General Movies, Music, Web Show, and TV News Thread
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Who the f would even want credit for that. It’s like death by 45 cuts.I mean, it seems especially unfair to hold Hodson responsible for The Flash when she was apparently one of 45 people who worked on the script. She was just the one to get credit/blame for it.
"A high-profile comic book movie set to debut next year recently had its final script submitted to the WGA for screenwriting credit, and insiders tell Deadline that a staggering 45 writers had some sort of involvement with the script at various stages through the development process."
How Screenwriters Are Flexing Their Muscles To Find A New Way To Control The Script — Deadline Disruptors
Wealth of streaming opportunities are giving screenwriters a new avenue to sell scripts outside of the traditional studio system.deadline.com
Is the relevant part of that article, but I've seen other sources that state the comic book movie was The Flash specifically, and the timeline checks out.
We don't know how to contacts for why any of them had to put their names in the credits. It could have been a possible NDA for all we know or breach of contract. This isn't me defending the film, but what's done is done at this point. I'm willing to give this person a chance, because they've done quality work beforehand.
The whole lot of them should have Alan/Alana Smithee'd themselves on this one.
I'm raising an eyebrow at these announcements of Sif and Thor being cast, when they don't even show up till the second game.
I'm guessing they're going to fast-track many Ragnarok characters as well as a few plot points to account for the fact the 2018 game is so sparsely plotted/populated.
That's a red flag right there.
On the one hand Patikin has the stature to play Odin. On the other, what made Ragnarok's Odin so great is that he looked like this unasuming old man. I don't know too much about Norse mythology, but I do know Odin is generally discribed as just a regular old man kinda traveling around. They could've just gotten Richard Schiff back for the role.
On the one hand, yeah. On the other, what else are they supposed to do? 2018 is a parent-child road trip but unlike The Last of Us where every stop tells a little story which can be neatly translated into episodic TV form (insert "The Last of Us game is cinematic and episodic enough that a TV adaptation would be pointless" here), 2018 is parsed into fetch quests and info dumps. The relationship between Kratos and Atreus doesn't really change and they don't accomplish anything other than making enemies of Freya and Thor by killing their kids and unwittingly setting Ragnarok in motion. It's a low stakes journey to spread mom's ashes that every now and then brushes past this bigger thing going on in the background. I don't know how you dramatize it without fast-tracking some stuff, even if it's just to cut away from Kratos and Atreus every now and then.
Well there's the rub, because GoW '18 was made to contrast the classic games by being quieter and more intimate; you are very much supposed to be aware of who Kratos was before starting the 2018 game. The story basically was 'watch Kratos squirm as he has to deal with this child and not resort to his old violent tendencies'. So for a screen adaptation to start at 2018 (and show his past through flashbacks undoubtedly) you're putting the whole story in a weird spot. But because the newer games are the freshest in the public consciousness they obviously choose those for an adaptation.
Though making a road movie set in a mythological setting would honestly be a novel idea for a TV show or movie as well.
And I don't know how long this show is going to be, but Ragnarok already greatly suffered from the amount of characters it jammed into the story. So if we're already getting Thor, and Sif, and Odin right from the start in this adaptation, along with Kratos, Atreus, Freya, Brok, Sindri, Baldur, Mimir, and maybe even Magni and Modi...
