The Underdog Awards
Writing Category
(Best Original Screenplay and Best Adapted Screenplay)
Welcome back to the
Underdog Awards.
Bogged down by a set
of pieces I am unfamiliar with, my awards have taken longer than expected and
read longer than they should have.
So we're going to
get a little funky and quicker this time round, cause this is my domain.
Writing.
I'm loving writing,
thinking of ideas, making them into stories and trying my hand at (frankly
amateurish right now) screenplays.
I promise you these
will be short and hopefully efficient. Plus it will finish faster
So let's get on with
it...
Underdog Award for
Best Adapted Screenplay
There's a lot I
could define about the adapted screenplay category, but I did that last year.
Instead let's talk about the Oscar nominees including the winner for the year.
Imitation Game: As
much as I liked both Cumberbatch and Knightley, the screenplay for this film
needed real saving. To be honest, the film never expressly delves into Alan
Turing's masterful genius instead turning him into a genius recluse cliché and
giving us some typical inspiring step by step tale while pretending to really
give insight into the controversial end of Alan Turing's life. The so
designated thriller element is completely missing. Inaccuracies and annoyances
abundance.
American Sniper: A
film that slips into American celebration and doesn't hit hard on either the
questions regarding war or for that matter Chris Kyle's own mindset. There's no
examination of layers, instead a simple story on the war front, that doesn't really
help a neutral audience to feel or engage with Kyle. Relying far too much on
the heroic tragedy of the drama to move Americans and nothing much else.
Inherent Vice: It's
at times Paul Thomas Andersons most dense and opaque works. Moving at a far too
leisurely narrative pace, there's great comedy mined out of these well crafted
characters. Unfortunately sometimes the plot is too convoluted and other times
the writing deviates. It's hard to make some novels into film and PTA should be
commended for trying this one.
The Theory of
Everything: Being as romantically tragic as it can, Theory is a wonderful
portrayal of a crumbling marriage and two people who fell for one another more
than it is an out and out bio-pic on Stephen Hawking. Not that it needed to be,
but one wishes for much more on his scientific achievements even though the
film is adapted from someone else's point of view (Jane Hawking). It's why the
second act tends to lag, but fine performances make up for an ok script.
Whiplash: Switched
to adapted around nomination time, Whiplash is by far light on proper character
and more heavy on a momentous examination of the teacher student relationship.
Throwing us head on into dueling personalities, that couldn't be any similar
and producing a riveting narrative that examines easy themes with profound
intelligence and greatly crafted scenes and dialogue. This one should have won.
Anyways here's to my
list.
Honorable Mentions:
Gia Coppola-Palo Alto, Richard Glatezer and Walsh Westmoreland-Still Alice,
Michael and Peter Speirig-Predestination, Dean DeBlois-How To Train Your Dragon
2, Dennis Lehane-The Drop, Andrew Bovell-A Most Wanted Man, Christopher Markus
and Stephen McFeely-Captain America: The Winter Soldier, Hossein Amini-Two
Faces of January, Marion Nelson-Tracks, Mark Bomback, Rick Jaffa and Amanda
Silver-Dawn of The Planet of The Apes, Jim Mickle and Nick Damici-Cold In July,
Javier Gullon-Enemy, Greg Araki-White Bird In A Blizzard, Scott Neustadter and
Michael H Weber-The Fault in Our Stars, Peter Landesman-Kill the Messenger
And the nominees
are...
Avi Korine and
Richard Ayoade for The Double, Based on The Double by Fyodor Dostoyevsky
Satirical in its
elements about the work space and the constant grind the 99% go through in
their daily lives against a powerful bureaucracy. Double is a thoughtful and
bleak comic character study of individuals who suffer doing one thing, but want
another altogether.
It looks at us as people who fear, or are weak
to accomplish their real desires in favor of following the world's rules and
grinding through a daily job (societal structure) to earn our keep. It's also
about mental stability in the face of loneliness.
The dialogues are
witty and insightful but the world building takes the cake, giving a sort of
Metropolis/Brazil vibe.
Gillian Robespierre
for Obvious Child, Based on Obvious Child by Anna Bean, Karen Maine and Gillian Robespierre
Realistic but funny,
Obvious Child is a true look at how a woman would react to a pregnancy she
doesn't want. It's funny, witty and smart while also being a heartfelt look at
the life of a female comedian and her friends.
