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Is it any good? Talk to your kids about How might it get socially awkward to have a superpower -- especially if you couldn't control it? Again, there's nobody for me to blame here other than the corporate structure of making this movie. You put together a huge number of people, and you have to pay them all, and you've only got so many dollars, so things will be cut. But some things also work. The cinematography is top-notch through most of it . The sets are well-designed, but there's a certain wrongness to them if you have any familiarity.
The Minneapolis Police Department set resembles an old-time newsroom, with typewriters everywhere, no real computer presence, and everyone separated by half-height cubicle walls. In the real Minneapolis Police Department, the offices are cramped, and they feel short to me even though I know they can't be , and the combination of the paint and the lighting feels oppressive, and everything seems like it's separated from everything else by monitored security doors.
It's almost the exact opposite of an open-space old-timey newsroom. But the sets are done beautifully, and look good on camera, and everyone did their job professionally. It's just not right. Who gets the blame there? Again, it just sort of emerges from the complexity of the production .
If you pay attention, you'll see that there are some cut corners. During the final chase sequence, there are exactly two police cars, and they're shot again and again from different angles to make it look like there are about thirty. In the scene, there are supposed to be a lot of cars, but they only could allocate enough money for two.
Predator vs. Prey: Going Wild, Book 2 Book Review
Most of it is shot with an attention to detail, and the action works well, but I can't get over the fact that there are "really" only two cop cars . There's a nice scene in which Lucas and Vega are out interviewing people, and they knock on a door and Lucas announces, "Minnesota Police!
I was there on that day of the filming, and I saw a lot of the footage. About half of the time Eriq said "Minneapolis Police", and the other half of the time was "Minnesota Police. It would have been about the sound quality, or the shot quality, or that one had a few errors. The person who made the final call about it might not have known that the phrase was wrong .
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I have no way of knowing, and for a thing like this there's almost no way of finding out. The whole of the movie was shot in Toronto. It doesn't have a Toronto feel, either. There are some shots inside of buildings, and some shots out in the countryside, and very little else to establish a specific feeling beyond "well, we're in a building now. It doesn't look like the Twin Cities, but it doesn't not look like the Twin Cities. What the Twin Cities looks like on a store-by-store level is almost a meaningless idea. The whole movie is like that. I can't watch it for content any more. I can only watch it to see if there's a new thing I didn't catch, or a weirdness that someone told me about, or to fact-check something that happened.
Yes, the movie feels on the whole cheaper than similar movies, but it was made as a TV movie, and had a fraction of the budget of a much larger production. Would a larger production have been better? It might have had more cop cars. Would a larger production have had casting more accurate to the books? It could have, but there's no guarantee.
There's no way to know. The movie is a completely different thing than the book, and trying to say it's good or bad based on that is difficult. I don't think there's any way to adapt a Prey book into a movie and keep it faithful to the source material. A TV movie, even more limited, is even more unlikely.
With all the streamlining involved, and the bureaucracy, and the cuts, it would turn into just another generic action movie, with appropriate breaks in the action to explain a plot point. Do we really need another one of those? I don't think so. But I think it might work as an ongoing series, or at least a time-limited series. So, set it as a series on a cable network, one of the ones that lets characters actually swear and which can show violence .
Adapt three books per season, each as three episodes, 45 minutes long each.
Add in four episodes as padding between the adaptations, including all-new material that the author approves. As I said, this is a pipe dream. This is nothing that would ever get pushed forward. But if it did, here's my plan for the first episode season:. Introduction episode, setting up the characters. There's a quick crime to solve, just a hint, but this is just a furniture moving thing, getting everything in place.
Another filler episode. Either Lucas visits New York hinted at the end of the book , or tries to reestablish his relationship with Jennifer.
Or, possibly, an episode introducing and setting up Randy Whitcomb. Eyes of Prey in full, ending with Lucas being forced to resign. Season finale. Lucas's is unemployed and directionless. His relationship with Jennifer falls apart. And then, Bekker escapes I think that would work well as a series. You'd get the character development over time that movies don't allow, you'd get most of the secondary and tertiary characters that movies don't allow, you'd get a much greater depth. And there are enough books right now for eight full seasons.
