appropriate thread? movie analysises....

[preyer]

i'm wondering if this is appropriate here, but here goes anyway: what movies have you seen lately and why or why didn't they work? not enough drama? too much gore? gratuitous sex? scene arrangement not good? great beginning? second act the best you've ever seen and why? that type of thing.

okay, it's not technically about screenwriting, but i feel as if it's got some bearing because we're here to learn and/or share how to tell a better story for the screen. i feel knowing why something does or doesn't work is important as much as how the industry functions.

feel free to delete it if it doesn't fit here. what inspired the thread idea was the brief mention of a few members that they were writing fantasy epics.

[Joe Calabrese]

I think this is a good subject.

After all the end result of our work is the finished movie.

But let's keep it to story elements and not stuff like special fx, acting, costumes, cinematography, etc...

[sspunisher]

Anything Wes Craven is bad, period.

The last two movies anyway. The Others and Cursed. I won't touch the Others, it was so bad that I think my body's self defense mechanism erased it before something catastrophic happend in my brain housing group.

As for Cursed...

Wow where to begin. He took a serious werwolf movie and right in the middle of the movie, after all the tension and drama had been established, he threw in some the craziest things in there I've ever seen in a movie.

He took a decent motivating "the wimp stands up to and beats up the bully" scene and messed it all up with that standing suplex.

The bully-turned gay thing came out of NOWHERE. It was obviously for comedic relief but it was nothing near that.

That whole part at the end where the female werewolf was hiding from the cops, and another girl was talking bad about her hair or nails to the cops or something along those lines. Then the pissed off female werewolf pops out of nowhere and gives her the middle finger.
:Jaw:
If you haven't watched that movie, I encourage you to watch it, simply to understand how NOT to write a script. Halfway through, the movie was all serious and dramatic, then somewhere during the middle, it turned into a "Scary Movie" type of deal.

[preyer]

*warning: spoils*

i'm pretty sure i'd seen 'cursed.' was that where the kid gets on the internut and finds everything he needs to know about how to combat werewolves in the l.a. area, yet i can't look up the most basic of information without being steered towards amazon? hm, bad example: that's quickly becoming a tired cliche in horror movies. i think the werewolf owned a nightclub he was trying to open, right? it was pretty disappointing, especially considering wes craven was attached to it, but i think that's a good example of how average quality horror movies should be.

i say 'should' because, well, a lot of people actually like bad horror movies. if you can crank these things out and find people to give you some money for it, you shouldn't go broke any time soon. with wes craven (who's very overrated, imo), you at least get something slightly better than the norm, such as the gag with the silver picture frame turning out to be chrome or something. and, yeah, there was a satisfying scene where the wimpy kid whups up on the bullies on the wrestling mat. i think he, the bully, was gay because the werewolves somehow had some sexual projection ability they couldn't control. that was pretty strange, i thought. craven, too, i think inserted the gay character to latch onto a growing segment of movies, that being movies especially made for gay audiences. look at the shelves at blockbuster: they're about two movies away from having to open up an 'alternative lifestyle' section. too, there might be some slight shock value there for people over 50.

there were some things about the movie that could have made it better. but, no, it had to degenerate into a typical slasher, and not even a good one as they ran around the tattered nightclub. i watched it and thought, 'geez, they must have run out of money or something.' you know, i'd bet money that if he had a bigger budget he'd have given up a better ending. they spent the money making the dog a weredog, which was a fairly decent scene, yet the ending looked as if a first-time director with a $100,000 budget did it.

'the others', with nicole kidman, on the other hand, i liked. it's what i call 'english paced,' i.e. slow. being an american, yeah, i like things a bit faster on average, but faster would have ruined the movie. 'gosford park' was a movie i didn't care for, either, but i understand why it was paced the way it was. i think your two examples are great in that they illustrate a screenwriter's need to understand pacing. along with that, rhythm, meter, beat, etc., can all be useful tools. while it's pointless to read 'cursed''s script, i might give 'the others' a try just to see how it's handled.

i do understand why you didn't like it, though. i mean, i can see why, at least. it's slow and takes awhile to start stopping meandering (creative grammar student i am). most people i've talked to agree the return of the husband could have been cut without any problem. i remember watching it wondered why it was there. in the end, i questioned why the children had to have an allergy to light like they did other than forcing the children to stay indoors. can't have ghosts wandering *all* about, eh? for storytelling, the audience would have wondered why the children never went to school, too.