The problem with adapting most videogames is that traditionally the game is always on the player character (cutscenes notwithstanding), whereas no TV show tolerates following a single character for the duration. Audiences demand B-plots and C-plots and attention has to be constantly refreshed by cutting between characters and settings. Even something as ready-made for episodic consumption as TLoU had to make up all sorts of cold opens and bottle episodes and brand new storylines to qualify as TV. And now comes GoW 2018, which is told in a single continuous take and consists of two characters journeying through the wilderness, never once cutting away and only meeting a handful of people, half of whom are little more than glorified NPC vendors and conversationalists with no real narrative function. It's obvious they're going to have to fast-track certain appearences and come up with stuff to cut away from Kratos and BOY. Hell maybe this way the Ragnarok portion of the narrative won't feel as crowded once we get there.Well there's the rub, because GoW '18 was made to contrast the classic games by being quieter and more intimate; you are very much supposed to be aware of who Kratos was before starting the 2018 game. The story basically was 'watch Kratos squirm as he has to deal with this child and not resort to his old violent tendencies'. So for a screen adaptation to start at 2018 (and show his past through flashbacks undoubtedly) you're putting the whole story in a weird spot. But because the newer games are the freshest in the public consciousness they obviously choose those for an adaptation.
Though making a road movie set in a mythological setting would honestly be a novel idea for a TV show or movie as well.
And I don't know how long this show is going to be, but Ragnarok already greatly suffered from the amount of characters it jammed into the story. So if we're already getting Thor, and Sif, and Odin right from the start in this adaptation, along with Kratos, Atreus, Freya, Brok, Sindri, Baldur, Mimir, and maybe even Magni and Modi...
‘Mystery Science Theater 3000’: Rifftrax, Shout! Studios Team for New Episodes of Cult Classic Series (EXCLUSIVE)
RiffTrax and Shout! Studios have teamed to produce four new episodes of Mystery Science Theater 3000 with Mike Nelson, Bill Corbett and Kevin Murphy
variety.com
Mike Nelson's back.
Yep. Although I fear that problems adapting video games goes much, much further than that. Film still benefits from a plot, and characterisation, and all sorts of human interaction that games tend to be much, much worse at because they paper over these weaknesses with gameplay - shooting, jumping, etc. Games have got much better, but they are still in my view very amateurish compared to film and TV. It makes sense that RPGs have fared better, for instance TLOU or Fallout on TV.
I'm also a great believer that performance is generally predictable on past performance, and computer game adaptations have a history of sucking. Not just the old ones, which were B-movies and occasionally worked well at that level (e.g. 90s Mortal Kombat), and even excluding the execrable Uwe Boll films. For instance, they chucked a load of money at the Mortal Kombat remake and... well, I could stretch to a description like "adequate".
GoW fans will be lucky if this movie even reaches the glorified heights (for computer game adaptations) of mediocrity.
Video Game adaptions have gotten so much better with time, there are genuine good or great adaptions out there. Not there wasn't before, but it was far and few in-between. We'll occasionally get a bad one every now and then, but most of them so far have been put in hands of people who care, or know the source material and respect it enough. I do wish the best for GoW, but I have 0 interests, just like TLOUS tv adaption. Funny enough, most people who never played the games like Part 1/Season 1, but as soon as Part 2/Season 2 got adapted, everyone hated, and it only proves that Part 2's story is nothing, but empty and hollow edge lord bullshit.
I don't know that's really true. Or that it is true mostly in the sense that in its ongoing creative bankruptcy, Hollywood has increasingly latched onto games as a way to boost sales off existing IP, so put more money into adaptations, and that money pays for certain types of quality. But even at the better end, what it has given us is the drab, forgettable mediocrity of things like Max Payne, Hitman, Uncharted, Mortal Kombat reboot, Warcraft, Lara Croft, etc. None of them are good movies, even if some of them made their money back plus a tidy profit. (I should point out here I am limiting my criticism to English language live action.)
Do you know how many adaptations of computer games are great films? Zero. Period.
There are barely even any good films. You can watch the above mediocrities (I have), and they can pass the time and you might like them (I did some) and so they've done their job, and that's all fine. But they aren't good. Even the real hits (mostly the kid-friendly Pikachu and Sonic type stuff and the genuine mega-blockbuster Minecraft) are not good movies - unless of course your criteria for being good is commercially successful. And I bet you if you talk a look at Rotten Tomatoes or Metacritic scores you could see the tale of woe that is computer game adaptations in its full misery.