An excerpt from my script review for The Adam Project which will be available 03/22/22:
3.) Quality of Characters
Connecting characters creates drama.
In the film, Adam needs to stop his dad from creating time travel.
In the script, Adam’s in a race against his brother, and their boss Zucker, to stop time travel.
Both of these familial connections are good, but I feel the script’s is stronger…if developed properly.
In the script…
We’re introduced to Tommy, the 15 year old brother who’s good at everything.
And Adam, his 12 year old (who looks 9) younger brother who’s…still looking for what he’s good at.
This dynamic is pretty standard, and has worked before and will again.
The issue with how it plays out is there is zero motivation for Tommy to want Adam in Zucker’s space program.
We’re presented with a typical sibling relationship, that isn’t combative, but neither are the brothers presented as inseparable.
So why does Tommy refuse Zucker’s offer without Adam? Because…plot, of course.
We need Adam and Tommy to be in the program together so their future selves can be pitted against one another to make the plot more interesting.
Does it work? For me it did, so long as you forget the fact that Tommy wouldn’t need Adam in it anymore than he needs Adam for a late night rendezvous with Susie Wilcox.
And the “suspended disbelief” goes for young Adam’s shortcomings too.
He sucks at things…until he doesn’t.
Asthma that plagues him in sports and such?
Doesn’t exist apparently, and Pilot Adam’s advice of “just breathe” seems to be mantra enough that he is not only no longer held back, makes his future self capable of the cool flips and feats of his older, more athletic brother.
The issue here is certainly to include these sorts of connections to make your story stronger, but you need to flesh them out!
By doing so you not only make your characters’ later actions more plausible, you jack up the tension when they’re eventually at odds with one another.
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