Deadline June 30th: FREE Poetry Contest

WILDsound Writing and Film Festival Review

All entries get their POEM shown on this website. AND, you can submit your Poem to be made into a video (guaranteed 1000s of view).

GET YOUR POETRY SEEN. This network averages over 95,000 visitors a day to read your poems. SUBMIT ANYTIME


The RULES are simple:

1. Write a POEM. Send it to this contest for FREE and it will be POSTED on this site guaranteed for 100,000s to see. (you own all rights to this poem and whenever you want it taken down, send us an email).

2. Email your POEM to submission@festivalforpoetry.com in .pdf, .doc, .wpd, .rtf, or .fdr format or just cut and paste it into the body of the email.

3. SUBMIT as many poems as you like. (NOTE: One FREE poem per person. If you like to submit multiple poems, please let us know and we’ll give you price quote.)

4. Let us know…

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Deadline June 30th: Screenplay Festival

WILDsound Writing and Film Festival Review

Deadline June 30th: Screenplay Festival – Get FULL FEEDBACK. Get script performed by professional actors
http://www.wildsound.ca/screenplaycontest.html

READ 100s of testimonials from past submitters –
https://wildsoundfestivalreview.com/feature-screenplay-submission-testimonials-wildsound-screenplay-contest-review

Multiple winners every single month! Watch recent and past winners:

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Deadline June 30th: TV PILOT & SPEC Screenplay Festival

WILDsound Writing and Film Festival Review

Deadline June 30th: TV Screenplay Festival – Get FULL FEEDBACK. Get script performed by professional actors
http://www.wildsound.ca/tvscreenplaycontest.html

READ 100s of testimonials from past submitters –
https://wildsoundfestivalreview.com/feature-screenplay-submission-testimonials-wildsound-screenplay-contest-review

Multiple winners every single month! Watch recent and past winners:

TV PILOT Winners

TV SPEC Winners:

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Film Review: SPIDER-MAN: HOMECOMING (USA 2017) ***

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

spiderman homecomingFollowing the events of Captain America: Civil War (2016), Peter Parker attempts to balance his life in high school with his career as the web-slinging superhero Spider-Man.

Director: Jon Watts
Writers: Jonathan Goldstein (screenplay), John Francis Daley (screenplay)
Stars: Tom Holland, Michael Keaton, Robert Downey Jr., Marisa Tomei, Jon Favreau, Gwyneth Paltrow

Review by Gilbert Seah

The second re-boot of SPIDER-MAN arrives with all the hype and with it fear that the new look would result in a film as disastrous as the D.C. extended universe films MAN OF STEEL, BATMAN V. SUPERMAN or SUICIDE SQUAD. Thankfully, the new Marvel Cinematic Universe SPIDER-MAN HOMECOMING is not so bad and promises a much better sequel in the making.

The film opens with Peter Parker (Tom Holland) arriving with all his super spider powers intact. Instead of learning to control his new found powers, Parker has to learn how to be Spider-Man. He has arrived several months after the events of Captain America: Civil War, and subject to the help of his mentor Tony Stark aka IRONMAN (Robert Downey Jr.), learns to balance his life as an ordinary high school student in Queens, New York City with fighting crime.
The villain of the piece is introduced at the start of the film as an enterprising business man, Adrian Toomes (Michael Keaton). Forced out of his business by the big boys, Toomes ends up taking revenge on the city by turning himself into the Vulture that eventually battles Spidey. Keaton is exceptionally cynical in his role, the only problem arising is that Toomes is so victimized that one cannot help but root for this poor victim. At one point in the film, Toomes is so convincing in naming Stark Enterprises as the villain that one cannot help but almost believe him. The Vulture’s costume looks too much like Keaton’s Birdman’s outfit, as if reminding the audience of his Best Actor Oscar nominated role.

The climatic battle between the Vulture and Spidey looks too one sided, on the side of the Vulture who seems imminent to win the battle but of course wouldn’t. When Toomes finally ends up beaten, it seems quite unbelievable.

