Movie Review: Darren Aronofsky’s ‘Mother!’


By Conor White-Andrews

It is at the beginning of the sequence that ultimately closes Darren Aronofsky’s “Black Swan” that Natalie Portman, our skeletal Swan Queen, sinks into madness. Returning to her dressing room after leaving the stage in a fit of despair, she finds a taunting Mila Kunis sitting at her mirror, retouching the makeup around her eyes, dressed as the Black Swan.

“It’s just,” says Mila, sickly sweet, black to Portman’s white, “I’m worried about the next act.”

At this point, the camera moves away from the face in the mirror to the body in the seat, and now the face confronting Portman is her own. The proceeding act of violence results in a stabbing with a shard of glass from a broken mirror—a shattered self—at which point the wounded reflection morphs back into Mila Kunis. Portman, now truly the Swan Queen—black and white—returns to the stage to complete the performance. What we see there is surreal; her slender arms sprout thick black hair and her eyes are blood red. Her return to the dressing room reveals no dead body, merely a smashed mirror and a bloody fragment of glass protruding from her own stomach. The scene confirms what we already suspect: that what we have been seeing entirely through the interior world of the character. This is a common theme for Aronofsky, who, in his films, often presents the outside world—the physical—as an aggressor against his characters’ interior lives. The two are shown to be at odds, to be utterly incompatible.

His latest film, “Mother!,” opens with a scene of ruin: a mass of simmering embers behind the closeup of a woman’s scorched face. At the time I did not think that it was Jennifer Lawrence, and after watching the film, it would make sense that it not be. We do meet her, however, almost immediately afterwards. The film, after showing a house destroyed by fire miraculously breathing back into life, suddenly cuts to our central character, the eponymous “Mother.”

Protagonist, I feel, would be the wrong term. Instead she is simply our lens, our filter, through which to experience the film, the camera constantly hanging on her shoulder, or directly from her POV. She jolts awake. This, now, is the beginning of the film, just as it is the beginning of the line for Lawrence’s “Mother.” Sitting up, looking clean and virginal, unspoilt and not yet tainted by the external world, she exclaims, fearfully, a single word: “Baby?” We watch as she rises and descends, alone, through a grand house with long wooden floorboards, a warm morning glow filtering in through the many windows, before being startled by Javier Bardem’s unironically biblical “Him.” They are husband and wife, we learn, and this grand house is their paradise.

The first half of “Mother!” follows a fairly conventional narrative line. We have our two central characters in their vast new home, a home that we soon gather Lawrence’s character has refurbished practically alone, her poet-husband preoccupied with “greater” things—but clearly, where life should be glorious, something is wrong. Her husband is uninterested, condescendingly dismissive, and Lawrence’s Mother is suffering. There is a strange, debilitating, high-pitched ringing in her head and the house, when she grazes a wall or touches a tap, presents itself to her as living being. She feels its heartbeat, sees the bloody veins protruding. Telltale signs of trouble, certainly, only furthered by the arrival of first Ed Harris, who is wonderfully unaware and equally painful, and then Michelle Pfeiffer, in what is perhaps her greatest ever performance. At no point does the audience believe, unlike the over-welcoming Bardem, that the entrance of these figures is an innocent occurrence—there are no adjoining roads visible at any moment. There is no reason for them to be there, and their very presence is laced with menace. By the time Pfeiffer and Harris’ sons arrive, rapidly playing out a deranged recreation of Cain and Abel, the tension is long past breaking point. Lawrence’s “paradise,” her Eden, has been fatally disturbed.

Yet at no moment is the film unaware of itself as film. At no stage is cinematic device unaware of itself as device. There is a constant sense of unreality, and the opening half plays out almost like theatre, accompanying heavy footsteps over the house-as-wooden-stage and all. Our characters’ behaviour rejects naturalism—in their logic, their speech, their questions asked—and we are never moved far away from the notion of illusion, of the curtain behind the stage, of that which is unseen. Pfeiffer and Harris’ husband and wife function as instigators, as weapons utilised to provoke questions and to create tension. They are foil to Lawrence’s anxious Mother and Bardem’s solipsistic Him. Their statements are comments on the movie itself, with Pfeiffer in particular:

“This is all just…setting,” she tells Lawrence, regarding the house. “You’re like a child, breaking things into little pieces to control them.”

The narrative does not feel real, but Lawrence’s interior life does; when she encounters Bardem aiding a naked Ed Harris as he vomits into a toilet, suddenly clasping a hand over a bloody lesion on his back, we do not know if this is actually happening. Her Kafkaesque nightmare is the films guiding light.

The murder of one son by another leads to chaos, and I have never seen Kafka so fully realised cinematically, as in the “wake” scene that follows. But it is from this that the film turns, as Lawrence becomes pregnant. A baby is made, and, not only this, but a book—a piece of art—is born.

“I know what to say,” says Bardem, furiously forcing pen to paper. “I just have to find the right words.”

Order, though in no traditional sense, is forged from chaos.

What is clear about “Mother!” is that it is operating on various levels at all times, and the viewer is forced to consider this multilateralism. Even the architecture of the house itself, which is symmetrical at every point, suggests this. Of course, the biblical aspect—which is hopelessly entwined with an aggressive commentary on Man’s treatment of the environment, of Mother Earth—is overwhelmingly apparent, but is perhaps the least engaging reading.

There is something depressingly tedious about a Hollywood condemnation of this sort: one only has to listen to the acceptance speeches at this year’s innumerable award shows to gauge quite where they’re at, with regards to the general population. But “Mother!” demands that you read it in a number of ways: as our relationship with the planet; as the newly christened mother within the home; as the artist’s internal struggle against the physical; as the individual within a digitised society that renders it impossible to avoid the external world, the constant bad news in the Age of Trump (something heightened by the fact that my two friends and I had to wait outside the cinema at Fulham Broadway before entering because of a bomb scare). There is something eerily "Rosemary’s Baby" about it, as well as shades of Katie Kitamura’s stunning 2013 novel Gone to the Forest. It is a movie inexorably linked to the problems of our time, and, in terms of idea along with its form, I cannot imagine a more modern film.

More stimulating is Aronofsky’s exploration of the ineffably complex nature of the creation of a work of art, and of our relationship to art as a whole. What occurs after Lawrence’s child is born is surreal, bizarre, and ranges from pure farce—with another nod to Kafka—to the impossibly grotesque. Bardem’s poet, in the first half, cannot write. He is out of ideas, and drained of inspiration. One of the reasons for his being so inviting to the obviously crazed Harris and Pfeiffer is that he is desperately searching for something, for anything, to spark him out of his funk. Soon, when it comes, he just needs “to find the right words.”

