Young Box Office

Young Box Office Young Box Office was founded in 2011 by writer and Producer Peter Kuria to act as a vehicle to produ

14/07/2024

Politicians from across the political spectrum – people who agree on very little else – are coming together to say violence has no place in a democracy.

13/03/2013

VANITY NOTE # 18

WHY A FILM INDUSTRY

In my quest to sell my movie screenplays or at least get them produced, the one persistently recurring question has always been, “Why do you want to make this movie?” to which my reply has always been, “Because it is a story that needs to be told.” To me this answer seemed self explanatory but with benefit of hindsight I can see why I didn’t get much mileage, (I have not produced a single movie to date, rather I have been contracted as a staff writer on several television productions). Allow me to explain what I meant.

The average Westerner’s perception of Africa is a huge jungle with half naked savage hunter-gatherer natives still living on trees and in caves. Can you blame them when their only source of information about Africa while growing up was Tarzan! When the house of the snobbish neighbor who keeps to himself catches fire and while trying to salvage the little he can he is mistaken for a thief and beaten up, whom does he blame? The neighbours for being ‘neighbourly’ or himself for not being identifiable? Only we are responsible for the image we portray, not the other way round. If everyone talks smack about you, there is something amiss with you. Dismiss them as haters at your own peril.
Any company worth its salt has a good Public Relations (PR) department that is charged with projecting the right image of the company or at the very least a friendly one. In this regard, cinema is a country’s first line of PR.

Example 1: The most aped (pun intended) man in the world is the African American male. Coincidence; you be the judge. The leader of the free world is a black man (Barrack Obama). The biggest movie star in the world is a black man (Will Smith). The highest earning musician in the last five years is a black man (P. Diddy); all people in show business (politics is show business). Any wonder? While the African American of the eighties and nineties was viewed as a gang banging, dope selling, crack smocking no gooder, recent films, plays and television productions by the likes of Bill Cosby, Oprah Winfrey and Tyler Perry( For Better or For Worse and Good Deeds) portray him as a successful man with a beautiful house, family and running his own business. Who wouldn’t want to be him? Even the previously nefarious rappers have adopted a new take for their videos, the good life as depicted by the top of the range cars, designer wear and bling; gone are the guns and forties. The world’s perception of the African American has come a long way from the idiosyncrasies depicted in John Singleton’s, Ice Cube’s and Spike Lee movies all thanks to cinema.

Example 2: Today every man who shows a modicum of compassion is branded ‘a Mother Teresa’. Were it not for……… “A Beautiful Life’, the world would have little known about this all inspiring figure. My point; one film gave the entire world something to aspire to. If that is not absolute proof of the power of cinema then I don’t know what is.

Example 3: My bucket list (things I would like to do before I die) reads thus:
i) Visit the opera in Vienna Austria, the cultural and music centre of the world.
ii) Grab the bull statue above located in Manhattan New York by the balls.
iii) Take a stroll along Hollywood’s Walk of Fame.
iv) Attend Rio Carnival the Brazilian annual carnival.
v) Attend at least one wrestle mania.
vi) Have my stag party in Las Vegas then honeymoon in Hawaii.
vii) Swim with the sharks in Australia’s Great Barrier Reef and,
viii) Take a ride on Tokyo’s metro train.

This list has been created purely from what I have been exposed to by cinema. There is no doubt in my mind that bigger and better adventures exist out there perhaps even in my back yard. Only problem is, no one has exposed them.

Kenya Tourism Board are you listening? Instead of spending billions of Shillings talking to the same old people at the same old tourism fairs and printing the same old brochures why not finance an action adventure comedy (think Road Trip meets the playfulness of Hangover). In this movie 4 Ivy League students on their way to a dream holiday, to say Brazil, mistakenly end up in Kenya and despite initial protests they end up having the adventure of their lives altering their perception of life in general and Africa in particular. For good measure the 4 can be an American play boy, a British aristocrat, a Sheikhs son and a computer whiz kid from South Korea just so you can cover all your target markets. This story can be played out in our scenic tourist attraction sites and the script doctored to give Kenya the new tag of “a premium adventure paradise” or any other you may so wish. For maximum effect, splash out on a foreign production team; it will be worth it in the end. I can guarantee you that this film will be seen by more people than have read all the brochures you have printed since independence and voila! Before you say pristine sandy beaches and game drives ten million tourists will have landed at JKIA. A vision 2030 pillar achieved by 2016!

