I decided to change the theme once again. The other themes I tried just were not working out. I liked all of them, but each had something that just did not work, or just plain annoyed me. This design is well laid out and practical. Content coming soon.
I wanted to work on el scripto this weekend, but I needed a break, which I took.
I am rallying again to write and I promise, the spice will flow very soon.
One of the things that derailed me was the series “Breaking Bad.” I just could not stop watching it. 
I am still apprehensive about Indiana Jones. I think perhaps that it may be a little too close to the overall premise of my movie. Of course my movie and Indiana Jones are lightyears away from one another, but I don’t want anyone to think that I ripped off I.J. when I have been tossing the same ideas around for years now and had no idea about I.J. plot till recently.
Whatever the plot of I.J. turns out to be I will adapt. 
I have always been a big fan of Speed Racer. For all intents and purposes, it was the first cartoon I ever saw when I was a child. Speed Racer was also the first time I was exposed to death and life and death drama. I remember Speed Racer being violent, but in a sublime way. Usually every other driver in the race (besides Speed) died in some horrible, yet offscreen fashion; like flying off a cliff, or being buried alive in a mountain, or consumed by lava. Although the deaths were rarely shown, my imagination filled in the gaps.
From what I have seen of the Speed Racer movie, via the showing of the first seven minutes free (on Yahoo), is that the Wachowski bros. (*now brother and sister) captured the spirit of Speed Racer. Ironically, the quirk I have with what I saw is with the CGI. Everything looks FAKE. It does not look “Hyper-real” as others have stated. It looks like if Speed Racer was made via a movie of the week special. More Specifically, look at the CGI for the “Spy Kids” movies and then look at Speed Racer again. You will notice that they look very similar, however ALL of the Spy Kids movies were made for less than 1/2 of the cost of Speed Racer (reported at $200 million).
Speed Racer’s biggest problem is that it’s too long (over two hours) and that the Speed Racer Cartoon originally aired in the SIXTIES. Yes, I know of the failed “re-imagining” Speed Racer t.v. series in the 90’s, but that also might as well have been in the sixties. It is obvious that this Speed Racer movie exists solely as a tribute/love film made by the Wachowski bros, and that’s fine, but why in the hell did it have to cost $200 million freakin’ dollars.
Iron Man Clobbered Speed Racer on Friday; Iron Man made $15 million just on Friday, to Speed Racer’s $6 million. Speed Racer has only one week before it’s forgotten when the new Indiana Jones movie comes out. After that, they might as well just release it on dvd immediately.
Pages will be written, and posted this week. 
Iron Man has always been one of my top five comic book superheroes, and I am surprised that it took till 2008 for a movie to be made. After all, Robocop essentially did “Iron Man” over twenty years ago, and did it very well. This leads me to my problem with Iron Man; the only problem I have with it. The CGI sucks. What’s that? You say I am crazy and that the special effects were awesome? Let me elaborate.
The actual renderings were great, but the animation was lacking.
If you look at Robocop 2, it had a great fight scene with Robocop vs. Robo-Cain at the end of the film. The fight was done with all stop-motion animation, and to me is the best stop motion animation I have ever seen. The stop motion animation brought something to the fight that most CGI effects don’t have today; WEIGHT.
In “Iron Man” both Iron man and Jebidiah Stone (In his ‘iron’ suit) had no weight to their animation or renderings. They were both jumping around like insects with superhuman agility. Yes, I realize that they both have Uber-suits, but both of the suits were prototypes and both villain and hero had little time to train to get to the point to do the incredible things that they both were doing in the movie.
Look at the LOTR movies. Arguably the best CGI ever (so far). Everything in all of the those movies felt like they were real and had weight. ILM is apparently still suffering from “Jedi” fever from the prequels; making everything in all of their movies move like the Jedi did: super fast and super agile.
