Watch readings of the winning screenplays performed by professional actors:
 FEATURE Film Screenplay – POOP MOVIEMarch 2018 Reading by Byron Erwin |
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Producer: Matthew Toffolo http://www.matthewtoffolo.com
Director: Matthew Toffolo
Casting Director: Sean Ballantyne
Editor: Kimberly Villarruel
Camera Op: Mary Cox
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Beau Dick is a famed artist, activist, mask carver and musician. He has teaching residency at the University of British Columbia. He is also native Canadian, which is the reason mainstream Americans have never heard of him. The emblem of a truly great artist is the ability to give form to the intangible. Tapping into the collective memory of his people and breathing new life into an age-old tradition, Beau Dick is one such artist.
The film begins with a beautiful shot of Alert Bay. The Village of Alert Bay is a municipality on beautiful Cormorant Island, northeast of Vancouver Island. It is the home town of Beau Dick. There are many stunning shots of British Columbia interspersed throughout the film, the film likely being positive incentive for B.C. tourism. The film goes on to detail the history of the man and his ancestors before he became famous.
The question is why anyone would be interested in Beau Dick. Or why anyone would want to spend 90 minutes learning about his life. The reason is simply that the man is inspirational. What he has done for his culture and people is remarkable and there are major lessons to be learnt from Beau Dick.
The film takes time to unfold. A bit of patience is needed but the waiting pays off. Directors Boll and Fazakas realize that it takes time to establish the roots behind Dick’s actions, especially the political marches. One political march that took place stretched all the way from B.C. to Ottawa which culminated with the breaking of a copper body plate. It sounds silly but it is a native tradition that had not been practised for ages.
Among those interviewed are his two daughters from his ex-wife and his ex-wife herself. A biologist studying the humpback whales in Victoria is yet another who gives her input on the importance of the environment as Dick fights for the environment as well. She provides insight on wild and farmed salmon fishing, which is new to me. One should be able to tell when eating wild vs. farmed salmon from the colour and texture of the fillets.
One of the directors, Fazakas is an art gallery owner herself. She turns the camera on herself as she describes Beau Dick. praising him for the emotion in his work.
Beau Dick has had bad days in his life. He had been on the wagon for 10 years after succumbing to alcohol for a full twenty years. He was also addicted to crack cocaine before getting his life straight. The film has him confessing about his addiction but never comes back to it. Directors Boll and Fazakas stress his positive contributions to his people and Canada.
The film will be playing initially two shows, one on March 29th and one on April 1st in Cineplex theatres (markets below) across Canada, then be available digitally nationally on March 30th.
Trailer: https://vimeo.com/251359571
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Zak Penn (screenplay by), Ernest Cline (screenplay by) | 1 more credit »
At the promo screening of READY PLAYER ONE, the MC who introduced the movie said that if one enjoys gaming, special effects and CGI, this is the movie, and if not…..” His words are so true, as Steven Spielberg’s latest venture, based on the book of the same name by Ernest Cline is just that – too much going on screen for the average moviegoer to absorb. Half of the humour and logic are completely lost, but on the other hand, half of what transpires on screen might be appreciated.
The film is set in the future of 2045 in Chicago where people live in what are called ‘the stacks’ as their cramped quarters are stacked one above the other. The hero of the piece is an orphan, Wade Watts (Sheridan Tye) a youth of 18 who lives with his aunt (Susan Lynch) and her abusive boyfriend.
The is is the story’s premise. The world is in the grip of many worries: energy crisis, disaster caused by climate change, famine, poverty, war, etc. In this chaotic world, OASIS is a global virtual reality system ], accessible through head-mounted and haptic devices such as gloves and coveralls. Originally conceived as a massively multiplayer online role-playing game (MMORPG), it has become over time a true virtual society which all humanity uses as an outlet. It is a place everyone wants to be in and where everyone gets to be whoever he wants. The players win coins (shades of bitcoin) but lose everything if they are killed. Its creator, James Halliday (Mark Rylance, who now appears to be Spielberg’s favourite actor), is one of the richest men in the world. Immediately after his death, a video is released in which he appears, explaining that he decided to bequeath his huge fortune, 500 billion dollars, and his company, GSS, to the person who will find an easter egg hidden in the OASIS. The goal is to find three keys scattered in the OASIS and which are the preliminary to the discovery of the egg.