Forgive my running mind but an image of a drunk hot headed American dangling out of a hot air balloon 300m above the Mara as lions and millions of wildebeest watch him having called a temporary truce to witness the antics of the ‘gringo’ while his friends laugh at him captures the imagination more than any advert on CNN would. Me thinks such a film could be the funniest thing after The Gods Must Be Crazy series.

In any case, this can be a gift that keeps on giving because you will also be advertising Kenya as a filming location thereby killing 2 birds with one stone. How often do you do that?
Another case in point for which cinema would have been far more effective than idle talk was during the post election violence. A multi layered film depicting the following storylines would have opened people’s eyes and achieved far better results than anything else done at the time;

i) The media and a few people unrelentingly suing for peace and compromise from the ‘rivaling’ political class.
ii) An oblivious political class who are hobnobbing with each other in complete disregard to the suffering they are causing while using their aides to stoke further violence.
iii) A perpetrator of violence who after hacking a neighbour’s cows and burning their store now can’t buy food or milk locally and has to walk a greater distance to get to the next store with his journey being made more perilous by his victims who are planning retaliatory attacks.
iv) Islands of peace where communities take it upon themselves to promote peace and therefore suffer little or no destructions amid the sea of chaos around them.
v) Looters and other busy bodies just so we can laugh at ourselves amidst all the barbarism.

A film like this would have served two distinct purposes: show the world what truly happened at that dark moment in our history: that neither was Kenya burning nor had we all gone mad, it was just a few rogue elements out to disrupt peace for selfish gains as well as showcase how the 1% upper class furthers itself at the expense of the other 99%.

The portrayal of a man hiding his wife from his murderous clansmen and a mother crying over her son’s lifeless body (think Sarafina) while the political class and their consorts toast champagne in an exclusive resort at tax payers’ expense would have rent the air with cries of “never again” negating the need for all the peace conferences and prayer rallies. Needless to say, this is not a story typical to Kenya alone; rather it is a worldwide phenomenon with but minor alterations. (Could Kenya really offer the world a solution? For you nay sayers think Mpesa! )
Other than exporting culture and being an agent of social change cinema plays other critical roles such as creating employment and developing other line industries including hotel and catering, fashion/costume design, carpentry for the sets, music for the soundtracks, hair and makeup as well as many other jobs along the distribution chain.

An often understated role that the film industry plays is its contribution to technology. For you doubting Thomas’s take a look at 24 season 4. Back in 2004/2005 Chloe O'Brien was walking around CTU with a tablet, technology that would be available to the masses a long 5 years later. The next frontier in computing is, you guessed it, holographic displays, a fete already achieved in Minority Report, Eagle Eye, CSI Miami and most recently at a Dr. Dre concert. Your prized i7 quad core computer with the ‘latest’ graphics accelerator that you brag about to your boys is child’s play compared to the super computers needed to render 3D animations. Conventional wisdom has it that cinema is technologically 4-5 years ahead of the general population: if you want to know the next technology vis-a-vis fashion trend, follow cinema. For a country that wishes to play with the big boys in the field of technology, cinema is not a bad place to start.
Finally movie stars have proved to be the biggest celebrities the world over with some of them using their star power for good, think Clooney and Anil Kapur the King of Bollywood. We too need home baked stars we can gravitate to while our kids need role models other than politicians. Perhaps with other people to occupy our minds we can finally quit our unhealthy obsession with politicians.

Yes, I am very bullish about a Kenyan film industry because to me cinema is more than mere entertainment. Anyone feel like commissioning a screenplay?

