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The Sound of Music (1965): The bankrupt 20th Century Fox gambled everything on the talents of screenwriting genius Ernest Lehman to transform Rogers and Hammerstein’s Broadway play into a successful film. Despite the endless predictions of doom in Hollywood, Lehman’s masterful script, as directed by Robert Wise, broke all existing box office records, won Best Picture at the 1965 Oscars, saved the moribund studio, and became one of the most popular films ever made. The film’s extraordinary success revolutionized Hollywood thinking about the nature of film audiences and about the potential talents of American film students. The Sting (1973): This incredibly clever and meticulously written script by film school graduate David Ward turned into one of the most popular INTRODUCTION xvii and entertaining films ever made. Directed by George Roy Hill and starring Paul Newman and Robert Redford, it won Best Picture of the Year at the 1973 Oscars. The Exorcist (1973): In 1971, William Peter Blatty’s psychological novel of demonic possession was first published, eventually selling 13 million copies. When Blatty, a well-known screenwriter in Hollywood, adapted his own novel, he was able to secure sole producer status and choose William Friedkin as his director. Jaws (1975): The adaptation of Peter Benchley’s novel to the screen was one of the most difficult cinematic projects ever undertaken. The film’s awesome success was due to the incredible persistence of the film’s young director, Steven Spielberg, and the amazing talents of its young screenwriter, Carl Gottlieb, who wrote much of the script on the set. Rocky (1976): Sports movies were supposedly dead-on-arrival in Hollywood, especially boxing movies, when a young unknown actor and screenwriter wrote the screenplay for the most popular and successful sports film ever made. The story of Sylvester Stallone’s determination not only to protect his script but also to perform as the film’s leading character serves as an astonishing parallel to the noble triumph of his unforgettable character Rocky. Tender Mercies (1983): One of America’s greatest playwrights and screenwriters, Horton Foote, wrote this powerful, understated story of a man’s extremely difficult and gradual regeneration. The script is an unforgettable testament to the power of love, and it was brilliantly directed by Bruce Beresford and featured Robert Duvall in an Oscar-winning performance. CLASSIC AMERICAN FILMS The idea for this book first occurred nearly two decades ago when I was a student in Max Lamb’s class about screenwriters at USC. Max had worked for a long time in the industry, most notably for Robert Wise, and he would often bring many of his writer friends to class to meet with his eager students. One day, he showed up with the irrepressible Julius J. Epstein, had written most of Casablanca before Howard Koch and Casey Robinson made their own contributions to that classic script. Almost all of his comments about the great film that he’d done so much to create were totally disparaging, and it was very clear that he was much more interested in talking about his numerous other films, especially Reuben, Reuben, a film I’d never cared for.

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The Palace of Wisdom gives 6. out of 10 gold stars for THE BOOK OF HENRY. It’s pretty ironic sebab media gemar ngomporin hoax dan tahayul-tahayul justru karena kita sendiri selalu napsu sama yang namanya misteri yang belum-terselesaikan. Dan dalam pertumbuhan mengecam banyak misteri-misteri tersebut, tak sedikit yang berubah menjadi skeptis. Karena memang lebih mudah tidak mempercayai apapun ketimbang mempercayai hal yang tidak bisa dibuktikan langsung. Manusia adalah makhluk visual, kita percaya dengan melihat. Namun ketika dihadapkan dengan agama, di sinilah permasalahan tersebut menjadi menarik. Keberadaan Tuhan sama tidak bisa dibuktikannya dengan Ketidakberadaan Tuhan. Dan memperdebatkan itu hanya membuktikan keterbatasan indera dan persepsi kita. Ada perbincangan soal SKEPTIK MELAWAN KLENIK, juga soal idealisme melawan rasionalisme yang menambah bobot keseluruhan film. Mitologi fiksi terbangun steady di balik kejadian seputar penemuan situs Gunung Padang yang sempat menggoncang scene geologi dan arkeologi dunia beberapa tahun yang lalu. Gerbang Neraka cukup banyak mengeksploitasi fakta terkait Gunung Padang, memberikan penonton pandangan tentang how big of a deal situs tersebut. Sehingga terbukti ketika semakin mendekati akhir, film semakin tidak meyakinkan, kita masih tetap duduk di sana. Kita berhasil dibuat penasaran pada apa yang ada di dalam piramida terbesar itu. Kita berhasil dibuat peduli pada nasib tokoh-tokoh, atau paling enggak kita ingin melihat mereka isdet dengan cara yang bagaimana. Personally, menjelang ending adalah bagian yang paling malesin buatku, it’s kinda bogged down, tapi aku suka ngeliat adegan Reza Rahadian dan Lukman Sardi ngobrol tentang Tuhan dan setan. Mereka-mereka ini adalah salah dua dari storyteller terbaik yang dimiliki oleh sinema Indonesia hari ini. Sehingga meskipun di paruh kedua film ini agak seret, adegan Reza dan Lukman bisa menjadi pelipur lara yang worthy banget untuk disaksikan.

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It's a chilling yang to the romantic yin of Tish and Fonny's relationship, taking on themes that have been handled in a much more bumbling fashion all year in equally socially conscious (yet less refined) films. 3 months ago via Rotten Tomatoes At Eternity's Gate (2018) Julian Schnabel out-Schnabels himself with this fractured biopic of the Kurt Cobain of painting: Vincent van Gogh. Parts of the film go full Malick with Benoit Delhomme's lilting then askew camer-acrobatics, but if you can see past all the rattled running scenes and horizontal diopter shots the film stays fairly well grounded with Willem Dafoe's manically subdued performance. He's aided in the task by Oscar Isaac, Mads Mikkelsen, and Rupert Friend as the movie documents fragments of van Gogh's last few years after leaving Paris. As his mental health deteriorates, we follow the echoes and burnt circuits in Vincent's brain as his frustration turns to alcoholism turns to mental illness turns to despondency. For anyone who's aware of his biography, there won't be many surprises here in terms of plot, but, for anyone who walked in off of the street to see this, Schnabel does no favors in hammering out the details of his final days. It's a heady and impressionistic piece, and the difference between it being dreamlike and sleep-inducing will probably depend on your caffeine levels. It's certainly not one of those movies that reaches out a grabs you, nor does it have the soulful impact of something like The Diving Bell and the Butterfly. You like - you like - whassat movie you like so much about spaghetti, 'Meatballs' or sumn. The final product is an absolute mess of extremely violent spurts punctuating a boring series of clunky framing devices and Goodfellas-style narration. This is all exacerbated by an incomprehensible plot that would only make sense to someone who has intimate knowledge of Gotti's biography. John Travolta is on a full-boar ham-page chewing scenery and milking his hyperbolic Brooklyn accent rivaled only in its inauthenticity by Little Italy. There's so much unnecessary cursing in the dialogue it would make a sailor in a David Mamet play blush. It's certainly a recording of actors talking and moving, but Slender Man lacks any pretense of artistic expression. Also, it somehow fails to meet even the criteria of a film genre that has already relegated itself to lower than substandard expectations. Month by month we see shitty jump-scare horrors all as indistinguishable from one to the next, promising some transient thrills with boring, boring, BANG dynamics. Yet it not only fails to tell a compelling story in any regard to its ill-timed and criminally (literally) insensitive boogieman, but it also fails to deliver in the already lazy formula it is reliant upon. It's an utter waste of scream queen Annalise Basso who goes missing within the first 15 minutes despite her being the actress with the most credentials.

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