The villain of the piece is Nolan Sorrento (Ben Mendelsohn) who for the most part wears a suit and tie. He was Halliday’s partner who wants to own the entire OASIS, though he is not that familiar with all the pop culture that comes with OASIS. He, comically has someone who does, connected to him via headphones so he can impress whoever he wants that he knows all. He tries to foil Wade and his gang from finding the three keys. Yes, there is also romance between wade and Samantha (Olivia Cooke) amidst all going on behind the action.
The search for the 3 keys and the east egg (in a film appropriately timed to be released at Easter) takes our heroes though a journey that includes, of all things, Stanley Kubrick’s horror movie THE SHINING. Those familiar with the film will be pleased to see the twin girls and the river of blood coming from the two open doors.
The film, despite dwelling on pop culture kitsch has a few sensitive moments – a story of soul to be found in a special effects soulless film. The film looks stunning with cinematography by Oscar winner, Janusz Kaminski (SCHINDLER’S LIST). The film costs a huge bundle of millions to make and it shows. The film astounds as it bores, is soulful as it is soulless, a contradiction in entertainment but nevertheless, an successful failure.
Trailer: https://www.youtube.com/watch?v=cSp1dM2Vj48
Each year African American Women In Cinema host one of the most celebrated female film events in the country that shines its luminous spotlight onto ambitious women filmmakers from all over the country and the world!
Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?
Terra Renee: Bringing awareness of women filmmakers of color
2) What would you expect to experience if you attend the festival this year (2018)?
An interesting variety of film entertainment programs as well as special keynote panels on social issues such as the metoo movement and the importance of voting.
3) What are the qualifications for the selected films?
The film have to be written or directed or produced by a woman of color.
4) Do you think that some films really don’t get a fair shake from film festivals? And if so, why?
Interesting question, I have not thought about looking at festivals in that light.
5) What motivates you and your team to do this festival?
The lack of opportunities for women of color, although we are starting to see some breakthroughs now.
6) How has your FilmFreeway submission process been?
It’s really simple and to the point, not much of an issue.
7) Where do you see the festival by 2023?
Global
8) What film have you seen the most times in your life?
A hard question because there were so many. I will give you one, Stone Mansion.
9) In one sentence, what makes a great film?
A good story with excellent acting talent great production, fabulous directing with superb editing.
10) How is the film scene in your city?
Pretty active!
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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every single month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 3 times a month. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.
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Ben Zazove (screenplay by), Andy Riley (story by) | 9 more credits »
SHERLOCK GNOMES is the 3D animated sequel to the 2011 successful animated GNOMEO AND JULIET. In case one is wondering what Sherlock Gnomes has to do with the original characters, SHERLOCK GNOMES the sequel has Gnomeo and Juliet in it, as two of the main characters, once again voiced by James McAvoy and Emily Blunt respectively. Michael Caine and Dame Maggie Smith reprise their voice roles (immediately recognizable) as gnomes Lord Redbrick and Lady Bluebury.
When the film opens, gnomes are being stolen from gardens in London, England. They will be smashed and destroyed within 24 hours unless Sherlock Gnomes (Johnny Depp) and Dr. Watson (Chiwetel Ejiofor) foil the culprit who turns out to be Professor Moriarty (Jamie Demetriou). He is foiled in the London Museum of Natural History and presumed dead. The film then switches to the garden of Gnomeo and Juliet where Juliet is given the task of making the garden work by spring, the next season. But gnomes start disappearing once again and Sherlock establishes that Gnomeo and Juliet’s garden is next. It is! All the gnomes go missing except for Gnomeo and Juliet who happen to be out of the garden at the time. The four solve the mystery and save the day – and the garden!