Anyhoo, boiled down, the fight scenes in Iron Man really did not get my juices flowing. The only part I really liked, was when Stark first breaks out of the cave with the Mark I suit; now that was badass. Why was Iron man simply knocking around goons badass? Because he felt real. He was slower and more lumbering, not bouncing off the freakin’ walls like Spiderman.
I just hope ILM is not as spastic with the New Incredible Hulk movie, as they were with Iron Man. I want to see “Hulk Smash,” not “Hulk move faster and more agile than Spiderman.”
I saw Cloverfield and whereas I did not think it was bad, I do have some issues.
Glad I did not see this movie in the theater.
Why did they take 20min to get to the movie going?
Why did they cast people who I hoped the monster would eat, or stomp on? Is NYC comprised of rich yuppies now?
Why were the credits 10min long?
How did the military manage to setup fucking CENTCOM in NYC, with Cloverfield monster(s) tearing everthing up and most of the city in ruins?
Where the hell were the population of NYC? Did they teleport away? A friend of mine suggested that everyone was inside the buildings. Well, mostly everyone has seen what Godzilla does to buildings and even if they have not seen Godzilla, the f’ing monster was knocking over buildings left and right.
How did the military deploy so rapidly to NYC with Tanks, et al?
Why was the Cloverfield monster impervious to all of our conventional weaponry? I think if our weaponry can penetrate tanks, ships, hundreds of feet of concrete, we can deal with one monster. (yes, I know it’s a monster movie) The problem I had with the monster (besides ripping off the “closet monster” from “Poltergeist) was that it looks to be made out of soft skin, like a bat. It did not have plates, or scales, like other tough dinosaurs or monsters, and even if it did, our armor piercing artillery and missiles/bombs would be able to penetrate the monster’s hide. That is assuming it’s a natural creature, not a supernatural creature.
Why didn’t they hit the monster with Mustard Gas and/or VX gas? VX gas would have caused all it’s muscles to seize at once at since. Since the monster was so huge it would have snapped it’s own bones and been crushed under it’s own weight.
I should write a monster movie. Oh yeah, that’s right, I am!
Screenwriting is one of the most difficult of the “arts.” Sure, it looks easy, but nothing could be farther from the truth. All of the other art forms have some type of payoff. If you write a book, you can simply post it to the internet, or publish it yourself. If you write a song, or music, or poetry, you can post it on youtube or your blog or site. If you paint a painting you can now easily make prints and sell the prints online. Etc. and so forth.
With screenwriting, the writer has no real payoff, and the writer is truly betting on a table where the odds are a million to one. I think this is the one big issue that plagues even the most experienced screenwriters out there: “Will anyone like my screenplay and want to turn it into a movie?”
With books, novelists can literally drone on for a thousand pages about the inner thoughts of the characters and describe in detail every single thing in the novel in great detail. With screenplays there is the simple is fact that movies move, and books read.
Well, I am starting to rant, when I should actually be writing, not complaining….
What I wanted to say is that I have been having a hard time getting in the mood to be creative lately. Slowly I am coming out of this funk. I just got a new job that hopefully won’t be too stressful and I will be able to write.
Things are finally coming together with Vagueland. I know I have said this before, but -all- of the pieces are now 90% in place. My plot is worked out thoroughly, but I am figuring out which of the immense amount of characters I have created that I will use in the movie. The main characters are set, but I am still figuring out the minor players and what role they will play. I am also deciding on whether or not to have a “love interest” for Teddy, or whether I can simply skip that (as possibly cliche).
The opening is going to be pretty badass; a “Raiders of the Lost Ark” sort of badass too!
coming soon, I promise!
Variety had an article today about a theater chain building luxury theaters, with seats costing upwards $35. Of course the question is who would be stupid enough to pay $35 for a seat in a movie theater? Apparently the chain thinks a lot of people are willing to pay this, as they are building 50 of these uber-theaters over the next few years.