And in doing this Aronofsky makes a comment of his own, and does so remarkably. After a strong career with various successful films (“Pi,” “Requiem for a Dream,” “The Wrestler,” and “Black Swan,” among others) it seems that he has turned the camera inwards. “Mother!” is the depiction of an artist’s desperate search for a new means of expression. If the true aim of art is to communicate, to express something, then ultimately it is only in the abstract that “Mother!” is able to achieve this.

The movie sinks into the abstract, after pursuing a more conventional narrative in its opening half, to tackle subjects, which cannot possibly be addressed in their multitude in any linear way. At all moments is Jennifer Lawrence’s virginal Mother a creation, a lens for the viewer. Her fate is inescapably attached to that of the house, our setting.

“Nothing is ever enough,” Aronofsky said in a recent interview. “I couldn’t create if it was.”

At the end of the movie, when the house is destroyed by fire and we see the process recommencing, now another woman awakening in place of Lawrence, this is proven to be so. It is the ultimate examination of artist as Creator, of man as God.

“Mother!” defies singular meaning. Instead the film embraces the many levels on which it operates, as great art should, and forces its audience to engage with, or to tackle, intense ambiguities. Aronofsky’s creation sees, shows, and illuminates topics where the general population refuses to open its eyes. As a film, it violently rejects the notion of binary. Ultimately it is an incredibly visceral experience—a vicious, unrelenting assault on our intellect as well as our senses, as I imagine its Creator intended it to be. Certainly, I have never seen a film like “Mother!”

Movie Archives

Nantucket and Eric Dane Anchor John Shea’s Romantic Thriller ‘Grey Lady’


By Dave Pezza

The humble island of Nantucket is the true star of John Shea’s latest project “Grey Lady.” Shea—best known for his roles on “Lois & Clark: The New Adventure of Superman,” “Gossip Girl,” and “The Good Wife”—delivers a sturdy thriller that follows Boston detective Doyle, played by Eric Dane (“Grey’s Anatomy,” “The Last Ship”). Doyle retreats to Nantucket after the violent deaths of his sister and partner/lover at the hands of a serial killer that has pointed the crosshairs at everyone the monosyllabic cop loves. 

The island, though, stands out as a main character on its own. Shea forgets none of Nantucket’s gorgeous ocean vistas, quaint shoreline shacks, eerie fog, or beachfront storms. He uses the island’s best aspects to draw the audience into its insular community as Doyle returns to the place he cherished as a boy. The present-day Nantucket is marred in his eyes by the rogue investigation that has consumed his life, despite the good people he finds that want to help him both professionally and personally. Adrian Lester (“Primary Colors,” “The Day After Tomorrow,” “Hustle”) plays police officer Johnson, Doyle’s somewhat reluctant partner in crime, and Natalie Zea (“The Detour, “Justified”) skillfully inhabits the role of Melissa Reynolds, an alluring and enchanting local painter.

“Grey Lady” stays true to its genre. Packed with suspense between the island’s wide shots, Shea and his writing partner Armyan Bernstein touch upon mental illness, childhood drama, loss, alcoholism, family ties, and even managed to sprinkle in a little torture and cult-like ritualistic homicide. From start to finish, “Grey Lady” offers a dark ride that constantly leaves you not asking “who?” but “why?” 

With the exception of some awkwardly paced transitions, dissonant dialogue, and perhaps one plot twist too many, “Grey Lady” highlights Eric Dane’s formidable talent as an action/drama leading man, Natalie Zea’s uncanny range, and Shea’s masterful sense of suspense. Not to be undervalued are Chris Meyer’s haunting and remarkable performance of the gruesome and capable Perry Morrison, and the efforts of the beautiful and talented Carolyn Stotesbery, who plays Meyer’s shadowy and emotionally-damaged counterpart. All of these facets come to head in the film’s most accomplished scene: Doyle’s suspenseful game of cat and mouse with the murderer at a bed and breakfast as Melissa is held captive as bait.   

“Grey Lady” opens nationally on April 28 and is well worth a Friday night viewing for lovers of noir, a touch of poetry, and a dash of bittersweet romance.

Listen to our podcast interview with writer/director John Shea:

10 Movies That Should Be On Your Radar: March 2017

Much like our book series, "Movies That Should Be On Your Radar" aims to share indie darlings, worthy blockbusters, long forgotten gems, and rewatchable classics with aspiring screenwriters and authors alike. Feel free to share your own favorite flicks in the comments section, on our Facebook page, or by tweeting us @WritersBone.

“Kong: Skull Island”

Sean Tuohy: My father bought me the 1933 version of “King Kong” and it terrified me. The giant, landmark-climbing ape has a special place in my heart. "Kong: Skull Island" did it right. It was fun and exciting; it knew what it was and what it needed to be. The filmmakers added enough backstory for us to care about the characters, got into the action quickly, and kept it up. The biggest surprise was John C. Reilly as a World War II pilot stranded on the island. He was played up for laughs in the trailer, but he becomes the heart of the movie. The character has depth, and, besides a couple of expected jokes, he is a very heartfelt and wonderful character.

“Get Out”

Mike Nelson: “What’s your favorite scary movie?”

You should be picturing Drew Barrymore innocently throwing a Jiffy Pop on the stove right now. Her off-white sweater hanging loosely over the counter, a cordless landline phone pressed against her ear. That phone soon to be a symbol of terror, that well-done Jiffy Pop soon to be taken off the stove a moment too late by her childless parents, that sweater soon to be the only buffer between her flesh and a slashing blade.

The answer to that question, for me, was “Scream” from the moment I heard that line. I had heard “Get Out” would make me question that answer, so I bought into the hype and bought into the 7:30 p.m. showing on a Monday night that may or may not have begun at TGI Fridays. After abusing my senses with Oscar nominees for the previous month, I was excited to enter the theater with no hopes but to be entertained.

“Get Out” delivers. It delivers as a scary movie, it delivers as a comedy, it delivers as a social commentary. Would you believe me if I said I enjoyed it more than 75% of the “Best Picture” nominees from this past Oscars? Well, you don’t have a choice (I did). Forget all you think you know about scary movies. Forget all you think you know about comedies. Just know that for many people in the theatre, the answer to “What’s your favorite scary movie?” is being answered on the screen.


Daniel Ford: I watched “Moonlight” just before a couple of old people at the Oscars botched the film’s coronation.

