Word: scripting
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...bouncing beat. Then the lyrics begin to take hold and things turn sour in a hurry. "You lost your health/Never had no wealth/So tighten up your belt/As you gather dust on some self." Coomes has gained a reputation among indie-pop circles for writing nihilistic lyrics that make the script for "Fight Club" read like a kids' book. The song concludes with the moral of the story: "Others have it worse/So smile/It's not so bad." Somehow, Sam doesn't seem convinced...
...every time the husband comes home (after a cycle of walking around the stage, of course). There is not enough dialogue, and no noticeable momentum builds up. The acting itself is pretty dry--the families do not come across as real. Maybe the problem lies as much with the script, which often tends toward the exaggerated, melodramatic, and clichd. The parents are too sentimental to their children--a little wholesome scolding in place of the constant hugging and kissing would make the families more convincing...
...Mihaileanu: The script was written before Life is Beautiful. I started it in 1993. I forbid myself to write without a producer, so I stopped work on it until 1995, when I met the producer. Then it took me three months to write the script. The conditions of the concentration camp don't interest me--what interests me is those people, in the shtetl, the lost people. I focused on their ways of living and fighting and loving. I pay more attention to the people, not the horrors of the camp; it is more collective...
...filmmaker's latest audacious feature, the uniquely bizarre julien donkey-boy, strips cinema to even barer levels. Starring Ewan Bremner ("Spud" from Trainspotting) and Chlo Sevigny ("Jennie" from Kids), the film provides a keyhole view into the life of a schizophrenic and his disturbingly dysfunctional family. Using no formal script and few special effects, donkey-boy is at once an avant-garde "art house" film that nobody will see and a strikingly original work that merits critical attention...
...Oscillating between razor-sharp and nauseatingly trite (see above), director Eric Simonson's adapted script is too inconsistent to be praised. Besides containing about twelve too many characters (with not an interesting female role in the bunch), the script lacks the moral ambiguity that would have made The Last Hurrah a more intellectually engaging production. The press material for the play asks the seminal question "Is Skeffington a compassionate champion of the poor, an unscrupulous back-room deal maker, or both?" and it is clear early on in one's evening that the answer will not be hard to figure...