hm, maybe that could have been better. it was different, i'll give it that. for the story, i think you needed a way to keep the ghosts in denial very close to home.

if you're going to truly creep people out, the pacing plays an incredible role. the pacing and arrangement here, as in 'the sixth sense' and 'rosemary's baby,' is almost a character in itself. were it faster, it would have failed on every level. as it was, i was honestly creeped out when the piano started playing in the other room and the woman thought her house was haunted. the way her ghost tears up the room in the 'present day' seance worked out really well. perusing one site of 'best horror movie moments,' they highly rated the scene where the little girl under the veil appears to the mother to be a horrible looking old lady. for me, that didn't have as much impact, but i can see where it would for someone else. and even though it was pretty clear that the servants were ghosts, seeing their pictures in the death photos, which was actually a practice at one point, sent shivers down my spine.

'the others' is pretty critically acclaimed. yeah, i know, big deal, right? i think that by that critics are saying the movie is well-made. it might not be entertaining, but it does what it's supposed to do maybe on a technical level. i felt the same way you do about 'rosemary's baby': a more meandering, pointless, boring mess i couldn't have made myself if i tried. maybe it was scary considering the times, which a lot of movies are 'great' in the context of when they were made.

did anyone see 'alexander'? i'd like to get some opinions about that along with anyone opinions about 'cleopatra' with liz taylor because it's one giant gray area. i wasn't sure when i watched it earlier this year if it was infamous because it was supposed to be such a disaster, or if it was famous for being under-appreciated or what.

[sspunisher]

Time out. I didn't mean The Others. The Others was a GREAT movie. I meant They. :Smack:

[StephieM]

I tried watching "7 Seconds" with Wesley Snipes. Very slow and a bit confusing. Or maybe I just couldn't get past Wesley Snipes speaking in an English accent. :Huh:

Steph

[preyer]

ah, 'they.' hm, not sure i saw that one. i watch a lot of movies and sometimes they blur together, and my memory isn't great to begin with.

i believe '7 seconds' was a dej production. that in itself should be all you need to know, lol. dej does either boring dramas or mindless action (such as 'blast', although 'coronado' was fun to watch, if a bit cliche and ripped-off a lot of bits of 'indiana jones' and other movies in that vein). i think the movie serves as a great example of what happens when you base everything on a gimmick.

its main problem for me was i didn't care about the characters. that's the main problem in any 'bad' movie. i don't know the kind of writers who dej buys from, but i think they must not be exactly top-o-the-line. some seem to have a minute of potential then just fall flat right when the good stuff is supposed to happen... then doesn't. where action writers fail a lot of time, i feel, is when they confuse characterization with a character's motivation. saving your child from the terrorists is motivation and if the character's characterization relies on that as a connection to the audience, it'll fail more often than not. i have to have a reason to care about the characters, not just a one-dimensional cardboard cut-out whose *only* humanity is derived out of cliche situations and ridiculous scenarios. another fallacy i feel writers have is thinking the only way to achieve characterization is through dialogue. one of the most beloved movie characters of all time, indiana jones, doesn't prattle on and on.

'7 seconds' was doomed to be a B-movie. afaik, it went straight to video, for good reason. when you're stuck with a gimmick, how is a writer supposed to get around that and make an A movie with a B set of criteria?

[sspunisher]

I tried watching "7 Seconds" with Wesley Snipes. Very slow and a bit confusing. Or maybe I just couldn't get past Wesley Snipes speaking in an English accent. :Huh:

Steph

I guess that's why so many movies are made. The other day my aunt was trying to get me to watch it cuz she loved Wesley Snipe. (Guess she thought it was a good movie)

I commented that the only Wesley Snipes movie I like is Blade. I'm trying to remember that one where Stallone was frozen, I think Snipes was in that one too? That wasn't horrible, though it was a long time ago.

[sprorion]

I guess that's why so many movies are made. The other day my aunt was trying to get me to watch it cuz she loved Wesley Snipe. (Guess she thought it was a good movie)

I commented that the only Wesley Snipes movie I like is Blade. I'm trying to remember that one where Stallone was frozen, I think Snipes was in that one too? That wasn't horrible, though it was a long time ago.