Mike Nelson—who drunkenly (I’m assuming) sent me a slew of potential “Moonlight”-related tweets too provocative to ever be published—said on Oscars night that the first third of the movie might be the best movie of the year. I can’t deny that, especially considering Mahershala Ali’s breathtaking performance, but the third, and final, act in the film hit me just as hard. The grown up Chiron visits his childhood friend/crush Kevin at the diner where the latter is working in obscurity. Their troubled bond and unrequited love leads to a tense and tender finale, one that was filmed with a hint of potential violence and heartache.

There was plenty of great storytelling on display at this year’s Academy Awards (again, despite the bloated, inert telecast), but “Moonlight” glows far above the rest.

“Beauty and the Beast”

Stephanie Schaefer: I rounded up my #girlsquad and purchased my $19.25 ticket to see “Beauty and the Beast” in 3D well over a month in advance. Some would call that a steep price to pay, but can you really put a cost on the magic of kicking up your feet (reclining seats for the win) and feeling like a kid again? No, you can’t.

Disney’s latest live-action thriller was highly-publicized to the point where I started to wonder if it would live up to its hype (and this is coming from a former Disney publicity intern). Let’s just say I didn't regret dropping a cool $20 on the rebooted fairytale, or the $13 “glass” of movie theater wine for that matter.

The film was filled with everything I’d hoped for: catchy Disney tunes (that I can’t stop humming), standout costumes, modern special effects, and, most importantly, 2-plus hours of nostalgia. Plus, I appreciated the small updates that made this “tale as old as time” a bit more feminist and open-minded. 


Mike: When I left the theater after “Logan” there was something inside me saying I should feel sadder.

The thing about sadness is it’s all in the eyes of the beholder. The other day I was walking through the mall next to my office—on my way back from a standard-issue middle class 2 p.m. Starbucks run—and I saw a woman shoveling mall Chinese food into her face on a bench in the middle of the hallway (you probably envisioned this woman as overweight because I said “shoveling,” but she was not). To me, that would be a sad moment. For her, it may have been the highlight of the week. A forbidden treat in the midst of a “me” day at the mall, perhaps. Interpreting emotions isn’t an easy game to play. Trying to figure out how you “should” feel is even harder.

But interpreting greatness is a lot simpler. And knowing when you should think something is great is just about as easy as it gets. You don’t even need to justify it, you just need to think it and assert it. Proof:

Me or my friend Brendan and basically no one else: The McChicken is the greatest.

Some jerk loser: What, why?

MoMFBaBNOE: Because it is.

SJL: Oh.

That’s pretty much it. You just have to feel it and communicate it and then it becomes law.

“Logan” is a great movie. I know that. It takes the Wolverine character and spins him under a jeweler’s loupe while some guy calculates the worth of a diamond. The audience peers through and judges. The supporting characters peer through and judge. Logan peers through and judges. Time peers through and judges. What good is this man? What purpose does this man have? Did he do good things in his life? Might we have been better off without him? These questions aren’t just held up against Logan himself but against a handful of characters who have past actions to answer for.

Someday we’ll all have to answer for our actions or inactions, for better or for worse. Have to own up for who we are, who we were, and the future we may have put into motion by existing. You can scale that to something as grand as the world as a whole or to a small, close group of people in your life. The ability of “Logan” to not only show you that contradiction, but also make you think about it, is exactly what makes it one of the most brilliant “superhero” movies ever created.

Listen to Sean Tuohy's recent podcast with "Logan" screenwriter Scott Frank:

“This Is Spinal Tap”

Caitlin Malcuit: If you're scrolling through Netflix one evening and should happen upon “This Is Spinal Tap,” your initial reaction should be, "Oh my god, 'Spinal Tap' is on Netflix!" followed by watching “This Is Spinal Tap.”

For the uninitiated, "This Is Spinal Tap" is a rockumenatry mockumentary. It follows the titular heavy metal band along an anemic U.S. tour, churning out a million quotable jokes—and dead drummers—as everything falls to pieces. One doesn't have to be a metalhead to appreciate “This Is Spinal Tap” and its acerbic look at the music business and the pretentious, washed up players.

Technically written by stars Christopher Guest, Michael McKean, Harry Shearer, and director Rob Reiner, the beauty in the movie's humor is that most, if not all, of the lines are ad-libbed and delivered with deadpan cluelessness by the Spinal Tap crüe (“They said the album cover is a bit sexist.” “Well, so what? What's wrong with being sexy?”). This is the style that set the precedent for Guest's future features, including “Best in Show,” “A Mighty Wind,” and “For Your Consideration.”

A lot is crammed into a humble 85-minute runtime, so it's worth keeping “This Is Spinal Tap” in the queue to catch what you probably missed the first go around. It'll grow on you faster than the cold sore on David St. Hubbins' mouth. 

“Everybody Wants Some”

Sean: This (soul) sister movie to “Dazed and Confused” and “Boyhood” will put a smile on your face and wistful memories in your mind. Following the first three days of a college freshman baseball player, the movie is filled with characters that you met in college. Filmmaker Richard Linklater is able to remind us of college: free-spirited days filled with no responsibility and with nothing but bright futures ahead.

“Shakespeare in Love”

Daniel: I held a long grudge against “Shakespeare in Love” because it won an Oscar over “Saving Private Ryan.” It turns out I’m stupid.

Pithy, rapid-fire dialogue, #writerproblems, and a sassy, curmudgeonly Queen Elizabeth makes this film a literary feast for the eyes and ears. While a pre-Goop, pre-conscious coupling Gwyneth Paltrow won an Oscar for her once-in-a-lifetime performance, Joseph Fiennes’ twitchy and tortured portrayal of the Bard of Avon is tops for me.

My favorite scene is when Shakespeare is directing on stage, and “the money” walks in and inquires of Philip Henslowe, The Rose’s manager,  “”Who is that?” Henslowe dryly replies: “Nobody. The author.”

We’ve all been there, amirite?


Daniel: Ava DuVernay’s documentary will haunt you. And it should. It is the definition of a necessary film.   

An engaging, informed, angry, intelligent, and moderately sleazy (in the case of Newt Gingrich and Grover Norquist) group of academics, activists, and politicians discuss the sordid (and racist) history of mass incarceration in the United States. You’ll see the Civil Rights movement and Black Lives Matter in a whole new light. The documentary will force you to ask, “How far have we really come?” and “Where are we going?”