26/02/2013

THE EPIPHANY

As screen writers we agonize day and night over how best to tell a story, at least the serious ones do,all too often bearing out our innermost thoughts for the world to see yet ninety percent of the message is always lost; the culprit, passive watching! So accustomed to watching productions (read film and television) for their aesthetic values have we been that we forget its most beautiful attribute: the story. Case in point, Shuga. When the first and second installments of this racy pioneering series came out, bar room chat and social media was abuzz with talk of its aesthetic appeal for the actors and actresses were all pure eye candy while the cinematography was unheralded for a local production. So caught up in the hype of it all were we that we forgot the actual message, the loose and dangerous lives we lead.

Another case in point,which actually cemented the need for this blog, happened recently. A dear (read blonde) friend commented thus about one of my all-time favourite films COLD MOUNTAIN (which will for this reason be the subject of this blog’s first classic review).

“I didn’t like it! Why did he (Mr. Inman played by Jude Law) die? Why are those home guards so cruel? I don’t like war movies.” A thousand thoughts ran through my mind like “Damn you Blondy, who said all movies should have happy endings? Who said good guys always come out on top?This is not Snow White and the Seven Dwarfs or No Strings Attached, mind numbing fairy tale romantic comedies where star-crossed lovers live happily ever after. This is a story about the vagaries of war and how there are no real winners in war; wouldn’t Mr. Inman’s happily ever after reunion with Ada Monroe (played by Nicole Kidman) not negate the whole concept of ‘in war, everybody is a loser’? Is a beautiful ending so important as to be purchased at the price of a lie?”

As I was about to share my thoughts with her, it dawned on me what a colossus waste of time it would be for once set in her ways, Blondy is a very difficult customer to convince otherwise. Over time though my contemplations turned to ‘how many people out there share similar views to Blondy? How often do our expectations of what cinema should be deny us the full experience or understanding of what it is?Is cinema a reflection of us and the society, a means to get away from reality or a mix of both? Is cinema a passive activity where we watch from a distance as the characters go about their motions or is it an active activity where we walk side by side with the characters questioning and understanding each decision they make with full knowledge of possible outcomes? Can cinema be, like Sudoku and crossword puzzles, a mind gym where we exercise our faculties? How much of the writer’s message is lost and is there anything worthwhile we can take with us from a good production?’

It is this and many other thoughts that drove me to write this blog about the wonders of cinema. In this blog we shall explore in more detail than your average film reviewer (read Philip Mwaniki and his ilk) character arcs and motivations, story development, themes/mauthui (high school set book style? I think not),overall production, the screenwriter’s and director’s visions as well as background on the productions among other aspects of cinema.This blog will however review only what this writer considers cinema’s classic moments and not limit itself to the latest releases as there are too many hacks already doing that.We shall also have two weekly articles touching on film and television in Kenya, a message board for comments as well as the latest entertainment news.
Overall this blog is aimed at enabling anyone who follows it get a richer cinematic experience by understanding the intricacies of the film making process and the desired ends. It will provide a platform for cinema lovers to engage in conversation not only on what is good out there but ways to improve our own industry here in Kenya and Africa in general.

I hope you enjoy this journey as much as I will.

26/02/2013

COLD MOUNTAIN FILM REVIEW

Cold Mountain is a war drama film set during America’s civil war that has all the telltale signs of a classic: it is based on a book with a riveting love story, set in a time of crisis, written and directed by the same person, told in a non-linear style, has a multi-talented universal cast, features beautiful scenery and cinematography and the dialogue,though in heavy Southern USA drawl,is what most would call ‘Higher English’ (different from but similar to Shakespearean English in its richness and poetry).

The film follows the treacherous journey of an injured confederate soldier, W. P. Inman (Jude Law) as he tries to make his way back to Cold Mountain where ‘the love of his life’ Ada Monroe (Nicole Kidman) desperately needs him as she has no one to support her following her father’s death.

