MauLer on Screenwriting - Rant Compilation
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- Опубликовано: 18 сен 2024
- Profanity warning. Keep your kids away!
The following vids were used:
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#MauLer
Listening to Mauler roast bad writing will never cease to be entertaining.
His roast are the snack, appetizer, feast, and dessert all wrapped into one.
@@zetastreaker47 We shall call it... Second Breakfast
Really? Because his voice is so degrading to listen to.
It's so sad that writing has come to this, though. "Arthouse" writing is just as pitiful these days, so there's little to fill in the gap. Some foreign stuff is good, though. But it is rare that the praised movies will be Parasite. Most of the time you'll get Burning or Wheel of Fortune and Fantasy, movies made for critics that think a movie is deep because people talk philosophically about sex. While good movies such as Happy Old Year or Liz and the Blue Bird or Red Post on Escher Street never get any exposure.
Yelena doesn’t just kill the guards and prisoners, but a doggo too. That in itself is an unforgivable act.
beyond the pale.
Call in John Wick
Hats off to Michael Crichton for being too dead to see the absolute state that is now the Jurassic Park franchise.. it all started with amazing writing and an amazing adaptation
Honestly, pretty smart move of him to do that. I don’t think I would’ve had the foresight to die when he did.
@@tylercoon1791 well, you're alive now so... obviously not. Kudos
The editing is so seamless he sounds like he's calmly rambling about several topics in one sitting
So, as an amateur writer, here's the lessons I'm getting from MauLer:
- Don't make your characters do something completely out of character while trying to make the barest excuses beforehand.
- Don't excuse/ignore evil actions done by characters meant to be sympathetic, and don't undermine the reasonable actions of characters meant to be unsympathetic.
- Don't erase any continuity of character arcs and morals they are made to learn between every episode.
- Don't make smart characters stupid for no reason except to drive the plot, and don't make useful characters useless for no reason except to drive the plot.
- Don't allow characters be lectured by guilt-trips that make no sense.
- Tone whiplash is harmful when pushed to its extremes; a bit is fine, but too much deletes any stakes.
- Give characters some form of consistency, a character with no throughline is barely a character.
- Don't delete an entire character's personality just to drive the plot.
- Just because a story is fictional doesn't mean the plot shouldn't have to make sense.
- DON'T IGNORE WORLDBUILDING
- Don't erase the stakes of the setting
- Making a sequel only on fanservice without any solid narrative is like building a house on sand
- Do not ret-con the entire lore of a preexisting setting
- It's not good writing to only bring new characters up by dragging older established characters down
Here are mine:
1. plan everything chronologically (which may involve a map with realistic travel times) before doing anything to change the order in which the narrative of those events is told:
ruclips.net/video/-zhohwjl1so/видео.html
2. art is intended to elicit an emotional response so chart what that is diagrammatically with an overview for your central character (you can use other colours for secondary ones):
ruclips.net/video/oP3c1h8v2ZQ/видео.html
3. know the ending and work your plot outline backward from that chapter by chapter (or story beat by story beat in the case of a screenplay) John Grisham only needed three sentences:
ruclips.net/video/mGeDe1PtJOM/видео.html
4. continue back before the first chapter to define the character biographies which are appropriate for your drama to reach its climax (this can be iteratively revised multiple times), so do not expect to have your characters in mind when you start and not change them to suit the climax, the climax is the whole point of the story, along that journey you may discover a theme you want to emphasize, if so do this subtly by removing extraneous elements that are inessential to that theme and discordant to it rather than keeping the discordant elements and just clumsily bolstering the theme, as stories with a strong explicit moral written at the end are very old fashioned and writing has moved on since those primitive days. It is okay to have very ambiguous morality and meanings woven into a work, as if you could write your message clearly in a telegram then you would have sent a telegram and not written a book or screenplay. In the former case you are free to use choice of language and formal structures like footnotes and endnotes which are only available to that medium to construct your literary experience and in the latter case you are free to use art direction, costume design, cinematic imagery, composition, camera motion, foley, special effects, stunts, editing, CGI, postprocessing, as well as advance screenings to gauge audience feedback (e.g. _Pretty Woman_ was originally going to have Patricia Arquette provide her services