The dialogues are
sharp and feel real where as the films writing wins you over due to it's
honesty and bravery about a topic of this nature.
At the center of it
all a character that is written naturally and just fits, making you realize how
realistically complex she can be without making he decision seem either
detestable or pitiful.
Kelly Masterson and
Bong Joon Ho for Snowpiercer, Based on Le Transperceneige by Jacques Lob, Benjamin Legrand and Jean Marc Rochette
A brilliant
commentary on class divide in a dystopian world that parallels our own live in
an eerily realistic fashion. The sci-fi elements might have some plot holes,
but they really are intriguing and fun.
The characters
especially it's lead protagonist are written with fine etched details,
including his heroic/leadership arc that takes a poignantly powerful turn due
to its revelations.
There's rich themes
about breaking class barriers, population control, sins of humanity and more.
Making Snowpiercer a spectacular adaptation.
Gary Hawkins for Joe, Based on Joe by Larry Brown
A typical southern
look at the idea of manliness and the relationships between fathers and sons.
It's a well textured somber analysis of themes of fatherhood, sin and coming of
age.
The characters are
well handled, with Joe having an arc where he comes to terms with his past and
not allowing for that to be repeated in his surrogate; Tye Sheridan.
Sheridan's boy
learning to become a man and protect and provide for his family under the
struggle of his abusive father creating a powerfully emotionally resonating
arc.
Jon Ronson and Peter
Straughan for Frank, Based on Oh Blimey! by Jon Ronson
Detailing Ronson's
journey amongst the Soronprfbs and their enigmatic leader Frank Sidebottom,
Frank is a bleak but emotionally heartfelt look at a bunch of broken but
together artists.
Quirky black comedy
that explores music and the soul of musicians pertaining to their ideas of
success and when art and popularity collide. It's fun and immensely likeable
supporting characters, teaching that art is not necessarily of a wider taste
but of a singular soulful love for ones work and to be amongst ones friends.
It's at parts laugh
out loud madness and in bits really moving touch of emotions.
And the Winner is...
Jon Ronson and Peter Straughan for Frank!
Underdog Award for
Best Original Screenplay
You know the drift,
so let's just examine the five original screenplays that made the Oscar ballot;
Birdman: Brilliantly
meta and a wonderful scathing remark on the elements that pervade not only
theater but film making as well such as critics and obnoxious method actors.
There's tons of depth in the black comedy that just works well as an
examination on the decadence of Hollywood and the at its center the crumbling
ego of a lost star.
Boyhood: It's
simple, there's no denying it. But it's real and that is what makes Boyhood as
a story so fascinating and moving. Linklater as both writer and director has
always persisted with the concept of time and in this he condenses such a
normal ride which any child can grow to understand and connect with.
Foxcatcher: Shifting
its timeline slightly, giving a complex backdrop of a falling empire amidst a
harrowing true story, a lot of layers peeled from the narrative of this film
create for a textured portrayal of two men and then John Du Pont. There's rich
dialogue and back story, not to mention great themes of loyalty, brotherhood
and inheritance, yet no rhyme or reason to the actions of John Du Pont, not
even enough to resonate. One wishes Miller had stuck to the true story, mined a
heightened sense of brothers bond breaking but more importantly of a clichéd
true friendship soured (Dave and John) instead of the barrier caused by the
questionable mentor/student trappings (Mark and John).
The Grand Budapest
Hotel: Proving to be Wes Anderson's most funniest film in a long time and dark
as hell as Wes Anderson can go, it's another master class on the kind of world
building this director can craft up from his pen. There's such humor you wont
stop being enthralled and such great characters especially lead Gustave H.
Dialogues as usual proving to be a solid backbone.
Nightcrawler: Three
deftly crafted layers, produce a magnificent narrative that will drive the
audience beyond the edge of their seats by the end of it. On top is an
exhilarating thriller, reliant on some exceptional dialogue. Underneath the
film becomes a deep examination and analysis of the power and persistence of the media today. Finally
turning into a thought provoking psychological character study of an intriguing
character; Lou Bloom.
And onto the
Underdogs.
