Monthly Archives: June 2023

Cinema, New Releases, Reviews

CINEMA REVIEW: ASTEROID CITY (2023)

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CINEMA REVIEW: ASTEROID CITY (2023)

Directed by Wes Anderson

Screenplay by Wes Anderson

Story by: Wes Anderson and Roman Coppola

Produced by: Wes Anderson, Steven Rales, Jeremy Dawson

Ensemble Cast: Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe etc.

Cinematography Robert Yeoman

*** MAY CONTAIN SPOILERS ***

Wes Anderson is a phenomenal filmmaker with an imaginative set of style and narrative conceits. Everyone one of his releases is a rich tapestry containing memorable ensemble casts, adjacent framing, effervescent use of colour, geographical pertinence, intellectual humour and subjects situated in the far-left field of genre cinema. Yet, I do not enjoy ALL his films. Often, they veer too far into eccentric pretentiousness. Indeed, I found The French Dispatch (2021), frustrating and, other than the tremendous story set in the asylum with the mad artist (Benicio Del Toro), disconnected with it overall. While it was another admirable work of cinema, I did not enjoy it as a paying punter.

Asteroid City (2023), however, is a film I enjoyed greatly. The famous actors immersed within the ensemble, the cinematic artifice, the clever meta-narrative structure, symmetrical shot composition, beautiful use of colour, offbeat characters, specific era and geographical setting, imaginative props and costume design, and witty humour are all present as per Anderson’s impressive body of work. But Asteroid City (2023) had a larger emotional heart than his recent films, and is my favourite since the superb, The Grand Budapest Hotel (2014).

A heady combination of genres, one could describe, Asteroid City (2023), as a hyper-sci-fi-Western-retro-romantic-futuristic-comedy and study of grief set in 1950s, America. Despite filming taking place in Spain. Anyway, Anderson establishes the characters through the structure of a film within a play. Bryan Cranston’s narrator introduces us to the various middle-class, working class, military and scientific personalities who become trapped in the town of Asteroid City by a series of unlikely but hilarious misfortunes. Throughout the chapter inter-titles the scenes return us to our narrator as Anderson cleverly comments on the process of creating a story while delivering the narrative events.

Anderson delves into familiar themes of grief via the story of war photographer, Augie Steenbeck (Jason Schwartzmann) and his four kids, one of whom is a genius, Woodrow (Jake Ryan). He is there for a Junior Stargazer competition amidst the setting of the gigantic meteorite bunker. Again, the theme of prodigious children is mined for great humour and intellectual wit by Anderson. The futuristic inventions created by the children are especially fantastic. The plot strand of the science geniuses being exploited by the military and corporate sharks is deftly done. Yet, the main emotional heft is delivered within Augie and Hollywood actress, Midge Palmer’s (Scarlett Johansson) budding relationship. Johansson is especially compelling in the role, anchoring the film in welcome pathos, amidst the flurry of idiosyncratic absurdities Anderson throws at us. His framing of Augie and Midge between the their chalets is aesthetically memorable, visually augmenting their growing human connection.

Asteroid City (2023) proves once again Wes Anderson is one of the most original filmmakers of this generation. Will he gain some more converts to his particular set of cinematic bag of tricks? Who knows. What I do know is that I was completely immersed in the colour, movement, pace, humour, aesthetics, performances and themes with the film. I must say though, while it was necessary, the “Area 51” style — and I don’t want to give it away — absurd plot-turn halfway through was not my favourite aspect of the piece. But I realise it was narratively integral to the story. The meta-framing also seemed to get in the way at times of the main action effecting the occupants of Asteroid City. But these are minor gripes at a thoroughly artistic, beautifully immersive, and technically impressive cinematic achievement.

Mark: 9 out of 11

Book Review, Television

[BOOK REVIEW] The Writers’ Room Survival Guide by Niceole Levy

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[BOOK REVIEW] The Writers’ Room Survival Guide by Niceole Levy

Anyone can become a screenwriter, but being a successful screenwriter is not for everyone. In fact, research shows you’re more likely to get hit by lightning while winning the lottery before succeeding as a professional screenwriter. It’s a career, passion or delusional dream that takes dedication, persistence, thick skins, honing and crafting, hard grafting, talent, and luck. 

You can learn your craft, immerse yourself in films and television, write consistently, read produced and unproduced screenplays, develop unique and brilliant concepts, evolve strong characters, network like a demon, shape industry relationships, work your way up from the post room, enter and possibly win writing competitions, and have the grind of Sisyphus and foolhardy zeal of Wile. E. Coyote by never ever giving in. One can have all this and still not achieve a modicum of success.

Yet, despite the litany of obstacles, people do actually make it. Successful writer and the ultra-talented Niceole Levy has worked on multiple shows and films and is now executive producing shows for Netflix. She has also created an effective guide for those writers who have won the golden ticket and managed to enter the hallowed grounds and well-paid realms of a television writer’s room. But all that glitters is certainly not gold. 