The war deserter Mr. Inman’s journey back is wrought with so many challenges it feels like you are watching ‘Behind Enemy Lines’ yet he is in his own country and there is no one coming to his aid and even worse is that Ada will starve if he doesn’t get back to Cold Mountain. Riveting stuff this is. His ups and downs as well as Ada’s paradoxical vulnerability on the farm (she can talk about farming in Latin but knows not how to plant anything, she can arrange cut flowers but doesn’t know how to grow them, she can name all the major rivers in Europe but doesn’t know the name of the stream in her back yard) makes you root for his safe return. For a fleeting moment, all is well as Mr. Inman returns and the two enjoy a night of unbridled passions. Thoughts of happily ever after are however snuffed soon after as in a gunfight against confederate home guards Mr. Inman is killed bringing to life the underlying theme in the movie,‘in war we are all losers’.

One of the beauties of this film is that it avoids all clichés; Miss Ada’s plea for Mr. Inman to come to her is more out of the practical need for a man to work on the farm she has just inherited from her father (Black cove) than myopic romantic fantasies. Their courtship too is rather bizarre as Mr. Inman himself admits that words between them never come out right. Ada on her part tells her father “I have tried counting the number of words that have passed between Mr. Inman and me, they are not very many.” The ending too is anti-cliché for while the film could have gotten away with a fairy tale ending, we see a rare occurrence where the protagonist actually dies thus cementing the theme.

SCRIPTING
Cold Mountain is by far one of the best scripted films this writer has seen combining elements of a strong plot with clear character motivations, beautiful dialogue and voice overs with colourful characters not to mention use of the intricate non-linear style where the story shuttles between the past and the present; between Mr. Inman’s perilous journey and Ada’s tribulations. The pace is moderate making the intricate non-linear plot easy to follow. Sample this excerpt from Ada’s letter to Mr. Inman:

Dear Mr. Inman,
Since you left time has been measured in bitter chapters…….. This war is lost on the battlefield and twice over by those left behind……I am too embarrassed to keep taking from those who can least afford to give……. My last thread of courage is to put my faith in you. To believe I will see you again……. Come back to me Mr. Inman, Come back to me. My only request is that you come back to me.

Need anyone say more?

CAST

One of this film’s strongest suites is the variety and colour of its cast and the director’s courage in casting them. The main cast is composed of non-Americans (Jude Law-British and Nicole Kidman-Australian). Nevertheless you would be hard pressed to find fault in their performances as ‘Red Blooded Southerners’ with Nicole Kidman’s portrayal of an ultra vulnerable damsel in distress particularly believable not to mention disarming (every time I have watched this movie I just wanted to hug her and tell her everything is going to be all right).

The supporting cast too bring with them individual colour adding to the whole experience. Of particular note is Teague (Ray Winstone) the sadistic antagonist head of the confederate home guards who you want to reach into the TV set and strangle. The playful Junior (Giovanni Ribisi) and the nefarious Reverend Veasey (Philip Seymour Hoffman) whose particular brand of proclivities add welcome comic relief. Ruby Thewes (Renee Zellweger) brings the screen to life with her brooding tomboy performance and countryness all of which earned her a deserved Academy Award in the Best Supporting Actress category.

THEME
As earlier mentioned, the film’s main theme is the vagaries of war. From the first scenes we see the Union army blowing up a confederate fort but in their subsequent charge on the fort they end up killing each other in a stampede even before the enemy fires at them.

Ada is forced to call on Mr. Inman to return to her for there are no more able bodied men in Cold Mountain all of them having gone to war and only returning in caskets. Even those left behind aren’t lucky as they are constantly terrorized by home guards while deserters are shot. Sara, the young widow who gives Mr. Inman a place to lay his tired body tells him she wishes ‘all metal could be taken away from this world’ because of the loss it has brought in her life. The following day Union Soldiers threaten to r**e her and kill her baby but Mr. Inman intervenes. How many more aren’t as lucky?

Mr. Inman’s journey home is also complicated by the home guards who are a constant threat on his life with their shoot to kill order on deserters. Eventually though, even the lone beneficiaries of the war, the home guards, can’t escape the reckoning when they too fall victim to the vagaries of war after those they oppress fight back giving the film a sense of justice.