and get kicked out of the car and have $3000 thrown on top of her in the gutter before Disney acquired the project and didn't like the tone, and hired Gary Marshall and gave him that feedback on the original screenplay which he then reconfigured with a tonal shift from gritty art house to comedy and hired Julia Roberts, and _Star Wars_ was judged to be dull by Marsha Lucas who expedited the opening so Luke got to meet Han much sooner and made it so the Death Star was threatening to blow up the fourth moon of Yavin just as soon as it had a clear shot, actually introducing a plot hole as it meant that it was ineptly navigated through Hyperspace to be snookered behind the gas giant, all because she recognised it was more important to have a ticking countdown to increase tension at the end of the movie, editing for which she got an Academy Award, the lessons being that: feedback matters‡, endings matter most, and pacing improves things from competent to great). ‡ So that you should seek the appropriate tone with the help of feedback as this can be something you can't judge yourself and screenwriting is a collaborative process not one where the studio follows your script without changes being run past you as you are kept on to ensure the changes they request don't break the story and characters.
ruclips.net/video/nZUxmpZ_I9c/видео.html
5. continue back further still to define the world that the characters are in, and if this is historical, alternate history, fantasy, science-fiction, or parody (like _Idiocracy_ ), you will need to know more than you let on to the reader so that they come to trust that even if you only hint at the full scope and details and origins of things about the world you the writer do know all the answers as you inspire confidence in them. It actually doesn't matter if there are inconsistencies in this underlying worldbuilding as the reader will be focused on the challenges you get your characters to overcome which could include conflict between them:
ruclips.net/video/3qTKRZ9qilU/видео.html
6. write as an intuitive plotter:
ruclips.net/video/gvA8us5OfNQ/видео.html
7. characters change over time due to the challenges they face which they don't necessarily always prevail over (i.e. tragedy and comedy):
ruclips.net/video/GVbGtbWIZSw/видео.html
Continued...
Therefore, it would have been fine for Luke to be on the island of Ahch-To at the end of _The Force Awakens_ but here is what would have to have been addressed (and there is a lot to fix, so there is a lot to explain, whilst keeping _Episode VII_ exactly the same):
Luke could not have been the cause by which Ben Solo turned to evil, that is expedient "kill two birds with one stone" storytelling by Rian Johnson and I realise why he felt he needed to do that as he didn't have a spin off movie called _Kylo: A Star Wars Movie_ releasing after _The Force Awakens_ to explain how Ben became Ren, MauLer himself has said that they needed a trilogy like the prequels to show where this new Vader came from, but I think that this could be expedited and told in one character study movie as the prequels also have the burden of telling the story of the entire Clone Wars, so this spin off that would have replaced _Rogue One: A Star Wars Story_ in 2016 would have Ben a new teenage padawan learner at Luke's Jedi Academy who had been sent there by Leia because he had belatedly started to develop telekinesis along with teenage temper tantrums and she felt that without her brother's guidance her son would go the same way as her father, before Ben is torn away from his girlfriend and the nightlife he enjoys on seedy Coruscant he visits an occult bookseller as he is curious to learn more about the whole of the Force given that he has been told he will be trained in the Jedi way. He doesn't accept anything and is quite stubborn like his father Han, we see him in the bookshop, but not the bookseller (who is voiced by Andy Serkis, i.e. Snoke) who sells him an ancient copy of the philosophy of Kreia very much cheaper than he should have done given the rarity and binding of the book (suspicious, too good to be true, etc.), here we see that Snoke wants to introduce the impressionable Force Sensitive boy to the whole of the Natural Force ahead of his indoctrination by Luke's dogma, as Kreia is canonically Darth Traya and learnt to master both Light and Dark, and when Ben arrives at Luke's Academy he conceals that he has this book and ends up forming a group of teenage acolytes which practise exploring this mysterious Dark Side with a pair of them bonding over their unrepressed passions against the vow of celibacy that they have all taken, but with a circle of "sober sitters" surrounding them operating as psychic anchors so that the pair don't fall irretrievably into the abyss, but spelunk their dark desires and come back learning more insights and eventually accessing more Dark Side powers whilst being able to balance that with Light Side energy to harness the full amoral power of the natural Force. This isn't even happening in _The Force Awakens_ or _The Last Jedi_ but _Kylo: A Star Wars Story_ (2016).