Despite being an action film, the film’s best moments are the interrogation scenes – one where Toomes questions Parker in the car and reveals that he is aware of Parker’s secret identity. The other is Spider-Man questioning one of the crooks regarding Toomes’ activities. Both segments expertly balance humour and surprise while displaying good dialogue expected from the team of the film’s 6 writers.

HOMECOMING is the lightest and goofiest of all the SPIDER-MAN films. But one will eventually get annoyed at Spider-Man’s inability to fight his opponents properly before gaining control of his suit. Instead of learning to use his super powers, Spidey has to learn to use Stark Enterprises’ new Spider-Man suit. In one action set-up, Spider-Man is constantly bungling and falling around learning how to use his suit in extended power mode.

The film features an eclectic cast that carries it out a bit too far. Spidey’s love interest Liz is played by African American, Laura Harrier. His school principal is played by Korean Kenneth Choi and his best friend, Ned by Filipino Jacob Batalon. Tony Revolori as Flash Thompson: Peter’s rival and classmate is latino. The script invests a bit too much time in Ned’s character, his repeated remarks on Spider-Man often ending up more annoying than funny. He is at least given something to do (computer hacking) in the story. The film feels like a teen movie with the humour and high school setting. But one can notice that all the high school kids are performed by actors over 21, Holland included (at 22 playing a 15-year old). The film is not without teen dick jokes (Flash’s song as a d.j.) and the ending song with the lyrics sounding like the ‘f’ word.

It is surprising that director Watts has ended up making more an action comedy than an action hero movie. Watts made two serious films, the thriller COP CAR and the horror chiller CLOWN prior to this. But better funny than too serious. Look what happened to the James Bond and the Planet of the Apes films?

With all the goofiness and Spidey’s learning curve out of the way in this re-boot, the sequel should promise a more mature Spider-Man and hopefully a more mature action film as well – with a better balance between action and humour.

Trailer: https://www.youtube.com/watch?v=U0D3AOldjMU

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Film Review: DESPICABLE ME 3 (USA 2017) ***

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

DESPICABLE ME 3Gru meets his long-lost charming, cheerful, and more successful twin brother Dru who wants to team up with him for one last criminal heist.

Directors: Eric Guillon, Kyle Balda
Writers: Cinco Paul, Ken Daurio
Stars: Steve Carell, Kristen Wiig, Trey Parker

Review by Gilbert Seah
 
There are two attractive ingredients in the DESPICABLE ME animated features. One is the super-villain Gru (Steve Carell) or now ex-super villain Gru now working for the AVL (Anti-Villain League). The other are the adorable mumbling Minions. If one is not entertaining one enough, the other strive to be.

The film opens not with the Minions or Gru but with the story of a new super villain named Balthazar Bratt (voiced by South Park’s co-creator Trey Parker). Bratt was a former child actor who portrayed a young super villain in a popular television series before the show was cancelled as a result of his puberty and his waning popularity. This led to him adopting his former persona to become an actual super villain (complete with 80’s eraser head haircut and fashion). Bratt is out to steal the world’s most expensive diamond, in order to fuel his robot invention to destroy Hollywood as revenge, but along arrive Gru and wife (Kristen Wiig) to stop him.

It is obvious that DESPICABLE ME pays homage to the PINK PANTHER films. For one, Inspector Clouseau was French as is director Coffin and the diamond is unashamedly coloured pink. When the diamond is in show, the music comes on, though not with the famous Henry Mancini tune, but with Michael Jackson’s BAD in this case. As Bratt steals the diamond, he moonwalks Michael Jackson style to the diamond.

The main story of DESPICABLE ME 3 involves Gru and Lucy fired from the AVL owing to their failure in capturing Bratt. The others are subplots – quite a number of them – ties in with this event. One of these are the minions who want Gry to go back being a villain. The Minions also have the talent of showing up anywhere and everywhere during the movie. Kids love this, as observed during the film’s promo screening. The kids would scream out every time (adults beware!) the little darlings appear. The subplots involve Lucy bonding with her three adoptive children. The main one involves Gru meeting up with his newly found brother (also voiced by Carell), a more flamboyant character, thanks to his mother (voiced by no less than Julie Andrews).

