a director’s director by any means, but even he knows obfuscation and bad timing are the deaths of tension.
Mr. Glass himself believes comics are a secret history of the world. And I suppose they are in a way. As a popular media artform, comic books have a long history of extraneous filler material. It’s just too bad Shyamalan capped off his grand trilogy with a story destined for the bargain bin.
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Posted: December 26, 2016 Filed under: Articles, Book Review, Books, Children's Books, Commentary, Fiction, Film Review, Horror, Movies, Nonfiction, Poetry, Promotion, Publishing, Screenwriting, Self-Publishing, Steampunk, Stories, Weekly Writing Memo, Western, Writing, Writing Event, Writing Tips, Young Adult | Tags: 2016, Book Reviews, Books, Fiction, marketing, Movies, Novel, Novels, Poetry, Review, Reviews, Writing, Writing to be Read
This will be the last reflective post of the year. Next Monday’s post will find us in 2017. For my writing career it has been a slow take off, but I’ve seen progress. In July, I completed my Master of Fine Arts degree in creative writing. With emphasis in both genre fiction and screenwriting, and two completed novels, Delilah and Playground for the Gods Book 1: In the Beginning, two full feature film scripts and one comedy series pilot script in hand, I eagerly jumped right in to get my feet wet in either the publishing and/or screenwriting industry. I began submitting my work to agents, publishers, and competitions like crazy. I received mostly rejections, as expected, and although I still haven’t found a home for either novels or scripts, I did manage to find a home for two poems and two short stories. Not too bad. While the poems, Aspen Tree and Yucca! Yucca! Yucca!, appeared in print, (in Colorado Life (Sept.-Oct. 2016) and Manifest West Anthology #5 – Serenity and Severity, respectively), my short story, I Had to Do It was published on Zetetic: A Record of Unusual Inquiry, and my not so short, short story, Hidden Secrets was published on Across the Margin.
2016 has been a pretty good year for Writing to be Read. The revamping of the blog site was completed in March, I’ve managed post things on a fairly regular basis, we were honored with guest posts by my friend Robin Conley, and my visits and page views have risen, with almost 2000 visitors and over 2,500 page views. Looking at this, makes me feel pretty good about the blog, as a whole. Another good change is the addition of screenwriting content, which I believe has drawn a larger audience by widening the scope of the content.
The top post of 2016 was my book review of Simplified Writing 101, by Erin Brown Conroy, which is an excellent tutorial on academic writing, including writing advice that every writing student should know. After that, the reflective post Writing Horror is Scary Business would be second in line. Other popular posts include my four part Making of a Screenplay series,( Part 1, Part 2, Part 3, and Part 4), my Tribute to My Son, and What Amazon’s New Review Policies Mean for Writing to be Read. More recently, my ten part series on publishing, Pros and Cons of Traditional vs. Independent vs. Self-Publishing gave me the opportunity to interview some awesome names in the publishing industry: self-published authors, Jeff Bowels, Tim Baker and Art Rosch; traditionally published authors Stacia Deutsch and Mark Shaw; independently published author Jordan Elizabeth; and children’s author Nancy Oswald, who has published under all three models; as well as Caleb Seeling, owner of Conundrum Press and Curiosity Quills Press – with the final installment summarizing the conclusions made from those interviews.
Many of my posts were reflections of my own writing experience. These included: Why Writing is a Labor of Love; Fear is a Writer’s Best Friend; I’ve Come A Long Way, Baby; Writing the Way That Works For You; Creating Story Equals Problem Solving; What’s A Nice Girl Like Me Doing Writing in a Genre Like This?; Acceptance or Rejection – Which Do You Prefer?; A Writer’s Life is No Bowel of Cherries; Write What You Know; Discouragement or Motivation?; What Ever Happened to Heather Hummingbird?; How You Can Help Build a Writer’s Platform; and Why Fiction is Better Than Fact.
