Essay of the Month: The Second Act

Last month, in the Essay of the Month: The First Act, I gave you the rundown on the structure of the opening moments, the inciting incident, and the 'first act turn'/'plot point one' that make up the first act of your screenplay. Since many screenwriters, producers, agents, and most people in Hollywood use the three act structure when composing a screenplay, we're going to keep going in that vein.

Picture found here.

Now that you have your first act written, or at least in outline form, you need to have a second act. Follow through with the story. What happens next? For many screenwriters, this is the hardest act to write. ScriptShadow said it best:

"So I’m sitting there reading Sex Tape last week and it hits me. Even the high level professionals getting a million bucks a script struggle with their second acts. And then I really start thinking about it (always a bad thing), and it clocks me. Not only do they struggle with it. They FAKE IT. No seriously, they do. They don’t know how to get through their second act so they throw up a bunch of smokescreens and set pieces and twists and turns, all in the hopes that you won’t figure out that they have no idea what they’re doing. And hey, who can blame them? It really is a fucked up act. I mean the first act is easy. You set up your story. The last act is simple. You conclude your story. But if you’re not setting up and you’re not concluding, what the hell are you doing?"

Many screenplays, and many movies, are plagued with a flagging middle. So how do you set up the second act without setting yourself up for failure?

Picture found here.

Obstacles: Remember the Character's Goal

"Keep in mind the main tension - and that your character should always be on the path to resolving that tension.

"The second act begins right after the lock-in: the moment when the character is stuck in the predicament and main tension - it is too late to turn back, so he/she must go forward. Now the character aims towards the goal, the objective, and he/she has the first meeting of the obstacles and antagonists or circumstances, always with rising actions.

"The first sequence usually presents the alternative solutions. What are the choices? What should be done? And the character selects one alternative, and if it should be the worst one, then he selects another one, and in the meantime, the rest of the alternatives are eliminated. Then the character uses one of the ways to solve the predicament, and it seems to work, and that’s usually the first culmination or midpoint.

"But it’s not that simple, because there are consequences of things that happened before that he didn’t take into consideration. He offended somebody. He didn’t do things that he was supposed to do. He forgot about things. You bring those things back in the second part of the act, and at that time they can be entered almost without motivation, because anything that works against your character at that time is acceptable. Any accident, any coincidence is fine because it makes his predicament worse, and therefore we enjoy it. Also it helps to explore the validity of the desire of the dream."

(Source #2)

BitterScriptReader explains the Three-Act Structure:

Character Development:

"Okay, here’s why most second acts fail: Because writers don’t realize the second act is about CHARACTER DEVELOPMENT. That’s not to say there isn’t action in your second act. Or plot. Or thrills. Or horror. There can be all these things. But the bigger overarching purpose of the second act is to explore your characters. Once you realize that, you’re way ahead of everyone else. All of this starts with your character’s defining flaw - or “fatal flaw” - which is loosely defined as the thing that’s held your character back his/her entire life. Once you identify that flaw, you’ll create a journey to specifically test it over and over again. These tests will force your character to grow, which will in turn bring us closer to your character."

(Source #1)

Picture found here.

The Essential Elements:

• OBSTACLES: The second act is all about obstacles. It elaborates in great detail and intensity on the difficulties and obstacles the hero faces as he or she struggles to achieve his or her goal. Just when we think the situation can’t get worse, it does. And when there is no way that our hero can get out of the jam, he does, only to end up in a worse jam. Basically, each sequence centers around a new obstacle or obstacles of increasing difficulty.

• FIRST ATTEMPTS: Now that the character is locked-in, he makes his first attempts to solve the problem. This is usually the simplest, easiest manner to resolve the problem, and these attempts usually fail. 

• RAMIFICATIONS: It is important to show the ramification of the attempts, which must result in an increase in complications. 

• ACTION: Every move the character makes traps him even more. Each action leads to more entrapment. Be merciless on the character. 

• SUB-PLOT: A solid sub-plot that carefully intertwines with the main tension in both plot and theme will be a great channel in which to relate the character’s emotions (in regards to the main tension).

• FIRST CULMINATION: This is the midpoint of the film. If our hero is to win in the end, this then is the first time the character finds a solution that seems to work. It is a victory. If the script is a tragedy, however, this is often a low point for the character. 

• MIDPOINT MIRROR: The first culmination and ending of the film usually mirror each other: both victories or both failures.

• MIDPOINT CONTRAST: The first culmination (Midpoint) and the main culmination (End of Act II) are usually in contrast with each other. 

• NEW ATTEMPTS: By the first culmination, our hero has failed in his/her first attempts, but in failure realizes the weight of the issue and becomes aware of the correct method in which to resolve the main tension. He/she then can begin new attempts, still faced with new obstacles, that get him/her closer to resolving the issue. 

• CHARACTER CHANGE: Throughout the second act, the main character starts changing, learning, and developing, or at least intense pressure is put on the character to change, and that change will manifest in the third act. 

• MAIN CULMINATION: This is the end of the second act and the point where the character sees what he thinks he has been doing is not what he has been doing. The tension is at the highest point, and this is the decisive turning point. You must convince the audience that their worst fears are going to come true. This moment will change the main character in some way. 

• FIRST RESOLUTION: This resolution of the second act tension often spins the character(s) into the third act. 

(Source #2)

Picture found here.

In keeping with the Shakespearean theme I started in the first act essay (using Hamlet), I will be demonstrating the 'second act' of Shakespeare's "Romeo and Juliet". The term second act is in quotation marks because "Romeo and Juliet" was actually written in five acts. But I like to mentally torture myself, so I'm going to break down what is the 'middle' of this well-known tragic tale. [Enter] Chorus: Two households, both alike in dignity, In fair Verona, where we lay our scene....