You're thinking of "Demolition Man." Yeah it was quite hokey, but I still liked it.

[preyer]

'demolition man' is a movie that i somehow own, though i don't remember ever buying it. it also was one of sandra bullocks first performances, i believe. DM was another formula action movie, not much could be said about it other than that and it was moderately entertaining. for me, the most memorable part was stallone not knowing how to work 'the seashells,' which operated the toilet. the gimmick could have actually been a lot cooler were it done in a more serious tone, but this was far from a serious movie. the characters' depth is found in the perforations around the cardboard cutout.

correct me if i'm wrong, but DM came out in 1993, which, i think, was really when the 80's action style had been played out. in that sense, DM was a throwback, or at least the cusp of the ending of a certain kind of filmmaking that included 'raw deal,' 'cobra,' rambo II and III, 'red heat,' 'commando,' etc.. (not listed are the chuck norris movies and ones like 'passenger 57,' (another snipes movie from '92-- a little later than the rest, but fits the formula to a tee) but i have to cut the list off somewhere.) after DM, stallone really did only one more 80's forumla action flick imo, 'judge dread.' that and arnie's 'eraser' were pretty much the end of the line. every once in a while a better movie slipped in, like 'predator' or 'die hard,' both of which had sequels that retarded into utter formula, albeit a formula they helped create.

the formulas were pretty basic: loner good guy has to rescue his daughter or would-be girlfriend from the clutches of a gang, terrorists, or a gang of terrorists. i'd bet that were someone to make a plot analysis of these movies that almost with a minute or two of screentime the exact same thing happens in each movie, lol. 'minute 47: insert hero travelling to evil bad guy's fortress.' 'minute 126: audience finds out the hero's friend is really one of the bad guys.'

DM could bench a thousand pounds, but it only pumped a fraction of that into the plot and less into characterization. the plot here really is nothing more than the gimmick. DM benefitted from its stars' personalities, stallone, snipes and bullock, all of whom are great fun to watch. you really couldn't miss not making it entertaining, if nothing else. 'if nothing else' was all they aspired to be, and that's all it is. you could easily retell this same basic story and make it compelling.

of course they still make these brainless flicks. 'xxx' comes to mind. 'xxx: state of the union,' i swear, is one of the DUMBEST movies ever made. i recommend it only because it's so laughably cliched. the term 'outrageously dumb' comes to mind. there's barely a point in dissecting it because it's nothing an attentive 13-year-old couldn't have written. awful, awful, awful... yet fun to poke at.

there's a formula to those 80's flicks. even some of the better ones like 'lethal weapon' and '48 hrs.' had a buddy-buddy formula separate from the action formula. i think the 80's is really where the franchise mentality kicked in in earnest for action flicks and horror flicks. i blame george lucas on that one, too, heh heh. (btw, lucas raped my childhood. had to throw that in there. someone should do a movie with that title. i'd see it-- had i not lived it, baby!) this is the decade where 'franchise' became a dirty word to me. and you can see it in the movies, where some are definitely geared towards a sequel. i'm sure the producers went to sleep at night dreaming of the day they could make 'action jackson II: back in black.'

growing up in the 80's, i saw 'em all. it got to the point, though, where i thought i was watching two hours of stock footage. today's movies are pretty formula, too, but the difference is there tends to be a twist in it. modern cop suspense flicks like to make the captain part of the bad guys. if you've not noticed it, try to remember that the next time you watch one made within the last five years or so and see if it's true or not.

i think that's interesting to note in movies and how you plan on arranging your plot. do i want that twist at the end? or do i want to be more linear, for lack of a better word, and let the audience know who the bad guy is up front? while the twist has always been around, i don't think it's ever been quite so overdone to the point where you almost expect it to happen in most of the movies you're watching. young screenwriters will be influenced by newer material, i think, and go with the flow on that. why buck the trend, eh?