In this expertly written (obviously), intelligent, dynamic, and witty work, Levy whips us through the personalities, staff, managers, hierarchy, politics, schedules, production ins and outs, room dos and don’ts, lingo, diversity matters and many more aspects of keeping your job, sanity and maybe even progressing in television. Thus, I really enjoyed Niceole Levy’s inspirational and honest inside look at Hollywood TV production. Especially the descriptions of those monstrous showrunners who should be avoided. Alas, names are withheld, for fear of litigation perhaps.

Ultimately, as an outsider NOT working in Hollywood, I could not fully engage empathetically with certain situations and anecdotes. There were a fair number of useful hints at improving my own writing and standing in the industry. However, there was a heavy leaning toward overcoming internal writing room politics rather than how to resolve creative issues during the making of successful television programmes. Nonetheless there are many entertaining and insightful experiences on record. 

Lastly, the grass is always greener. If you think you’ve made it when you enter the privileged place of TV writers’ rooms, well, think again. According to Niceole Levy you’re either floating or sinking, waving, or drowning. So, get swimming and kick fast because the sharks are circling. Don’t forget to use this essential book as a float board!

Mark: 7 out of 11

Buy the book from – https://www.amazon.co.uk/Writers-Room-Survival-Guide-Screw/dp/1615933468

Publication from Michael Wiese Productions

Michael Wiese Productions (MWP) was launched in San Francisco in 1976 primarily to produce films. Today, the company is known worldwide having published some 200 books. Some of the bestsellers have been translated into 28 languages, are used in over 1000 film courses, in the Hollywood studios and by emerging filmmakers.

Cinema, My Cinematic Romance

MY CINEMATIC ROMANCE #24 – DENIS VILLENEUVE

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MY CINEMATIC ROMANCE #24 – DENIS VILLENEUVE

With the release of Dune: Part Two (2023) on the horizon for November 2023, I thought it may be worth appraising some of Canadian filmmaker, Denis Villeneuve’s amazing directorial work in this occasional strand, My Cinematic Romance. Note, I discipline my choices to only five films.

If you’re interested, I really wanted to like Dune (2021) more. One won’t see a more attractive and technically perfect rendition of a sci-fi world in the cinema in years. But, I could not connect with the narrative or lead protagonist. Seeing the big worms which made me want to watch Tremors (1990); a far superior and shorter version of a hero’s journey.

Nonetheless, award-winning Villeneuve is one of cinema’s surest hands when it comes to intelligent and compelling genre cinema. He has the touch of a film artist and takes certain risks, but not without resorting to indulgences which alienate the audience (take note Ari Aster!) Thus, I consider and list five of his great works, which I recommend wholly if you have not seen them.

*** MAY CONTAIN SPOILERS ***

POLYTECHNIQUE (2009)

This is a harsh watch. Any film about mass shootings is never going to be an easy experience to stomach. Still, it’s nothing compared to the sadness of those whose lives were struck from existence. The 1989 École Polytechnique massacre (also known as the “Montreal Massacre”) is re-enacted here in stark black and white film stock. The wintry setting and the cold-blooded murder of the events combine to create a heightened vision of anxiety cinema. Villeneuve objectively documents the massacre with a distance that paradoxically raises the emotions as opposed to lessening them. A film which you makes us confront the horror of humanity.

NEXT FLOOR (2010) – short film

Created by producer Phoebe Greenberg and directed by Villeneuve during a break from making feature film Polytechnique (2009), this devastating short film with its commentary on the horror of greed, is most likely an influence on grisly Spanish prison film The Platform (2019). One wishes Villeneuve would make a horror feature. I’d prefer to see how that might turn out than Dune.

INCENDIES (2010)

Incendies (2010) is the probably the best film you haven’t seen. If you have seen it then tell more people to see it. Spread the word on this incredible film. Villeneuve directs in an intelligent way, retaining empathy and emotion for both protagonists and antagonists devoured by war. Nawal Marwan’s story is especially heart-breaking and she is given a moving portrayal by Lubna Azabal. Nawal’s story is one of astounding power as the character experiences the hell of loss, war, torture and death. One which will shake you to the core for days and weeks and maybe even years!

PRISONERS (2013)

A superlative crime script written by Aaron Guzilowski has one of the best ensemble casts seen on screen in years, notably: Hugh Jackman, Jake Gyllenhaal, Viola Davis, Maria Bello, Terrence Howard, Melissa Leo, and Paul Dano. The story is absolutely compelling with a plot so tightly wound, you’re almost throttled throughout by the mystery and suspense. Jackman is especially truthful, playing a flawed everyman who obsessively, quite understandably, searches for his missing child. Dano plays another convincing outsider as the main suspect, while Gyllenhaal is, as always, brilliant as dogged cop, Detective Loki. Villeneuve proves once again he is one of the best directors of actors working today. Prisoners (2013) is a masterpiece of crime genre cinema.

ARRIVAL (2016)

The intriguing premise, brilliant script, ambient score, stylish effects, subtle cinematography and purposeful direction make this one of the best science fiction films of recent years. It is an intelligent and emotional science-fiction drama with a beautifully constructed narrative which constantly surprised and moved me.  It also asks big questions on the nature of time, existence and love; informing us that not all extra-terrestrial life in movies has to be monstrous and deadly. Above all else Villeneuve, Amy Adams and screenwriter Eric Heisserer gain sheer kudos for creating a beautiful and moving love story.