• OBSTACLES: Romeo and Juliet have figured out that their budding relationship is threatened by their families dangerous and deadly quarreling. Oh, baggage....

• FIRST ATTEMPTS: They know they can't tell their families about their undying love for each other, at least not until their families undying hatred for each other's families fizzles out. So they.... get married....in secret.

• RAMIFICATIONS: Now Romeo can't fight any of Juliet's relatives, which apparently was his hobby when he wasn't being a whiney bitch over Rosaline. But.....

• ACTION: Romeo still has that duel with Tybalt coming up because he was caught at the Capulet's party and no one likes a party crasher, so a fight to the death is in order.

• SUB-PLOT: Aside from their families unreasonable hatred for each other, poor Paris of the ruling family of Verona wants to marry Juliet. This may cause problems since her family is fine with that choice in husband, but Juliet is already married.

• FIRST CULMINATION: When Romeo refuses to fight Tybalt for insulting him, Mercutio fights in his stead and is mortally wounded.

• MIDPOINT MIRROR: Romeo kills Tybalt. This is problematic for our lovers: Firstly, Tybalt is Juliet’s cousin and at this point in the story, Romeo and Juliet are married, so by extension Tybalt is Romeo’s cousin. Secondly, according to the laws of Verona, Romeo himself will receive the death sentence for killing Tybalt. It must be noted that the first point makes it more poignant because Romeo may lose Juliet’s love.

• MIDPOINT CONTRAST: Instead of receiving the death penalty, Romeo is banished from Verona for the slaying of Tybalt. Juliet forgives him, but now they cannot see each other. Also, Juliet's marriage to Paris is coming up.

• NEW ATTEMPTS: Both lovers miss each other terribly, to the point where they take drastic measures to ensure their life together. I guess running away didn't seem like a good enough idea to either of them....

• CHARACTER CHANGE: Juliet needs a plan that will get her out of her marriage with boring Paris and into the arms of her dashing Romeo. (She is the one who needs to make the plan, as Romeo is probably just being mopey somewhere.)

• MAIN CULMINATION: Juliet comes up with a plan that involves Juliet faking her own death - all without telling Romeo a damn thing. Good thing she sent a messenger. Well, this can't possibly end badly.... 

• FIRST RESOLUTION: The messenger never arrives in time, so when Romeo hears of her death, he buys poison with the intent of killing himself at her tomb.

(Source #3)

The Fall:

"The end of your second act is when your character has tried everything. He’s overcome all the previous obstacles. He’s managed to keep his relationships together. He may even believe he’s overcome his flaw. But then all of these things (either bit by bit or all at once) should come crumbling down on top of him. He should lose the girl. He should fail to defeat the villain. He should fall back into his own ways. The last 10-15 pages of your second act is the steady decline of your main character, ending with him at the lowest point of his life. Neo unable to defeat Smith in The Matrix. Kristin Wiig losing her boyfriend and best friend in Bridesmaids. The Man In Black LITERALLY dying in The Princess Bride. The end of your second act should LOOK like it’s over for your character. That there’s no hope. And with that my friend, you’ve done it. You’ve concluded your second act and are ready to cross into the third."

(Source #1)

BitterScriptReader explains the Midpoint:

Many people consider the second act as the story. Well, it takes up most of the script and a lot of effort on your part, it should be doing something.

If there is something you would like to see in the future on this blog, please let me know in the comments section below! Until next time!

Sources:

- #1 - http://scriptshadow.blogspot.com/2011/07/article-how-to-conquer-your-second-act.html

- #2 - http://thescriptlab.com/screenwriting/structure/three-acts/56-act-two-the-middle
- #3 - http://mr.fabroa.com/wp-content/uploads/2011/05/32-vp-plot-structure-elements.pdf

Screenwriter of the Month: William Monahan

Screenwriter, William Monahan.
Picture found here.

A Short Biography: 

Born November 3, 1960, William J. Monahan is an American screenwriter and novelist. His second produced screenplay was The Departed, a film that earned him a WGA award and an Academy award for Best Adapted Screenplay.
Monahan attended the University of Massachusetts Amherst, where he studied Elizabethan and Jacobean drama. He moved to New York City and contributed to the alternative weekly newspaper New York Press and the magazines Talk, Maxim, and Spy. In 1997 Monahan won a Pushcart Prize for his short story "A Relation of Various Accidents Observable in Some Animals Included in Vacuo". Monahan was an editor at Spy during the magazine's final years, where he would come in at the close of the monthly issue to rewrite articles and improve jokes.

William Monahan's 

novel Light House.

Picture found here.

Monahan wrote a novel titled Light House: A Trifle, and Warner Bros. optioned the film rights. In 1999 Talk magazine debuted, and Monahan contributed a travelogue on Gloucester, Massachusetts, to the first issue. In 2000 Monahan's first novel, Light House: A Trifle, was finally published, and it garnered critical acclaim; The New York Times proclaimed, "Monahan's cocksure prose gallops along" and BookPage Fiction called Monahan "a worthy successor to Kingsley Amis." In the second half of 2001 Monahan wrote a fictional column at the New York Press under the pseudonym of Claude La Badarian, which ran for 13 weeks. The screenplay adaptation has not been produced. A few years later, he bought back the rights and took the novel off the market.

In 2001, 20th Century Fox bought Monahan's spec script Tripoli, about William Eaton's epic march on Tripoli during the Barbary Wars, in a deal worth mid-six figures in American dollars, with Mark Gordon attached as producer. The script was given to Ridley Scott to direct. Monahan met with Scott to discuss Tripoli, and Scott mentioned his desire to direct a film about knights. Monahan suggested the Crusades as a setting, reasoning that "you've got every conceivable plot imaginable there, which is far more exotic than fiction". Scott was captivated by Monahan's pitch and hired him to write the screenplay for Kingdom of Heaven. Tripoli was eventually shelved, but Monahan retained ownership of the screenplay and therefore the right to consider new offers at a later date. 