but, look at some pre-80's classic movies. there, more often than not, you knew who the villian was early on. and it *worked*. from my own writing, i think it's a lot easier to actually write the 'villian at the end' twist than writing the bad guy in from the start. one of the more modern, a vastly superior movies, has been 'l.a. confidential,' where we see the real villian earlier than the last fifteen minutes of the movie, like in lesser made movies in the same vein that get cranked out now. (action flicks by their nature have the villians pretty upfront, though, so this isn't as much in reference to them.)

hm, went off an another tangent. :)

[StephieM]

For now on I'll have to watch out for movies made from dej. I really don't pay much attention to directors or producers, I know, just shoot me now and get it over with. :gone:

But I'm usually pretty good about picking out the bad movies and veering myself away from them, but I'll admit, this one had me fooled because of the fact Wesley Snipes plays in it. Never judge a book by it's cover, huh?


Steph

[preyer]

absolutely, lol. snipes really is one of those actors who's had his day in the sun and is basically washed-up for the most part. without 'blade,' he'd not be doing much of nothing. this is an older list of dej titles, which pretty much speak for themselves:

Aileen Wuornos: The Selling of a Serial Killer (1994) -> [VHS] [DVD] [VHS] [DVD]
Beyond Hypothermia (1996) -> [DVD] [VHS] [DVD]
The Circuit (2001) -> [DVD] [VHS] [DVD] [DVD] [DVD]
The Circuit 2 (2003) -> [DVD] [VHS] [VHS] [DVD] [DVD]
The Contract (1998) -> [VHS] [VHS] [DVD] [DVD]
Curse of the Komodo (2003) -> [DVD] [VHS] [DVD] [DVD]
Dahmer (2002) -> [DVD] [VHS] [VHS] [DVD] [DVD]
Dark Waters (2003) -> [DVD] [VHS] [VHS] [DVD]
Deep Shock (2002) -> [DVD] [VHS] [VHS] [DVD]
Detonator (2003) -> [DVD] [VHS] [VHS] [DVD] [DVD]
Dragon Storm (2004) -> [DVD] [VHS] [DVD]
Epoch: Evolution (2003) -> [DVD] [VHS] [DVD] [DVD]
Evil Alien Conquerors (2003) -> [DVD] [VHS] [DVD]
Exposure (2000) -> [DVD] [VHS] [DVD] [DVD]
Garden of Evil (1998) -> [DVD] [VHS] [DVD] [DVD]
Global Effect (2003) -> [DVD] [VHS] [VHS] [DVD]
Good Night To Die (2003) -> [DVD] [VHS] [VHS] [DVD] [DVD]
Haunting Desires (2004) -> [DVD]
Killer Buzz (2002) -> [DVD] [VHS] [VHS] [DVD] [DVD]
King of the Ants (2004) -> [DVD] [VHS] [DVD]
Living the Life (2000) -> [DVD] [VHS] [VHS] [DVD]
Lost Treasure (2003) -> [DVD] [VHS] [VHS] [DVD]
Maximum Velocity (2003) -> [VHS] [DVD] [VHS] [DVD]
Miner's Massacre (2003) -> [DVD] [VHS] [VHS]
Nora's Hair Salon (2004) -> [DVD] [VHS] [VHS] [DVD] [DVD]
On the Edge (2002) -> [VHS] [DVD] [DVD] [DVD]
Pact With The Devil (2001) -> [DVD] [VHS] [DVD] [DVD]
Paris (2003) -> [DVD] [VHS] [DVD] [DVD]
Partners In Action (2002) -> [DVD] [VHS] [DVD] [DVD]
Party Monster (2003) -> [OTHER] [DVD] [DVD] [VHS] [VHS] [VHS] [VHS] [DVD]
Phase IV (2001) -> [DVD] [VHS] [VHS] [DVD] [DVD]
Post Impact (2004) -> [DVD] [VHS] [DVD]
Project: Human Weapon (2002) -> [VHS] [DVD] [DVD] [DVD] [DVD]
Punch (2002) -> [DVD] [VHS] [VHS] [DVD]
Purgatory Flats (2003) -> [DVD] [VHS] [DVD]
Samouraïs (2002) -> [DVD] [VHS] [DVD]
Scorched (2003) -> [DVD] [VHS] [VHS]
Shark Hunter (2002) -> [VHS] [DVD] [DVD] [DVD]
Shark Zone (2003) -> [VHS] [VHS] [DVD] [DVD] [DVD]
Snake Island (2002) -> [DVD] [VHS] [VHS] [DVD]
Stealing Time (2003) -> [DVD] [VHS] [VHS] [DVD] [DVD]
Stranded (2001) -> [DVD] [VHS] [VHS] [DVD] [DVD]
Tough Luck (2003) -> [DVD] [VHS] [DVD]
Visions of Passion (2003) -> [DVD]
Wasted (2002) -> [DVD] [VHS] [DVD] [DVD]
Wicked Sins (2001) -> [DVD] [VHS]
Wild Spirit (2003) -> [DVD]
Windfall (2001) -> [DVD] [VHS] [VHS] [DVD] [DVD]
Wolves of Wall Street (2002) -> [DVD] [VHS] [VHS] [DVD]