This is all to make up for J.J.Abrams deficient storytelling in _Episode VII_ as he didn't comprehend that Darth Vader in _Star Wars_ was _Episode IV_ and that meant he would be getting three episodes establishing his origins, whereas by not making _Episode X_ he was not in a position to then make prequels to the sequels to tell the origin of Kylo Ren. This would not have been possible as Harrison Ford was only prepared to be in one movie, so being absent from a trilogy and one of the sequels would have been very odd, but a single spin off could have worked and it is possible you could have had Ben in his bedroom listening to Han arguing with Leia about Ben being sent away (off screen), or even have Leia angry at Han's infidelity and hint at the cause of their inexplicable break up (which could possibly be due to the return of his old flame Qi'ra who under the tutelage of Darth Maul learnt to develop her Sith abilities in Force Seduction, and became free from being Maul's apprentice when Obi-Wan killed him, therefore allowing her to seek out a happily married Han, something that did not stop her getting what she wanted). This scandal of their divorce would have led to Han losing reelection as President of the New Confederacy, and Ambassor Leia would have been shamed (as in Claudia Gray's _Bloodlines_ novel) by a woman collaborating with the First Order when it was revealed to everyone who her father had been, leaving both to exit their post war civic roles. This would come at a time where Leia would be having nightmares about there still being Dark Forces somewhere in the galaxy, something that Luke reassured her no longer existed as the last of the Sith had been eradicated when Maul had died.
No one would be aware that a splinter of the collapsing Empire had found its way through the dangerous uncharted Unknown Regions. No one would know that they had come to reinforce Palpatine's contingency plan set up in the prequels, where he got his secret second apprentice Evandor to head off into the Unknown Regions to planet Ilum and hollow it out and use its natural crystals which were used for centuries to power lightsabers as the basis of a devastating superweapon capable of destroying Coruscant in the event that his own plan to acquire it (by getting the Senate to elect him Chancellor, and then appoint him Emperor with emergency powers to deal with a war he secretly started under the guise of Darth Sidious), was to fail for some reason, as in that eventuality the existence of the Sith would be known to the Jedi Council and the Jedi would just try to genocide them again. Ideally, Sheev Palpatine would like to keep Coruscant as the economic trading hub of the galaxy and the centre from which the Imperial Navy operates, but if he loses everything then those resources are in the hands of the enemies of the Sith and it would be better for the planet and any ships in orbit to be vaporised by Starkiller Base. Evandor Snoke's existence does not technically violate the "rule of two" as Palpatine's official apprentices don't learn of Snoke's existence, neither does Snoke know of their existence, so there is no risk of a Savage Opress teaming up with Asajj Ventress to challenge Count Dooku scenario here.
Continued...
