Eric Heisserer

Paul Walker - Hours

Paul Walker‘s performance in Hours is a different animal. In the film, he stars as a man who loses his wife during childbirth and must watch over his ailing newborn in a hospital evacuated by the threat of Hurricane Katrina. It’s high concept with a big beating heart, and we’ll speak with writer/director Eric Heisserer about the challenges of crafting it, and the contextual shift left by Walker’s tragic death. Plus, Eric Vespe (aka Quint) from Aint It Cool News will try to convince Geoff to see The Hobbit: The Desolation of Smaug regardless of how the dragon’s name is pronounced, and we’ve got a fundamental screenwriting question on tap for both Geoff and Heisserer. It’s our penultimate show, so we’re swinging for the fences. You should follow Eric Vespe (@ericvespe), Eric Heisserer (@HIGHzurrer), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis. And, as always, if you like the show (or hate it with seething fervor), please help us out with a review. Download Episode #43 Directly Or subscribe Through iTunes



It’s not always a good sign when you see Paul Walker outside of the Fast and the Furious franchise, but maybe Hours, the film starring Walker as a man dealing with the aftermath of Hurricane Katrina, could be the role to finally get him some leverage outside the world of street racing. Rather than making a “Hurricane Katrina movie,” the film is focused on one man’s experiences during the disaster. Walker’s wife (Genesis Rodriguez) has just given birth and the newborn baby is in the NICU on a ventilator. When the hurricane hits, all power goes out and it’s up to the new father to keep the battery powered until help arrives, whenever that may happen. It looks like a mentally anguishing story that’s part disaster movie, and part “stranded” narrative as well. Though Walker’s in a city full of people, he’s all alone in that hospital with just the baby, his wife, and his thoughts; the flashback sequences to happier times in the trailer remind me a bit of the hallucinations from 127 Hours. Check out the trailer here:


review hours

“Based on a true story.” Those five words, or others that convey the same meaning, can have a strange effect on our expectations for a film. Suspension of disbelief isn’t necessary since the story, minus vague parts of it that may been changed for dramatic effect, actually happened. That idea seems to stick in the back of our minds as an audience, informing our constant judgements on the film’s qualities. But what if a film doesn’t start with those oft-maligned words? Well, then that film should have to operate in some realm of believability wherein it establishes rules by which it then plays. Unfortunately, Hours feels like a ‘based on a true story’ film that gets bogged down by reality and Paul Walker‘s acting.



Five films into the franchise, the Final Destination series shows no indication of putting pause on its specialty brand of crafty blood-and-gore kills waged against the average Joes and Jills who find themselves infused with the vague psychic powers that could possibly stop all the bloodshed. This is, of course, not to say that the franchise isn’t worse for the wear, with character development all but sucked out of the film’s respective bottoms, leaving nothing but lifeless, water-logged bodies behind. The set-up of Final Destination 5 is the exact same set-up as the previous four Final Destination films – a single person has a vivid premonition of a horrific accident that kills a hefty number of people. The premonition is so strong (and is, as is always the case with FD films, presented as a real event until a classic snap-out-of-it, it-was-all-a-dream come-to by the character having the vision) that when events that mirror the vision start to play out, said vision-er does the only thing that truly makes sense – they run. And by running, and bringing others along with them on their desperate race to survive, they do actually survive. Until they start dying, because Death itself is damn ticked off that the body count of its clever little catastrophes was not as high as originally intended. This time around, the single person with the vision is Sam Lawton (Nicholas D’Agosto), whose premonition is that of a stunning bridge collapse while he and his coworkers (including his ex-girlfriend) […]



No, not that writer of The Thing. The other writer of the other The Thing. And, wait what? Another Final Destination.

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published: 01.29.2015
published: 01.28.2015
published: 01.28.2015
published: 01.28.2015

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