Stevenson is no newbie to animation having directed KUNG FU PANDA and worked in the art department of the SHREK films. SHERLOCK GNOMES benefits from his experience as evident in the humour that caters to both kids and adults. For one, the bond between Holmes and Dr. Watson and enmity between between them and their arch enemy Moriarty as in the Sir Conan Doyle novels are kept respected. The villainous Moriarty is fashioned after Batman’s joker in his laughter and antics, he even saying like in the BATMAN film, that there is a love affair between him and his enemy. Jamie Demetriou does a marvellous job voicing the cartoonish villain, as do his animators.
Sir Elton John executively produced the film and his songs are featured in the film. There is even an Elton John gnome playing a sparkled piano. Immediately recognizable is “Don’t Go Breaking My Heart” that is played during the opening credits. The song is relevant to the film’s message. The story involves the respect between Holmes and Dr. Watson and between Gnomeo and Juliet. Both couples are having relationship problems that need to be solved. These are serious issues dished out for the adults while the younger audience can relish the childish gnome dances.
The animation is impressive especially of the gargoyles that guard the kidnapped gnomes. The gnomes are also sufficiently detailed in their 3D looks. Of the voice characterizations, Ejiofor and Demetriou stand out. Johnny Depp gets away with his British accent as Holmes.
SHERLOCK GNOMES’ budget comes just under $60 million compared to GNOMEO AND JULIET’s $36 million. It is still a bargain considering Disney’s expensive animated features. The almost perfect family film!
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Simon Reade (screenplay), R.C. Sherriff (novel) | 2 more credits »
JOURNEY’S END about soldiers (Officers and enlisted men) during an offensive in the trenches during the First World War is a story that is already too familiar to us. Still, it is a story that needs repeating, to remind the world of the futility of war and that orders coming down from the top brass would ultimately be executed often to the death by the men of lower ranks, who has loved ones and families back home. JOURNEY’S END is based on the 1928 play and filmed two years later by James Whale which starred Sir Lawrence Olivier as Cpt. Stanhope now played brilliantly convincingly by Sam Catlin. The updated screenplay be Simon Reade is by no means flawless, (words like a person needing to be sorted’. the word never used at that time; an offbeat change of scenery back to England for the reading of a letter) but serves the fiilm’s purpose.
The film begins like any war film. There is news of the war and word of fighting in France against the Germans. Things get real only when the audience can put a face to the goings-on. The face in this case belongs to green 2LT Laleigh (Asa Butterfeld) who wishes to join the battalion of his old school mate Cpt Stanhope who used to be his house monitor and good friend of him and his sister. Stanhope is found to be changed due to the strain of war. In the trenches are Lta Osborne (Paul Bettany) veteran who is the most stable of the lot and apparentlythe one who keeps everything together.
When the men are ordered to attack the Germans in two days time in an effort that seems pointless, casualties increase and things come to a boil in this realities tale of men caught in the war apparently to fight in what they believe for their country. It is made clear at one point, that the assault is to take place at 5 pm so that the higher ups can discuss the results over dinner.
Despite the film’s seriousness in tone, Reade’s script is not devoid of needed humour, which is provided by stiff faced Toby Jones as Mason, the men’s cook. If not describing his cutlets as new in shape or the yellowness of the soup to entice the blandness of his meals, the on running jokes on the meals are nothing short of hilarious.
The narrow trenches emphasizes the claustrophobia of the location complete with mud rats though only one is shown) and worms oozing out from the mud during a meal. To Dibb’s and the production designer’s credit, the film never feels like a play.
Though one might wonder at the film’s aim, it is clear that Dibb’s message is that one is never to forget that human beings are the ones fighting the war, and there are casualties on both sides as the end credits remind both sides of the millions that have died in WWI.
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Steven S. DeKnight takes over the director’s reins from Guillermo del Toro making his directorial debut in the sequel to the 2013 hit PACIFIC RIM. PACIFIC RIM is del Toro’s most successful film at the box-office making over $400 million worldwide at the box-office. UPRISING costing $150 million aims to do the same.