But with all the subplots including the main story, the film strugglers to create very funny moments or high points that would make this sequel memorable over the others (including THE MINIONS) or even over the other Illumination Entertainment animation like THE SECRET LIFE OF PETS.

The film appropriate premiered at the Annecy International International Film Festival, director Pierre Coffin being French as such. The film opens this weekend alongside two other comedies THE HOUSE and BABY DRIVER and though will face stiff competition should do well at the box-office this weekend coming off at number 1. It also helps that there are countless Minion fans, both adult and kids around the world that will forgive an average DESPICABLE ME sequel, which is very much what this one is. DESPICABLE 3 is good, predictable, harmless family fun.

Trailer: http://universalpictures.ca/detail.aspx?title=DESPICABLE+ME+3&lang=en

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Film Review: MANIFESTO (Australia/Germany 2016) ***

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

manifesto.jpgCate Blanchett performs manifestos as a series of striking monologues.

Director: Julian Rosefeldt
Writer: Julian Rosefeldt
Stars: Cate Blanchett, Erika Bauer, Ruby Bustamante

Review by Gilbert Seah
 

 It is best to know the definition of the term MANIFESTO before seeing this movie. According to Wikipedia, a manifesto is a published verbal declaration of the intentions, motives, or views of the issuer, be it an individual, group, political party or government. A manifesto usually accepts a previously published opinion or public consensus or promotes a new idea with prescriptive notions for carrying out changes the author believes should be made. It often is political or artistic in nature, but may present an individual’s life stance.

Manifestos relating to religious belief are generally referred to as creeds.
The film integrates various types of artist manifestos from different time periods with contemporary scenarios. Manifestos are depicted by 13 different characters, among them a school teacher, factory worker, choreographer, punk, newsreader, scientist, puppeteer, widow, and a homeless man. All the characters are performed by 2-time Oscar Winner Cate Blanchett, as was envisioned to be performed by a female performer by German writer/director Julian Rosefeldt.

Visual artist Julian Rosefeldt crafts 13 distinct, vignettes that incorporate timeless manifestos from 20th century art movements weaving together history’s most impassioned artistic statements in this stunning and contemporary call to action.

From the press notes: “Art history is a derivation of history and we learn from history,” says Rosefeldt. “And in a time where neo-nationalist, racist and populist tendencies in politics and media threaten again democracies all over the world and challenge us to defend our allegedly achieved values of tolerance and respect, Manifesto becomes a clarion call for action.

There are a few scenes that though watchable, are difficult to make sense of. One best example is the one occurring right in the middle of the film where Blanchett plays a Russian diva choreographer. The segment begins with the tracking camera revealing several unconnected images including one with a man in a bear costume sitting on a bench with the head off. The camera then moves backstage and finally rests on the choreographer and assistant as she blurts out manifesto prose (while smoking a cigarette on a long cigarette holder, often flicking her ashes on her assistant’s clip board). The troupe she is choreographing perform magnificently, but she keeps screaming, in her Russian accent, words that often mean nothing in context.

Watching MANIFESTO is an art experience unless you enjoy sitting for days watching Cate Blanchett. Is this an intellectual experience? Maybe, if you have the patience to decipher what is happening on screen. But the film has been very well put together in all departments from sound to set design to writing and execution.

One has to pay careful attention and follow the logic and flow of the dialogue. Often too, after concentrating for a few minutes, listening to the poetry of words, the dialogue mean nothing – like the quips on dreams, children and worry. This is that rare film that one has to work to earn the pleasure, but it will be one definitely unforgotten.

Though made in 2015, the film originally premiered as a 13-channel film installation at the Australian Centre of the Moving Image. The 90-minute feature version premiered at the Sundance Film Festival in January 2017.

Trailer: https://www.youtube.com/watch?v=Bk1HosLWM0o

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com