I have absolutely no problem with this concept; I do have a problem with the PRICE. If you and a date go to the movies it will cost you $70 just to get in the door, and that’s before valet parking and food and drink and other amenities. A night out at the movies could conceivably cost $150. My problem is what added benefit is gained by spending such a gigantic amount of money on the tickets for the movie? You get a comfy seat that is quasi-private, and you are with less retards that would normally be in the theater and -hopefully- for $35 dollars texting and cellphones as well as talking is banned.
The big problem, the huge problem, is that there are almost no movies released today worth the admission price of $8, let alone over four times that price.
Let’s see, out of movies coming out in the future I would pay $35 to see: James Cameron’s Avatar. The Hobbit movies. Ummm, hmmm, and that’s about it. Why those two movies as an example? Well, Cameron is a freakin’ genius and Avatar will push the bounds of every technology available, and the new Hobbit movies will be good because they are classic stories and Peter Jackson did pull off a feat previously with the LOTR movies. Just about every other movie coming out this year and next year I would not be willing to pay the luxury of watching a movie sans the unwashed masses.
My biggest pet peeve about movie going is not cell phones, but MFing TEXTING. Today’s cell phone screens are huge and incredibly bright and this will only get worse in the future. I can subconsciously block out noises like the old betty commenting on every scene in the movie, or the idiot letting his cell phone ring 10 times before answering it. BUT, I cannot ignore a bright screen pointed directly at me. The thing is that the texters don’t just do this once, they do it throughout the entire f’ing film.
Anyhoo, Hollywood ain’t releasing movies that have legs anymore. In fact the movies being made are totally throwaway movies. Will anyone want to watch any of the movies that came out last year more than twice, or worse yet, more than once, or at all? Even out of the academy award winners last year I would only want to watch any of them two, maybe three times. Look what won best orginal screenplay, freakin’ JUNO! That’s not a knock on Diablo Cody, I liked the movie and liked the script, but Oscar Contender? Get. Freakin. Real.
Here is the article in Variety:
A recession may be looming, but a group of investors thinks Americans are ready to pony up $35 for a movie ticket.
Village Roadshow Ltd., Act III, Lambert Entertainment and the Retirement Systems of Alabama pension fund have partnered to bring the luxury cinema circuit Village Roadshow Gold Class Cinemas to the U.S.
The partners will spend $200 million to build 50 theaters nationwide over the next five years, with the first two venues set to open in South Barrington, a suburb of Chicago, and the Seattle suburb of Redmond in October. Others are planned for Fairview, Texas, near Dallas-Fort Worth, and Scottsdale, Ariz.
Each complex will sport theaters featuring 40 reclining armchair seats with footrests, digital projection and the capability to screen 2-D and 3-D movies, as well as a lounge and bar serving cocktails and appetizers, a concierge service and valet parking.
But the circuit will especially push its culinary offerings — made-to-order meals like sushi and other theater-friendly foods from on-site chefs (a service button at each seat calls a waiter). Moviegoers will have to pay extra for any food they order, however.
The Burbank-based company’s hoping to attract 10 million “upscale and affluent” consumers per year to its theaters that will be housed in high-end shopping centers and malls. Each complex will typically house eight screens.
“It’s a new way to go to the movies,” said Graham Burke, managing director and CEO of Village Roadshow Ltd. “It’s like what Mercedes is to a Toyota or like flying first class in an airplane.”
Village Roadshow founded the Gold Class Cinemas chain in Australia in 1997. It has since expanded to other countries, including Singapore and Greece.
Company execs said bringing the chain to the U.S. is a “natural extension” of the brand.
“The demand for luxury moviegoing in the U.S. is very strong, and by working with our partners, we are delivering on that demand in a way never before experienced by the American consumer,” said Kirk Senior, CEO of Village Roadshow Gold Class Cinemas.
In addition to its initial complexes in Illinois, Washington, Texas and Arizona, company also plans to build in California, Florida, Nevada, Pennsylvania and New York.
Gold Class Cinemas won’t be the first luxury theater circuit in the U.S. Regal Entertainment, Cinemark, National Amusements and Sundance Cinemas offer similar services, including high-end food and concierges, at much cheaper prices of around $12-$18 per ticket.
