The King Of Staten Island

How to pull the punch line even when the joke didn’t reach that stage, in The King Of Staten Island. So I found an uncanny resemblance in the co-writer and director, Judd Apatow’s The King Of Staten Island with the director John Wells’s Burnt. In the sense that both of these films pushes its character... Continue Reading →

Life’s Too Short

How to jump into the wrong set of shoes and force it to adjust to your size, in Life's Too Short. The creators Ricky Gervais, Stephen Merchant and Warwick Davis's Life's Too Short is a lazy, though genuine, piece of art. A lot of the content that is used as a gimmick to make you... Continue Reading →

Cloudy With A Chance Of Meatballs 2

How to fall under the norms of the genre and the tone of the film, in Cloudy With A Chance Of Meatballs 2. They are trying way too hard to make us laugh. Jokes are forceful, punches are pulled unnecessarily and physical comedy is dragged too much, overstaying its welcome and milking, I don’t know... Continue Reading →

Shaun Of The Dead

How to know of the range of your genre and script, in Edgar Wright and Simon Pegg's Shaun Of The Dead. I have seen both of them talk about the writing process of their trilogy, especially about Shaun Of The Dead in detail. Their structure is more pronounced and is easy to adapt and relate.... Continue Reading →

Stranger Than Fiction

How to improve your script by convincing the audience that there is no other way this could’ve spiraled out, in Stranger Than Fiction. I wonder if non-writers find this film equally intriguing as we do. I wonder if they understand “writer’s block” something that Emma Thompson’s character suffers from, for the most part of the... Continue Reading →

Shrek Universe

How to promote as you're against the stereotypical agenda and fuel your film with that very agenda, in Shrek Universe. The Shrek Universe suffers from a very common disease. It’s cookiness, uniqueness fades away very quickly and what’s left at the end of the day is the very thing they’ve been running away from. Maybe,... Continue Reading →

Only You

How to follow all the conventions of the genres but spread them on an unconventional base, structure of the world, in Only You. So this is why I am drawn towards the simpleton romantic comedies of older times. This is why I hope everyone is in love with those rainy Saturday evening flicks that oozes... Continue Reading →

Groundhog Day

How to squeeze everything you can from a character, every last bit of drop that could be integrated showcasing the phase, the side of that very character resulting into, obviously the only way out, the film advances forward through those very earned spectrum of emotion. What I love about the film is that unlike the... Continue Reading →

The Lovebirds

How to try and then try harder and then push and then push again, until it breaks, screams and annoys, in The Lovebirds. So this is going to sound a little weird. Get this. The film has humor that organically emerges up situationally but the plot points on the other hand casts quite a leap... Continue Reading →

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