Ridley Scott on the set of Kingdom of Heaven.
Picture found here.

Kingdom of Heaven was the first of Monahan's screenplays to be produced into a film. Monahan had negotiated a production write-through contract for Kingdom of Heaven, which allowed him to be present on the movie sets to make modifications to the shooting script during production. It was poorly received by critics when it was released in theaters in 2005. Kingdom was critically reappraised when it was released on DVD in the form of a director's cut that contained an additional 45 minutes of footage previously shot from Monahan's shooting script. Some critics were pleased with the extended version of the film.

Monahan steadily secured work in the film industry throughout the 2000s. Brad Pitt's production company, Plan B, hired Monahan to write an adaptation of Hong Kong director Andrew Lau's gangster film Infernal Affairs. Monahan respun Infernal Affairs as a battle between Irish American gangsters and cops in Boston's Southie district, and Martin Scorsese directed the completed screenplay under the title The Departed for Warner Bros. Monahan's work on the film would later earn him two Best Adapted Screenplay awards, from the Writers Guild of America and the Academy of Motion Picture Arts and Sciences.

William Monahan hugging
Martin Scorsese with the cast of
The Departed around them
at the 2008 Oscars.
Picture found here.

Monahan's second produced screenplay was The Departed, an adaptation of the Hong Kong action film Infernal Affairs. Jack Nicholson, one of the leads in the film, had an impact on the screenplay. "I had written the role as a post-sexual 68-year-old Irishman. Jack is post-sexual exactly never," Monahan said later. "What Jack did is great. Did he change the words? Not any of the good ones." Monahan received considerable praise from critics when the film was released in theaters in 2006, and was applauded for accurately depicting the city of Boston. Monahan used his intimate knowledge of the way Bostonians talk and act, learned from his youth spent in the many neighborhoods of Boston, to create characters that The Boston Globe described as distinctly indigenous to the city. By the end of 2006, The Departed had won many critics' prizes. Monahan was honored by The Boston Society of Film Critics with the award for best screenplay, by the Chicago Film Critics Association for best adapted screenplay, and by the Southeastern Film Critics Association with another best adapted screenplay award. Monahan took an unusual route for a screenwriter and hired a publicist to run a campaign promoting his screenplay during awards season. Monahan ended up winning two Best Adapted Screenplay awards for The Departed, from the Writers Guild of America and from the Academy of Motion Picture Arts and Sciences. He received an award for his writing in film at the US-Ireland Alliance’s second annual "Oscar Wilde: Honoring Irish Writing in Film" ceremony.

Poster of original
Confession of Pain.
Picture found here.

In 2006, Monahan negotiated a first-look producing deal with Warner Bros., which gives the studio the first right of first refusal on any films produced by Henceforth, a production company he started. In return Henceforth received the film rights to produce John Pearson's true crime novel The Gamblers, which Warner Bros. had acquired the rights to.

In 2007, Monahan was hired to work on two film projects: an adaptation of the Hong Kong film Confession of Pain and an original rock and roll film, The Long Play. Monahan will executive produce and write the adaptation for Confession of Pain which will be called Nothing in the World. The adaptation of Confession of Pain will be produced by Leonardo DiCaprio's production company, Appian Way, for Warner Bros. Pictures. Monahan's other assignment is to rewrite a screenplay about the history of the rock music business called The Long Play. The Long Play is the creation of Mick Jagger, lead singer of The Rolling Stones, and was nurtured at Jagger's production company, Jagged Films. Martin Scorsese became involved while the film project was at Disney but subsequently negotiated a turnaround deal to bring the The Long Play to Paramount.

Monahan's directorial debut was London Boulevard, released in 2010.

(Source #1)

His Movies:

Director's cut
dvd cover of
Kingdom of Heaven .
Picture found here.

- "Kingdom of Heaven" (2005) - "It is the time of the Crusades during the Middle Ages - the world shaping 200-year collision between Europe and the East. A blacksmith named Balian (Orlando Bloom) has lost his family and nearly his faith. The religious wars raging in the far-off Holy Land seem remote to him, yet he is pulled into that immense drama. Amid the pageantry and intrigues of medieval Jerusalem he falls in love, grows into a leader, and ultimately uses all his courage and skill to defend the city against staggering odds. Destiny comes seeking Balian in the form of a great knight, Godfrey of Ibelin (Liam Neeson), a Crusader briefly home to France from fighting in the East. Revealing himself as Balian's father, Godfrey shows him the true meaning of knighthood and takes him on a journey across continents to the fabled Holy City. In Jerusalem at that moment--between the Second and Third Crusades--a fragile peace prevails, through the efforts of its enlightened Christian king, Baldwin IV (Edward Norton), aided by his advisor Tiberias (Jeremy Irons), and the military..." Written by Sujit R. Varma (Source here.)

Poster of
The Departed.
Picture found here.

- "The Departed" (2006) - "In South Boston, the state police force is waging war on Irish-American organized crime. Young undercover cop Billy Costigan (Leonardo DiCaprio) is assigned to infiltrate the mob syndicate run by gangland chief Frank Costello (Jack Nicholson). While Billy quickly gains Costello's confidence, Colin Sullivan (Matt Damon), a hardened young criminal who has infiltrated the state police as an informer for the syndicate, is rising to a position of power in the Special Investigation Unit. Each man becomes deeply consumed by his double life, gathering information about the plans and counter-plans of the operations he has penetrated. But when it becomes clear to both the mob and the police that there's a mole in their midst, Billy and Colin are suddenly in danger of being caught and exposed to the enemy-and each must race to uncover the identity of the other man in time to save himself. But is either willing to turn on the friends and comrades they've made during their long stints undercover?" Written by Anonymous (Source here.)

