For the second edition of Movie Night the theme of American Presidents was chosen by a panel of independent judges (one of my friends).
In a concerted attempt to make Movie Night a more entertaining experience I organised it so that the best film would come first and the worst last. The reasoning was that as we got progressively more drunk the bad films would be more tolerable.
Things didn’t quite work to plan.
Frankenstein’s creature finds himself caught in an all-out, centuries old war between two immortal clans.
Since the fact that I, Frankenstein is so lacking in any redeeming qualities should be clear to anyone who has seen the trailer/read the premise/heard the title, I have decided to take a different tack. Here I want write an open letter/review to all of the audience members that joined me on the early afternoon showing at Vancouver’s Scotiabank Cinema on the 28th January 2014.
I hope you’re out there reading this guys.
Jack Ryan, as a young covert CIA analyst, uncovers a Russian plot to crash the U.S. economy with a terrorist attack.
Jack Ryan. The most hardy of movie properties. Despite multiple failed attempts to establish a Bond-like franchise for the Tom Clancy hero, Hollywood keeps returning over and over to try again. Chris Pine’s Jack Ryan marks the fourth incarnation of the character in five films over a 24 year period. Hardly consistent stuff. Now, with the Bond franchise at a peak in its popularity, and without the competition of the flagging Bourne franchise, it would seem that Jack Ryan has returned at the most opportune of times. Alas, Jack Ryan: Shadow Recruit doesn’t do enough to distinguish itself in the crowded field that is the thriller genre. As such it seems highly unlikely that Shadow Recruit will be anything more than yet another stand-alone entry in the series.
A week in the life of a young singer as he navigates the Greenwich Village folk scene of 1961.
There is a book on screenwriting out there called Save the Cat (Blake Snyder), the central premise being that in order to make your audience connect with your protagonist you must first show him “Saving the Cat” (hence the name) or helping a similarly helpless animal or person. Strangely enough, at no point in his book did Blake Snyder ever assert that you should have your protagonist leave the cat stranded on a highway, trapped in a car with a chronically ill man.