The premise of the first film which is the backdrop for uprising is summarized in voiceover at the start of the film by Jake Pentecost (John Boyega from STAR WARS). That film was set in the future, when Earth is at war with the Kaiju, colossal sea monsters which have emerged from an inter-dimensional portal on the bottom of the Pacific Ocean. To combat the monsters, humanity united to create the Jaegers, gigantic humanoid machine robots, each controlled by at least two pilots, whose minds are joined by a mental link. The Jaeger was championed by General Pentecost, Jake’s father played by Idris Elba. Jake was partying it up when the film opens.
UPRISING is set ten years after the Battle of the Breach, the oceans have become restless once again, but the Jaeger program has evolved into the next generation for the PPDC. However, a mysterious organization has reopened the Breach for the Kaiju and a Jaeger has gone rogue. Jake Pentecost, son of Stacker Pentecost, rises up to stand against the evolved Kaiju and the mysterious rogue Jaeger, Obsidian Fury, to prevent humanity’s extinction and preserve his father’s legacy.
The film is divided into two parts. One is the action sequences, which with its $150 million budget are executed with all the pyro-technics, metal crunching and noise expect from a Hollywood blockbuster. The film will also be released in iMAX which boasts – “See a movie, or be a part of one.” Regardless, be prepared to get a headache. This is a very loud film. The second is the camaraderie among the Jaeger group. Jake Pentecost bonds with Mako Mori to lead a new generation of Jaeger pilots, including rival Lambert (Scott Eastwood, Clint’s son) and 15-year-old hacker Amara (Madeleine McGraw), against the new Kaiju threat. The pilots are all buffed and ideal specimens of the human race. The script by Steven S. DeKnight, Emily Carmichael, Kira Snyder and T.S. Nowlin displays the normal enmity as well as camaraderie of the Jaeger fighters. But dialogue like: “…not how you perform but what people think how you perform…” are meant to be taken tongue in cheek, playing with typical cliched lines. The banter between Dr. Newt Geiszler (Charlie Day) and Dr. Hermann Gottlieb (Burn Gorman) works better.
As the first film was huge hit in China, UPRISING has a few scenes shot in China, as observed by the Chinese on the streets running away from the monists, looking like old monster movies.
Despite the efforts for making PACIFIC RIM UPRISING rise above the first PACIFIC RIM and TRANSFORMER franchise, UPRISING turns out to be a big bore with too much noise and CG effects.
Trailer: https://www.youtube.com/watch?v=_EhiLLOhVis
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Steve Buscemi, Simon Russell Beale, Jeffrey Tambor
Joseph Stalin dies unexpectedly turning his ministers into panic. There is a re-balance of power and power grabbing, a state funeral and other un-niceties. The premise appears perfect for a black comedy.
THE DEATH OF STALIN, as the film is appropriately called can be divided into three parts, with sufficient chaos devoted to each. The first part of the film establishes who is who around Stalin. The second is the passing of Stalin and his funeral. The third is what happens after with Stalin’s ministry. The film is described on film sites as a ‘comedy’.
Among the who’s who is Nikita Khrushchev (Steve Buchemi) who starts taking charge after Stalin’s passing. Lavrentiy Beria (Simon Russell Beale) receives the worse end of the death, being accused of murder, execution, torture and yes, multiple rapes of little girls, of which Beria demands a fair trial. Other well known actors Michael Palin (of Monty Python), Rupert Friend, Paddy Considine and Jeffrey Tambor add to the impressive cast making up ministers of various departments like defence, agriculture and so on.