There'd be filler episodes filling in the gaps for readers, like an episode all about the Pinking Shears Incident . All of that could be in there.
It won't ever happen, but it's nice to dream. Yes, okay, the movie is listed as being from , but it was shot in , and was supposed to air in , so I say I'll talk about this kind of "secret stuff" in person, but never, ever on a publicly accessable website. They even took the effort to put in the eye socket scar, but they got it wrong. That's the part I find most strange. The vast majority of complaints I get are from people who must have never worked in a corporate environment, where "teamwork" and "compromise" can ruin everything without anyone ever knowing quite how.
The Minneapolis Police Department set went from being an empty warehouse to a perfectly servicible old-timey police department set in six hours and it was probably three times the size of my house. That was from nothing to fully dressed, and they did it like, eh, just another day. Some of the loudest complainers about the movies are also people who say that, well, such-and-such an author had direct control. Again, that does happen, but they are very rare exceptions.
Most of the time the author is not consulted in any way.
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I went there as a representative of the author, and they let me wander around the sets as a courtesy, but my main objective was to not get in the way. They had no obligation to let me watch, or even let me in. The movie Adaptation has many scenes that are all too familiar to writer-types, and which cause great anxiety in an "Oh my God this is so true" sort of way. And yet, I have actually seen this. The resulting movie never happened, and it's probably for the best. No, I'm not gonna name names. That line might confuse some fans, so I'll say this right here: Lucas never ever worked on video games.
He only worked on tabletop wargames and tabletop role-playing games.
They're very old-school. A lot of fans think that RPG can only imply computer gaming, but this was set in , and computer gaming was still in its infancy. And one of the worst things for a writer is to write a really wonderful scene that works on every level And it's still more time than gets devoted to the gamer side of his personality in the Certain Prey TV movie. Namely: none whatsoever. Nope, no idea where the name came from. Cheryl might be from Sherrill, I can see that. But Vega?
No idea. She was, however, unhappy in her marriage and initiated a divorce. She then embarked on a rebound relationship that did not work out, leaving her devastated and alone.
Predator vs. Prey: Going Wild, Book 2
After finalizing her difficult divorce, she spent the next year traveling the world. She spent four months in Italy, eating and enjoying life "Eat". She spent three months in India, finding her spirituality "Pray". Columbia Pictures purchased film rights for the memoir and has produced a film version under the same title. It was released on August 13, American actress Julia Roberts starred in the film; Ryan Murphy directed it. Jennifer Egan of The New York Times described Gilbert's prose as "fueled by a mix of intelligence, wit and colloquial exuberance that is close to irresistible" but said that the book "drags" in the middle.
She was more interested in "the awkward, unresolved stuff she must have chosen to leave out," noting that Gilbert omits the "confusion and unfinished business of real life" and that "we know how the story ends pretty much from the beginning. Maureen Callahan of the New York Post heavily criticized the book, calling it " narcissistic New Age reading" and "the worst in Western fetishization of Eastern thought and culture, assured in its answers to existential dilemmas that have confounded intellects greater than hers. Katie Roiphe of Slate agreed with Egan about the strength of Gilbert's writing.
However, she described the journey as too fake: "too willed, too self-conscious. Lev Grossman of Time , however, praised the spiritual aspect of the book, stating that "to read about her struggles with a verse Sanskrit chant, or her successful attempt to meditate while being feasted on by mosquitoes, is to come about as close as you can to enlightenment-by-proxy. Lori Leibovich of Salon agreed with several other reviewers about the strength of Gilbert's storytelling. She agreed with Egan as well that Gilbert seems to have an unlimited amount of luck, saying, "Her good fortune seems limitless" and asking "Is it possible for one person to be this lucky?
Entertainment Weekly ' s Jessica Shaw said that "despite a few cringe-worthy turns