- Won for the Boston Society of Film Critics Award 

for "Best Screenplay" of 2006.

- Won the Oscar for "Best Writing, Adapted Screenplay" for 2007, 

based on the 2002 screenplay by Alan Mak and Felix Chong.

- Nominated for a 2007 BAFTA for "Best Writing - Adapted".

- Nominated for the 2007 "Best Writer" Award 

from the Broadcast Film Critics Association. 

- Won the 2007 "Best Screenplay - Adapted" by the 

Central Ohio Film Critics Association.

- Won the Chicago Film Critics Association Award 

for "Best Screenplay - Adapted".

- Won the Edgar Allen Poe Award for 

"Best Motion Picture Screen Play" of 2007.

- Won for the Florida Film Critics Circle Award 

for "Best Screenplay" of 2006.

- Nominated for 2007 Golden Globe 

"Best Screenplay - Motion Picture" award.

Body of Lies poster.
Picture found here.

- "Body of Lies" (2008) - "Roger Ferris (Leonardo DiCaprio) is a CIA operative in the Middle East; Ed Hoffman (Russell Crowe) is his control at Langley. Cynicism is everywhere. In Amman, Roger works with Hani Salaam (Mark Strong), Jordan's head of security, whose only dictum is "Don't lie to me." The Americans are in pursuit of a cleric (Alon Aboutboul) who leads a group placing bombs all over Europe. When Hani rebukes Ed's demand that Jordan allow the Americans to use one of Jordan's double agents, Roger and Ed hatch a plan to bring the cleric to them. The plan is complicated by its being a secret from Hani and by Roger's attraction to a local nurse (Golshifteh Farahani). Satellites and cell phones, bodies and lies: modern warfare." Written by <jhailey@hotmail.com> (Source here.)

Edge of Darkness poster.
Picture found here.

- "Edge of Darkness" (2010) - "Thomas Craven (Mel Gibson) is a detective who has spent years working the streets of Boston. When his own daughter (Bojana Novakovic) is killed outside his own home, Craven soon realizes that her death is only one piece of an intriguing puzzle filled with corruption and conspiracy, and it falls to him to discover who is behind the crime." Written by alfiehitchie (Source here.)

London Boulevard
poster.
Picture found here.

- "London Boulevard" (2010) - "Fresh out of prison, Mitchel (Colin Farrell) wants nothing to do with crime, but he accepts a kip from Billy (Ben Chaplin), a marginal grafter, and accompanies Billy on rent-collection trips. He's also old school, wanting revenge on two youths for assaulting a mendicant he's befriended. He's got a strung-out sister to protect, and he's offered a job protecting a famous actress (Keira Knightley) from paparazzi. The plot lines join when Mitchel finds himself attracted to the actress and Billy's Mob boss, Gant (Ray Winstone), finds ways to force Mitchel work for him. He also warns Mitchel off revenge against the assailants of his friend. What are Mitchel's options: is there any way to avoid Gant, protect his sister, and find a path to love?" Written by jhailey@hotmail.com (Source here.)

William Monahan.
Picture found here.

Current & Future Projects:

Monahan made his directoral debut with his film "London Boulevard" which he also produced. His next production where he will write, produce and direct is called "Mojave" which is in pre-production and due out late 2013.

He also helped pen the screenplay of the much anticipated "Sin City" sequel, "Sin City: A Dame to Kill For" due out October 4th, 2013. It is being directed by Rob Rodriguez and Frank Miller, based on Frank Miller's graphic novel series. It will star Bruce Willis, Josh Brolin, Alexa Vega, Rosario Dawson, Jessica Alba, Joseph Gordon-Levitt, Eva Green, Mickey Rourke, Ray Liotta, Christopher Meloni, and many others.

(Source #2)

There are two unproduced screenplays which are: Jurassic Park IV and Blood Meridian. Jurassic Park IV based upon the movie franchise Jurassic Park which is based off of the best-selling book Jurassic Park by Michael Crichton. Blood Meridian is an adaptation of Cormac McCarthy's 1985 western novel Blood Meridian or the Evening Redness in the West.

Oblivion poster.
Picture found here.

Korean version of
The Chaser.
Picture found here.

There are other projects being produced, among them: Wartime Lies, The Chaser, Oblivion, and Nothing in the World, which was perviously mentioned. Wartime Lies is based upon a semi-autobiographical novel by Louis Begley first published in 1991. The Chaser is an adaptation of a 2008 South Korean crime movie of the same name. Oblivion is an upcoming 2013 science fiction film based on the Radical Comics graphic novel Oblivion by Joseph Kosinski and directed and co-produced by Kosinski. It stars Tom Cruise, Olga Kurylenko, Andrea Riseborough, Morgan Freeman, Melissa Leo, Zoë Bell, and Nikolaj Coster-Waldau. The film was initially scheduled to release on July 10, 2013. Since the 3D re-release of Jurassic Park was set for a July 19, 2013 release date, the project was moved forward to April 19, 2013.

(Source #1)

His Tips/Quotes on Screenwriting:

There is an entire article with William Monahan discussing how to create great dialogue, located here. Here's a snippet:

"What you’re doing in essence is fundamentally unnatural. Nobody is doing less natural dialogue than Shakespeare, but he’s the best dialogist that’s ever lived--still is. You don’t want to hear the way that people really talk. Look at me now. I’m not exactly talking in rolling periods or Augustan phrase. I’m just sort of bumbling around. That’s what most people do in real-life conversations. Unless you’re Christopher Hitchens, who speaks in whole paragraphs, or God bless him, used to speak in whole paragraphs. You’re sort of fumbling around for meaning, whereas in written drama, you have to get at it."