ah, but i love dej. who else would make 'monster island' or make a movie starring tom skerrit? the movies that i talk about now from them aren't on this list. dej makes a lot of 'em out on the shelves. 'gacy' looks promising, but i haven't picked it up yet. you can recognize the dej logo pretty easily, it's like the outline of a gold griffin wearing a crown, i think. it's rather distinctive once you see it. i'm probably like you in that i don't really look at who made the movie: now when i see the dej lion or whatever it is at the beginning, i have to laugh and brace myself.

my thing is this: if you send a script to all these studios


«Risk» Studio

«Sinebridzh» film company

«Slovo» producting company

«Tsar'» Film Company

20th Century Fox

A Francios St Laurent

ABC Distribution Company

Absence, LLC.

Acorn Media

Action Concept Cinema Production

Actual Film

Addict Productions

Allegro Films

Alliance Atlantis Communications

Alphaville

Amblin Ent.

American International Pictures

American World Pictures

AMLF

Amsell Ent.

Amuse Pictures

Anchor Bay Ent.

Apollo ProMedia

Applause picture

Archangel Filmworks

Archi-film

Arclight Films

Argus

Armada Pictures

Armitage pictures

Art Yunis

Artes Production

Artisan Ent.

ASK

Assotsiatsiya «Nashe kino»

Atlas Adventures

Attilla pictures

August Ent.

Australian Film Finance Corporation

Avco Embassy Pictures

Avenue Pictures

Bac Films

Bard Ent.

Bauer Martinez Studios

Bavaria Film Int.

BBC

Bel'ska Byala

Bel'ska-Byala

Belarusfilm Studio

Benten Ent.

Beta Films

Beyond Films

Bizz Production

Black Wolf Productions

Blaze Productions

Bloom Films

Blue Laser Films

Bogvud-kino

Boje Buck Productions

Brad Grey Pictures

Braunstein Films

Bridge & Tunnel Productions

Budapest Filmstudioi

Buena Vista

Burbank Animation Studios

C.R.C.

Cajun Pictures

Campinella Productions

Canal +

Caneo Films

Capitol

Capitole Films

Carolco Pictures

Carrere Group

Cascadeur Filmproduktion

Casey Silver Production

Castle Rock Ent.

Cecchi Gori

Central Partnership

Centropolis Ent.

Cerito Films

Channel four Television Corp.

China film

Cinemavault

Citadel Ent.

Clasart Film

Click Productions, Inc.

Columbia Pictures

Columbia TriStar

Concorde-New Horizons

Constantin Film

Courier

Cowgirl

Crawford Productions

CTB Film Company

Curb Ent. Int.

D.E.J. Productions

Dan Films

Danish Film Institute

Dargaud Films

Dark Castle Ent.

Daro Disribution

DEFA film studios

Dej Productions

Del Mar Productions

Demension Home Video

Destination Films

DIC Ent.

Dimension Home Video

Dino De Laurentiis

Disco International Center+

Dolores pictures

Dom Film

Dovzhenko Studio

Dragon Pictures

Dream Rock

DreamQuest Films

Dreamscanner Productions

DreamWorks Home Ent.

Edward R. Pressman Film Corporation

Egm Film

Ekran Association

Emi Music Media

Emperor Multimedia Group

Enio-Film

Enterprise Films

Eralash-Land

EuropaCorp Distribution

Excelsior Films

F.A.F. Entertainment

F.D.Cinematografica

Fandango

Fandango Australia

Favorit Film

Fechner Prods.