Sadly, I only attended two events that were reported on, on Writing to be Read in 2016 – the 2016 Ice Festival in Cripple Creek, and the 2016 Writing the Rockies Conference in Gunnison, Colorado. What can I say? I’m a starving writer. This is something I hope to improve on in 2017 by attending more events to report on. One possible addition to the 2017 list that I’m very excited to think about is the Crested Butte Film Festival. The details are not ironed out yet, but I’m keeping my fingers crossed.
Screenwriting content included this past year seemed to be popular. In addition to my Making of a Screenplay series and Writing Horror is Scary Business, Writing to be Read also featured Writing Comedy for Screen is a Risky Proposition, and a book review for Hollywood Game Plan, by Carole Kirshner, which I can’t recommend highly enough for anyone desiring to break into the screenwriting trade. Robin’s Weekly Writing Memo also included several writing tips that could be applied equally to literature or screenwriting.
Another project I’m particularly proud of is my ten part series on publishing, Pros and Cons of Traditional vs. Independent vs. Self-Publishing, which I just finished up last week. In this series I interviewed nine professionals from within the industry to get the low down on the three different publishing models. My interviews included self-published authors Jeff Bowels, Tim Baker and Art Rosch, traditionally published authors Stacia Deutsch (children’s books) and Mark Shaw (nonfiction), and independently published YA author Jordan Elizabeth. To balance things out a bit, I also interviewed children’s author Nancy Oswald, who has published with all three models, Clare Dugmore of Curiosity Quills Press and Caleb Seeling, owner and publisher at Conundrum Press.
One of the great things about doing book reviews is that you get to read a lot of great books, in with the okay and not so great ones. In addition Simplified Writing 101, my five quill reviews in 2016 included Jordan Elizabeth’s Runners & Riders, Mark Shaw’s The Reporter Who Knew Too Much, Nancy Oswald’s Trouble Returns, Carol Riggs’ Bottled, Jeff Bowles’ Godling and Other Paint Stories, Janet Garber’s Dream Job, Art Rosch’s Confessions of an Honest Man, and Mark Todd and Kim Todd O’Connell’s Wild West Ghosts. I don’t give out five quills lightly and every one of these books are totally worthwhile reads.
Of course, not all books get a five quill rating. Other books I reviewed that I recommended with three quills or more include three short story anthologies: Chronology, Under a Brass Moon, and Cast No Shadows; two poetry collections: Suicide Hotline Hold Music by Jessy Randall and Walks Along the Ditch by Bill Trembley; Escape From Witchwood Hollow, Cogling, Treasure Darkly, The Goat Children, and Victorian by Jordan Elizabeth; Dark Places by Linda Ladd; Chosen to Die by Lisa Jackson; Wrinkles by Mian Mohsin Zia; Full Circle by Tim Baker; The 5820 Diaries by Chris Tucker; The Road Has Eyes: An RV, a Relationship, and a Wild Ride by Art Rosch; Hollywood Game Plan by Carol Kirschner; Keepers of the Forest by James McNally; 100 Ghost Soup by , and A Shot in the Dark by K.A. Stewart. I also did two movie reviews: Dead Pool and Point Break.
I feel very fortunate to have had Robin Conley join us with her Weekly Writing Memo and her guest movie reviews. The useful writing tips in her Weekly Writing Memos covered a wide range of topics including critiquing, using feedback, ways to increase tension, Relatability or Likeability?, 3 Types of Plot, story research, what to write, making your audience care, world building, handling feedback, writing relationships, establishing tone, editing, word choice, How to Start Writing, endings, queries, Parts of a Scene, making emotional connections, the influence of setting, Building a Story, Inciting Your Story, movement and dialog, Writing Truth, time, Overcoming the Blank Page, Networking, character names, theme, set up, cliches, parentheticals in screenwriting, horror inspiration, and Learning to Write. Robin’s guest post movie reviews included Pride and Prejudice and Zombies, Batman vs. Superman, Miss Perigrin’s Home for Peculiar Children, and The Neon Demon.
I am thankful for Robin’s valuable content and am glad that she will still be contributing Memos on a monthly, rather than a weekly basis. Although I was sad to lose her weekly content, I am happy for her as she moves forward in her own writing career and I wish her well in her writing endeavors. For those of you who looked forward to her weekly posts, you can catch more of her content on her own blog, Author the World.