Adam Vitcavage: Recently, a subreddit I prowl asked redditors for their top five favorite films. Luckily, the hashtag #7favfilms was popular a few months back and I kept the note in my phone so I can share my list on a moment's notice. Of all of the films on that list—“Before Sunrise,” “Chasing Amy,” “Clue,” “Dark Knight,” “Good Will Hunting,” “Royal Tenenbaums,” and “School of Rock”—most people wanted to discuss “Clue.” It turns out not everyone on this planet has seen or even heard of the film. I was flabbergasted.

The 1985 cult classic comedy based on the board game came out at a time before Hollywood was out of ideas and making films based on board games (see Rihanna’s “Battleship”). This was a bold move that paid off. “Clue” has a stellar cast of comedic geniuses. Eileen Brennan plays a pretentious Mrs. Peacock while Michael McKean plays the neurotically hilarious Mr. Green. Everyone in between is equally top notch. There are so many one-liners that fill this movie—the best being the flames on the side of Madeline Kahn’s Mrs. White’s face—that I quote constantly.

Only a film based on a board game has the balls to produce three endings that were shown randomly in theaters. Filmgoers had no clue if they were seeing Ending A, B, or C when they walked into it. How outrageous is that? Luckily the DVD has all three that you can either play randomly or—and most recommended—watch all three unfold at the end of the film.

The murder plot of the film is just a red herring. You need to see this film to understand comedy at its most basic form. All you need is a group of genius comedians in a room, then watch magic happen.

Wait…it’s awful that I only mentioned three members of the cast. I’m giving a standing ovation to the rest now. Thank you Tim Curry, Christopher Lloyd, Martin Mull, and Lesley Ann Warren for this extremely rewatchable film that taught me how many bullets were in a revolver.

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Why I Rolled My Eyes Watching ‘Jason Bourne’

By Sean Tuohy

Editor’s note: Sean Tuohy loves actions movies. They are just built into who he is. When they are done well, there’s no one that giggles with glee more than the Tuohy Monster. When he hates a movie, or feels like a movie was lazily put together, I get a string of scathing emails. As you read this essay I cobbled together from a recent thread, imagine Sean foaming at the mouth and shaking his fist.—Daniel Ford   

I saw “Jason Bourne” the other night.

*rolls eyes* *shakes head*

The story was weak and forced. The dialogue was bland and just used to move the story along. The actors seemed bored. Tommy Lee Jones was just playing himself. Matt Damon was good, but there was no growth. It was a big let down from the first three, which were smart and featured great character growth. Apparently, this movie’s editor was not around either. Scenes started too late or ran too long.

I get that the first three films were so well done that it would be hard to be that good again. The thing is that the first three films are all about reaction. How does a man with no memory of himself react to learning he carries all these deadly skills? The second asked, how does a man react when you take away his life? The third, how does a man react when he has nothing left and has been pushed too far?

In this film, it was, "let’s see him hit people.” Bourne is shown to be some kind of bare-knuckle boxer living off the grid. Why? Because we can see him hit someone really hard. In the last film, he was given a chance to leave his life behind him and start anew. Why not have him being a farmer or something nonviolent? This way when he is pulled back into the world of violence there is a struggle. Instead, we just see a bland and broken character go chasing someone because of some half-assed reason. 

Bourne is not meant to be a fighter. He is a trained killer and is very deadly but he wants no part of that life. He doesn't like that part of himself. That is what the other three films were showing us. In “Jason Bourne,” he fights because he can. Again, he's a useful man and could get a job doing anything in any part of the world, but instead they strip away the human and just make it so he simply fights.

"Jason, your father something, something, something."

"Oh no. I must punch people."

There is barely any backstory given to any of the characters. The only one to get a backstory, and one of the few characters that I wished was shown more, was The Asset, a cold-blooded killer that Bourne unwittingly sold out years before. Tommy Lee Jones’s character is so paper-thin. He is the head of the CIA and is cold hearted. I've seen that before. We all have seen it. Give him something else. Make him lovable so when it turns out he’s bad, it hits us harder. Or make him a woman who is lovable. Just give me something else. I've seen this movie.

This is the film; this what they give us now instead of crafting a story around complex human beings. We had a man who struggled to understand himself and his deadly skills, and now we have a guy who has nightmares and punches people.

Thanks, Hollywood.

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The Top 5 Films of 2015

By Sean Tuohy

Editor’s note: Sean’s 2014 list was an eclectic mix of Oscar winners and pleasure rides, and this year is no different. The man knows movies better than anyone and picked some great ones from 2015. I’m just thankful “Terminator Genisys” didn’t make the list. It was a close call everyone, but we dodged it!—Daniel Ford

“Top Five”

Chris Rock wrote, produced, and directed this perfectly well balanced comedy that fell under radar. The stand-up comic vet blended together humor, heart, and well-rounded characters. The film follows a flawed comedian during one day as a reporter questions him about his craft (as well as his love life). Brutally honest, but charming and loving, Rock’s “Top Five” offers a candid look into the mind of a comedian and what it means to be funny.

“Ex Machina”

Alex Garland, the writer of “28 Days Later” and “Sunshine,” took his first shot at directing and created one of the most original and creepy sci-fi films in the last 20 years. A young computer programmer wins the chance to work with one of the wealthiest and smartest computer designers but discovers that he’s been pulled into an unnatural experiment with A.I. The imagery alone is jaw dropping, borrowing from Kubrick’s “The Shining” and "2001: A Space Odyssey." With one foot resting in reality and the other stepping into the realm of possibility, this film will keep you awake long after you finish watching.


Based on the true story of The Boston Globe’s investigation team’s uncovering of the Catholic Church’s sex scandal, “Spotlight” offers a look into the not-too-distant past. With Michael Keaton delivering a strong lead performance and a stellar Mark Ruffalo backing him, it is nearly impossible to pull your eyes away from the screen.

“The Martian”

Author Andy Weir’s surprise hit novel about a witty astronaut left behind on Mars had readers falling in love across the globe, but when directing god Ridley Scott brought it to the bring screen this year the whole world jumped on board. Even President Obama said it was one of the best films of the year! With Matt Damon playing the cheerful and resourceful Mark Watney, the film showcased the best of Hollywood filmmaking: remarkable sets, strong performances, and a well-written story. You could not ask for anything more.

“Mad Max: Fury Road”

Nearly 30 years after bringing us to the wastelands to fight for gasoline, Aussie filmmaker George Miller brought us back and holy mother god were we thrilled to return. Simple, gritty, and turbo-charged, the fourth “Mad Max” film was a crowd-pleasing monster. This is not a film you’ll spend a lot of time talking about because you’ll be busy re-watching…re-watching…and re-watching it.