Honorable Mentions:
John Michael McDonagh-Calvary, Stephen Beresford-Pride, Chris Rock-Top Five,
Ira Sachs and Mauricio Zacharias-Love Is Strange, Ned Benson-The Disappearance
of Eleanor Rigby, Olivier Assayas-Clouds of Sils Maria, JC Chandor-A Most Violent
Year, Steven Knight-Locke, Lars Von Trier-Nymphomaniac , Craig Johnson and Mark
Heyman-Skeleton Twins, Jonathan Asser-Starred Up, Jonathan Raymond and Kelly
Reichardt-Night Moves, Chris Miller and Phil Lord-Lego Movie, Justin Lader-The
One I Love, Peter Sattler-Camp X-Ray, David Michod-The Rover, John Carney-Begin
Again, Ric Menello and James Gray-The Immigrant , Andrew Dodge-Bad Words, Eliza
Hittman-It Felt Like Love, Jon Favreau-Chef, Andrea Siegel-Laggies, Kat
Candler-Hellion
And the Nominees
are...
Jim Jarmusch for
Only Lovers Left Alive
Dour and straight
faced but subtly comedic as it can get, OLLA is one hundred percent Jim
Jarmusch. A lot of the narrative relies on dialogue between the character that
establishes a sense of great history and personal depth, not to mention build
on a very free story.
There's a great
dissection of the whole vampire idea and a much larger focus on themes of love
and immortality.
Going to a darker
brooding atmosphere, Jarmusch wrings out some surprising subdued humor.
Justin Simien for
Dear White People
Forming into a
hilarious and balanced satirical yet dramatically efficient breakthrough on
racial tension, in colleges; Simien's Dear White People is one hell of a
rocking script. It features a wide array of characters on all sides and of
conflicted ideologies regarding a larger issue.
Acting as a great
microcosm, yet never representing any macro side or historical values. Each of
the four lead characters gain from the arc they develop through in
understanding themselves as much as the thrust that pushes the narrative.
Simien works all
this well with some great insightful dialogues and moments that build on each
other.
Alex Ross Perry for
Listen Up Phillip
Juggling some
undeniable dark humor and three complex characters, interlinked by their
relationships. With Listen Up Phillip, Perry shines his abilities in defining
and delving into an intriguing set of character studies that help shine light
on fighting creative individuals.
It's hilariously
poignant at time and poignantly hilarious during others. Perry underlines this
with layers of maturity thanks to how well rounded he writes the characters
even the oft easily detestable Phillip at the center of the trio.
Each characters
examination having a great personal connect to the other, thanks to the
wonderful and breezy narrative flow of Perry's pen.
Jennifer Kent for
The Babadook
Taking on the tried
and tested methods of classic and cliché horror films, Jennifer Kent dives
write into complex and mature themes that just enhance the eventual scares she
provides on a whole other level.
On the front of it
is of course a mother-son relationship, some hard to peg twists and such rich
psychological depth one cannot feel but be hooked. Ideas of parentage take a
strong hold on the viewer, thanks to the employment of simple singular horror
tactics on a far more refined psychological plane.
Kent's narrative and
the under the surface brutality and scariness of it, is an example of how well
done horror can truly be.
Jeremy Saulnier for
Blue Ruin
Deconstructing the
revenge thriller genre, Saulnier goes broke with one hell of a thrilling ride
with the right dose of black comedy and the right hit on what vengeance truly
means.
This is not an 'I
Saw The Devil' type film where vengeance is a complex concept, it has
complexities no doubt. No instead what this descents into is the idea of a man
beyond the exact means or skills necessary to gain vengeance and post that save
himself from utter damnation and a rowdy family.
Saulnier crafts this
around a beach bum character Dwight who gains revenge on the man who killed his
parents and then has to fight of his pissed of clan. In between providing a
sense of great urgency but also a twisting calm and some dollops of black humor
regarding Dwight's ineptitude. It's a fascinatingly underused lead, in a genre
where every man seeking justice/vengeance is just another badass.
And the Winner is...
Jeremy Saulnier for Blue Ruin!
That's for the writing...now onto other things...
Up Next: The Big breakthrough's of 2014 and the BIG BAD ASS CASTS! Underdog Awards for Best Breakthrough Director/Performer and Best Ensemble
'Nuff Said
Aneesh Raikundalia
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