There's an interview with Monahan located at Collider.com. It's a very interesting read. Originally, I found it at GoIntoTheStory.BlckLst.com. Here's a quote:

"The thing about this business is that you have to come out of your shell and deal with certain realities of commerce and collaboration and still come up with a masterpiece at the end of it. And you know what? The masterpiece also has to make money. It’s not easy to walk into that set of problems and come out with a work of art at the end of it, but it can be done. As far as getting notes is concerned, I‘ve spent thirty-odd years studying English drama, so I’m personally at a point where I’m post-conscious about craft, but that’s a pricey personal evolution, that’s a thing I chose to do, and you have to remember not everyone’s had time for it, any more than you can expect some other guy off the street to know kung fu or biochemistry. So yeah, there I am, and I sure I know English drama, plus film, and sometimes the other guy knows what somebody at a class told him a screenplay needs, and there’s a difference, but I tell myself what I’d say to my kids or anybody else: when your boss is talking, you listen. The studios catch a lot of crap from the peanut gallery but they’re the guys who pay for the movies and they are rightfully concerned about their investments. I don’t expect an MBA to be Northrop Frye, but I do want to hear his opinions and I’d ask for them were they not given. Do I want to hear “arc” and “journey” and how does someone “change” through the course of the movie? No, I do not. People change in stories about people changing, not in every story. Not every story is A Christmas Carol. You get this crap about “story” because of these chuckleheads out there running script classes, who really prey on confusion about art and people’s genuine desire to learn. It’s shameful what they’ve done to discourse about motion pictures and to film itself. Writers literally get fired in this business because they aren’t providing enough “journey” in a story that doesn’t call for any. There are no general rules to any sort of writing. Each work has its own inherent rules. You discover them. You don’t import them."

(Source #4)

Sources:
- #1 - http://en.wikipedia.org/wiki/William_Monahan
- #2 - http://www.imdb.com/name/nm1184258/
- #3 - http://www.fastcocreate.com/1682092/oscar-winner-william-monahan-on-how-to-write-unforgettable-dialogue
- #4 - http://gointothestory.blcklst.com/2010/02/william-monahan-with-some-strong-words.html

"Premium Rush" Movie Review

"Premium Rush" movie poster.

"Among the bike couriers in New York City, no one is more determined and reckless than Wilee (Joseph Gordon-Levitt), an ex-law student more comfortable on his brakeless bike than in a suit. One day, a Chinese foreign student named Nima (Jamie Chung) arranges for him to deliver a vital envelope across the city. Unfortunately, a crooked cop, Det. Robert Monday (Michael Shannon), has a desperate need for that envelope himself and won't take 'No' for an answer. Now, Wilee finds himself relentlessly pursued by Monday and others in a situation becoming more complicated and dangerous by the minute. Together with his friends and rivals, Wilee must discover the secret of this dangerous delivery and make it through a gauntlet that will require all his cunning, daring and courage to survive." Written by Kenneth Chisholm (Source below.)

Dania Ramirez.

Directed and written by David Koepp ("Angels & Demons", "Secret Window") and cowritten by John Kamps ("Ghost Town", "Mighty Morphin Power Rangers: The Movie"). The movie stars Joseph Gordon-Levitt ("Inception", "Looper"), Michael Shannon ("Revolutionary Road", "Jonah Hex"), Dania Ramirez ("X-Men: The Last Stand", "The 25th Hour"), Jamie Chung ("Sucker Punch", "The Man With the Iron Fists"), Wole Parks ("As The World Turns", "Law & Order"), and Christopher Place ("My Soul to Take", "Step Up 3D").

When I saw advertisements for this movie a while ago, I was a bit skeptical. Like "how will that be even remotely realistic?", "why isn't Lance Armstrong in this movie?" or "will Joseph Gordon-Levitt take off his shirt since he seems to have built muscles for this role?" But I digress. 

Jamie Chung.

"Premium Rush" isn't your usual action movie. For example: a gun is only fired once, explosions involve a cyclist running into a trash can, and car accidents are more realistic - broken windows and fender benders. 

I liked the setting, New York City is an excellent place. I think they got the frenetic pacing of the city just right. It was very interesting how you saw everything from the biker's perspective, including the GPS navigational system, how they knew which way to go, and how they basically survive delivering other people's stuff for fifty dollars. 

Joseph Gordon-Levitt (L) and Michael Shannon.

It was also interesting that they brought these three massive groups of people together and you saw a possibility of what could happen. Those three groups being the police, the bikers, and the chinese underworld. This is a city teeming with people and these groups of people are still so tight-knit. 

This movie rocks, it is very exciting and the characters are fully formed. I still can't give it 5 out of 5, only because there was a very simple solution to the one character's problems. All she had to do was tell her roommate about the issue and they could've gone together and probably would've done it for free. And there was one other problem: the ending was a bit like a Disney film, but I did like seeing the bad guy get his. But still an excellent and short movie, if you're just looking for a fun night in.

I give this movie 4 out of 5 typewriters.

Sources: http://www.imdb.com/title/tt1547234/.

Also, this official "training" featurette from the movie provided by ClevverMovies:

"Looper" Movie Review

"Looper" movie poster.

"In 2072, when the mob wants to get rid of someone, the target is sent 30 years into the past, where a hired gun awaits. Someone like Joe (Joseph Gordon-Levitt), who one day learns the mob wants to 'close the loop' by transporting back Joe's future self (Bruce Willis)." (Link below.)

Written and directed by Rian Johnson (wrote the screenplay for "Brick"), starring Joseph Gordon-Levitt ("Inception", "The Dark Knight Rises"), Bruce Willis ("Die Hard", "The Sixth Sense"), Emily Blunt ("The Young Victoria", "The Devil Wears Prada"), Paul Dano ("Cowboys & Aliens", "There Will Be Blood"), and Jeff Daniels ("Good Night and Good Luck", "Speed"). It's an interesting concept and the first time travel movie in the last few years that has nothing to do with romantic bullshit.