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Why 'Die Hard' Is the Ultimate Christmas Movie

By Sean Tuohy

It’s that time of year again when you put on a god-awful sweater, drink booze-heavy eggnog, and celebrate an obese man breaking into your home and eating your offering of store-bought cookies and soy milk.

Christmas is a wonderful time of the year, unless you’re elf because those tiny North Pole slaves are working unpaid overtime to manufacture your ungrateful kids’ gifts. This is a time when we come together and watch movies about the Christmas spirit.  There are many Christmas movies out there, but the one film that sums it up the holiday best is a little classic called “Die Hard.”

It’s the classic Christmas tale of an off-duty cop getting trapped in his wife’s office building during a terrorist takeover. Barefoot, outnumbered, and truly hating Twinkies, John McClane must save the day and, in essence, save Christmas.

Here are all the reasons I could think of for why “Die Hard” should be your go-to holiday movie for years to come:

It Shows the Importance of Being Kind and Helpful

This time of year, you have to be nice or else…a fat man in a red suit will hunt you down. With that thought in mind, limo driver Argyle helps his fellow man by giving McClane a lift from the airport and….smashing his car into the terrorist getaway van and punching a man in the face. True holiday spirit.

Don’t Be Mean

Terrorist Tony learns you shouldn’t be mean during this time of year after he chases our hero under a table with a machine gun and then gets shot in the crotch. 

Be Creative

You could buy your gifts or you could handcraft them like some kind of Third World family. If decide on the latter, you have to be creative just like McClane when he uses a corpse and a Santa hat to mess with the terrorists’ leader. Don’t forget how to use tape to hide your pistol on your sweat- and blood-soaked back.

Be Grateful

You have to enjoy the little things, just like McClane enjoys climbing through an air duct. “Now I know what a T.V. dinner feels like.” See, that’s a grateful man.

Don’t Lie

Hey, tell the truth. No one likes a liar, mostly because their pants are always on fire. Hans Gruber, the mastermind behind the terrorist plot, is a liar. He lies right to Eliis’ face and then shots him in that face.   Don’t worry, he gets what he deserves…no, not a fair trial followed by a prison sentence, but a free trip out of a window. Still better than your pants being on fire.

Being With Family

The most important part of the holidays is spending time with your loved ones. Even if both of you are in shock after a traumatic event and soaked in blood, it’s good to reconnect with one another.  

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Why Sony Should Not Have Pulled ‘The Interview’

By Sean Tuohy

Apparently, Sony had a gun cocked and pointed at its head. The gunman was a cold-hearted mastermind…actually, it was (allegedly) a country that can't even feed its own people. 

On Dec. 17, Sony decided to pull the upcoming comedy film "The Interview,” which stars Seth Rogen and James Franco, because of safety concerns. The film tells the story of two American television hosts headed to North Korea for an interview who are recruited by the CIA to assassinate the hermit country’s leader Kim Jong-un.  Hackers, who U.S. officials have identified as originating from North Korea, leaked footage of the film and threatened anyone who saw it. As of now, Sony will not show the film at all: no theaters, no VOD, no DVD.

It’s understandable that the studio is concerned about filmgoers’ safety. Potential harm to movie fans was too great a risk to take on what appears to be a slapstick/stoner comedy. However, this threat appears to come from North Korea, a nation that we really know nothing about. What we do know is that the country's citizens live under the iron grip of an overweight guy who may or may not have fed his uncle to angry dogs.   

Sony should have called the bluff.

I’m not dismissing the fact that North Korea could have a lot more power than we think. I understand it’s a nation with resources and means and likes to test nuclear weapons for fun, however, it is also a country that didn’t let its male citizens enjoy The Fappening.  

The ripple effect of giving in to terrorists, who may or may not be sitting in their mother’s basement right now blogging about potential Oscar snubs, is going to be felt for years to come. Studio heads are going to be extra careful when greenlighting a project, which means worthy scripts will be passed up for being “too risky” or having the potential to “upset someone.”  It’s already hard enough to get a film made in today and age, but now it is going to be even more difficult.  When a group of people doesn't want something shown, they are going to hold Hollywood hostage. 

"The Interview" is a Hollywood comedy, and it should be treated that way.

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4 Nerdtastic Moments From the New Star Wars Teaser Trailer

By Sean Tuohy

On Black Friday, the legions of Star Wars and nerd let out a deep squeal of joy as the first teaser trailer for the new Star Wars film was released. 

Fans of the saga were overjoyed because it looks like we’re getting a real Star Wars movie (unlike the abominations that are the prequels). The trailer shows just enough nerd cleavage to get us all excited.

So let’s list the top four moments that made us jump with joy.

X-Wings Are Back

Who hasn’t pretended to fly one of these bad boys in a make believe battle against the Death Star? They return to form by flying over the water in perfect formation, ready to go blow something up.

Is This The Droid We’re Looking For?

I have no idea what the hell that thing is, but it looks awesome. It’s rolling down the street, making beeping sounds, and looking cool.

A Black Stormtrooper

Thank goodness there is another black person in this galaxy and he’s a stormtrooper. I want to know who this dude is, why he’s in that uniform, and what the hell he’s so scared of? Are there angry racists in space? Is it Luke? Is Luke a racist?

The Falcon Soars

The coolest spaceship in the galaxy is back and man were we thrilled to see her. The mighty ship appeared in the last seconds of the trailer. Which one of you 40 million people that have watched the trailer so far didn’t fist pump like a small child and point at the screen and scream “Oh my god!”?  Were you like whiny Luke in “A New Hope?” If you uttered, “What a hunk of junk,” then you need to be cast into a dune on Tatooine that’s used as a toilet by the Hutts. Let's hope we see a graying Han Solo at the controls sooner rather than later. 


Whoever made this George Lucas version deserves a Jawa parade where Jar Jar Banks is sacrificed at the end in his honor.

Remembering Director Mike Nichols

Mike Nichols

Mike Nichols

By Sean Tuohy

Mike Nichols knew film. The director—who died Nov. 20 at the age of 83—was a true master behind the camera.

Since the early 1960’s, Nichols brought audiences very human stories. From his classic hit ‘The Graduate” to 2007’s “Charlie Wilson’s War,” he knew how to get the most out of his actors. Born in Berlin, 7-year-old Nichols and his family fled Germany just as World War II began. The director grew up in and around New York City, and his first feature film was “Who is Afraid of Virginia Wolfe.” He would also win eight Tony Awards!

For nearly 50 years Nichols brought inspired filmmaking to the screen. Below are some of his best.