PICTURE, DESIGN AND SOUND
This is no Gladiator when it comes to picture but you get the sense that it was intentional for the film is set at a particularly murky time in the history of America hence the ‘gloomy picture’. The war scenes’ too with their ugliness and confusion I think portray the director’s disgust with war. The editing though is brilliant as you don’t get confused despite the shuttling to and fro and the tricky flashback within a flashback. I wasn’t around in the 19th century but I guess the costumes were bang on including the soldier’s uniforms and women’s dresses and hats. The music however you can almost relate to. They ingeniously focused on one particular song so that even after the movie is over you can almost hum it.

Clearly this is a movie worth having in your collection for the rarity of it wholesomeness. The performances are memorable and the intricate plot worth watching over and over again. In short, it is a clever movie by a clever director and a fine cast, a rare occurrence these days.

26/02/2013

GOOD WILL HUNTING FILM REVIEW

It’s rare when twenty-something year old actors write something so well received, let alone so profitable. Orson Welles did it with Citizen Kane. Peter Fonda did it with Easy Rider. Sylvester Stallone did it with Rocky. Matt Damon and Ben Affleck did it with Good Will Hunting.

Released in December 1997, Good Will Hunting earned $225 million worldwide on a production budget of $10 million, making bankable stars out of Damon and Affleck.

ROB RICH SEPTEMBER 12, 2011

I hope by the time you finish reading this review, you will understand why this movie marked an important milestone in cinema.

This film features five complex interrelated story lines so to avoid the risk of a long boring plot description I have distilled it thus: Good Will Hunting is a story about a young man reaching a crossroad in his life where he has to decide what his future will be. Will he keep his blue colour job and continue “drinking beer with his buddies every night”? Or given that he is a genius, will he take up one of the many lucrative jobs on offer and according to him “sit in a room doing long division for the next fifty years”. (We all at one point in our lives come to this crossroad). In the end he opts for neither as he heads to California ‘to see about a girl.’

The theme that jumps at me from this movie is the importance of being true to yourself. I can’t quite remember who but someone once said ‘it is easier for man to rush into battle and risk death than to question the reasons for his existence.’ Though a genius and he knows it, Will is content with the lowly job of a janitor because it enables him be with his buddies to whom he is drawn by loyalty. The following excerpt of Sean and Lambeau discussing Will summarizes it best,
SEAN
Why do you think he does that, Gerry?

LAMBEAU
He can handle the work, he can handle
the pressure and he's obviously handled
you.

SEAN
Why is he hiding? Why is he a janitor?
Why doesn't he trust anybody? Because
the first thing that happened to him
was that he was abandoned by the people
who were supposed to love him the most!

LAMBEAU
Oh, come on, Sean--

SEAN
--And why does he hang out with his
friends? Because any one of those
kids would come in here and take a bat
to your head if he asked them to.
It's called loyalty!
(beat)
He pushes people away before they have
a chance to leave him. And for 20
years he's been alone because of that.
And if you try to push him into this,
it's going to be the same thing all
over again. And I'm not going to let
that happen to him!

Here Prof. Lambeau questions why Will won’t accept with open arms an opportunity many would kill for. What he doesn’t understand is that Will’s past won’t allow him to let anyone into his small circle of trust let alone impose their will on him. My suspicion is Will knows Prof. Lambeau isn’t doing all this out of pure altruism. After all his name will appear on the solutions they have collaborated on not to mention he will take credit for discovering Will once he achieves his potential.

It takes Will’s best friend Chuckie (Ben Affleck) to convince him to take at least one interview but even then it is not what he really wants. In the end only Sean really provides Will an option to choose what he wants to do with his life. By eventually following Skylar to California, Will takes the toughest option available because it completely throws him out of his comfort zone showing that he has undergone a personal transformation. (Everything else comes easy in his life it was the ability to trust another human being that was most challenging and by overcoming this he now can face the world as a complete package). Judging from his smile when he gets Will’s note, Sean seems to agree with this decision because maybe just maybe he understands the feeling having been there himself in 1975. Also Will is not the only winner here as Sean too breaks out of the cocoon he had build around himself after his wife’s death and decides to travel the world.