Here it becomes simple to have the massacre at the Jedi Academy happen when Luke is away visiting Leia, precipitated by a youngling finding out the cave where Ben is exploring the Dark Side with his acolytes and running back to camp to raise the alarm that there are Sith in their midst. As a result of this framing they won't hear Ben out as they think he will attempt to use Force Persuasion on them. The children attack the smaller group of teenagers, and Ben tries to get the group to merely block their blows and calm tensions, but accidents happen and tempers flare and Ben ends up fighting his own acolytes that killed some of the children, and on killing one in self defence he falls to his knees in regret angry at what brought him here and that Luke was absent when his presence would have averted this calamity, the younglings surround him with pointed lightsabers at his neck and after bowing his head for a while he jumps up and spins around to fend them all off, some losing their footing and falling backward, others retreating as he presses against them, his remaining acolytes get to the generator for the camp to shut down the lights so all you can see is the sabers in the night, they repeatedly clash until the younglings get unnerved by his rage and scatter amongst the silhouettes of trees within the surrounding jungle, and Ben pursues them cutting them down, their sabers extinguishing. Ideally, you would want all of this better written than that, as the transition in _Episode III_ is too rushed and there is an opportunity to make this seem more credible. Maybe Ben resents losing to these younglings when he first arrived as they would be better with a lightsaber than him. Maybe it brings in flashbacks to scenes which show his disturbed childhood. Maybe Ben's nightmares show his future as the Head of the Knights of Ren massacring parents so that Stormtroopers could kidnap their children, without specifically revealing Supreme Leader Snoke or Starkiller Base.
Starkiller Base should be a surprise (terrorist style) attack on one planet, which pierces its moon first, then boils the oceans, and breaks through the mantle of the planet Hosnian and causes magma to erupt out of volcanoes, and severe earthquakes and tsunamis, in a much more drawn out sequence (as this is older technology than the mobile Death Star), and we have got to know a lot of the people this affects from scenes involving Leia where she has tried to get the Raddus Star Cruiser to not be decommissioned but converted to use more automation so it can run with a skeleton crew and ostensibly chart the Unknown Regions for undiscovered planets with rich resources, whilst secretly conspiring with Retired Admiral Gail Ackbar to explore that region as she fears the Sith are still lurking somewhere in the galaxy on the basis of her nightmares. Leia could manage to negotiate all this and have Luke compliment her on her skills as a diplomat, and then tell her his concerns about her son who he has been visiting whilst he sleeps and he has noticed he has these nightmares, which he shouldn't be having given the amount of meditating Ben does during the day, and general monastic lifestyle. He thinks that a visit from Leia would help them talk out what should have been better resolved between them before she sent her son away to be trained by Luke, mainly due to her marriage falling apart and the pressures of her important job weighing on her. Perhaps, if they talk or she takes the time to listen to Ben's grievances then it will clear the air between them. Leia agrees and leaves Hosnian Prime with Luke ahead of it being destroyed, and then arrives at Yavin IV which is where the Jedi Academy is situated and they are in shock at finding all the bodies of the dead younglings, with the teenagers including her son gone. Given that they had no means to travel off world someone must have arrived to pick them up. This question is answered by the arrival of a ship at Starkiller Base and the teenagers and Ben being led out by a female figure in shiny armor who is Captain Phasma. Ben is deep down the rabbit hole due to his decisions, and is surrounded by obedient indoctrinated Stormtroopers who were kidnapped as children and brainwashed. Officers believe First Order propaganda, and so do those with Force Sensitivity like Ben and his acolytes. Initially, they serve under Phasma as she keeps a watchful eye that they are helping the First Order with them killing the parents of the children they kidnap from worlds within the Unknown Regions. After a montage of this which shows Ben become more cold hearted and begin wearing the mask, Phasma tells him that the Supreme Leader wants to see him now, and the spin off movie ends with Ben before Snoke telling him that henceforth he will be called Kylo Ren and serve him as his apprentice and leader of the Knights of Ren.