Based on the true events surrounding the death of Karen Silkwood, Nichols’ edge-of-your-seat thriller featured his expertise in conveying real human moments. Nichols truly put you through the mental trauma that the main character went through.

“Primary Colors”

Funny, witty, and snipping at the edges of the political world, this fact-based story follows a presidential race. Nichols work with John Travolta proves that given the right direction, the “Saturday Night Fever” star can do captivating work on screen.   

“Charlie Wilson’s War”

This is one of the best and funniest movies about the Cold War. Nichols tells the story about a charming heavy drinking U.S. Senator who helps fight the Soviet Union in 1980s Afghanistan. With Tom Hanks and Phillip Seymour Hoffman lighting up the screen as the unsure duo, this movie is hard not to love.

“Regarding Henry”

If this film doesn’t warm your soul it means you’re dead inside. This movie has such heart that it makes anyone with a pulse tear up. The story—about an awful family man who loses the ability to care from himself after a shooting—is anchored by one of Harrison Ford’s best performances as he learns to rely on his family in order to recover. He’s not the same man at the end, and you won’t be the same person after you cry for a good hour after the credits roll.

“The Birdcage”

This is one of the funniest movies ever made. Period. It is impossible to find someone on this planet that hasn't seen it and didn't laugh. The movie is heartfelt and moving, and puts a twist on traditional core family values. It’s smart, snappy, and pretty ballsy considering the year it came out. This might go down as Nichols’ finest film and for good reason. 

12 Movies About Writers We Love

By Daniel Ford

Sure, you could spend this rainy day in the Northeast brooding about how your short story is going nowhere (it’s not just me, right?) or you could enjoy one of these movies featuring writers struggling with their craft.

You’re right, that’s a grim choice. But these films are still great. Feel free to share your favorite movies about writers in the comments section or tweet us @WritersBone.


Admit it, part of you wishes you had a fan this dedicated to your work.

Midnight in Paris


Wonder Boys

Save multiple copies of your work...

Before Sunset

Every entry in Richard Linklater’s “Before” series is beautifully written and acted, but the second installment features the star-crossed Ethan Hawke and Julie Delpy at their best. They run into each other in Paris, long after Delpy character doesn’t show up to meet Hawke at the train station following their chance meeting on a European trip. Hawke's character becomes a writer, of course, and is promoting his novel based on their experience. The pair had chemistry in the first movie, but with the addition of their character’s disappointment and what-if angst, they burn the screen down in this one.

I really hope this guy didn’t write this story within a pop song idea. It sounds terrible.

One Fine Day

It’s because of this movie that I wanted my face on a city bus. Young Daniel had a lot to learn about the newspaper business.

Also, this flick features great New York City porn.

Almost Famous

“Be honest and unmerciful.”

Finding Neverland

Failure does wonders for boosting creativity.


Truman Capote would have broken social media.


He doesn’t like talking about his novel or drinking Merlot. Noted.

Fear and Loathing in Las Vegas

I reference this movie at least once a day. Usually it’s because I’ve been talking to myself.

The Shining

This is the way Stephanie Schaefer reacts to my work.


If this doesn’t happen to you every morning, you aren’t doing it right.

Ace in the Hole

$250 a week! Sold!

“If there’s no news, I’ll go out and bite a dog.” Genius.

The Top 4 Reasons Why Narc Is A True American Classic

By Sean Tuohy

This week, "Gone Girl" will be hitting theaters across the country. The film, based off the best-selling novel written by Gillian Flynn, is being set up as the next American classic. Great cast, great source material, and a great director behind the camera all should add up to a great flick.

"Narc" is another classic that was sadly over looked. Filmed on a shoestring budget by a director that had only one other film under his belt (a self-financed action thriller that never saw the light of day), "Narc" hit the American landscape in 2002 and was praised for its gritty style and teeth-shattering truth. The film follows two Detroit detectives, both with shady pasts, as they try to solve the murder of an undercover cop. Since then, Joe Carnahan has gone on to become one of Hollywood's most sought after directors. The fact that "Narc" is an afterthought is awful because the movie is incredible. From the opening scene, it hits every beat just right and keeps you pulled in. The writing is strong, the characters are layered, and the scenes well shot.

With that in mind, here are the four best scenes that showcase why "Narc" is a true American classic.

1. Opening Scene

Holy. Mother. Of. God. That opening scene grabs you like a coked out Brazilian boxer and pulls you in for a ride. A tweaked out undercover cop chases a junkie through the city and into the park. The junkie is stabbing people. The cop is out of breath and barely able to keep up. There's no underlying soundtrack either. Just the sound of cop's heavy panting. Then the scene sends with a dead junkie, a bleeding mother, and a cop crying.


2. Ray Liotta

We love Ray from "Goodfellas," where he was the loveable gangster with some awful friends. He was far from loveable as Detective Oaks in this movie. Liotta took the inner city cop with a short temper to a another level. For one thing, he is massive (he ate Chinese food before takes to look more puffy) and scary. One stare from this guy makes you find another pair of underwear. You are never sure what is going to make him snap. The scene below showcases his talent. The fact that Liotta didn't get an Oscar for this one scene is awful.

3. The Ruiz Scene

This scene had to been taken from a lost episode of "Cops" because it bleeds crazy reality. While searching for leads the two cops stumble open a crackhead who has recently set his girlfriend's head on fire because she has given an STD. Standing in a room without pants dealing with withdrawals, the crackhead promises to give the cops info as long as he can get high one last time.

What the hell?! You never scene like that in a movie. Ever!

John Ortiz gives a stellar cameo as the crackhead Ruiz. It was so good that until I saw Miami Vice several years later I thought he was a real crackhead.

4. The Bathroom Scene

Jason Patric's character, Nick Tellis, does not have an easy journey in this film. A cop with a former drug problem who wants to be a good family man and work at a desk gets dragged back into the streets and finds his addiction for police work puts his family life at risk. As Tellis falls deeper into the hole that is police work, his wife, who painfully watched him go through rehab, pulls away.

It reaches a boiling after Tellis is shot and refuses to give up on his case. His wife, child in hand, pleads for his husband to his job to be with her. He says no. His wife leaves.

Holy crap is this heart breaking. Try not to cry as you watch his woman plead with her husband.

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Not Coming Soon: The Top Unproduced Action Scripts Part 3

By Sean Tuohy

We're happy to see that you've all returned to Part 3 of our ongoing series "The Top Unproduced Action Scripts." If you're just joining us, you might want to catch up with Parts 1 and 2.

Let's not waste any time here, folks. Below are five more scripts that were written by some talented souls, but for one reason or another Hollywood decided not to make them into a movie. What a shame.