Also, Sourcefed's review of it convinced me to go and now, after having seen it, I agree with a lot of their observations (you can see their review below).

The makeup was very well done. They had Gordon-Levitt and Bruce Willis shot in profile in this one scene and they freakishly looked the same. I'm really glad they decided to make Gordon-Levitt look and act like Willis, because trying to make Willis look like Gordon-Levitt may have been impossible. But great work on their part.

One of the parts that I thought was well-done, but made me a bit squeamish, was when they got the one looper to come back by torturing his young, past self. So you could see him getting scars, losing fingers, his nose, his tongue, his feet, and basically every appendage until he gets close enough so that they can kill him. You couldn't see the actual torture, just the effects of it and that was more disturbing. 

Joseph Gordon-Levitt (driving) and Paul Dano.

But it made me think that wouldn't that effect how the rest of that particular man's life would change and therefore he wouldn't be there to be tortured? Time travel is sort of a tricky subject like that. 

I also liked how they made the future more realistic than in previous science fiction movies. There are flying vehicles, but they are not quite up to speed. It seemed very messy there, like the world wasn't 'clean', which is probable with how people treat this planet. Everyone has solar panels on their houses and even their cars. They did a lot of good work with that aspect of it.

Bruce Willis.

I just couldn't completely feel for these loopers though. There were moments where I felt sympathy but then they usually involved somebody else. When things went wrong for them it really sucked, but they were still killing people and had a pretty good time doing it: cars, women, drugs, expensive getaways. I couldn't relate to them in that way.

I enjoyed it. There was gratuitous violence involving gunfire and torture. There was telekinesis, called TK. There was an interesting drug that you would drop into your eyes to get high. There was Bruce Willis yelling "Motherfucker!" which is always a treat. Also, there are boobies. 

Favorite Lines:

Found this awesome poster here.

Joe: Time travel has not yet been invented. But thirty years from now, it will have been.

Joe: Loopers are well paid, they lead a good life...

Abe: This time travel crap, just fries your brain like a egg...

[from trailer] 

Joe: I work as a specialized assassin, in an outfit called the Loopers. When my organization from the future wants someone to die, they zap them back to me and I eliminate the target from the future. The only rule is: never let your target escape... even if your target is you.

Older Joe: I'm going to stop this guy. 

Joe: None of this concerns me... 

Older Joe: It is going to happen to you! 

Joe: It's going to happen to YOU, it's not going to happen to ME!

Abe: I'm from the future, go to China.

Sources: http://www.imdb.com/title/tt1276104/quotes and http://www.imdb.com/title/tt1276104/.

I give this movie 4.5 out of 5 typewriters.

"The Avengers" Movie Review

"The Avengers" movie poster.

"Nick Fury (Samuel L. Jackson) is director of S.H.I.E.L.D, an international peace keeping agency. The agency is a who's who of Marvel Super Heroes, with Iron Man/Tony Stark (Robert Downey Jr.), The Incredible Hulk/Bruce Banner (Mark Ruffalo), Thor (Chris Hemsworth), Captain America/Steve Rogers (Chris Evans), Hawkeye/Clint Barton (Jeremy Renner) and Black Widow/Natasha Romanoff (Scarlett Johansson). When global security is threatened by Loki (Tom Hiddleston) and his cohorts, Nick Fury and his team will need all their powers to save the world from disaster." Written by WellardRockard (Link below.)

Anyway, I saw it late one night and it far exceeded my expectations. I loved it! It was the perfect amount of awesome!

My friends and I dressed up and everything (because we're awesome like that) and I was Black Widow, sort of. I couldn't afford a leather suit. But it was still fun and it was fitting that I celebrate my nerddom.

There are so many hot men in this movie that I can forgive Scarlett Johansson for looking like Scarlett Johansson and for being given a few terrible lines. Oh my god, the man meat in this movie, just thinking about it gets me drooling.

Chris Evans.

I think so far the one guy that has me the most intrigued is Chris Evans, the lovely that played Steve Rogers/Captain America. He's just incredibly hot and his character is so wholesome it makes me wish for the olden days of America, pre-Hitler and World War I and II.

Robert Downey Jr. was given the best and most snarky lines because his character is the awesome Ironman/Tony Stark. 

Tony Stark: [to Thor] No hard feelings Point Break, you've got a mean swing. 

Tony Stark: Dr. Banner, your work is unparalleled. And I'm a huge fan of the way you lose control and turn into an enormous green rage monster. 

Bruce Banner: Thanks.

Robert Downey Jr.

Tony Stark: Let's do a headcount: Your brother, the demigod; a super-soldier, a living legend who actually lives up to the legend; a man with breathtaking anger management issues; a couple of master assassins; and you've managed to piss off every single one of us. 

Loki: That was the plan. 

Tony Stark: Not a great plan. 

These are all from the trailer so I'm not ruining anything for anyone. 

Even Thor, played by the yummy Chris Hemsworth, has some funny lines:

Thor: He's my brother. 

Natasha Romanoff: He killed 80 people in 2 days. 

Thor: ...He's adopted. 

Chris Hemsworth.

I found this movie very entertaining and I cannot wait for "The Avengers: 2", "Ironman 3", "Captain America 2", and "Thor 2".

Maybe there's even a third version of "The Hulk" with Mark Ruffalo being arranged somewhere?

One can only hope.

Source: http://www.imdb.com/title/tt0848228/plotsummary.

Script available here: http://www.the-editing-room.com/the-avengers.html.

"Snow White and the Huntsman" Movie Review

"Snow White and the Huntsman"
movie poster.