Fiction Film

Fidelite Productions

Film Four Int.

Film Polski

Film.ua

Filmax

Filmtown Entertainment

Fine Line Features

Fingerprint Films

First Channel

First Look Pictures

Flavia films

Focus features international

Fond «Novoe kino»

Fora-film M

Fortissimo film

Fox Lorber Films

Fox serchlight

Foxvideo

France 2 Cinema

FrancescAndrea

Franchise Pictures

Franco London Films

Fred Dryer Productions

Fremantle Media Enterprises, Ltd.

Fries Film Group

Fu works

Galate films

Galatee Films

Galileo Medien AG

Gaumont

Gemini Films

Gemini-film

GFT Ent.

Global Ent. Media

Global Film

Globus Studio

GMT Pictures

Gold Circle Films

Gold Pictures

Goldcrest Films Int.

Golden Harvest

Golden Hawk

GoodTimes

Gorky studio

GP

Gramercy Pictures

Granada Media Group

Hallmark Entertainment

Hallmark Home Ent.

HBO Home Video

Henstooth

Hill & Brand productions

Hiromant Production

Holedigger Films

Hollywood Pictures

Hugo Films

Icon Productions

Igor Tolstunov's producing firm

Image Ent.

IMF

In-Cess Production

In-X-Cess

Integrity Pictures

Interlight Pictures

Irish DreamTime

J.R.C.

Jill Kelly Productions

Juja Film Corporation

JWM Productions

Kanon Studio

Key

Kino

Kinoalians

Kinomost

Koch Lorber Films

Korea Films

Korea Pictures Company

Kozerog Studio

KTK

Kushner-Locke Int.

Kvadrat Film

L'Amour Film

La Butterfly Motion Pictures

Lawrence Gordon Productions

Lenfilm

Lions Gate

Lisa film

Lithuanian Film Studio

Little Bird Productions

Lotte Cinema

M-Movie

Magic Hour Pictures

Magnat

MakDos

Malevich Productions

Mandalay Ent.

Mandarin

Matador Pictures

Mavr

MAWA Film & Medien

MDP Worldwide Ent.

Media Asia

Medusa Produzione

Mentor Cinema

Metro West

MGM

Mikado Film

Milagro Films

Millenium Films

Millenium Pictures

Miramax

MKL Distribution

Mondo TV

Monolit

Moonlight filmproduction

Moonstone Ent.

Moroz Records

Mosaic Media Group

Mosfilm

Moviefan Scandinavia A/S

Moviehouse Entertainment

MTI Home Video

Muha studio

Muz-TV

Mystery Zvuka

National Geographic Television and Film

Navigator

New Line Cinema

New Line Home Ent.

New Odeon

Newmark Films

Nordisk Film

NOVA-Studio

Novy russky serial

Nox Music

NTV

Nu Image

Nueart Pictures

Nuvola Film

O.S.P. studio

October Films

Odeon Films

Odessa Cinema Studio

Once Upon

OOO «3-TV»

Orion

ORT

Ostankino

Overseas

Palm Pictures

Pandora Films

Pannonia

Paragon Film Group

Paramount

Passport Productions

Pathe Int.

Pathe Pictures

Pathe Renn Production

Peace Arch Films

Pelikan

Petropol

Phoenician Entertainment

Phoenix Pictures

Picture Park

Pictures in Paradise

PiEf Studio

Pilot

Pizza Productions

Playboy Ent.

Please Production

Pleasure Productions

Polo Pictures Ent.

PolyGram Filmed

Pop Art Films

PorchLight Ent.

Powersport Video

Pozitiv TV

Profil

Promark Ent.

Providence Ent.

Radio «Modern»

Raging Nation Films

Rainbow

Rakurs

Rank Prod. Ltd.

Rapid Heart Pictures

Ratpack Filmproduktion

Red Rose Productions

Redrum Ent.

Regent Ent.

Rekun TV

Ren-TV

Revelation Films

Revolution Film Works, Ltd.

Revolution Studios

Rigel Independent

RKO Radio Pictures

Road Movies

Roadshow Distributors

Rocket pictures

Roissy Films

ROS'

ROSPOFilm

Royal Oaks

Russian happy Ent.