Many people I have talked to about this movie have expressed their reservations about the ending because ‘we are left hanging’ in as far as Will Hunting’s future is concerned. I beg to differ. Noting the parallels between Will’s (Matt Damon) and Dr. Sean’s (Robin Williams) lives you can deduce that Will will end up almost the same as Sean, happily married but he won’t realize his fullest potential academically and career wise, but at least he will be happy. (The parallels being: both Sean and Will were abused as children, both posses genius level intellect and both choose to go after a girl at one of the most important moments in their lives – Sean missed the 6th game of the legendary 1975 World Series.)

Judging from the following excerpt, who do you think is the happier between Prof. Lambeau and Dr. Sean?

LAMBEAU
Now don't do that. Don't you do that!
Don't infect him with the idea that
it's okay to quit. That it's okay to
be a failure, because it's not okay!
If you're angry at me for being
successful, for being what you could
have been--

SEAN
--I'm not angry at you--
LAMBEAU
--Yes you are, Sean. You resent me.
And I'm not going to apologize for any
success that I've had.

SEAN
--I don't have any anger at you--

LAMBEAU
Yes you do. You're angry at me for
doing what you could have done. Ask
yourself if you want Will to feel that
way for the rest of his life, to feel
like a failure.

SEAN
That's it. That's why I don't come to
the goddamn reunions! Because I can't
stand the look in your eye when you
see me! You think I'm a failure! I
know who I am. I'm proud of who I am.
And all of you, you think I'm some
kind of pity case!
You with your sycophant students
following you around. And you Goddamn
Medal!
Is it Sean who is proud of who he is or Lambeau who wears his achievements on his sleeves?

SCREENPLAY, CAST, PICTURE, DESIGN AND SOUND
This movie, I suspect, was stripped bare off a fancy screenplay, extravagant designs and costume as well as given basic picture to let the audience concentrate on the Will’s dilemma. (Remember how sometimes audiences get too caught up in the aesthetics?)
I dare say even Skylar is not exactly Miss universe- at least as presented, while the characters other than Will and Sean are not designed to be memorable. It must be said that the gamble paid off for how many investments yield over 2000% returns? (I too am a Math genius but do I say.)

Did you know that this movie was originally meant to be a thriller (Will was recruited by a government agency who then tried to kill him in the original screenplay - read ‘There is no school like the old school’ to find out what a colossus mistake this would have been). I am glad Matt and Ben took Rob Reiner’s advice.
I leave you with the words of the great Socrates: The greatest gift you can give yourself is the gift of self awareness.

Compare Good Will Hunting to Tyler Perry’s Good Deeds. Happy hunting.

26/02/2013

THERE IS NO SCHOOL LIKE THE OLD SCHOOL

Is it just me or is the craft of film making dying? When for example is the last time you went to a movie theatre or bought a movie DVD and were thoroughly pleased by what you saw? (Except for Django and Les Misarables.) It’s sad to say but for me that was a while ago. Don’t get me wrong, I have watched a few that could pass as good but I just can’t remember the last time I was blown away by a movie made after 2008! So what is happening? What is causing the slow but sure demise of cinema as we know and love? What is killing the craft of storytelling and replacing it with action sequences? My two cents worth; money is killing cinema.

A cursory look at the several lists of favourite movies of all time on the film website IMDb (Internet Movie Database) reveals that over 80% of the top 100 films in most of the lists are from the 70s 80s and a few early 90s. Why, you may ask, is a 40 year old movie like The Godfather on top of every cinema lover’s list of favourite movie of all time alongside Rocky and Shawshank Redemption? With the tremendous improvement in technology, shouldn’t we in essence be making better movies? The simple answer is that instead of complimenting storytelling, the back bone of the golden era of cinema, technology has taken over and replaced the old craft. I will explain.

From the 40s through to the mid 90s, film making was treated more as an art than pure business. Directors were given greater leeway to execute their visions and emphasis was placed more on internal conflict (Taxi Driver & Good Will Hunting) than the hero’s journey that characterizes movies today. Movies were longer too back then often stretching to more than 2 hours giving characters time to grow thus their arcs were more pronounced. (Character arc is the growth in the character as seen by the difference between where a character was both physically and mentally when the movie started and where he is when it ends - For a perfect example watch Rainman and how Tom Cruise goes from being an arse to a loving caring brother). Also they focused on societal issues such as Midlife crisis (American Beauty) while sometimes remaining morally ambiguous (Goodfellas). Because there was less reliance on technology, the storylines were more complex and the narrative deeper to maintain the audiences’ interest. In short, Cinema, like art, was for a select few who understood it.