Let the show begin!

"Apogee" by Andrew W. Marlowe

There have been a lot of "Die Hard"-like movies over the years, but Marlowe's script set in space is one of the most original. Who wouldn't want to see "Die Hard In Space?" As over-the-top as that plot line sounds, Marlowe keeps the story grounded and keeps you turning the page in this well-paced script. The bad guys have ice water pumping through their veins and they are armed with microwave guns. Yeah, that's a thing. The good guy is a damaged soul trying to set things right in his life while saving the world at the same time. Throw in some zero gravity fight scenes above the Earth and you've got a great action movie.

Will this ever see the light of day?  I hope, but a movie like this cannot be done as a straight to DVD movie. It has to be a summer blockbuster. A movie like this is meant to be watched for thrills and chills while wolfing down popcorn and sipping ice cold cola. In a world where one-off movies are dying(or already dead) I don't know if a movie like this would be considered by Hollywood executives. However, put in the right hands of the right filmmaker, this movie would be stellar. Oh, and since it is set in space Ed Harris has to be in it as the head of  NASA mission control.

"True Believers" by Doug Richardson


This is Mr. Richardson's second appearance on our list. Hats off to him.

As you all know here at Writer's Bone, we are big fans of Doug Richardson as both a screenwriter and novelist. The story behind True Believers is almost as interesting as the story itself. It started life as a thriller novel—one that kept me up at night and made me miss my bus stop more than once—before Richardson turned it into a screenplay. The screenplay is tight, fast-paced, and filled with strong, well developed, and sinister female characters that leap from the page. You are pulled into a dark world filled with evil souls from the opening paragraph of the screenplay. I highly recommend reading the book before you pick up the script because it provides you a chance to see a writer approach his craft in two different ways.

True Believers the novel is filled with multiple characters' point of views, settings from coast to coast, and intriguing subplots. Most of those elements are removed from the screenplay, but the core of the story stays intact.

Will this ever see the light of day?  Well, they already tried once and you can read what happen at Richardson's blog about the mess that it became. I hope that a director picks this up and does it right if given the chance. The lead role of Will Sullivan would be a great part for a young, up-and-coming male actor and the  mischievous character of Izzy has to be filled by a drop dead looker with an evil twinkle in her eye.

"Gunslinger" by John Hlavin

Westerns are dead for the most part in Hollywood, but every once in a while a gifted writer comes along with a new spin on the genre. That's the case with "Gunslinger." This action script tells the tale of a Texas Ranger pulled into a bloody war with drug cartels. The main character is a man of few words who goes through hell during the end of the second act to beat the bad guys. The script is not long, but carries one hell of a punch. This fast read is one of the best westerns I have read in a long time.

Will this ever see the light of day?  I hope, but I have a feeling that Hollywood may take this and turn it in to a low budget straight to DVD kind of movie. They may put in a second tier action actor and take out a lot of the character building moments and replace them with bland action scenes.

"Killing Pablo" by Joe Carnahan

I love Joe Carnahan! "Narc" is on my top five favorite films of all time and top ten scripts of all time. Carnahan is an incredible writer and, when given the chance, writes fantastic dialog. I was thrilled to hear he was going to tackle the international best selling story about drug kingpin Pablo Escobar.  Carnahan did a great job of taking tons of facts and many characters, most of them Spanish speakers, and fitting them into a great script.

Will this ever see the light of day?  Carnahan left this project so I am not sure if it'll ever get made. If Carnahan had stayed involved we would have seen an epic crime drama. Carnahan has a talent for putting real characters in very violent worlds and making you root for them. This is a story we all know—well a powerful crime lord hunted down by law enforcement—but the story of Pablo Escober is legend status and needs to be captured on film.

"Uprising" By David Twohy

David Twohy knows how to write fast-paced sci-fi thrillers with a great human element and "Uprising" is no different. Starting with a bang that you can only find in sci-fi, "Uprising" combines  "The Great Escape" with "Independence Day." The story follows a group of soldiers held in a POW after an alien race invades Earth and the captured troops must find a way to break out of the alien prison.

Will this ever see the light of day? It looks like it may get made, but I am not sure by which studio. Twohy goes into the history of the alien race, giving them a little more backstory than your normal alien invasion movie. This could be a summer blockbuster with big cast of well-known older actors mixed with young newcomers and some great special effects thrown in. That's a recipe for a great movie.

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Not Coming Soon: The Top Unproduced Action Scripts Part 2

By Sean Tuohy

Hollywood spends millions of dollars to have scripts written for movies that will never been made or even read by actors. However, we're are lucky enough sometimes to find them and enjoy them (Check out Part 1 of this series). The scripts below were pulled from my private collection for this list and were penned by some of Hollywood's best and brightest screenwriters.

Enjoy the show!

"Aliens 3" by David Twohy

"Alien 3" was made into a movie in the early 1990s, but there are many versions of the script out there. Several different writers at different stages of production tried to make a third story line for the film series. There are some scripts that had no Ripley in them; one had monks in a wooden space ship fighting the Alien, others had Hicks and Newt on Earth fighting the Aliens. The producers tried to mix elements from all of these to create the final version of "Alien 3." David Twohy's script stood out among them. Twohy is not new to the sci-fi genre—the grand master screenwriter has penned other top notch movies over the years—but this was one of his finest. In Twohy's script, the reader follows a group of convicts in a space station prison who must fight aliens while trying to escape back to Earth. Parts of this script were used in the final film, but, unfortunately, not the good parts. The characters pop off the page, the villains send chills down your spine, and the gory scenes make you wince. It's an awesome script.

Will this ever see the light of day? No. They already made "Alien 3," so this script has sadly been scrapped.

"The Extractors" by James DeMonaco and Kevin Fox

It’s rare to find an original action/thriller script, but this movie fits the bill. It mixes elements of "The Great Escape" with a James Bond thriller. The film follows a group of ex-cons who can break anyone out of prison for the right price, but after a failed job they have to work with the CIA to regain their freedom. The script had great characters with developed back stories and great action scenes.

Will this ever see the light of day? I hope so. They have been talking about making this movie since 2000, but nothing has happened yet.

"Til Beth Do Us Part" By Jon Hurwitz and Hayden Scholossberg

This script is funny. Not "ha ha" funny, but "I just peed myself because I was laughing so hard" funny. The script tells the tale of two best friends and a woman who gets between them. The opening scene of this script had me toppling out of my chair. It is fast, witty, smart, and has a big heart.

Will this ever see the light of day? I hope so. These guys made "Harold and Kumar Go to White Castle," one of the funniest movies to come out in 15 years, so I believe they can pull this off.