SAS

Saturn

Screen Gems

Screen Media Films

Serendipity Point Films

Seville Pictures

Shans Studio

Shooting Spree Films

Showtime Ent.

Shriek Show

SHRINK Media Inc.

Silver Nitrate Pictures,

Silver Pictures

Silverline pictures

Sinciti Ent.

Ska Films

Sony Pictures Classics

Sorpasso Films

Sovkino

Soyuzmultfilm

Soyuztelefilm

Space Records

Spierigfilm

Splendid Pictures

Sploshnoff music group

Starmax Ent.

Stella

Sterling Home Ent.

Sterling Pictures

StM Concern

Stone Ridge Entertainment

Strand Releasing

Studio «DVD special»

Studio Bayrak

Studio Canal Image

Studio Home Ent.

Studio S

Studiya «M»

Summit

Sun International Pictures Inc.

Surffilm

Surfilm

Sutjeska Film

Sverdlov Cinema Studio

Take Munick Filmproduktion

Tana-TV

Tashkent Cinima Studio

Taurus Films

Telefilm

Telefilm Canada

TF1 Films

TF1 Int.

TFM Distribution

Timeless Films

TLA Releasing

Tokyo Shock

Tomorrow Film Corporation

TopLine Productions

Touchstone Ent.

Touchstone Pictures

Toxico, Inc.

Trimark Pictures

TriTe

Triumph Films

Troma Team

TRT

TV HNR

TV-channel «Russia»

TVOR

UGC

Ugly Duckling Films

Ugra

Ultimate Pictures

Unicomio Films

Unified Film Organization

United Artists

United Film distribution

Universal Music Russia

Universal Pictures

Universal Studios

Universe Laser & Video Co., Ltd.

USA Home Ent.

Velocity Home

Velvet Music

Ventura Distribution

Ventura Ent.

Verve Pictures

Vidmark Ent.

Vincent Pictures

Vine Int.

Vivid Ent. Group

Walden Media

Walt Disney

Warner Brothers

Warner Home Video

Warner Independent Pictures

Weintraub Ent. Group

Wellspring Media

White Lee Ent.

Wicked Pictures

Wild Bunch

Wild Coast

Woodfall Film Productions

X-Vision Filmproduction

Yaltafilm

York Ent.

Ziegler Film

Zolotoy treugolnik

Фильтр Фильм

and *still* can't sell it to any of them, maybe a career in enginerring is more your thing, lol.

[sspunisher]

my thing is this: if you send a script to all these studios
.............
and *still* can't sell it to any of them, maybe a career in enginerring is more your thing, lol.

Lmao. motivating words.

[StephieM]

WOW! That's a very long list. When you look at it that way, you'd think it would be easier to sell a script. But then again, that's a lot of money on copies and postage! LOL

Steph

[eldragon]

Sideways (a good movie.)

about a writer who can't get published. I loved it, never wanted it to end.

[maestrowork]

Speaking of Snipes... he used to be a good actor... but what the hell is he doing with all that Blade crap?

[StephieM]

I liked "Blade I" and "Blade II". "Blade Trinity" didn't live up.

Steph

[preyer]

it's hard to look at snipes' filmography and pinpoint what, if anything, went wrong. he did a lot of movies, a lot of them were entertaining. some of his more memorable movies are 'wildcats,' 'blade,' 'new jack city,' 'jungle fever,' 'white men can't jump,' 'rising sun,' 'to wong foo...,' 'money train,' 'major league,' 'u.s. marshalls,' 'demolition man,' and 'art of war.' i can't claim to have seen even half of the 44 movies he was in, and those i mentioned i won't say were great movies.

i think he can act well enough, but he also holds one of my personal most deplorable lines in any action movie ever made. from 'passenger 57,' he asks the bad guy over the plane phone:

'do you play roullette?'

bad guy: 'yes, i do. why?' (or something like that.)

WS: 'here's a tip: always bet on black.'

well, it went something like that. ugh, i hate even thinking about it.

i liked 'sideways.' an entertaining flick, well-written, witty but not pretentiously so. probably why it was up for best picture. interesting character in that he was likable yet somewhat a scumbag, stealing from his mother like that.