Unlike his previous hit IN THE LOOP, Iannucci ’s THE DEATH OF STALIN, treads on the same grounds of political humour bordering on satire but turns out more crass and desperate for laughs. The word ‘fuck’ is uttered too often and sounds out of place in a setting where the real Stalin and his men actually should be speaking Russian. Example: When Stalin’s son is its on making a speech at his father’s funeral, Khrushchev’s response is: “and I want to fuck Grace Kelly.” The questions: “What the fuck is going on?” is uttered many times. The running joke of enemies of the State executed, tortured or imprisoned is fondly used. When Stalin suffers a hurt attack and a doctor needed urgently, it is remarked that all the old doctors have been sent to he Gulag.
The film feels artificial with English spoken throughout, instead of Russian with subtitles. The spectrum of accents is distracting. While Buscemi speaks as if an American, the majority including Stalin speak with a strong British accent.
Despite the variety of accents, the performances are quite convincing. Each actor could pass of as a Stalin comrade. Buschemi is particularly hilarious, though the use of vulgarities could be toned down a little. Jason Isaacs is also memorable as the Russian field marshall who is very fond of punching those he does not like right in the face, and then joke about it.
The sets, costumes and production design is to be commended for an authentic period Russian piece.
In THE DEATH OF STALIN, which premiered last year at TIFF, cheap jokes and crass humour with lots of vulgarity appear the order of the day! But these still bring in the laughs. Just don’t expect classy black satirical humour but crass black satirical humour. The ending is superb though with a shot of Leonid Brezhnev watching over the new proceedings like a cunning fox.
Trailer: https://www.youtube.com/watch?v=ukJ5dMYx2no
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People can grasp the concept of a dog show. But people cannot grasp the concept of a cat show. This is the film, CATWALK’s premise and mission to put cats on the film map just as the successful dog show film BEST IN SHOW did for canines.
One difference between BEST IN SHOW and CATWALK should be noted. BEST IN SHOW was a mockumentary that followed 5 different dogs with their owners as they showed off their dogs in different shows while CATWALK is a real documentary. This does not mean that a real documentary is less funny that a mockumentary as the film occasionally proves.
The cats are judged by a panel according to:
what cat perfection is (agility; intelligence etc.)
the best of the breed (example: if the exhibitor does not comb out the knots of his/her long haired cat, a whole lot of points will be lost
The main cat that has won the most points by touring the catwalk circuit in Canada, when the film opens, is a white playful cat named Bobby owned by Kim. The other, is a Red Persian breed full of fluffy fur named Oh-La-La by owned by Shirley. The film shows that the cat owners are just as interesting to observe than the cats. When Oh-La-La is showcased on stage, the camera locks on the face of Kim, showing how jealous she is that her cat, Bobby might be upstaged. Bobby and Oh-La-La are completely different cats. The former loves to play, winning the hearts of the judges from its friendliness as compared to Oh-La-la who just sits proudly, unconcerned of the surroundings. There is a scene whee the two cat owners are seen joking with each otter. Deborah says to Kim: “I don’t think evil of you…. just of your cat.”
The film takes a distraction with a segment on Kim taking scuba diving lessons and having a new group of friends she considers her family. There is no purpose this segment serves with regards to cats except as a time filler. CATWALK runs at a brisk 75 minutes.
The film interviews two main cat owners/exhibitors and a few breeders while featuring a few of the show’s judges.
The main owner is Kim Langille who shows off her pride a white Turkish Angora. Kim is also a show organizer and her enthusiasm for cats rubs off n her audience. She as a wise pick to be the doc’s main character. The other is her competitor, Shirley McCollow who spends hours grooming her Red Persian for the show. There is a sweet moment of an autistic cat owner who overcomes her disability by devoting her efforts on her cat.
CATWALK is made more colourful by the titles that appear on screen, one on purple or green or orange background.
CATWALK the film does not offer any advice to cat showers or messages for the audience. (Oh, maybe just one message from a cat breeder: Good things come to good people who do good things.) It is just an entertaining fun picture about cats, even for non-cat lovers like myself.
Trailer: https://www.youtube.com/watch?v=mepAvFdUJag
Ardor Creative Media is a “NO BULLSHIT” Non Profit for film and filmmakers. They strive to bring forth the best in Seattle Independent Film making.
http://ardorcreativemedia.com/
Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?
