Rather than further butching up onscreen women, why not follow the highly profitable Fault In Our Stars model with another smart, sensitive story about a young woman as appealing in her weakness as her strength?
Joe Kelly and J.M. Ken Niimura’s seven-issue series from 2008 has all the strong emotions and vivid fantasy of a Miyazaki movie, but with its own distinctive voice.
Mark Siegel’s Sailor Twain has everything a film needs: strong characters, a terrific sense of place, a well-established tone, and plenty of excitement. It also comes with the shots, lighting, and camera angles already picked out.
Spike Jonze’s gentle, incisive love story is a critics’ darling that hasn’t set the box office on fire. But there’s a meeting point between his film and the more familiar action-thriller future of Minority Report: John Varley’s 1993 magnum opus.
When Spider and Jeanne Robinson’s novel about a zero-gravity dance pioneer was first published in 1979, cinema didn’t have the technology to do it justice. Now that it potentially does, what are filmmakers waiting for?
Octavia Butler largely wrote about one thing, in an imaginative variety of ways. Here’s why her best book on her favorite subject should be a film.
A new column looks at books that seem particularly suited to the big screen, and explores the risks and opportunities involved.