When you break it down like that you realise just how much J.J.Abrams left out of _The Force Awakens_ which should not have brought Kylo into the story so early, indeed it would have been better to make Finn the hero not Rey and then have the character arc for him go from being trapped as a Stormtrooper abducted as a child and haunted by nightmares he comes to realise only he has, so the brainwashing isn't working, then he gets ratted out by his own squad as having anomalous behaviour, and Phasma wants him terminated, but Hux is concerned that their brainwashing techniques might not be perfect, and is mindful of the risk of a mutiny if this phenomenon becomes widespread. Consequently, this janitor FN-2187 is put through conditioning again, at which point he sees for the first time the horror of all the screaming children being brought in and put into devices which make them unnaturally calm and obedient and answering in unison. Then he goes through the same process again and it doesn't work and he realises he is going to have to fake it as if it did work. This makes him very paranoid. He has more nightmares which include the day he and his sister were abucted. This is important as it establishes why he doesn't want Stormtroopers killed as they could be his sister. Hux has Phasma put him on her frontline cavalry, where they then go on a night mission to Jakku to raid a village for its children and encounter Luke. FN-2187 uses the fight between the encircling speeder-bikes and the cloaked figure with the green lightsaber as an opportunity to go AWOL and dips into a tent to remove his white armor plates so he is just wearing his black bodyglove, and when he is on the point of slipping out of a slit in the rear of the tent into the dark of the desert Luke strides in and asks him who he is, who all of them are. That would establish he just didn't know of the existence of the First Order or the threat from Starkiller Base. The fact that Disney canon states the exact opposite almost means the New Republic deserved to be blown up.
Rey is not waiting for her parents to return for her someday. That was a huge mistake as it teased a set up that mislead audiences into thinking Rey was someone other than she was. Daisy Ridley admitted that officially she was told she was a Kenobi, then a nobody (a Solanna), then a Palpatine (then told she wasn't to keep a lid on the secret). That meant she acted her role with zero backstory. This was bad for knowing her character's motivation. Later episodes would undermine her performance in earlier films by retroactively adding in more information that Daisy Ridley should have been told at the time. Obviously, if Rey isn't waiting for her parents to return then she could fly off in one of Unkar Plutt's ships she seems able to repair and pilot. What is to stop her? Well, the answer lies in _Episode I_ where you will recall Shmi and Anakin both have bombs put in their heads by their slave owner Watto. This will mean that Luke will have to steal the transmitter from Plutt that will cause Rey's head to explode if it is outside broadcast range. J.J.Abrams did this in _Mission: Impossible III_ with Keri Russell so the idea was RIGHT THERE and they went with MAYBE SHE'S A KENOBI instead. Why would Anakin's lightsaber call out to a Palpatine to pick it up? I don't know. _Episode IX_ makes no sense at all to me, and I consider it the worst movie ever made as there was no excuse for it to be that bad.
Continued...
Now Rey's role is to train Finn to fly the Falcon. Much the same as Han with Luke in _Episode IV_ with the whole "Don't get cocky, kid". The other thing is that with Rey more like Han, then Han shouldn't be in this alternate _Episode VII_ but have his single appearance deferred until the climax in _Episode IX_ as this is where it makes sense for Finn (who chooses his own name) to pilot the Millennium Falcon inside the maw of Starkiller Base just after it had drained some Dark Energy from its neighboring star, and destroy all the regulators for its magnetic containment vessel and then get out of there before the whole thing implodes into the symbol of hope that is a newborn star. This is all complicated by being pursued by Kylo Ren. He has previously had this dramatic scene with Han and Snoke (Snoke therefore dies when Starkiller Base is destroyed, and Kylo has to be in his Tie Silencer to be able to be alive in a second sequel trilogy more focused on Rey and Kylo's story, what is nice about this arc for Finn is that he gets to hit back against the First Order who kidnapped him and his sister as a child, who he does reunite with as she has become an Officer named Jannah who has access to the plans to Starkiller Base and therefore holds the intel on its weakness which is established in _Episode VIII_ which is also where Luke fights Kylo so that the new hope that is Finn can live to fight another day, as with Anakin within _Episode I_ we note that Finn has good reactions and it is revealed that the reason why the First Order brainwashing didn't work on him or his sister was because they were both Force Sensitive like their father Lando Calrissian who they reunite with at the end of the movie in a bittersweet happy ending with Chewbacca aboard the Millennium Falcon):
INTERIOR: THRONE ROOM - STARKILLER BASE
HAN is brought before SNOKE and KYLO.
*SUPREME LEADER SNOKE* Curious for you... to come aboard... unarmed.
SNOKE lounges back on his Throne and turns towards KYLO to speak with a tone of great disdain and a touch of disappointment.
