Strengths

THE VIOLENCE OF WINE is an engaging crime thriller that blends elements of the crime and psychological thriller genres into a commercially-accessible story. The story is told through the eyes of DAVID AARONS, who is desperate to unravel the investigation of his missing daughter, all while a meth ring in which a cartel has been using American land for their operations. This is what makes this story absolutely remarkable: there are macro and micro stakes to the A and B plots, which deal with real-world issues such as human trafficking, addiction, forced labor, and identity. David's pursuit to find his daughter gives his story wonderful drive, while almost making him remarkably empathetic and sympathetic. Not only this, but the reasoning for his POV exists on an organic level, which allows for organic dialogue that would otherwise feel too much like exposition. The story has urgency without the need for a literal ticking clock, as David's desperation compounds, which exhibits the writer's maturity as a storyteller. There is plenty of octane coursing through the veins of the script, which oscillates with some tension-fraught scenes, as it crescendos into a hellacious third act, yet pays off in spades by the resolution.

Prospects

This is a film that will need a respectable budget to service its story, although it should not go above $5.5M, which is a union-tier break level. At that price point, the film will still need a recognizable A-list cast to quantify its pre-sales. It might be worth conversations with sales agents (such as The Exchange and FilmNation), who can consult on actors needed (and the marketplace as a whole). The business side of filmmaking would also be a valuable tool to add to the arsenal of the writer, as macroeconomics factors heavily into the creative. There is no question that the writer is talented, and audiences feel like they are in good hands with the storyteller, which is one of the key tools needed to become a studio-level writer (but not the only tool, - luck is the biggest tool). As a writing sample, this draft showcases the writer's voice clearly, and development executives and producers could spark to this story, which could lead to general meetings.

11-29-23

Era Present with flashbacks:

Genre Mystery & Suspense, Crime Thriller, Detective Film, Drama, Crime:

Logline A while after their teenage daughter disappears, a white FBI agent and his estranged Crow Nations wife combine forces and energize their community to hunt down her kidnappers.

Pages 110:

THE VIOLENCE OF WINE packs a strong crime-thriller plotline in the classic form. Its setting and cultural focus make it relevant and compelling. The matter-of-fact depiction of how young both the victims and the perpetrators are seems authentically rooted in real knowledge of the world. That Tono and his gang of child drug soldiers are themselves teenagers is both horrifying and realistic. Rape, kidnapping, and killing are all normal to them. Other, more ordinary relationships such as that between David and Debra subtly reflect the difficulties of cross-cultural marriage in times of grief and pain. While David is a somewhat familiar kind of hero, he does open the project up to benefiting from the star power that the many recognizable faces suited to playing the character could bring. The Montana/Crow Reservation setting is a complex, specific world that effectively feeds the dramatic tension by showing how unclear lines of responsibility and very understandable distrust rooted in history and cultural divisions complicate law enforcement and criminal investigations.

The screenplay is compelling, well-paced, clear, and elegantly crafted.

Prospects:

Despite its arty-sounding title and the specifics of its relevant and atypical setting, THE VIOLENCE OF WINE is essentially a kidnapping thriller in the classic mold in which a loving dad with marital issues sets out to find and save his kid. DON’T SAY A WORD (2001), HOSTAGE (2005), TAKEN (2008), COLD PURSUIT (2019), and others are just some of many movies with similar appeal that feed action fans’ voracious appetite for stories of kids being saved or avenged. However, like MAN ON FIRE (2004), 2017’s WIND RIVER, or the classic THE TERMINATOR (1984-on) franchise, this project’s setting and characters add a fresher flavor to a timeless formula. There are many attractive supporting roles for actors in a broad age range. This film contains disturbing scenes of child abduction, sex trafficking and slavery, rape, extreme violence, and drug abuse that make it suitable only for mature viewers.

9-1-23

The Violence of Wine

Era

Contemporary 

Genre:

Action Thriller, Action & Adventure, Crime Drama, Drama

Logline:

In a Montana tribal reservation beset by cartel activity, an FBI agent embarks on a mission to find his missing daughter.

THE VIOLENCE OF WINE is pretty unimpeachable in terms of its world-building and detail. The fierce specificity of the Crow Nation setting is almost overwhelming, conjuring a lush, forbidding backdrop for the proceedings. This is also that rare action spec that actually benefits from a wealth of military/weaponry detail. While constant name-checking and an obsession with gun specs is often tiresome and pace-destroying, this author possesses a staggering knowledge that is intensely exciting to experience. This precise focus on equipment and tactics also creates a welcome sense of verisimilitude that is generally lacking in the action spec genre. The action set-pieces are impeccably designed, offering a staggering sense of brutality. The multiple cultures (both ethnic and occupational) are rendered with that same expert sense of detail, and even the slang feels authentic. Though THE VIOLENCE OF WINE will require some additional revision in order to achieve a balanced execution, it must be said that when these pages hit, they really hit. VOW is well on its way to becoming a sophisticated, harrowing, atmospheric affair, but it does require additional attention in a few key areas.  

Prospects:

THE VIOLENCE OF WINE is highly commercial. Once refined, it stands to become the opposite of the 'mindless action' film that is so easily disposable, instead finding a potential home as a complex, adult-oriented piece of violent spectacle. The budget here would not be insignificant, but the commercial genre and potential financial returns could justify a major production entity's involvement/investment. If properly refined and differentiated, David could become the kind of role that could entice a major talent. It's also worth mentioning that the script's host of roles for Indigenous actors is a welcome corrective to the industry's historical ignorance of them, and THE VIOLENCE OF WINE could become a career-launcher for a host of young up-and-comers in this regard. At this particular stage, it's easy to confirm that THE VIOLENCE OF WINE is a project worthy of its author's investment.