Idea is that plushing up the current movie going experience will encourage ads that typically stay home to watch movies via their pricey home theaters to venture out again. But it’s also a way for exhibs to make more money: Concession sales are kept by theater chains, while a little more than half of each ticket sold is split with the studios. Selling sushi and a glass of wine will command higher prices than popcorn and soda.
There are an estimated 300 high-end multiplexes operating in the U.S.
If the recession is stressing out some businesses, exhibitors aren’t sweating just yet. Entertainment has long been shown to be recession-proof. And that’s exactly the attitude Village Roadshow is taking.
“This is a top-end experience,” Burke said. “People want to get away from their blues. I don’t think the recession will affect it one iota.”
There is no magic in movies anymore.
My first “film” actually taught me a lot of what NOT to do when making a film.
It was a Star Wars Fanfilm called “The Invisible Enemy,” and was released on the interwebs in 2001
I put up most of the money, wrote the script, and Elliot, one of my best friends, put up the elbow grease to get it in the can and directed it. Amazingly, I learned a lot of lessons making this fanfilm believe it or not.
First, you can’t do it all. I was originally going to write and direct and do everything else, but learned quickly that doing it all alone is impossible. The problem with making a fanfilm is that no matter how awesome you make it, it’s not real. Sure, a lot of great fanfilms both Star Wars and otherwise have been made over the years and most likely will always be made. The problem come in that you don’t own the fanfilm and can never make any money off of it. George Lucas ain’t going to say, “Gee Bobby, you made an awesome fanfilm, let me buy it from you and put it on dvd and we can split the profits!” At best you can hope not to be sued, or in today’s world, get your videos removed off of youtube or your own hosting site for copyright infringement.
Most Star Wars fanfilms suck because they are usually just two dudes in robes fighting with lightsabers and that’s it. I wanted to do a story about the first scouttrooper/stormtrooper party that found Endor for the first time and have said party die at the hands of the malicious Ewoks. Since I lived in BF Mississippi there were two problems: The first being that there were no groups/people within a 100 mile radius with stormtrooper costumes. Second, there is no varied terrain in southern Mississippi; it’s about as flat as you can get and un-Endorish as you can get.
So, we had to buy the trooper costumes and put them together, which was a huge pain in the ass, as they were uncut/untrimmed plastic from the resin molds. Then we had to find people willing to ride two hours out of the way and don the trooper costumes and walk around the woods. The site we found was in Tunica Hills, MS, right on the LA/MS border. We originally had a lot more funny scenes, one even at a really awesome waterfall that had to be cut simply because it was too difficult to film at the various locations we wanted due to the “hills” part of Tunica Hills Park. It should have been named “Tunica Mountains,” because I don’t think I have ever encountered hills that steep in my life, and I was a boy scout and walked many a trail. We had no crew, so it was just me, Elliot, Josh Sisk our cinematographer (who was just in an episode of “The Wire” as a photographer), and the guys who would be in the costumes. Carrying the costumes to the various locations was quickly ruled out and thankfully so, as we all found out that maneuvering in the costumes was almost impossible and quite painful as the costumes pinched in the worst places. In the end we had to film at the entrance to the park, complete with gawking hikers.
The movie was shot in one day, as that’s all the time we had to get it in the can. Elliot and our friend Teddy went back and did some pickup shots, but that was it.
One of the biggest problems was that Elliot was in Baton Rouge, over a hundred miles away from me, so I was stretched way to thin and with my work schedule (50 hours a week) it left little time for me to be creative. So the project which I started,slowly drifted away from me, and Elliot had to take over.
The end result is below:
Bad voice acting, bad shot setup, bad lighting, pretty much it hits all of the hallmarks of most Star Wars Fanfilms. I like to tell people we made it that way, as a parody of Star Wars fanfilms, but it’s the result of poor planning and the lack of wisdom that sometimes can be only achieved by fucking something up.