"Snow White (Kirsten Stewart), imprisoned daughter of the late king (Noah Huntley), escapes just as the Magic Mirror Man (Christopher Obi) declares her the source of the Evil Queen's immortality. The Queen (Charlize Theron) sends her men, led by a local huntsman (Chris Hemsworth) to bring her back. But upon her capture, the huntsman finds he's being played and turns against the Queens men, saving Snow White in the process. Meanwhile, Snow's childhood friend, William (Sam Claflin), learns that she is alive and sets off to save her." Written by G.C. Bendixen (Link below.)

This movie was very well done artistically, although it did remind me of "The Lord of the Rings" film series. Specifically as Snow White, the huntsman, and the dwarfs travelled, more specifically, over a range of mountains. 

Now, acting! 

Kirsten Stewart.

Kirsten Stewart didn't have that many lines for a title character, which is probably for the best. She did alright, but I can see where people get the impression that she doesn't act that well, because she doesn't. But if she keeps making movies like this, she'll do fine. 

Chris Hemsworth was wonderful as a beef cake. He had more room to 'move' with his character. But when they just randomly fall in love, it was kind of contrived. Unless it was completely physical, which it was not meant to be. It was supposed to be truthful and honest and 'love's first kiss' and mushy bullshit like that. But I got the impression that they just annoyed each other.

Chris Hemsworth.

Charlize Theron was splendid as Ravenna, the Evil Queen, but may have gone a little overboard on some of her lines: "YOU will DO this FOR me HUNTSMANNNNN!!!!!" That may have gotten to cult quote status now. I'm dead serious - she says it exactly like that.

Sam Claflin, who played William, the son of the Duke of Mehhhhh? (didn't quite catch it), was cute and decent. He was also in "Pirates of the Caribbean: On Stranger Tides", he played the guy who fell in love with the mermaid. Ironically, Ian McShane, who plays a dwarf in this movie, was also in "POTC:OST" (I'm not typing that again) as Blackbeard. Interesting....

Charlize Theron.

The dwarfs were some of the best cast people in this movie: Sam Spruell, Bob Hoskins, Ray Winstone,  Nick Frost, Eddie Marsen, Toby Jones, Johnny Harris, and Brian Gleeson. Unfortunately, they didn't have a lot to do, but they were funny and instrumental in the teaching of Snow White on how to fight and, apparently, dance. 

The clothes in this were amazing! Colleen Atwood once again proves that she's going to be a big contender for the Oscar on Costume Design. She's already got two: she won for "Chicago" and "Alice in Wonderland". She's probably gonna win again. I put my money on her.

I give this movie 4 stars.

Charlize Theron.

Favorite Lines:

Queen Ravenna: Lips red as blood. Hair black as night. Bring me your heart my dear, dear Snow White. 

Queen Ravenna: Do you hear that? It's the sound of battles fought and lives lost. It once pained me to know that I am the cause of such despair. But now their cries give me strength. Beauty is my power.

Mirror Man: My queen, you have defied nature and robbed it of its fairest root. But on this day there is one more beautiful than you. 

Queen Ravenna: Who is it? 

Mirror Man: Snow White.

Queen Ravenna: Come and avenge your father, who was too weak to life his sword.

Queen Ravenna: I shall give this wretched world the queen it deserves.

Source: http://www.imdb.com/title/tt1735898/plotsummary.

"Gone With the Wind" Movie Review

"Gone With The Wind" movie poster.

"American classic in which a manipulative woman and a roguish man carry on a turbulent love affair in the American south during the Civil War and Reconstruction." (Link below.)

I have finally watched all 4 hours of this classic and it is so much more than the above description would have you believe. It is a long, but the people who made it were kind - they put in a long intermission. It doesn't feel like a long movie at all, it is so enticing and well-done. 

What can I say about it that hasn't already been said? The costumes are beautiful and the casting was done brilliantly. They are stories about how it was made and such that have become the stuff of legend in the movie industry. Some people don't like the character of Scarlett O'Hara, but she would be perfect to rule in today's world. In fact, all of the main female characters in this movie are very strong, powerful, and intelligent. Another reason for me to like this movie.

It is an American classic, I would rank it right up there with "Titanic" as far as romance and tragic history is involved, and it's as good as they come. I would say other movies to compare it to, but I have, unfortunately, not seen that many of the best of the old films. It stars Vivien Leigh (who isn't actually an American, but we have claimed her so too late for the British) and Clark Gable, who has huge ears but is gorgeous, handsome and tall and therefore perfect to play a rogue. Olivia de Havilland (she also starred in "Robin Hood" with Errol Flynn) and Leslie Howard, who was a huge star at the time of this movie's release, but has become known mostly for his role as Ashley Wilkes. 

I would love to watch this on a larger screen one day. The cinematography deserves that.

I'm slightly intrigued by the supposed sequel not written by the original author, but requested by the author's family, which is titled "Scarlett" but from what I have heard of it, it isn't looking good.

Vivien Leigh.

Now I just have to read the book by Margaret Mitchell.

Favorite Lines:

Scarlett: As God is my witness, as God is my witness they're not going to lick me. I'm going to live through this and when it's all over, I'll never be hungry again. No, nor any of my folk. If I have to lie, steal, cheat or kill. As God is my witness, I'll never be hungry again. 

Rhett Butler: Did you ever think of marrying just for fun? 

Scarlett: Marriage, fun? Fiddle-dee-dee. Fun for men you mean. 

Mammy: Oh now, Miss Scarlett, you come on and eat jess a little, honey! 

Scarlett: No! I'm going to have a good time today, and do my eating at the barbeque. 

Mammy: If you don't care what folks says about dis family I does! I is told ya and told ya that you can always tell a lady by the way she eat in front of folks like a bird. And I ain't aimin' for you to go to Mr. John Wilkenson's and eat like a field hand and gobble like a hog! 