"Untitled Channing Tatum" by Doug Jung

Channing Tatum

Channing Tatum

Not a great title, but at least it helps to be able to picture the main character. This was an old school buddy cop/revenge movie. An LAPD cop and a Korean gangster team up to find the mobster that killed their partners. The script has some great moments and delivers them perfectly. Also, the dialogue is above average for an action script.

Will this ever see the light of day? Doubtful. Tatum is an actor (somehow…) and he can do whatever movie he wants. This was written before "Magic Mike" and "G.I. Joe" were blockbuster hits, so I don't think it’s likely that Tatum will do this script. Can they do it with another young actor? Maybe.

"Without Remorse" by Stuart Beattie (Based on the novel by Tom Clancy)

I am fan of Tom Clancy's CIA agent John Clark, a real life spy with ice pumping in his veins. However, they have never been able to bring the cold blooded spy to the big screen. This script updated Clark’s backstory from Vietnam to the Middle East and was able to keep the core of Clancy's novel while at the same time cutting out the fat.

Will this ever see the light of day? Maybe. This script has been floating around for years with different actors and directors attached to it. In an era of "Taken"-like action/revenge movies "Without Remorse" would fit right into the market.

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Not Coming Soon: The Top Unproduced Action Scripts Part 1

A big pile of scripts.

A big pile of scripts.

By Sean Tuohy

Hundreds and hundreds of movies scripts are written and then sold to studios and then never made. Somewhere in Hollywood there are stacks of unproduced scripts that have been sitting and collecting dust for years. Studios will buy the scripts, work on them for a while, maybe a producer or A-list actor signs on to be involved, and than for whatever reason it falls through. The way of Hollywood.

As you might have noticed, I am fan of action films. I love to watch and write action movies. The first script I found and read was Steven de Souza's copy of "Die Hard" when I was 14 years old. Since then I have spent many sleepless nights trolling message boards and search engines for copies of scripts. I love reading a new script. The joy of seeing "fade in" at the top of the page, followed up the scene heading, is indescribable.

During my years of searching I have come across several unproduced scripts that have never seen the light of day. After reading these five scripts, I felt cheated by Hollywood for not allowing these imaginative and original stories to be made in to movies!

Well, here is my chance to share them with you. Below are the top five unproduced action movies that Hollywood has sadly forgotten, but stay very much alive in my head.

"The Nice Guys" By Shane Black and Anthony Bagarozzi

Well-written screenplays and Shane Black go together like peanut butter and jelly. "The Nice Guy" is one of the funniest screenplays I have read. The script is filled with black humor, snappy dialog, and vile bad guys with happy trigger fingers. The noir story follows two men; a burnt out private detective and a fighter who try to solve a who-done-it in Los Angeles. Nothing is what it seems. While working the case, the pair get caught up in drug induced car chases, neighbor shoot outs, and hotel brawls. The script is written in crisp and to-the-point lines, the dialog flows smoothly, and nothing feels forced.

Will this ever see the light of day?  Maybe. Black left the scene for a good 10 years, but came back swinging with indie-hit "Kiss Kiss Bang Bang" and the mega-hit "Iron Man 3" so it could get made as a small indie movie.

Note: This script was acted out at the 2012 Austin Film Festival and featured Thomas Jane. It was not recorded, but there are stills available.

"The Quick Killing" By Ken Nolan

Ken Nolan penned the 2001 war-drama "Black Hawk Down" and has done some punch up work in Hollywood, but this script made a name for him. A classic action movie that has deep roots to action films from the 1960s and 1970s, the script told the story of a reformed gangster trying to make some extra cash quickly. Nolan penned a great action script; everything was kept short, but the action scenes are big and over the top populated with tough guys of few words.

Will this ever see the light of day? Doubtful. Hollywood is no longer making shoot'em up action movies like this. They want massive CGI movies that have little character and just look cool. A movie like this does not fit in to the Hollywood mainstream.

"Hell Bent...And Back" by Doug Richardson

Doug Richardson

Doug Richardson

All screenwriting nerds know this script. It was known for making a big splash for being one of the biggest spec sales. It was never made, which is tragic because when you read the script you find yourself reading a love letter to the movies. This script was penned by fan boys who grew up loving movies and wanted to write the kind of movie they watched growing up and they pulled it off. The World War II action film is filled with cigar-chewing, wise-cracking good guys who know when to talk and when to shoot. You also have bad guys who drive around in tanks and are looking for trouble. Most of all, you have a great flow of story and character building throughout the whole story.

Will this ever see the light of day? Doubtful. Like so many well penned action scripts there is no place in the market for this kind of movie.

If you want to learn more about the true behind the scenes story of this movie go read "A Million Dollar View" written by screenwriter Doug Richardson. You should also check out Part 1 and Part 2 of our interview with him.

"Exit Zero" By Kurt Wimmer 

Kurt Wimmer is one of the few action writers who is able to blend outlandish and good story together. This 1990s action-techno story is "The Net" on blow. A computer nerd and a mentally ill woman are chased across the country by a computer that will bring down mankind. The ending twist is only something Wimmer could pull off without it making sound cheesy.

Will this ever see the light of day?  No. The fact that "Eagle Eye" was made and did really well doesn't help the cause. Both "Eagle Eye" and "Exit Zero" have similar story lines and I don't see Hollywood making a squeal to another Shia Labeouf movie any time soon.

"Godzilla" By Terry Rossio and Ted Elliot 

When they decided to make an American remake of monster king Godzilla, Rossie and Elliot ("Pirates of the Caribbean") were asked to create a story for the building-destroying lizard. The pair wrote a fantastic monster movie that would have been a great way to introduced Godzilla to American movie goers. Instead, the studio tossed the script and made the heap we all saw in 1998.  

Rossio and Elliot's script had a strong cast of characters, an larger than life idea that worked, and plenty of things getting blown up. Also, the sight gags in the script are knee slapping good.

Will this ever see the light of day?  Nope. After the previously mentioned 1998 version of "Godzilla" did not do well at all and ruined my weekend, Hollywood held off from making another movie. Now, they are taking another stab at "Godzilla" and it looks like they may pull it off. They have a great team behind the camera and in front of the camera, and it looks like they are actually going to try this time around. Pity, because I would have paid extra to see Rossi and Elliot's version.

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Remembering Harold Ramis

The Writer's Bone team published their favorite moments of Harold Ramis' career earlier today. Daniel and Sean get together for a video podcast to say farewell to the actor, writer, producer, and director.