Amanda Drewniak: Cine City is curated by our non-profit Ardor Creative Media. Cine City is only the piece of the puzzle for local Washington State Filmmakers. This monthly Screening encourages our local filmmakers not only to create but exposes their film(s) to audiences that may have not seen it or known about local made films in our community. Especially since Cine-City has no submission fees, we reach out to more local participants who both can and cannot afford the steepening fees of other festivals. We also have very basic rules to encourage “unknown” filmmakers to create: 1. The film overall must be playable 2. You must show up to the screening (filmmakers get 2 free tickets) and support your film otherwise you do not qualify for the “Best Of” final competition of the Year. 3. You must live in Washington State to participate.
What would you expect to experience if you attend the festival this year (2018)?
We hold our monthly screenings at Naked City Brewery and Taphouse in their screening room, it’s a small space (75 max occupancy) so it can fill up fast. During all screenings you get full food and bar service. In addition to our film screening, Jeffrey Robert (aka The Gay Uncle) a wonderful local comedian and host works the crowd, conducts trivia (with prizes) at the beginning of the event, leads the Q & A session with the filmmakers at the end of the event and enforces the rules on voting for audience favorite films. At our end of year festival or “Best Of” in November we take all the films that were voted best during the year and have them compete against one another for prizes. Films are voted on by the audience and we announce the winners at the end of the night. At this event, we have harder trivia questions (with better prizes) and a silent auction.
Do you think that some films really don’t get a fair shake from film festivals? And if so, why?
As someone who has screened for local festivals, I really think that most festivals are revenue driven. I understand the need to cover overhead and pay your employees but I do feel more could be done to encourage our local filmmaker scene. I mean of course I have turned downed films at Cine City, you have to have a quality standard. I usually send an email explaining why the film was not accepted. Few times I have had a filmmaker comeback with a better film. I do not think there is enough encouragement of talent and cultivating a supportive scene that will ensure quality films are made locally.
What motivates you and your team to do this festival?
Over all, we love film. We love watching films, making films. We want to see more of what Seattle has to offer. It’s hard at times and we feel we want to quit because some screenings have a tough crowd or you get your share of egos thrown at you but every month we comeback to it. We push through and cultivate the type of screenings we want to see more of. We want our neighborhoods and communities to see we have strong talent and quality local entertainment.
How has your FilmFreeway submission process been?
I personal feel the FilmFreeway process has definitely made receiving submissions easier. It helps me organize submitted films into subcategories and helps me stay organized for the Best Of at the end of the year.
Where do you see the festival by 2023?
We are so low budget, I really just take it a year at a time. I hope by 2023, our screenings will become more popular and we can have several a month in different areas of the city and create a really nice Best Of that attracts audiences from out of state to come just to see what Seattle and Washington State has to offer. In general I think Seattle should be the film epicenter of the Pacific Northwest.
What film have you seen the most times in your life?
What a tough question. I am constantly looking for something new. Hmm.
In one sentence, what makes a great film?
For me, the ride. It doesn’t have to be the greatest fim created, I just have to enjoy myself. Sorry that was two sentences and this one makes three.
How is the film scene in your city?
Are you asking me to ruffle some feathers? I mean that’s what I do, in my city with film, I ruffle feathers. I love the filmmakers, I love the talent, I think it’s disorganized. I think we need a big wig or two to come through and encourage filmmakers to be proud of their work and encourage our communities to stand behind them. I am originally from Miami and it was a culture shock to see how many filmmakers rush to finish a record amount of films a year and do not slow down and cultivate a project, market a project, and support a project. It’s been a bit of an uphill battle but I am slowly winning people over. I really truly believe there is more to the Seattle film scene and Seattleites just haven’t discovered it in themselves yet. I am hopefully that by 2023 Seattle’s filmmakers will have more courage under their belt to pour their hearts into their projects. I have hope for all the talented people here.
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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every single month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 3 times a month. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.
Festival Reviews 