*SUPREME LEADER SNOKE* What do you make of this, Kylo? Presumably, the... great... Han Solo wishes to talk... not... fight.
*HAN SOLO* I want my son back.
*SUPREME LEADER SNOKE* Do you hear this pathetic plea? To think you came from such... weakness.
*KYLO REN* What would you have me do..?
*HAN SOLO* We want you to come home, son-
During this line KYLO raises his head towards SNOKE and speaks, overlapping his father's last word.
*KYLO REN* -Master...
*SUPREME LEADER SNOKE* ...I want you, my dear... apprentice... to prove yourself worthy of my knowledge of the power... of the Dark Side... Convince me you deserve to share my wisdom... and gain my supreme... mastery... of the Force!
SNOKE zaps Han with Force Lightning from his long fingertips, preventing HAN from making another plea for the return of his son KYLO. SNOKE leans forward in his throne keenly observing KYLO.
*SUPREME LEADER SNOKE* You think I can't sense... every emotion.. every... thought?
KYLO bows his head in shame before his Master.
*SUPREME LEADER SNOKE* Take that ridiculous thing off!
KYLO slowly removes his helmet and tries yet fails to avoid the gaze of HAN who has not looked upon his son's face in years. KYLO is tormented, exposed, weak. HAN knows he will likely die, but he is prepared to sacrifice his life if it will make his son resent the corrupting influence of his Master and remember just how much his true father loves him.
*SUPREME LEADER SNOKE* You know what I expect from you...
KYLO slowly stands and ignites his red crossguard lightsaber as HAN struggles off the floor to kneel before him, first looking in his son's eyes one last time, before bowing his head forward to expose the back of his neck. KYLO lowers the red lightsaber until it is inches above HAN's neck.
*HAN SOLO* Do it
KYLO swiftly brings his lightsaber high as if to strike a decapitating blow, then hesistates, glancing towards SNOKE who explodes with rage.
*SUPREME LEADER SNOKE* Useless!
SNOKE zaps KYLO with a sustained barrage of Force Lightning from the fingertips of his right hand, sending him spinning across the floor into a smouldering inert heap. SNOKE then stands and walks forward, deliberately, his attention now focused on HAN who manages a wry smirk at SNOKE's expense, before SNOKE zaps HAN into submission with Force Lightning from the fingertips of his left hand, whilst simultaneously gesturing with his right hand to lift KYLO with the Force like a ragdoll, crudely twisting his head so he can observe his father being tortured to death, before casting KYLO aside, his body skidding across the floor until it stops sliding and KYLO struggles and fails to get up, the camera resting on his face as we hear the sounds of HAN screaming his last, an expression of deep shame being replaced by an icy resolve at vengeance for what SNOKE has done to his beloved father. HAN was successful in his plan to reconnect with the good that LEIA sensed was still in their son, although, as expected it cost him his life.
Continued...
MauLer just gives a list of DON'Ts and doesn't tell authors what to DO.