2016 was a great year for Writing to be Read, even if it was kind of rough for the author behind the blog. You readers helped to make it a good year and I thank you. Now it’s time to look ahead and see what’s in store for 2017 Writing to be Read. I mentioned some of the things I hope to achieve above: more posts pertaining to the screenwriting industry, and coverage of more events throughout the year are two of the goals I have set for my blog. I also plan to add some author, and hopefully, screenwriter profiles into the mix. I had good luck with author profiles during my Examiner days, and I think they will be well received here, as well.
I also hope to bring in some guests posts by various authors or bloggers, or maybe screenwriters, just to give you all a break from listening to me all the time. I believe Robin plans to continue with Monthly Writing Memos, which will be great, too.
I look forward to all the great books that I know are coming my way in 2017, too. The first reviews you have to look forward to are a short memoir, Banker Without Portfolio by Phillip Gbormittah, a YA paranormal romance, Don’t Wake Me Up by M.E.Rhines, a Rock Star romance, Bullet by Jade C. Jamison and a short story, How Smoke Got out of the Chimneys by DeAnna Knippling.
I hope all of you will join me here in the coming year. Follow me on WordPress, or subscribe to e-mail for notifications of new posts delivered to your inbox. Have a great 2017 and HAPPY WRITING!
Posted: November 19, 2016 Filed under: Commentary, Film Review, Movies, Opinion, Screenwriting, Screenwriting, Uncategorized
I’m not someone who is particularly a fan of movies that are more about being artistically beautiful than having a solid plot, but after seeing The Neon Demon claimed to be horror, and several friends recommending it to me, I knew I had to see it. A great movie to me is one you can get lost in, either because of the plot, or the characters, or the setting/world, or even because it’s so visually stunning that you just want to stare and don’t care what’s happening. I wasn’t sure about The Neon Demon from the few trailers I saw beforehand, but it looked like it had potential so I decided to check it out despite it not being my typical choice of movie.
The Neon Demon is a movie that has so much about it that is so brilliantly, beautifully, and boldly done that it’s impressive. I could go on for a long while about some of the amazing craftsmanship that went into this movie (and I will below), but I felt like the movie also had one amazingly large fault—its plot. As I said above, a great movie for me is one I can get lost in, and while I can appreciate a lot of the talent, craftsmanship, and just pure artistic awesomeness of this movie, I couldn’t get lost in it for several reasons. I know I am not the target audience for this style of movie so I don’t fault it in the least, but I do want to discuss the things that I loved individually, as well as the things that kept me from loving the movie as a whole.
Cinematography and Sound
I am pretty sure that at least 90% of the shots in this film could be captured into a still frame picture and hung on a wall somewhere as art without question. It’s beautiful, and scene by scene. It’s captivating in that you want to look at it. The balance of colors and costumes, makeup and posing, works so well throughout that it really is enticing to look at even amidst the gore and violence. The opening shot of Elle Fanning as Jessie laying “dead” on the couch immediately has you intrigued because of the surprising prettiness of it all. You don’t know whether it’s real or a photo shoot and you can’t look away. The trend of that alluring beauty carries throughout the film, and it fits well given The Neon Demon’s themes of narcissism and vanity.
Right along with the cinematography was the sound throughout the film. The music used worked incredibly well to create these intense moments during scenes, but what I loved just as much was the use of silence. There are these intense moments where the silence is distinct, and it makes you focus even more on what you’re seeing. Many films or shows don’t use silence in a noticeable way and there’s always some kind of sound going on, but The Neon Demon embraced it at times to heighten moments such as the scene where Elle Fanning is at her first “real” photo shoot. I also appreciated the silences between characters in dialogue because, while they were long at times, I felt like they were used at appropriate moments for emphasis on specific elements or events.