The script that I wrote was actually really funny, not to toot my own horn. Unfortunately, due to the aforementioned problems, those funny scenes were cut. The voice acting is horrible. Johnson was supposed to be played by our friend Steve, who would have made an infinitely funnier effeminate Stormtrooper than Elliot ended up performing, and the rest of the voice actors sounded like they were reading from a script for a car commerical.
Moral of the story, you gotta make a film, even a short one, in order to learn from your mistakes so you don’t make them on the set of a real movie.
Here is one of the latest SW fanfilms. Once again, two doods with sabers, but it’s actually really good.
One of the guys who made this video actually got a job at Lucasfilm for his SFX work for the previous iteration of this movie.
A really funny send up of “fanfilm” directors is the sketch “Fool’s Gold” featuring “Glen Tennis” the director of the science fiction movie “Crystal Shyps.”
I just saw Doomsday and although it was not a bad movie, it was not a good one either. Like most movies today it was a “one off” movie that really is only good for one viewing.
The plot rips off Escape from New York and Resident Evil and to a certain extent, 28 days/weeks later.
This time the sealed off city/area with the super virus is Scotland. Scotland gets infected with the “Reaper” virus, because it sounds cooler than something real, like the bird flu, and then Scotland is walled off and forgotten for THIRTY years. Supposedly aside from routine satellite photos, nobody decided to check up on anything, or at least send people in to do research on just WTF happened. Of course an outbreak hits the overpopulated London and it’s revealed that Scotland apparently has repopulated in the past three years, even though it’s made quite clear that the survivors have been there the whole time. After finding a room of Reaper victims, in a routine drug bust, the disease seems to spread much like the ridiculous “Rage” virus; at an unrealistic pace. Now, here’s what I don’t understand. The cops find a crack den with Reaper victims, why doesn’t the government just simply TORCH THE PLACE and the infected officers. I know it sounds horrible, but as evidenced at the start of the movie, death is certain and very quick. Better to kill 12 people that are going to die anyway and firebomb the whole block and blame it on a gas leak, than to let 12 million people die.
The leaders of “England” decide they only have 48 hours till “something” worse happens and thus our heroine and her crack team is dispatched into Scotland to find the survivors and thus the cure.
O.K. let’s start the tear down of the movie.
The movie has some good action sequences and some good gore, but has some downright stupid stuff as well.
In 2035 I would hope that special forces would have at least better equipment than we do right now in 2008. The group brings no sort of thermal imaging/radar/motion detector devices, so the mohawkians (my nickname) are able to easily sneak up on the heroes. During the first firefight the heroine tells everyone to get into the elevator, upon which she perfectly severs the elevator cable with one shot (blind, through the roof) and then tosses a grenade at floor of the elevator as it is now descending at death-enabling speeds downward.
The grenade detonates and gasp! Guess what type of grenade it was?! A Deus Ex Machina grenade! It was a FOAM grenade; the grenade created and elevator’s worth of foam to protect the descending heroes from dying, much like in the movie Demolition Man, when Sandra J. Bullocks smashes her car into a wall.
The heroes’ APC’s are pretty much what we have today, except that they apparently replaced the bulletproof glass with plate glass, as the mohawkian’s bows and arrows were able to easy penetrate the windows, killing one of the drivers, much like the Ewoks bow and arrows were somehow able to penetrate the Stormtrooper armor in Jedi.
After the APC’s are destroyed by bows and arrows and rocks and Maltov cocktails, The heroine and her team are ambushed by the “Mad Max” society and captured and most of the crack team are killed.
They are taken to the mohawkian’s lair, which is setup much like “Thunderdome” in Mad Max, with the exception they mohawkians just eat their captors; no arena/pit battles.
The Heroine escapes and meets up with the two remaining teammates, including the pussy doctor and the token, but somehow/some reason, non-bad ass black guy AND the heroine just so happens to find and help break out of jail, the
person that can lead the team to find the elusive Doctor Kane (a name which should be forever retired in movies and literature) who has the cure. Did I mention that this person just happens to be the daughter of Kane, being held captive by her brother, King Mohawk.