MauLer doesn't go deep enough as he doesn't surmise WHY these films were bad (i.e. because Bob Iger wanted the whole Saga done by 2019 so it coincided with a cross-promotion of their new _Star Wars: Galaxy's Edge_ theme park expansions and Disney+ streaming service, which is itself dumb as Paramount made _Star Trek: Generations_ to bridge Captain Kirk to the lesser known _Next Generation_ crew, and bring veteran fans of that franchise along to those new movies with Captain Picard, so it makes no long term financial sense to acquire Lucasfilm for $4,010,000,000 and not try to keep going until _Episode XII_ with just the new younger cast once you have used the first sequel trilogy to give the old cast a good send off and establish the new cast as well as distinct characters in their own right and not just nuLuke, then even if you accept Iger winding it up prematurely in 2019 then he should have been mindful of the crazy schedule he had put Kathleen Kennedy under by acquiring Lucasfilm in 2012 and expecting _Episode VII_ in 2015, given this lack of time in pre-production it would have been wise to use George Lucas' story treatments, when he didn't and hired Michael Arndt, that screenwriter wasted a lot of time, failed to make a screenplay because he said that Luke was overshadowing Rey in every scene they had together, as he had lazily made Rey into nuLuke and you already had real Luke around to do Luke stuff, and then he asked Bob Iger for another 18 months to do a full rewrite and Iger refused and that forced Kennedy to get J.J.Abrams involved who was mindful of the time pressure and decided to do a low risk soft reboot of _Star Wars: Episode IV_ whilst fundamentally misunderstanding the Hero's Journey, Kennedy thought Abrams would need some help with Arndt's script so she sought out the opinion of Lawrence Kasdan who had cowritten _Episode V_ and he wouldn't even read it as he was retired. Kennedy then enticed Kasdan by coming up with a spin off about his most favorite character, Han and even then Kasdan held out until he could get his son involved, this is the reason why Lando is canonically pansexual and has sex with a robot that is voiced by Phoebe Waller-Bridge and whose brain ended up becoming the guidance computer of the Millennium Falcon, so Lando has technically fucked the Falcon (no joke). This is why Luke got sidelined as Ardnt convinced Abrams and Johnson that he was narratively problematic. MauLer might avoid this speculative analysic because that would be subjective conjecture, but I think that a critique isn't thorough if it doesn't include any insights into why the production was a total mess. Furthermore, MauLer does not demonstrate HOW these poor screenplays could be rewritten, except in one scene with a character of his own invention (called Tasu Leech), which he has dramatically performed, and then bizarrely casts aside on the grounds that it shouldn't have been necessary to have that scene anyway.
As to Luke on the island and staying there. It's simple. He is sick and dying and the island is keeping him alive, but Snoke had trained his nephew to Force Connect with him to ascertain his location so that the First Order could wipe out the Last Jedi. Once that happened and Luke realised that his long lost nephew had turned to the Dark Side under the influence of this Snoke he had no option but to cut himself off from the Force or be located and have the Jedi religion die along with him. He is waiting on Ahch-To for someone who he can train to be the continuation of the Jedi, someone he thinks he can use to turn Kylo against Snoke. This might lead to Rey's death, but if you think about it this was much the same with Yoda and Obi-Wan when they duped Luke into killing his father. We could have seen Luke leave the island to confront Snoke in an epic Force Powers fight, knowing he only had a week to live were he to leave the island after training Rey and gifting her the sacred texts.
And there isn't really a huge problem with the Thala Siren milk scene as he can't be drinking sea water or he will go insane. This is just world building. Johnson trying to make everything into a sight gag is more the issue here. Other than that his direction is pretty good throughout. It is his screenplay that should never have been greenlit. Ram Bergman liked it. Kathleen Kennedy liked it. Alan Horne liked it. Bob Iger liked it. They are all culpable for _The Last Jedi_ being made. You can even blame the Lucasfilm story group for telling Johnson it was okay and in keeping with canon that the Holdo manoeuvre was in the movie.
Hopefully, you find some of that helpful.
MauLer is not a good person to listen to. He is a competent editor and speaks well, but has only a shallow analysis of why these movies are bad.
"Are you is am stupid fuck"
-Bilbo Baggins
MauLer's spontaneous bad American accent really threw me for a loop there. Not sure if I love it or hate it
He's the second Welshman I know whose natural accent is kinda Americanized but is still bad at imitating an American accent lol
It's like in that episode of StarTrek Next Generation. Some ancient Earth astrononauts awoke from suspended animation and were shocked that TV was a outdated. People out grew needing to be entertained by outside sources and learned to entertain themselves. Putting on plays, learning an instrument, playing card games and boardgames with people and such.
We seem to be getting close to that time for us as well.
Yeah, that's why they have holodecks ...
@@givmi_more_w9251exactly. Hard to give a damn about movies and video games when you are living a crazy virtual experience in whatever setting you want.
That last bitterness in "expected [Rey] to be a Kenobi... a Skywalker... or a Palpatine..." hits different now.