Beginning from the late 80s however, new entrants into the industry decided to milk the industry for everything its got. To maximize their profits, they had to rope everyone in (read the blue collar masses). The first step was to change the narrative so out went the complex storylines and social commentary and in came single or at most double plot narratives. All the movies they made had a feel good factor in them (happy unambiguous endings) and before long it became an unspoken rule that the hero has to triumph in the end despite all odds thus the genre defining term Hero’s Journey. Examples include Independence Day, Bad Boys and all superhero movies that start off with a reluctant hero who is goaded by the villain-they never learn not to antagonize a sleeping giant-and at the intersection of the second and third act the hero decides enough is enough (point of no return) - always because of a damsel-they take on the villain, there is a watershed moment but then miraculously the hero triumphs and lives happily ever after with the damsel.

Several key characteristics of this genre include:

i) Plenty of fireworks - each time a small pen is double clicked or two cars collide we end up with a mushroom cloud that dwarfs Hiroshima. One man (sometimes woman) with no gun kills five men with guns. Bombs are always detonated at the very last second and the hero’s car will stop right at the edge of a cliff while the villain’s goes over.

ii) Beauty over talent – the hero is always dashing and the damsel a solid 12 on a scale of 1-10. She will always walk down a stairway, preferably in a red dress where upon seeing each other they will lock eyes and he will mumble something inaudible.

iii) There is always a sequel because more juice can be milked from the story never mind that the sequel is a carbon copy of the original. (Hangover) Pray why would you ‘invite’ the person who screwed you over the last time to screw you all over again? And you are planning to do it a third time! Don’t tell me it is just a movie.)

iv) They don’t go beyond the 100 minute mark. This is because to maximize the number of shows in a day at movie theatres, an artificial cap has been put at just under 2 hours hence no time for character development.

v) The leading men are always faces you are familiar with, Will Smith, Brad Pitt, Samuel L. Jackson, Denzel Washington and Angelina Jolie. No prize for guessing why. The trailers too are made to make you think ‘this is the greatest story ever told’ only for the movie to leave a bitter taste in your mouth.

vi) They always perpetuate stereotypes. How much do you want to bet that if it is a nuclear apocalypse movie, the blame will be placed on Russia. Crimson Tide and Sum of All Fears had dibs on this plot, move on! There are over 15 countries with nuclear weapons. If it is a spy flick it is the CIA hunting down one of their own agents gone ‘rogue’! If I watch one more such movie I will gorge my remaining eye out…… I already gorged my right eye out after watching Denzel’s Safe House. Piece of crap that was.

All is not lost though for film’s loss has been television’s gain. Lately television (Notably HBO) has picked up the mantle and we are witnessing a return to true story telling (Game of Thrones, Boardwalk Empire and Tru Blood to mention but a few). This new format allows for character growth as described by Terence Winter the creator of Boardwalk Empire thus,

"I look at the feature films that come out, and by and large, 85 percent of them are things I wouldn't in a million years sit down and watch. The more interesting storytelling is happening on television, by a long shot. One of the nicest things I ever read about our show was that a critic felt Boardwalk Empire could be the beginning of the blur between television and cinema, because the production values are so high and the storytelling is so compelling. "

For those of us not caught up in the senselessness of The Twilight Saga and other crimes against cinema, this is a welcome relief.
MY TOP 10 OLD SCHOOL MOVIES of all time

1) GOODWILL HUNTING
2) THE GODFATHER
3) THE LAST DON
4) SHAWSHANK REDEMPTION
5) AMAGEDON
6) ENEMY OF THE STATE
7) BRAVEHEART
8) GLADIATOR
9) REMEMBER THE TITANS
10) LEGENDS OF THE FALL

What's yours?

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