The group escapes via a STEAM ENGINE piloted by the escapee’s OTHER brother. At first you might say, “Escape via an old steam train, that’s kinda cool!” Well, it is, until you realize that trains and especially steam engines make a shit-load of noise; essentially how would this escape vehicle been able to sneak into the city undetected?
Anyhoo, the group escapes and makes their way through the highlands till they get to an elaborate “doomsday” bunker filled with endless crates of goodies that apparently nobody decided to loot in the past 30 years. Of course they don’t stop and check to see what is in the crates, they just continue on.
The group is then confronted by a HUGE knight on horseback. Apparently the knight is part of the “execution squad” for the King, a.k.a. Doctor Kane. So, our fully armed heroes decide the smartest thing they could do is to throw down their guns and be taken prisoner by group of men on horseback only know for executing enemies of the King.
The appropriate thing for them to do would have been this:
--Three of the execution squad are killed by the heroine-- who then points her gun at the uber knight and says something like this:
"Alright, you primitive screwheads- listen up. This... This is my BOOMSTICK! Now I swear, the next one of you that so much as even touches me, BOOM! Take me to your leader."
We then find out that Dr. Kane has developed his own little perfect feudal society of which he is the king, and of course, does not want it to get out that there is a world outside the barrier walls. So he sentences the heroine to fight the "Terminator Knight."
Now am sick and tired of female "kick ass" characters as the main character. Well, at least I'd say from about year 1998 on. The current trend of women that are 5' 5" being able to take on whole armies was started with the Fifth Element and does not seem to be letting up anytime soon.
Now, I am not saying I don't dislike female "kick ass" characters in movies, just not these petite superwomen of today's Hollywood being somehow able to cut through men twice their size with ease. One of the last excellent Female "kick ass" character was Sigourney Weaver in Aliens, mainly because although she kicked ass, she was still scared shitless of the Aliens and displayed her vulnerability. Today's Hollywood would have a 5'4" girl killing machine kick the alien in the shin, dropping the alien to it's knees, and then rip off it's arm with a well placed elbow jab, and then drinking it's acid blood dripping from the arm, and then shoving the alien arm into both mouths of the alien, and then spewing an utterly cliched one liner to top it all off.
A more recent example of slight abuse of the female "kick ass" character was in the movie Serenity. The character River Tam, was a diminutive girl who was programmed via mind conditioning to become a super killing machine via a code word. She was fast and graceful, but really could not have done much damage to the endless rivers of men she fought (generally with her bare hands). Ironically, the actress who played River Tam, Summer Glau, is now the new female terminator.
Another example is Jessica Alba in the short lived t.v. series "Dark Angel." C'mon! Jessica Alba is like 4 foot 6, how in the fuck, even if she was a robot, would be able to kick anyone's ass?
O.K. the only "cool" thing in this movie is that the survivors in walled off Scotland formed two separate societies. The first being a feudal-medieval society, complete with appropriated castles, and the second being your atypical "Max Max" society, complete with dirtbikes and ratted out, spiked vehicles and mohawked, crazies.
In Doomsday, the main female "kick ass" character, who's name I can't remember and don't want to look up, fights a knight in full armor. She fights the knight with no weapons. The knight is like 6 foot 7; she's 5 foot 5. She beats the knight. Sure, she shimmies up a rafter and ends up stealing an axe of some sorts from a guard to do it, but even that is ridiculous, as instead of just escaping, she goes back down into the arena to kill this uber-knight.