The other major thing I have to say I enjoyed in this film is that I felt like every actor was captivating in their own way. The characters themselves may have had some flaws in their development (or lack of), but the actors who played them were amazing. Elle Fanning managed to walk that mysterious line of whether her character was predator or prey perfectly, and Jena Malone as Ruby was simultaneously disturbing yet sympathetic. Surprisingly, though, was the fact that Keanu Reeves almost stole the show. It’s not surprising because of who he is—he’s had plenty of great performances—but it’s surprising because of his minimal amount of screen time. Maybe it was just me, but every time he was on screen I felt like he stole the show. Some of it could be that his character was the most physically expressive of them all, and the most distinct personality-wise of all the characters, but I think a huge portion of it just has to be Keanu Reeves as an actor and his abilities.
As shown above, so much about this movie was great and worked incredibly well. I think the first area things really faltered for me was the flow. As I said before, if I’m going to get lost in a movie I have to have something to get lost in. For The Neon Demon, the most likely element for that would have been the pure beauty of it all, but the flow kept that from happening for me. While almost every shot was stunning and perfectly crafted, the flow between shots wasn’t always coherent of consistent. Just as I was being lured in by the imagery and about to stop caring about the plot, the tone or the story thread would abruptly shift and throw me out, leaving me wondering what the heck was going on. A great example of this is when Keanu Reeves’ character breaks into Elle’s room during the dream/vision sequence. At that point, the film’s tone and pacing shifted abruptly changing everything. We are in this vain and edgy world of modeling for 2/3rds of the movie and then suddenly we have potential rapes, necrophilia, murder, and cannibalism.
This is the real area that is the main flaw of the film. There isn’t much of a plot built up other than the idea of a young, new girl in town getting into the modeling industry and being preyed upon by others in LA who want something from her. I could handle that as a plot if that’s all it was, but there are so many elements in it that seem to lead somewhere only to be dropped away and forgotten, never explained, or not fully utilized. Because there are all these little threads and elements that are thrown in for either artistic pizzazz or random impulse, and because the main plot is so sparse, things get muddled.
An example of the random plot elements are things like the mountain lion appearing in Elle Fanning’s room. It is really used as an excuse to give Keanu Reeves’ character more screen time and to give her “boyfriend” and excuse to go pay off her debt and be her lapdog. In general, though, the whole set-up of the mountain lion randomly getting into her bedroom just seems weird, and like it’s going to be some kind of plot line later that is explained but never is. I did get the sense that it was supposed to sort of be symbolic that there are predators everywhere she looks lurking in the shadows for her, but that was obvious from the moment Jena Malone’s character laid eyes on Elle Fanning in the first scene and the film didn’t need an actual mountain lion to nail the point home. If the film just had the straight simple plot without the random side unexplained elements, like the mountain lion scene or the scene where Jena Malone’s character seemingly gives birth after eating Elle (which was also never really explained or returned to), then I think it would have been much better off.
Overall, while there was so much brilliance to The Neon Demon and some truly amazing craftsmanship that made me want to love it, it was hard to do so when I was kept from being immersed in it. I could go on for a long while about different aspects of this film, but instead, I’ll end with a final thought I had when thinking about what to write here. The Neon Demon is primarily about beauty, vanity, and narcissism, and the film itself manages to be narcissistic. The film is so focused on being beautiful in every moment that it forgot to add real depth. Some could argue that the metaphor and symbolism of the film could be considered depth in place of a plot, but I’m not so sure because so much of that symbolism was not subtle.
Ultimately, whatever I think about the plot or flow, the film is definitely worth watching for anyone who appreciates cinematography, unusual art, or the just plain odd. I can almost guarantee you’ll be asking yourself “What the **** is going on?” at least once during the film, but I can also almost guarantee you’ll find yourself entranced by the beauty of some of the camera shots and scenes. Just keep in mind it does get pretty dark, and as mentioned above there are scenes of murder, necrophilia, and cannibalism, so it’s definitely not for everyone.
Robin Conley offers great writing advice most Wednesdays and shares an occasional guest review on Writing to be Read. If you just can’t wait until next week to find out more, you can pop into her blog, Author the World, for more tips, or a weekly writing prompt.