Writing Great Villains: Why They Shouldn't Be Sympathetic
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.

Two idiots decide to join the military to earn money. During their training, two recruits become suspicious and decide to expose them before they discover the military's secret weapon.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
Zoe Saldaña is a CIA operative who leads a special program that recruits women to infiltrate and dismantle international criminal enterprises, with a QRT(Quick Response Team) providing operational security that shoots people and blows things up on a weekly basis.
The highly anticipated Marvel superhero movie of the year displays important themes of loss, loneliness, and change.
I imagine that it would be a dream job for an actor to play the parts of twin brothers Dominick and Thomas Birdsey in I Know This Much Is True.
What can I say about this Will Ferrell/Julia Louis-Dreyfus-led “dramedy?” Well, the comedy part of Downhill is completely non-existent. And I should have known that the film was a flop when I walked into an empty theater at a prime time on a Friday night.