The heroes escape to the doomsday bunker and find out that there is a whole bunch of goodies after all, including a 2008 Bentley. The backup generators of course work, as well as the battery in the Bentley as it starts up first time, with no battery jumping, hacking, or hot wiring. Now, here comes the obvious point. Besides the batteries working in just about everything, so does the stored gas/diesel. Now, gas has a shelf life of about two years, about the same for diesel; that is stored with a fuel stabilizer, in an optimum tank. However, THIRTY years have past, so the fuel, even under optimum storage conditions, would have turned to varnish or worse. This is a common flaw in most doomsday movies. The first thing I asked after the premiere of "Waterworld," was where the fuck did they get gas for their See-Doos?! O.K. lets say they had captured an oil platform in the sea, which I think was the case in the movie, do you realize, or does any writer out there, realize how hard it is to distill gasoline? It's not something you cobble together.
O.K. heroes escape the bunker, but not before token black guy takes a few arrows in the back, in slow motion for the team. They escape in a Bentley, which if I am not mistaken, weighs around 7000 pounds AND can go zero to sixty in FIVE seconds. I bring this up, as they are initially chased by one jury-rigged police car and the police car is easily able to catch up the the Bentley. Of course, then the rest of the mohawkians are able to catch up to the Bentley and King Mohawk is able to get INSIDE the Bentley, which a long and drawn out "car fight" ensues. Of course the heroes manage to blow right through a bus/roadblock with no problem (with King Mohawk somehow able to get on the roof after being flung out of the car at 100mph, getting caught in the blast).
The heroine make a cell phone call from the 30 year old Bentley which somehow manages to get through to the Prime Minister, even with London now in utter chaos, on the first try.
Being a pre-2004 GM vehicle owner with ONSTAR, I can tell you for certain that cell phone technologies used today most certainly will NOT be used 30+ years from now. My ONSTAR service was cutoff at the start of the year, as I refused to pony up $300+ for them to essentially install a new cell phone in my car, since analog cell systems mostly went the way of the Dodo Jan 1st.
The heroine delivers the "antidote" to the sort of villianous Prime Minister, who then tells her that he is going to "thin out" the population of London first and then administer the antidote. Oh, did I mention she was recording this conversation with her removable, fake, electronic eye? The Prime Minister leaves in his chopper with the Pussy, but now sort-of bad ass doctor, and the antidote person, Kane's daughter, and the Heroine decides to stay behind.
O.K. movie over, right?
No, you see I forgot to mention that the heroine is Scottish and was a little girl when the country was locked down, but escaped, sans one eye and then decided to grow up and become a badass killer, who just really wanted her mommy. The Heroine goes back to her home and hangs out for an undetermined amount of time, then Bob Hoskins shows up out of nowhere and she gives him the disk/chip of the recording of the Prime Minister divulging his master plan, which of course Bob Hoskins uses to expose the sort-of evil Prime Minister to the world.
The Heroine then goes back into the heart of Mohawk-ville and tosses down the head of the dead King Mohawk leader, which she managed to find in the desert after the previous melee/bus explosion. She says something about how they can eat his flesh if they are hungry (they are cannibals) which is met with raucous applause. So apparently she is to become the new leader of the Mohawkians??
The End
Other Errata:
The director/editor decided to try his hand at the new fad in Hollywood, "Epileptic Editing," and fails at it. This was started by MTV, but really did not hit it's stride till the second Bourne Identity movie. The director/editor decided to cut so fast that now we see 24 different images a second; one per frame. Amazingly, The Third Bourne movie won the best Oscar for editing. It should have won an Anti-Oscar for shitting on all the other editors who deserved it in the past. You want to see Oscar caliber editing, look at "The French Connection," which was edited using a lite-brite, a pair of sciccors, and some blood and sweat. Or how about the over one MILLION feet of film that was edited for Apocalypse Now?
The Heroine uses her electronic eye by popping it out of her eye socket, and tossing on the floor and controlling it with her watch. She uses the eye to peer around corners, which is sort of cool until she puts it back in her eye socket without cleaning it off. This is not necessarily gross, per-ce, but just unrealistic, as anything tossed on the floor is going to pick up sand/dirt which would really irritate the eye socket, regardless if the eye is artificial or not.
I was going to compare this movie to Escape from New York, but I have already spent more time writing this, than I think watching the actual movie.