Scarlett: Fiddle-dee-dee! Ashley told me he likes to see a girl with a healthy appetite! 

Mammy: What gentlemen says and what they thinks is two different things, and I ain't noticed Mr. Ashley askin' for to marry you. 

Scarlett: [Turns around slowly to face Mammy then throws her umbrella and stuffs food into her mouth] 

Mammy: Now don't eat too fast. Ain't no need for it come right back up again! 

Scarlett: [With her mouth full] Why does a girl have to be so silly to catch a husband?

Clark Gable (L) and Vivien Leigh.

Rhett Butler: No, I don't think I will kiss you, although you need kissing, badly. That's what's wrong with you. You should be kissed and often, and by someone who knows how. 

Scarlett: [pleads with Rhett as he is about to leave to join the Confederate Army] Oh, Rhett! Please, don't go! You can't leave me! Please! I'll never forgive you! 

Rhett Butler: I'm not asking you to forgive me. I'll never understand or forgive myself. And if a bullet gets me, so help me, I'll laugh at myself for being an idiot. There's one thing I do know... and that is that I love you, Scarlett. In spite of you and me and the whole silly world going to pieces around us, I love you. Because we're alike. Bad lots, both of us. Selfish and shrewd. But able to look things in the eyes as we call them by their right names. 

Scarlett: [struggles] Don't hold me like that! 

Rhett Butler: [holds her tighter] Scarlett! Look at me! I've loved you more than I've ever loved any woman and I've waited for you longer than I've ever waited for any woman. 

[kisses her forhead] 

Scarlett: [turns her face away] Let me alone! 

Rhett Butler: [forces her to look him in the eyes] Here's a soldier of the South who loves you, Scarlett. Wants to feel your arms around him, wants to carry the memory of your kisses into battle with him. Never mind about loving me, you're a woman sending a soldier to his death with a beautiful memory. Scarlett! Kiss me! Kiss me... once... 

[he kisses her]

Clark Gable (L) and Vivien Leigh.

Rhett Butler: You're like the thief who isn't the least bit sorry he stole, but is terribly, terribly sorry he's going to jail. 

Scarlett: But you are a blockade runner. 

Rhett Butler: For profit, and profit only. 

Scarlett: Are you tryin' to tell me you don't believe in the cause? 

Rhett Butler: I believe in Rhett Butler, he's the only cause I know.

Rhett Butler: And those pantalettes, I don't know a woman in Paris who wears pantalettes. 

Scarlett: Oh Rhett, what do they - you shouldn't talk about such things. 

Rhett Butler: You little hypocrite. You don't mind my knowing about them, just my talking about it. 

Scarlett: But really Rhett, I can't go on accepting these gifts although you are AWFULLY kind. 

Rhett Butler: I'm not kind, I'm just tempting you. 

Scarlett: Well if you think I'll marry you just to pay for the bonnet I won't. 

Rhett Butler: Don't flatter yourself. I'm not a marrying man. 

Vivien Leigh.

Scarlett: Ooh, if I just wasn't a lady, WHAT wouldn't I tell that varmint. 

Scarlett: Cathleen, who's that? 

Cathleen Calvert: Who? 

Scarlett: That man looking at us and smiling. The nasty, dark one. 

Cathleen Calvert: My dear, don't you know? That's Rhett Butler. He's from Charleston. He has the most terrible reputation. 

Scarlett: He looks as if... as if he knows what I look like without my shimmy.

Rene Picard: Twenty dollars. Twenty dollars for Miss Maybelle Merriwether. 

Tony Fontaine: Twenty five dollars for Miss Fanny Elsing. 

Dr. Meade: Only twenty five dollars to give? 

Rhett Butler: One hundred and fifty dollars in gold. 

Dr. Meade: For what lady, sir? 

Rhett Butler: For Mrs. Charles Hamilton. 

Dr. Meade: For whom, sir? 

Rhett Butler: Mrs. Charles Hamilton. 

Dr. Meade: Mrs. Hamilton is in mourning, Captain Butler. But I'm sure any of our Atlanta belles would be proud to... 

Rhett Butler: Dr. Meade, I said Mrs. Charles Hamilton. 

Dr. Meade: She will not consider it, sir. 

Scarlett: Oh, yes, I will. 

Title card: There was a land of Cavaliers and Cotton Fields called the Old South... Here in this pretty world Gallantry took its last bow... Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave... Look for it only in books, for it is no more than a dream remembered. A Civilization gone with the wind... 

Vivien Leigh.

Rhett Butler: So, you see I shall have to marry you. 

Scarlett: I've never heard of such bad taste. 

Rhett Butler: Would you be more convinced if I fell to my knees? 

Scarlett: Turn me loose, you varmint, and get out of here! 

Rhett Butler: Forgive me for startling you with the impetuosity of my sentiments, my dear Scarlett. I mean, my dear Mrs. Kennedy. But it cannot have escaped your notice that for some time past the friendship I have felt for you has ripened into a deeper feeling. A feeling more beautiful, more pure, more sacred. Dare I name it? Can it be love? 

Scarlett: Get up off your knees! I don't like your common jokes! 

Rhett Butler: This is an honorable proposal of marriage made at what I consider a most opportune moment. I can't go all my life waiting to catch you between husbands. 

Scarlett: You're coarse, and you're conceited. And I think this conversation has gone far enough.

Scarlett: Rhett, Rhett... Rhett, if you go, where shall I go? What shall I do? 

Rhett Butler: Frankly, my dear, I don't give a damn.

Scarlett: Tara! Home. I'll go home. And I'll think of some way to get him back. After all... tomorrow is another day.

Source: http://www.imdb.com/title/tt0031381/.