I like to think JJ watched Mauler's TLJ critique (which, IMHO, has long since been surpassed by his other works anyway) and, as ever, missed the point.
That wasn’t from his TLJ critique, it was from his TROS Unbridled Rage video.
"Other than that stuff I loved it." Perfectly surmised, Longman. Concise, even.
10:24
Out of all the things the Longman could’ve wished for, wet socks ?!! That’s inhumane !
May the algorithm bless you for this offering.
I think i`m gonna use the last minute in my review of the rings of power. Its a perfect summary of why bad storytelling is bad and we need to fight it even if some people dont see it that way.
I really hope Mauler makes a 12 hour review of that show
MauLer is my spirit animal whenever I go to see a movie nowadays I channel.
After watching MauLer for a bit, "Greased Weasel" became an insult I'd use on people for a bit lol.
Awesome edit. Thanks.
0:37
Yeah, mauler should do these more. Just throw up a rotting piece of fruit on the screen and do a rant. I miss those things.
I want to leave a like but I don't want to ruin the tee-hee funny ha-ha number.
This is really, really gay... I love it.
It's clearly the Big Gay.
Where are the next Critiques?
Please keep these coming. Destroy the MCU. I mean, worse than they've already ruined it themselves.
Cool
i dont think you understand the word "tips"
Has anyone here though for themselves? and really question what mauler is saying about how he would change what happens in his rewrites.
I find his abuse puerile pathetic performative rage.
Your vocabulary is very impressive for someone with such a shit opinion.
Hehe
Pedanting sounds like fart in spanish
Mauler knows as much about writing a proper screenplay as Russia does about winning a war. It's one thing to "critique" (and I use that term loosely) an existing piece of writing and another to produce something better.
Is Mauler a screenwriter?
@@NothingKingKN No, which is sort of the point.
@@Frithonor God, I'll sound so redundant, but... Just because he isn't a screenwriter doesn't mean he cannot commentate and give tips on how to write something better? I don't need to know how to pilot a plane to tell that a plane shouldn't be crashed into a tree.
@@NothingKingKN No, I get what you're saying...but by the same token, knowing not to crash a plane into a mountain doesn't mean you know how to fly one. Mauler makes some decent insights into story and such, but a lot of his comments are of the pedantic nitpicking type. Seriously, pick *any* movie, even acknowledged classics, and you can rip them to shreds using Mauler's "method". Jaws? *"You mean to tell me that a man charged with the stewardship of a small island community wouldn't do everything in his fucking power to kill this thing after the first death? You're saying his first and normal reaction would have been to try to bury this fucking story?"* Star Wars? *And here we have Princess Leia- because all female characters have to be princesses, now don't they? -grabbing the weapon from the incompetent man and showing us all what a strong independant woman can do...* Sound about right?
@@Frithonor He never hid the fact that he's a nitpicker. Hell, even his newest Doctor Strange review is like 5 hours of plenty of nitpicks, and I personally enjoy this kind of content. It's incredibly pedantic, but it's also a brand that, in my honest opinion, he mastered to a T. People don't go to "Every Frame a Pause" for a normal review, but to see a bunch of people nitpick the shit out of a movie. It's kind of a rule that some contrivance needs to happen in order to make a movie work for the same reason as for protagonists in horror movies to do dumb shit because plot needs to happen, and that's kinda the agreement struck between the moviegoers and the movie itself, and I personally find it hilarious how many stupid things lay just under that agreement, to the point that even the slightest critical thinking breaks some movies.
But again, that's just my take on it. Some people might actually see him as a legit reviewer or something like that.
Don't forget that Mauler thought The Force Awakens was great until someone had to spoon feed em that it wasn't........and this is the guy you want to get screenwriting tips from? 🤡
You're right, we should just blindly fellate something and ignore its problems.
Yes, what are you gonna do, cry?
@@yamatonoryuujin4871 😢😢😢😢😢🤡
@@ender3675 You sound like a cult member 🤡
How dare he show a willingness to listen to arguments in line with his own reasoning and the relevant facts.